Call of Heroes (2016)


China has devolved into a patchwork of competing military governates following the dissolution of the Qing Dynasty. As Marshal Cho, the son of a military governor, wanders around the area of Shitoucheng indiscriminately killing and robbing from civilians, a school-teacher named Ms Pak flees with her students, and along with other refugees are admitted into Pucheng, which belongs to another governor. Since the soldiers of Pucheng are away on a campaign, authority falls to Colonel Yeung, leader of the militia. A few days later, Cho, who derives pleasure from random killings, enters Pucheng alone and murders Pak, her cousin, and one of her students. He is quickly arrested and sentenced to death, but his father’s soldiers arrive and demand his release. When Yeung refuses to give in, and threatens to kill Cho on the spot, the soldiers declare that Yeung must release Cho in the morning, or else the entire town will be killed.

-Wikipedia (Click here for full article)

As you can see, life in 1914 China kinda sucks. People in power prey on the poor and kinda just like murdering people. Where’s the Monkey King when you need’em? Aha! Lucky for the villagers (I guess), a wandering martial artist, teams with the sheriff of Pucheng and a handful of skilled warriors to protect the people. Question is will it be enough?

Call of Heroes is a superbly choreographed, brutally shot motion picture. Lots of real, gruesome, lighting-quick deaths occur on screen and the movie only really pauses to give the characters left alive time to grieve. Sad for them, but for me and my daughter (my date for the evening), it made for somewhat compelling viewing.

Sheriff Yang is a stoic, sturdy individual. A true hero in every sense of the word, and even to the detriment of the people of Pucheng. The moral quadry is as follows:

Let the son of a warlord go free, after he’s mercilessly killed three people?

Or justly execute him according to the law, and then be wiped out by his father’s army?

Understandably, Yang and the people of Pucheng really had differing opinions on what to do (LOL). While I can certainly understand the sheriff’s insistence on doing the ‘right’ thing even if it kills him. His blatant lack of regard for his people (let’s all die together, I think is uttered at least once or twice) is unsettling. However, what’s to say this nut isn’t going to try and murder you all anyway as soon as he is released? Huh? What? Exactly?

How you liking your spot between a rock and a hard place? Sheesh.

At any rate, once the die has been cast, and the fertilizer hits the fan; Sammo Hung’s magical touch for kung-fu heroics completely turns things up to 11. From the battle on the spiked bridge, to the former friends duking it out upon an enormous moutain of clay pottery. The kicks and punches fly fast and hard! Although the narrative is well-worn and lacking any real suspense–the acrobatics and bloodshed really take on the heavy lifting for the last half hour of this picture. This isn’t a must-see, but fans of Sammo Hung’s action style and good’ol kung fu will appreciate the setting and set pieces I think.


Turns out…good help is readily available..just have to ask. Or be put in a dire situation.


Anime Reflections: “Nobunaga no Shinobi”

Had the opportunity here recently to check out this Spring’s offering of fresh, new anime series and movies. Unfortunately, what I saw was more of what I’ve come to expect from Japan’s seasonal, animated offerings. Stories of adolescent men and women falling in and out of love. Heroic forays into ancient Japan, or futurist, space-operas somewhere in a universe far, far away (had to switch it up a little). Eventually, whether through written review or through radio–my plan is to discuss some of those new shows and get at what’s hot and what could use some work.

Today though, I’m discussing a television show, that actually made it’s debut last October.

Ninja Girl and the Samurai Master

aka Nobunaga no Shinobi


Nobunaga no Shinobi is a four-panel manga series by Naoki Shigeno. The historical comedy began in 2008, and has been running nine volumes strong since making it’s debut in Young Animal magazine.  The anime version is called Ninja Girl and the Samurai Master, and even it’s animation style lends itself toward something similar to a quick, snappy, ‘four-panel’ episode. As episodes are literally around three minutes long, the dialogue, narration, and colorful cast of characters fly in and out of frame as swiftly as they appeared. The jokes, sight-gags, and witty nature of the program really had me and my ten year-old laughing out loud; but I would like to give a bit of a warning. The show does feature blood, cartoon violence, and even some crude, gross humor that may be a bit much for some.

As it is a historically-inspired work, the series sort of summarizes each event in Nobunaga’s eventual conquest of Japan. The viewer’s eye ‘sorta’ comes in the way of a young, silly, but skilled shinobi named Chidori. Now Chidori and Oda Nobunaga seem to swear allegiance to one another fairly quickly and their antics and adventures with other characters in Oda’s clan. Again, it takes a lot for an anime to make me laugh, but the snappy characters featured in this anime pulled it off with aplomb.

As of now there are currently nineteen episodes available for viewing on Crunchyroll. Please give it a watch, and let me know what you think. While we’re on the note of thoughts and opinions, send yours to


Floyd Norman: An Animated Life

Words: Desmond Childs
Growing up, my “blackness” wasn’t necessarily something that I struggled with. I had a very diverse group of contemporaries, and although our teachers were often white–many were married to Blacks, Hispanics, or even Asians. I say this as a sort of reflection on the state of social issues. Comparing today to yesteryears, and I’ve definitely been singled out more so now as opposed to my childhood. Whether it’s jobs or even being picked first for basketball games simply because I was black. The color of my skin, not my values, are what many people have used as a way to interact with me.

The key difference between myself and legendary Disney animator Floyd Norman, is that he wasn’t a black man looking for a job with Disney—he saw himself as just another artist looking for a good gig with an iconic company.

This documentary mixes segments of animated anecdotes and biographical recollections about the historic career of one Floyd Norman–one the greatest, most consistent animators you’ve never heard of. From his work with Disney to his career as a writer and comic strip maker, and also his stints as an animator and writer with Hanna-Barbara. There’s even a well placed segment detailing Norman’s independent production company that focused mostly on Black history. The film doesn’t shy away from the struggle-hustle days of Norman’s making informational videos and his serving as a photographer in Nam’ before returning back to Disney to resume work on projects such as 101 Dalmatians. There is a segment, in which Floyd begins to throw out some of the names of shows he worked on throughout his career–some I heard of, others I was unfamiliar, but there were many that I absolutely loved and still do. However, instead of listing them here I suggest you look up Norman’s work yourself. Seek out his artwork, his legacy, and his impact.

My favorite part of this film had to be the discussions of how Floyd handled stress. Whether it was his drawing silly, yet insightful doodles of company bosses and co-workers; or quietly dealing with a separation and ultimate divorce from his first wife. Norman never was an emotional, excitable type. Actually (and arguably more unhealthily), he was a man who had trouble expressing his pain and heartache. Floyd did not vent often, at least verbally to others; he preferred to vent through his artwork. Interviews with his children, co-workers, and women in his life gave solid insight to Floyd’s dealing with his shortcomings and setbacks.

There are other segments that were just as engaging, but this is definitely not a film I want to spill into details over. Please do yourself a favor and check out Floyd Norman and his incredible run on Netflix today. Here’s the trailer below:

Luke Cage: Netflix Series Review


Words: Desmond Childs

What a time to be a fan of comic books, right? Artists and writers have long been the scribes of the human condition; a reflection of the way things are or should be. The way things are of late–with the numerous protests over a number of issues–A show like LUKE CAGE fits comfortably into the zeitgeist.

The actual series, Luke Cage is about a black man living in Harlem with a shaky past. He’s got a history of love lost, violence, trust and betrayal–but most importantly–his past has literally transformed him into a sort of demigod. He’s not invincible, but being bulletproof in Harlem is as close as you can get in Marvel’s Luke Cage. For those familiar with the series; you’ll understand the nature of my being so vague–I want viewers to watch with fresh eyes. In other words, Luke Cage is a series that stands on it’s own two feet. No need to watch Marvel’s acclaimed Daredevil series or Jessica Jones. No need to have seen the dozen or so Marvel movies that have raked in billions of dollars–no need at all. What you should be prepared for–is a very prescient, incredibly remarkable look at one man’s acceptance of his role; as well as a visceral look into the universe this hero-in-the-making exists.

In many ways, the Harlem portrayed in this series is the Harlem we know today–the art, culture, and legacy the city holds is living breathing; with it’s citizens exuding what makes this space so astonishing. The show has a few celebrity appearances, mostly in Harlem’s Paradise; which serves as a hub for many of the major criminal business dealings that go on throughout the series. We also see a lot of historic buildings, and legendary figures in the community such as Dapper Dan. The universe–the people, the language, the music, the style–all go into what makes this particular space so captivating; especially while our hero’s story unfolds.

Let me take the time to acknowledge the stellar acting from leads Mike Coulter  (as Cage), Simone Missick (as Misty Knight), Theo Rossi (as Shades), and Alfre Woodard (as Mariah Dillard). Also, two more actors I wanted to single out–Mahershala Ali (as Cottonmouth) and Erik LaRay Harvey (as Diamondback). Rosario Dawson does well too, as mostly the conscious of Coulter’s fledging heroism and serves as a fairly smooth bridge between Marvel’s trio of super-powered shows. Coulter does not move mountains or chew scenery but he is the heart beat of his picture–he’s contents under pressure, but doesn’t want to be anything but left alone. Missick plays a detective who displays a spectrum of emotions throughout a series full of both political intrigue as well as old fashioned, gritty-realism. The stable of villains for the show are what really make it all worth watching in my opinion; as the writers did a superb job of making them more than their devices. Cottonmouth and Mariah are cousins hoping to build a family empire upon the back of a broken city. Shades is a messenger with a chilling past linked to Luke Cage; he begins the series as the mouthpiece for menacing presence known simply as Diamondback. We are eventually introduced to Diamondback himself too; a man fueled by revenge. The cast of this series –top to bottom–are what makes this show a remarkable one, and so binge-worthy.

I do want to address some issues I had with the series as a whole–nothing I think will necessarily keep you from wanting to see it; but some criticisms nonetheless. As Luke Cage enters it’s final third of episodes (give or take), it becomes a tad bit predictable. Is it because we know that Luke Cage is in fact bullet-proof and destined for super-hero stardom? Maybe. Actually, my biggest gripe stems with the show’s last serious threat to be introduced: Diamondback. The tricky thing about revenge-motivated plot lines is that you have to get the audience to by in that the character seeking revenge is somewhat justified. Without spoiling too much, I’ll say once Diamondback’s motives for all the horrible things he’s done have been revealed–he kind of comes of as hyper-petty. Hyper-petty is a term I like to use to describe someone who let’s something bother them so much that they are willing to commit heinous acts to either rectify the wrongdoing or feel better about themselves. Diamondback’s issue is one I’m sure many people can relate too. I can understand his growing up bitter. However, I was a bit confused when it came to the reason he decided that instead of confronting the source of his anguish when he had the opportunity; he sort of just attacks the person he seems to think benefitted the most from it: Luke Cage. My point being that Diamondback was not the most compelling villain in this series by a long shot. While Cottonmouth and Mariah Dillard pumped the story full of  mystery, murder, and intrigue–Diamondback was all about power, control and being an embittered kind of crybaby. A ruthless, cold-blooded killer crybaby-but a crybaby.

All things considered, this series was nothing short of outstanding, and it’s themes so masterfully displayed. The villains all feel Harlem needs someone to control it and build it back up. The citizens want the rampant gang wars and drug trafficking to stop poisoning the community. Luke Cage–a man who has unbreakable skin–just wants to be left alone; but his mentor continues t0 push him toward heroism. Cage doesn’t feel like a super-hero story, and Cage himself wouldn’t have it any other way. He simply wants the ones he cares about to be safe, and his city to be free.

Luke Cage is now available on Netflix instant watch. It’s rated TV-MA; and although the language is closer to a hard PG-13 rating, the violence is a red, capital ‘R’. Check out the trailer below: