A fascinatingly warts'n'all portrait of controversial and confrontational Do-It-Yourself indie underground comic publisher Todd Loren, who achieved considerable notoriety with his unauthorized series of comics on real-life rock stars that led to lawsuits (including winning a landmark First Amendment case brought by the New Kids on the Block that enabled Todd to keep on doing what he was doing), becoming a pariah in the comic community (rival publisher Gary Groth paints a damning picture of Loren as a crass and shameless schlockmeister opportunist who exploited talented novice artists and took cruel advantage of their naiveté), earning as many detractors as defenders (Alice Cooper, Mojo Nixon, and even Gene Simmons of KISS endorsed Loren's comics), and meeting a grim untimely demise by being stabbed to death in his condo at age 32 on June 18, 1992. Director Ilko Davidov allows such interview subjects as writer Spike Steffenhagen, writer/editor Jay Sanford, groupie artist Cynthia Plaster Caster, writer Steve Crompton, artist Robert Williams, and Todd's father Herb Shapiro to talk openly and honestly about their thoughts and feelings concerning Loren, his adversarial sense of humor (Loren published a horror comic that savagely mocked Tipper Gore and her vehement pro-censorship stance), his extremely private and paranoid personality (many of his closest friends were unaware that he was gay until after he was killed), the fact that Loren paid them peanuts, and the police's lackadaisical investigation of his brutal murder. Filled with amazing artwork, further galvanized by a great rocking soundtrack (Mojo sings the terrific ending credits song "You Can't Kill Me"), and unfolding at a constant snappy pace, this compelling depiction of a complex and contradictory person makes for always engrossing and often exciting viewing.

Well this is a story about Todd Loren and Revolutionary comics, it's a quick summation of what he went through with lawsuits and the end of his life. It was a decent enough doc, but at first it seems to not be able to be for or against him as if they make him out to seem like the bad guy and just being an a** hole but by the end he seems like a nice guy and you wonder why the documentary people even bothered to throw that little bit in about him be such an a** hole. Worth checking out, but seems to be too short as if they didn't have enough material for a fully realized doc. If you can find a copy to get your hands on, let me know, because I only managed to get a copy to view through someone who worked for Revolutionary comics.

In 1989, Todd Loren's Revolutionary Comics ("Unauthorized And Proud Of It") launched Rock N Roll Comics to spin unlicensed biographies of rock stars. Some, like Frank Zappa and Kiss, were supportive, while others like The New Kids On The Block considered his comics akin to bootlegs and sued. Loren was convinced the First Amendment protected the journalistic rights of his "illustrated articles" and he took the matter to the California Supreme Court, who agreed.In June 1992, at 32, Loren was found dead in his San Diego condo, brutally murdered --- the case remains unsolved, though recent clues researched by the FBI link his death to serial killer Andrew Cunanan. BulletProof Film spent years interviewing Loren's family and surviving Revolutionaries, comic book colleagues, adversaries and supporters and even past and present rock 'n' roll stars featured in Revolutionary Comics. The filmmakers also confront San Diego police about their supposed "investigation" into Loren's murder, in clips interspersed with those closest to Loren who say they weren't even interviewed and/or who had to forcefeed possibly vital evidence and information to investigators who seemed uninterested (police disinterest is explained in the film, tho I won't reveal here). A lot of people disliked Loren and his comics, with initial suspects including Axl Rose and members of the New Kids On The Block. The fact that "Unauthorized And Proud Of It" is told by those who lived it gives the docu the same kind of "You Were There" feel as Loren's own comics. Video footage of Loren from the late 80s shows him giving a tour of his office, just as he was forming the rock comic line. Outtakes show both Loren's humor and his apparent controlling presence ("It's my video and we'll shoot it my way"). Edited alongside recollections of the few people who were close to the private Loren, it's a fascinating insight into a guy whose death, coming just a few days after Mad founder William Gaines, was overlooked by the comic industry that Loren helped Revolutionize (his win against the New Kids established, among other things, First Amendment rights for comics for the first time).The film uses actual drawn scenes from Revolutionary's comics to illustrate some segments, animating pages to great comic effect (spit flying outta Axl Rose's mouth as he threatens to sue, Pete Rose angrily chasing Loren's minions from an autograph convention, backstage groupie foreplay, etc.)Interviewees include Alice Cooper (who pitches a Keith Moon comic - "there could be 100 issues") and others who weren't as enthused about Loren's unauthorized biographies. Gene Simmons refused to be interviewed on camera, saying he considered Loren's comics "bootlegs" even though he and Paul Stanley worked with Revolutionary on four true-life Kiss Comics. However, Simmons manages a cameo via a recording of a phone conference with Revolutionary's crew, during which he both threatens them with a lawsuit over their earlier unauthorized comic AND praises them ("the work is excellent") with an offer to "do something together" (later resulting in the aforementioned Kiss bio comics). When Revolutionary Managing Editor Jay Allen Sanford tells Simmons "and hopefully we'll all make some MONEY," and Simmons cheerfully pipes in with "That's the MAIN thing!", it provides a fascinating glimpse behind the scenes of exactly HOW comic books and rock and roll were intertwined by Loren's ingenious antics. (after Simmons hangs up, you can hear the Revolutionary crew whooping and hollering and patting each other on the back for having apparently made a deal with the devil-tongue).Comic biz celebs include underground publisher Denis Kitchen. The middle aged Kitchen comes across very professional compared to the shaggy looking, proudly DIY Revolutionary crew (none of whom look to have had a haircut in decades). However, we find Kitchen's disparaging comments about Loren ("I have to say I did not like the man...") are sour grapes when it's revealed that his own company Kitchen Sink had paid for the OFFICIAL rights to do Grateful Dead comics, while Loren's "bootleg" bios of the Dead pummeled Kitchen's in the marketplace. Fantagraphics publisher Gary Groth is clearly nonplussed over a rival whose "shoddy and exploitative" comics broke most sales records for indie comics in an era when Groth's own company had to launch a porno line just, by his own admission, in order to survive. The fact that, so many years after his death, Todd Loren is the topic filmmakers are asking him about, seems to bemuse and pester Groth (who once wrote an editorial for Comics Journal entitled "Todd Loren: First Amendment Advocate Or Lying Sack Of S***?")."Stickboy" creator Dennis Worden balances the Loren-bashing by praising his former publisher and saying Loren paid him four times as much as Gary Groth at Fantagraphics. Underground artist Mary Fleener and Rock 'N' Roll Comics creators Jay Allen Sanford, Steve Crompton and Spike Steffenhagen share revealing and moving stories about what Loren was like behind-the-scenes. Gonzo rocker Mojo Nixon - who helped create Loren's first AUTHORIZED rock comic - stresses that Loren's outspoken willingness to be "outlaw" was not only the secret but the purpose of his success.The documentary later concentrates on Loren's unsolved murder and growing links to Andrew Cunanan. It makes a compelling case for Loren possibly being Cunanan's first victim, years before the killing spree "officially" started. The film never quite answers the question "Who Killed Todd Loren?" and it paints a picture that is clearly yet to be completed, but the story that unfolds is memorable. With an ending yet to be written - - - -