Top Ten Things: October PPV Matches

Welcome to another Halloween-themed (but not really) Top Ten Things, here at Enuffa.com.  Instead of this column relating to Halloween and all things scary, instead it's October-centric.  Specifically I'll be counting down the top ten October PPV wrestling matches.

While pro wrestling's autumn season (falling as it does between the SummerSlam peak and the beginning of The Road to WrestleMania) has been pretty consistently known for B-level PPVs, shoddy writing, and rather stale characters, many of the October PPVs over the years have produced some excellent matches.  Here now are the ten greatest October PPV matches of all time.

10. Eddie Guerrero vs. Rey Mysterio - Halloween Havoc 10.26.97

Quite possibly the greatest WCW Cruiserweight match of all time, Guerrero vs. Mysterio was voted WCW's Match of the Year and it's not hard to see why.  The action was breathtaking and impossibly fast.  Both men were in peak form and easily upstaged the rest of the WCW roster.  Mysterio won the Cruiserweight Title with a stunning top rope hurricanrana. 

9. Rock vs. Chris Jericho - No Mercy 10.21.01

This was the match that elevated Chris Jericho to a main eventer.  For the previous two years he had struggled to rise past upper-midcard status, but on this night he bested The Rock for the WCW Title in a spectacular 24-minute war, turning heel in the process.  Sadly the company hotshotted the belt back to The Rock only two weeks later, but this match proved Jericho could hang with the WWF's top stars and deliver a classic main event.

8. Steve Austin vs. Kurt Angle vs. Rob Van Dam - No Mercy 10.21.01

No Mercy 2001 featured two amazing Title bouts.  After the Rock-Jericho classic came the WWF Title match, as heel Champion Steve Austin defended against archenemy Kurt Angle and white-hot tweener Rob Van Dam.  The bout was a whirlwind of intense brawling, virtuosic grappling, and daredevil highspots.  Austin narrowly retained and added to his succession of fantastic 2001 PPV matches.

Movie Review: Dune (2021)

Denis Villeneuve is back with another triumphant sci-fi opus, this one a new adaptation of Frank Herbert's classic novel Dune.  Well, to be more precise, half of the novel.  Not wanting to make the same mistake as his predecessors in cramming the densely complex source material into a single film, Villeneuve has opted to give Dune the IT treatment, shooting only half of the story and saving the rest for later.  This tactic certainly allowed the story to breathe and made for a much clearer narrative, but also left this filmgoer eager to see the rest, now please....

As with his breathtaking Blade Runner sequel, Villeneuve and his collaborators (not least of which is cinematographer Greig Fraser) have created a meticulously detailed, visually dazzling landscape in which this classic tale of enviro-politics plays out.  The various worlds are fully realized, creating real spaces in our imagination, from the picturesque beaches of Caladan, home of House Atreides, to the Harkonnens' murky, industrial wasteland of Geidi Prime, to the desolate, arid Arrakis, the titular "Dune."  The production design here is on point, as is the gorgeous photography.

But where Dune soars even higher is in the audio department.  Legendary composer Hans Zimmer provides the booming, ominously textural score, his low strings echoing some of his work in Christopher Nolan's films (Villeneuve cites Nolan as an influence and it shows) while finding new ways to create otherworldly sounds via built-from-scratch instruments.  Even above Zimmer's always prodigious work though, the sound design is Oscar-worthy.  For example, Paul Atreides and his mother Jessica practice "the voice," a Force-like use of vocal sound to control an enemy's actions, depicted here as a monstrous, rumbling growl mixed with distant, forceful screams.  At one point we see a legion of Sardukar troops assembling at the instruction of a chanting leader whose voice resembles an overdriven didgeridoo.  Baron Harkonnen's voice is a mixture of Stellan Skarsgard's own voice and what sounds like a gritty digital distortion.  Touches like this make us feel like we're really in a world unlike our own, and it's truly immersive.

NJPW G1 Climax 31: Is New Japan Cursed?

On today's installment of New Japan Can't Catch a Break, we'll be talking about the just-completed G1 Climax 31.  Join us, won't you?

Fuckin' hell, what is going on with NJPW?  Let's recap the year they've had.  Hiromu Takahashi vacates the Jr. Heavyweight Title due to injury.  Then Will Ospreay vacates the World Title due to injury.  Then Kota Ibushi misses the Wrestle Grand Slam main event to crown a new World Champion due to illness.  Then Tetsuya Naito misses all but one night of the G1 due to injury.  Then, in perhaps the cruelest moment of all, Kota Ibushi, in his fourth consecutive G1 Final, missed a Phoenix Splash and came down hard on his right arm, dislocating his shoulder and forcing a ref stoppage.  Kazuchika Okada unceremoniously won his first G1 trophy in seven years, in a match that was on its way to being a legit MOTY contender, before this tragic, unplanned finish.  So that's five instances of major stars having to miss time in a single calendar year, one of them twice.  What vengeful bastard deity did Gedo piss off?  Maybe God was really a fan of the old IWGP Heavyweight belt?  Or the Intercontinental one?  On a more hopeful note though, Okada in his post-match promo did say he wanted the Heavyweight Title back.  So maybe this World Title experiment can come to an end after WrestleKingdom?  I'm not a superstitious man, but I can't help but notice the timing of all these injuries.....

Anyway, as for the G1 itself, it was a pretty good tournament.  Nowhere near the quality of 2015 through 2019 - how could it be given all the missing talent - but there were plenty of good-to-great wrestling matches and a few unexpected participants made their mark.  Okada looked like his old dominant Rainmaker self in this tournament, leaner than perhaps we've ever seen him.  Tanahashi at age 44 has been wrestling like a man in his mid-30s this year.  Ibushi up until the injury was on fire through most of this tour.  Zack Sabre Jr. went on a submission tear, tapping out a slew of opponents in a row, including Ibushi and the champion Shingo.  Shingo of course looked great.  Ishii was once again a force of nature.  And Jeff Cobb punched his ticket as the most dominant NJPW heel in a long time, winning eight consecutive matches before losing to Okada in the B block finals.  But the two biggest surprises in this tournament were the coming of age of The Great O-Khan, who put up several strong showings and actually stole the show twice (against ZSJ and Ishii), and the performances of Tama Tonga, who looked like a bona fide singles star against no less than the likes of Tanahashi and Okada (whom he handed his lone defeat).  This is the best I've ever seen Tama look in action, and I hope he gets a good singles run out of this.  Maybe a NEVER Openweight Title reign?

Movie Review: Titane (2021)

Julia Ducournau, director of the triumphant body horror flick Raw, is back with her sophomore effort, an even more bizarre film, part body horror, part family drama I guess, known as Titane.

Titane is the story of a woman with a metal plate in her head (hence the title), the result of a severe car accident she suffered as a child, who now works as an exotic dancer at a car show and has a strange fetishistic fixation on automobiles.  Oh, and on top of that, she's a serial murderer.  

I'm going to issue a spoiler warning here, as it's more or less impossible to talk about this film without giving away some things....

So the main character, Alexia, has a sexual encounter with one of the muscle cars from the show (the logistics of this are left ambiguous), and goes on a killing spree that includes a co-worker (played by Raw's Garance Marillier) and her three roommates, and ends with Alexia's own parents, before heading out on the lam.  While at a train station she sees a missing persons billboard about a boy named Adrien who disappeared a decade ago, and decides to change her appearance to match his, cutting off her hair, taping up her breasts and breaking her nose on the bathroom sink (in one of the film's cringiest moments).  She turns herself in as the missing boy, and Adrien's father Vincent picks her up at the police station, deluding himself that this person is in fact his missing child.  Despite the obvious truth that Alexia couldn't ever be mistaken for Adrien, the two of them live together as father and son, and Vincent, a fire chief, takes "Adrien" under his wing as a firefighter/EMT trainee.  Oh and one more thing, Alexia discovers she's pregnant with the....car's....baby?  She begins to drip motor oil from various parts of her body and later the skin on her belly starts to tear, revealing a chrome plate matching the one attached to her skull.

Weirded out yet?  

Top Ten Things: King of the Ring PPV Matches

Welcome one and all to a special edition of Enuffa.com's Top Ten Things!  In light of the return of the WWE King of the Ring tournament once again, I thought I'd assemble my list of the ten greatest matches to take place at the once-historic King of the Ring PPV event.

The King of the Ring tournament was originally a special house show attraction held annually in New England, before the WWF decided to add it to the PPV schedule in 1993.  At the time the WWF calendar only featured the Big Four PPV events, so creating a fifth was a pretty huge deal.  The inaugural edition was built around making Bret Hart a top babyface again after WrestleMania IX hurt his stock somewhat.  Bret carried the show, working three good-to-excellent matches and winning the tourney before Jerry Lawler abruptly attacked him during the coronation ceremony.  It was an uneven show but featured some excellent work from "The Hitman."

The KOTR PPV history contains quite a few highs and lows.  The '94 edition only had a few matches worth seeing while 1995's had none.  But the '96, '98 and 2001 PPVs were all varying degrees of excellent (2001 is one of my all-time favorite PPVs).  King of the Ring would run a full decade before sagging buyrates prompted the company to discontinue the series and replace it with Bad Blood.

The tournament itself would return to free television in 2006, 2008, 2010, 2015, and of course this year, with generally very little impact on star-building.  The '06 winner Booker T made the most of the "King" gimmick, adopting an obviously phony English accent which was amusing for a while.  William Regal's tourney win in 2008 led to precisely nothing of value, while Sheamus's victory in 2010 actually hurt his career for about eight months as he free-fell down the card.  2015's winner Wade Barrett was maybe the crown's worst victim, as his career went into a tailspin from which he never really recovered.

Truth be told I do miss the KOTR PPV.  The tournament itself was rarely presented well; if it was a one-night bracket most of the matches got shortchanged, and if only the semis and finals were included on the PPV the tourney felt less important.  But several rising stars were able to use the tourney as a major stepping stone, and when the PPV was good it was great.  If they were to bring it back now I'd suggest having the winner of the tournament get a PPV Title match of their choice, have the first two rounds on episodes of RAW and Smackdown the week before the PPV, and have the semis and finals on the PPV itself, with the finals ALWAYS being the main event.  Then the King of the Ring would actually mean something again.

But let's go back and look at some of the in-ring classics to come out of this once-important event.

An American Werewolf in London, Forty Years Later

Forty years later, why does An American Werewolf in London still resonate, scare, and get laughs?  Let's look back at this horror-comedy classic.....

An American Werewolf in London.  Sounds like the name of a Gene Kelly musical.  Or a Gene Wilder spoof.  Or a Gene Simmons KISS-branded product for sale at www.BuyKissCrap.com.  Okay, maybe not that last one.  No, An American Werewolf in London is for my money the greatest werewolf film ever made, the brainchild of a young assistant director named John Landis, then working on the Clint Eastwood war vehicle Kelly's Heroes.  Landis was inspired to write the script after witnessing a Yugoslav burial ritual in which the dead were interred feet-first and sprinkled with garlic cloves to prevent them coming back to life.  Struck by the solemnity of the ritual, Landis wondered how he would react if someone he knew was dead came back to life to visit him, and the creative spark for AWIL was ignited.  The script was completed in 1969 and its unique blend of scary and funny earned Landis numerous writing gigs, but no one wanted to actually produce this particular script, ironically due to said horror/comedy blend, which every producer deemed either too funny to be scary or too scary to be funny.  Fast-forward eleven years and two smash-hit movies, and Landis was finally able to secure financing for his gruesome pet project.