Welcome To The Deuce

441 - Short Film

2011-11-10T13:34:00.000-08:00

Hey guys,

I've uploaded our first short film; it was made for only £5.99 - believe me, it shows - by a bunch of first timers who didn't know a thing about filmmaking and was basically a filmschool for us and we learnt a lot from the mistakes we made (no script, lighting, or sound being but a few!).

Anyways, take a look if you have a spare 10mins and let me know what you think.

Synopsis:

A dark figure stalks a residential apartment block waiting for someone, anyone, to return home. What follows is a modern nightmare.

http://vimeo.com/31562126

Hope you enjoy it!

Red Hill (2010)

2010-12-05T06:53:00.000-08:00

Ever wondered what happened to Greg McLean? You know, the man who made Wolf Creek and Rogue? He's been quiet for a few years now, but not as quiet ad first though, as he's been busy living-it up as a producer on this little gem, Red Hill. For that Greg, I thank you. Patrick Hughes directorial debut is a beast of beauty and is one of the very best films to see a release in 2010. That's not something I say lightly either, as this has been a very good year for us film fans.

Shane Cooper has just been relocated from the big city to the small town of Red Hill in hopes to reduce his wife's blood pressure and aide their pregnancy. His first day starts smoothly enough, attending a farmer whose horse has been attacked by a wild animal... run-of-the-mill country stuff. When news breaks of a jail-break and that ex-local, Jimmy Conway, has escaped; the day is about to take a drastic turn for the worse. The town's police department are scared shitless and it soon becomes clear why, Conway is a killing machine and he's coming back home to finish something that was started years previous.

What is so enjoyable about Red Hill is it's not trying to wow you or impress you with mind-bending story structure or even good old spectacle. No, Red Hill is a good ol' fashioned Western that's a pleasure to watch play out. The story is a simple one, timeless even, a fish-out-of-water caper that's a little darker than most, but still undeniably fun. Ryan Kwanten proves a highly likeable lead and gives a great performance; and he's backed-up brilliantly by Tommy Lewis and the murderous Conway. He's a frightening figure to be sure, but there's something in his eyes, beyond his disfigured face that leaves you siding with him at times. Especially when Shane's workmates are as dickish as some here!

Director Hughes takes full advantage of the Australian outback and it's gorgeous surroundings, giving us a beautifully photographed film as well as some fine set-pieces to match anything in a Hollywood blockbuster; with mid-street shoot-outs, car chases and 'slasher-esque' chase downs littered throughout the films duration. Placing these events in a modern frontier-like town is a brilliant touch, making what has been scene thousands of times previously fresh and exciting. This is where Red Hill truly impresses. Nothing is original about this film, but that doesn't stop it from being entertaining. This is unmissable stuff to be sure, and marks Ryan Kwanten as a future Hollywood lead, as well as a promising new director. On top of that it shows us that Greg McLean as a great eye for a worthwhile script and has a great sense for talent from his producers chair!

Australia has had a cracking year, producing some of the finest films of 2010. Let's hope they continue this incline and explode in 2011, for fans of balls-to-the-wall goodness, Red Hill is a must see. It's not big, it's not even clever, but it is thoroughly entertaining from start to finish – which is something rare indeed with modern action films. Do yourselves a favor and see this as soon as you can, then tell your friends about it. Recommended viewing to be sure!

Red Hill is due out on DVD and Blu-ray on the 25th January 2011 from Sony Pictures US.
There is no UK release date as of yet.

Psycho Shark (2009)

2010-12-05T06:00:00.000-08:00

Okay, how do you set about talking about Psycho Shark? It's a film so bizarre, and I don't mean in a David Lynch or Takashi Miike deliberately bizarre sorta way, no; this film is just baffling. The closest I can come to describe it would be a Jess Franco movie channeled via The Blair Witch Project, made for a market that doesn't appreciate nudity, yet likes sexploitation... and possibly sharks. That's pretty much what this film is, a sexploitation shark movie with neither sex nor a shark... well there is a shark, but that's about 10 seconds of screen time from the 69 minutes of Franco-esque shots of inanimate objects... and the bikini-clad actresses enjoying the salty ocean waters.

Two young girls, Miki and Mai, travel to a seaside resort for a relaxing getaway. Mai hooks up with one of the locals and leaved Miki to her own devises. Mai stumbles upon a tape in their room, the tape is of three young girls who had come to the same resort for a good time. Turns out the handsome stranger Miki has hooked up with also hooked up with the previous batch of girls... and their home-movie documents a pretty bad ending for them. It's up to Miki to rescue her friend before she ends up like the previous guests.

As you can tell from the synopsis, there's no mention of a shark! There's a psycho, yes, but shark? Nuh-uh. What Psycho Shark actually is would best be described as a 15 minute short film stretched out to un-imaginable lengths with the same goddamn filler played over and over. Miki seems hell-bent on watching the videotape over and over again, watching a scene only to rewind and start again! It's infuriating to the point of hilarity.

Some viewers will be enamored with the leading ladies chest-sizes and non-stop jiggling, others will be wondering just why they do everything in their swimsuits. Others will be annoyed by the fact they don't actually take their bikini's off – not even when their in the shower! But most will be wondering 'where is the shark?”. It's there alright, and only the most patient of viewer will be able to sit through this mind-numbingly goofy tale to bask in that long awaited sharks-ploitation! Having said that, it's so ridiculous in execution that it actually feels worth the wait!

Amidst all of the bouncing tits and ominous shots of the ocean, there's some very fetching cinematography here for those who like a beautiful composition to go with their over-spilling breasts. It's obviously a very low-budget feature, yet some shots are captured beautifully and give the film a professional sheen from time to time. It's all little too late however, had this been a 15 minute short-film it would have been a little treat, at nearly 70 minutes however, it's an endurance test, with the temptation to hit the fast-forward button growing with every replay of that damn found tape! Psycho Shark is one heck of a curio, and something of an experience that cult-fans will likely get a little kick from it, in that 'I survived Psycho Shark' sort of way. The creators of this film really deserve credit for somehow managing to find distribution outside of Japan! Sane people, avoid this like the plague!

Psycho Shark is available to buy now!

Herschell Gordon Lewis: The Godfather of Gore (2010)

2010-11-21T05:43:00.000-08:00

Herschell Gordon Lewis is a man driven by a burning desire to make money. He’s not worried about artistic integrity, moral opinion or even a decent camera angle; all he wants is to make viewers part with their hard-earned and by any means necessary. The fact that the man is very open about that makes it all okay; in an odd way, he’s giving us what we want by way of getting what he wants: everyone’s a winner. Frank Henenlotter is a filmmaker I respect greatly, he’s a man who can make a film about anything and make it work; dead hooker brought back to life? Check! Deranged Siamese twin-thing? Big Check! Giant killer penis vs multiple clitted sex kitten? Piece of cake! So what better man is there to chart the lows of one of American Grindhouse’s greatest players? Simply put: no one.

Charting Herschell’s entire career, starting with his early foray into film-making with titles like Living Venus (1961), The Adventures of Lucky Pierre (1961) and B-O-I-N-G (1963), it sets the tone perfectly. Lewis openly states he wanted cash and had little in the way of it himself, so collaborating with another Grindhouse legend, David Friedman, they produced numerous screwball comedies and nudie cutie movies to cash in on the boom created by Russ Meyer’s The Immoral Mr. Tees. As the market started to saturate and loose public interested the duo decided that something new was needed to part cash from their punters, hardcore porn wasn’t an option at this point; so what else could they offer a market that seemingly has it all? Hardcore violence the likes of which had never been seen!

It’s hard to believe that before 1963’s Blood Feast, gore didn’t exist in the horror genre. It’s so engrained in modern horror that its still hard to believe it has traceable roots! The duo decided that if they couldn’t show peoples no-no regions, then they’d show what guts and brains look like instead! Making the move from nudist camps to sleazy motels was clearly the greatest achievement in Lewis’ career and a move that has granted him immortality amongst the horror community. The documentary and the makers don’t shy away from the fact that during the filming no one had a clue what they were doing or how it would all turn out. Real entrails were used for the ‘money shots’ and naïve actresses were expected to play their 'character' while trying not to spew from the terrible smells emitting from the animal guts!

This could explain why the actresses are seemingly omitted from the documentary, plenty of the actors are on hand for questioning but as to where the leading ladies are is a mystery; though it’s made clear that Herschell was less than impressed by some of his actresses! The actors however have nothing but good things to say about their experiences, all had a rollicking good time making a small piece of trash history in their own right and aren’t afraid to critic their own, admittedly abysmal, work. The documentary also offers up all the goriest, sleaziest and most outrageous moments from each of Lewis’ gore sagas, so those unfamiliar with the levels of depravity found in his works may be in for a surprise! Others will relish the nostalgic trip of the gore effects of yesteryear!

Frank Henenlotter has created one of 2010’s must see documentaries for horror fans. It’s a passionate love note to one of genre cinemas true mavericks and a testament to the skills of low-budget filmmakers who have nothing but a desire to make their pockets a little fatter by capitalising on avenues that wouldn’t be explored by the mainstream, who can begrudge David for robbing Goliath? A must-see film indeed.

Herschell Gordon Lewis: The Godfather of Gore was given its UK premier at Sinister Sunday of Shock in the Glasgow Film Theater. A BIG thank you to Calum Waddell, Noami Holwill and Nick Frame for putting that together and to everyone who turned up for a great day of movies and Q&A's with the likes of Sergio Stivaletti and Francesca Ciardi!

The Loner (2008)

2010-11-21T05:17:00.000-08:00

The Korean horror genre is a love-it or hate-it affair for most, their reliance on black-haired ghosties got old 10 years ago; but they seem intent on further including them in their genre films. Few horror films stray from the formula set-up by break-out Korean horror Whispering Corridors in 1998; schoolgirls being haunted by a dead friend. Those that have strayed from the path have been greatly rewarded (Tales of Two Sisters, Acacia and Save the Green Planet spring to mind) but there are others that remain under-appreciated, such as Black House, Epitaph and Possessed (A.k.a Living Death) three such films deserving of more attention from Horror fans. The Loner however, tries it’s hardest to be different and manages to succeed… for the most part.

Life is tough for Su-na, her best friend kills herself after a humiliating public beat-down and her Uncle, Se-jin, is in love with Yoon-mi, a psychiatrist she can’t stand. The pressure drives Su-na into reclusion, or as her Uncle's missus calls it ‘Hikikomori’ – a Japanese term for shut-ins. As Su-na’s condition worsens, an imaginary friend and totally disregard for her own hygiene; it appears that Su-na is destined for the same fate as her friend unless Yoon-mi can help get to the bottom of her condition before her condition takes a violent turn not just for Su-na, but the whole household.

Where The Loner succeeds is where other genre entries have failed; is in its characterisation. The film is smartly paced and allows character development to mature naturally, Su-na’s condition doesn’t kick-in until the half-hour mark, that’s not to say its slow paced, as it’s far from it and there’s plenty going on within the narrative to keep viewers entertained as well as a few nasty shocks up its sleeve along the way. There’s obviously a big secret being kept from us, but it’s not hard to guess what it is, but thanks to the story revolving around three protagonists instead of one; the emotional level of the reveal hits harder than it would have if Su-na had been the story’s sole protagonist.

This is where the film eventually falls down. After the big reveal the films gets lost in itself and the final sprint to the ending feels exactly that; rushed. It’s not bad enough to ruin what happens before it, but with a little more thought on the finale maybe The Loner could have been a special little shocker, as is though it’s a worthwhile entry in an already uneven canon. Korean horror certainly has potential and maybe sometime soon we’ll see more classics in the vein of Tale of Two Sisters and Black House. Director Park Jae-sik shows a flare for some lush visuals and has a talent for creating a distressing atmosphere which points to a talent that may well go on to make something far superior to what’s seen here.

It’s disappointing that such a strong film manages to fumble the ball in the final third, but for fans of Korean horror this is well worth checking out. If you enjoyed other middle-tier genre entries like The Wig, A.P.T and Death Bell then you’ll find yourself entertained for the films duration, though the likelihood of frequent re-visits is unlikely; which is a shame as the first half of the film really is gripping stuff. Maybe next time Mr. Park; I for one will be interested in this directors future projects.

Sadly, The Loner is now out of print and has not been acquired for UK or US distribution as yet.

Frozen (2010)

2010-11-21T04:58:00.000-08:00

Adam Green is something of an oddity in today’s genre climate. On one hand he’s a horror geek who produced the fun, yet shallow, Hatchet movies; on the other he’s given us top-quality character based horror like Spiral. As disposable horror go, the Hatchet movies are very much top quality entries, but they aren’t going to be remembered for originality or stand as a testament to his creativity skills. Green’s career took an interesting turn with Grace, which he produced. Grace is a highly original and equally disturbing horror film that proved that the man has an eye for a good script. Now comes Frozen, a small little movie about a group of friends stuck on a ski-lift… doesn’t send chills down the spine does it? But you’re in for a damn unpleasant surprise.

Three friends, Dan, Joe and Dan’s girlfriend Parker, are enjoying a day on the slopes. After cutting a deal with the ski lift operator for a reduced fare they further push their luck and demand one last run down the slopes as the park is closing. Reluctantly, the operator agrees and they go on their way. As they get further up the mountain, down below a serious of blunders result in the park getting shut down, while they’re stuck up in the mountain, 100 feet from the ground. Panic immediately sets in, but as time passes the horrifying realisation that they are stuck up there for five days kicks in and they have to figure out how to get back down to safety.

The simplest stories are often the most effective, and in the case of Frozen it certainly holds true. Three characters attached to a chair 100 foot above ground, hardly a complex scenario for a labyrinth-like narrative, but that’s where Frozen excels, it’s this stripped down approach that holds our attention for the films runtime. Due to the stories self-imposed limitations director Green has time to develop his characters and our affections for them before piling on the risk and danger. With its cold visuals playing off the icy landscapes perfectly, tension and danger are constantly assaulting the audience subconsciously. It’s this menace that truly haunts us as the film plays out.

Green’s appreciation for the films limitations truly pay-off. As the scenario grows increasingly worse, we share the characters despair because like them, we have no idea of what to expect. We know what they know, we have no insider knowledge of how things will play out and we suffer the ordeal every bit as much as the protagonists. It’s this cold, even heartless, approach that may alienate some viewers – this is by no means a enjoyable film in the traditional sense – but as an exercise in fear, tension and desperation the film is a triumph.

Those looking for a truly frightening film will find more than they bargained for here, those looking for the thrill-seeking jollies of Green’s previous effort, Hatchet, will sorely be disappointed; here he displays a true maturity as a filmmaker and as a great talent worth watching in future. That is, if he can stay away from the goofy elements of his debut that made him an overnight success: fun as that may be, there’s no merit to them and are forgotten within minutes, Frozen however, will stay with you long after watching and hold up to repeat viewing. Frozen is without a doubt one of the finest horror films to see the light of release in 2010 and comes highly recommended.

Frozen is out now to buy on Blu-ray or DVD.

The Loved Ones (2010)

2010-10-09T09:54:00.000-07:00

Australian cinema really has come into its own again as of late. No longer the exploitation industry it used to be in the 70’s and 80’s it’s now a country producing some of the most exciting, thrilling and challenging films in the world. From films like The Book of Revelation to Coffin Rock and The Horseman to Van Diemen’s Land, it’s a country that continues to release impressive and daring material that remains underappreciated in Australia as much as it is outside of the continent. Horror films like Wolf Creek have really brought attention to the dangers of the outback, but that’s a fear older than Australia itself. Director Sean Byrne however, has something far more delicious in store for us here with his feature debut, The Loved Ones.

Brent (Xavier Samuel), a depressed teen who enjoys a spot of self harming after the death of his father could never have imagined the trouble he finds himself in once he turns down a prom request from the school loner, Lola (Robin Mcleavy). On the night of the prom he is kidnapped by a man and held hostage. Turns out that what Lola wants, Lola gets and Daddy doesn’t take too kindly to anyone who doesn’t give in to her. It’s going to be one hell of a night for poor Brent.

There’s simply no describing how lusciously delirious this movie is. Lola and Daddy are destined for cinematic legend, they’re a duo so warped and deranged it’s hard not to get sucked up into their world. The film captures their mentality perfectly through the visuals; imagine a David Lynch film crossed with the teen-angst of Heathers and you’ll have a taste of what the film’s aiming for. It also remains as unpredictable as a Lynch film, pending you haven’t seen the spoiler heavy UK trailer – avoid it if you can! – and it’s within this unpredictable craziness that the film thrills.

Equally as thrilling and unpredictable is new-comer Robin McLeavy. She embodies insanity here, but there’s a sultry side to Lola that attracts us to her. It’s this image of a blood-drenched girlie-girl that lingers in the memory, viciously screaming like a spoilt brat if she can’t get what she wants one minute and violently attacking the next: it’s this sassy psychotic that will bring Lola into horror legend. Then we have Daddy, a sickening paternal figure that will stop at nothing to please his daughter, even if it means ruining his happiness in the process.

The film is also surprisingly brutal. Brent is tortured and tormented in pretty explicit fashion, but it never crosses the line into straight exploitation. It’s graphic, it’s bloody but it’s never too excessive or discomforting that it alienates us. It’s thanks to this control from Sean Bryne that The Loved Ones ranks as not just the freshest horror film of the year, but also the most enjoyable. It’s a film that’s as sexy as it is shocking and as funny as it is violent; it’s everything horror should be. None surprising then that the film has been completely shafted by distributors, on a global level it would seem, getting the straight to DVD treatment here in the UK, the US still has no release date and the film is only just hitting cinemas in its native Australia! The Loved Ones is contender for horror film of the year; hopefully its audience will find it and cherish it on the home entertainment scene. Still, it would have been a treat to see this on the big screen! Highly recommended!

The Loved Ones is out to buy on Blu-ray or DVD now!

Accident (2009)

2010-10-09T08:35:00.000-07:00

Hong Kong cinema has always been blessed with master craftsmen when it come to action, yet the pool started to run dry towards the millennium as the industry moved towards more audience friendly material and teen action films. However, there has been resurgence in violent Hong Kong films in the wake of Infernal Affairs and director Soi Cheang is the man responsible for one of modern Hong Kongs finest pieces of CAT III mayhem; Dog Bite Dog. It’s the no-holds barred shot of nihilism that hadn’t been seen since the late 80’s / early 90’s efforts but with the maturity and intelligence of modern Hong Kong films inspired by the success of Infernal Affairs. Needless to say it made him a man worth keeping an eye on.

His latest effort, Accident, couldn’t be more removed from the explosive violence seen in his career launcher but it’s an interesting change of direction for the talented director. A group of professional assassins, lead by The Brain (Lois Koo), specialise in making their hits appear as accidents. When a job goes awry, he starts to question those around him and believing his identity has been compromised he sets out to find who set him up.
Accident is a pleasant surprise, a refreshing and excellently execute thriller that relies more on its overall story than just providing us with some thrilling set-pieces. Under Johnnie To’s production Soi Cheang has created a lean, tense and surprisingly powerful slice of Hong Kong cinema. The ‘accidents’ are elaborate and effective; imagine if you can Final Destination directed by Dante Lam and you’re on the right track. The first half of the film contains two thrilling set-pieces that really impress and leave you gripped as to where the film will take you, and that’s the films biggest plus-point; it’s unpredictable.

The second half resolves around The Brain’s obsession with finding out who set him up, it’s an all engulfing desire that eats him up and we see the once methodical assassin become sloppy as he descends deeper into his obsession. This half is slower than the first, but the tension is built beautifully and leads to a powerful and shattering finale. The film does require some suspension of belief during the finale, but I bought right into it and it proved to be a fantastic addition to an already overly impressive feature.

Louis Koo also left a positive impression on me, he shows a great deal of maturity as an actor here and as he’s in almost every frame of the film it’s integral that he got it right; and he does. The Brain is damaged goods, but Koo shows us the sensitive side to this cold-hearted man that gains our sympathy. We care for him, and we get caught up in his hunt for the truth, and this is the films greatest trick; making us believe what he believes and having us side with him and sweeping us up in his obsession.

Soi Cheang and Johnnie To have crafted a wickedly fresh little thriller here that shows the Hong Kong cinema has more tricks up its sleeve and continues to produce gems like this on a yearly basis; oddly enough Johnnie To tends to be involved in most of these titles! He’s like a one-man hit factory that continuous to impress at a staggering rate. For those disenfranchised by some of Hong Kong’s recent output, you owe it to yourself to check this out.

There’s no UK release as yet, but you can buy the Hong Kong DVD here.

The Evil Dead (1981)

2010-10-05T15:19:00.000-07:00

There are few films with a reputation as notorious as Sam Raimi’s debut, The Evil Dead. One of 80’s cinemas’ most cherished horror movies to have survived and flourished the slanderous allegations of corruption and obscenity launched at it by the Director of Public Prosecutions (DPP) who granted the film immortality by making it an official Video Nasty during the video age in the mid-80’s. Thirty years later and it’s now considered a bona fide classic by not just genre fans but by mainstream critics alike. It’s also been given a swank Blu-ray release courtesy of Sony Pictures. Oh how times change. To think that the distributors of films of this ilk once got sent to prison…

The story is a familiar one nowadays, but just in case. Five friends head off into a cabin in the woods for a fun-filled weekend but are attacked by demonic forces that live within them!

Simples.

The one aspect that seems to have been lost on most audiences these days is the fact that the original Evil Dead is actually a horror film. Due to the comedic influence that found its way into the sequels, the franchise now has a comedy-horror tag that isn’t deserved for the original. Granted, there are shades of intentional humour within the original, but it’s superseded by the unintentional laughs those will find when faced with the evident budget limitations in the effects department – The monsters seem to turn into mash potatoes! Granted, there’s a ‘eww’ factor to the proceedings, but most will just chuckle at the over the top grossness of the situations now.

Where the film does drive home its horror origins, is in its balls to the wall aggression. This was made in a period where no-name actors filled up the screen and the clichés didn’t yet dictate who would be left standing come the finale, if any. It’s also made from a period where directors liked to punish their cast, and director Raimi certainly pushed the envelope in that regard here. Tree’s attack and even rape their victims, Achilles tendons are annihilated by pencils in agonising close-up and axes are used to dismember loved ones but to name a few of the classic moments.

How does a film of this vintage, not to mention the budget restraint, hold up with the transfer to hi-definition? Luckily for us, marvellously! Of course this film was never going to look like the latest Hollywood flop-buster, and why would we want it to? This is a down and dirty picture and always has been, but it’s never looked this strong. Grain is evident but not to distracting levels, like certain releases of cult films have been on Blu-ray (I’m looking at you Stendhal Syndrome), and it gives the movie a pleasing filmic look and the sounds are cracking; some slight crackle remains but it’s nice that the films hasn’t been destroyed by the falseness of computers seeing as it was created by old school visual and sound equipment – on a shoe string – and has never sounded, or looked, polished. Those wary of the 1:85 aspect ratio need not to worry as the film has been re-framed under approval from Sam Raimi himself, and it looks great.

And now we get to the extras. There are plenty of extra’s here that have popped up on the numerous DVD incarnations of the film, but the big inclusion here for the new Blu-ray is a spanking new commentary by Rami, Bruce Campbell and Robert Tapert. The real joy though is the picture-in-picture feature that sports recollections from various horror icons from the likes of Brain Yuzna and Stuart Gordon to the likes of Alexandre Aja! It’s a brilliant addition to a must-have Blu-ray for cult fans and Evil Dead fans alike. Good work Sony! Let’s hope we see this loving treatment given to more cult gems shall we?

Full list of extras on this release are as follows:

All New Commentary with Sam Raimi, Rob Tapert and Bruce Campbell
Picture-in-Picture: Join us! The Undying Legacy of The Evil Dead
One By One We Will Take You The Untold Saga of The Evil Dead
Treasures from the Cutting Room Floor
At the Drive-In
Discovering The Evil Dead
Ellen and Drama Teacher
On-Stage Interview
Make-Up Test

Treat yourself to The Evil Dead on Blu-ray as of the 11/10/2010!

Modern Masterpieces #4: Dark Water (2002)

2010-10-05T12:43:00.000-07:00

When Hideo Nakata released The Ring back in January 1998 and Park Ki-hyeong released Whispering Corridor’s months after, in May 1998, the then stale horror genre was resuscitated with a fresh breathe of life. America had all but bled the slasher revival dry and audiences longed for something different, and these films were just that. Masked knifemen no longer held sway over an audience, but dead women with long, straggly black hair obscuring their face? Guided by some malevolent supernatural force? Time to rejoice! As “shit-your-pants” horror was back!

The success of these movies soon brought with it its imitators: which to this day still proves popular with audiences. However the finest example of the sub-genre wasn’t Hideo Nakata’s first foray, or even Park’s groundbreaking Korean shocker, but the subtle horrors of Nakata’s later effort, Dark Water that encapsulated everything oriental horror was, and should have always been – the perfect mix of being, dramatically, achingly beautiful along with nerve-wrenchingly terrifying.

Taking inspiration once again from Koji Suzuki (ala The Ring) Dark Water tells the story of Yoshimi, a middle-aged mother currently fighting for divorce and in order to maintain custody of her daughter, Ikuko, takes a menial job as a proof-reader. They have also just moved into a run-down apartment block which has more than it’s fare share of maintenance issues; such as the ever growing damp patch in their ceiling which stems from an abandoned apartment above them. Soon, strange occurrences abound and an apparition of a young girl keeps haunting Yoshimi. It transpires that a young girl, Mitsuko, had gone missing in the area the year previous, after she was abandoned by her mother, but why is she targeting Yoshimi and her daughter and how can they stop her?

As much as I loved The Ring upon initial viewing, it’s never drawn me back for repeat viewings. The mystery of the first experience can never be re-lived and as a result repeat viewing can lead to boredom, while waiting for the characters to finally unravel the Sadako mystery and we can enjoy the now legendary finale. Dark Water however, continues to grip and scare the living shit out of us. This isn’t because Mitsuko is the more terrifying creation, Sadako has her beat hands down aesthetically, but her story is more appealing and relatable.

Mitsuko is a tragic creation, born from parental abuse she thrives to claim back what she lost. Whereas Sadako was an enigma, of sorts, in the first Ring movie; murdered by a parental figure and lashing out with a teen-like angst – granted in the book she benefits from the added perversity that’s lacking from the Japanese movie adaptation and suffers for it, however the South Korean version contained this aspect but failed to maintain the scares - and it gives Sadako an air of bratishness as opposed to monster. Dark Water’s Mitsuko however, is a lost child and as such gains or sympathy, which makes it all the more horrifying in that we can understand why she’s still clutching to this world, hoping to find her mother and return home to her.

Though the American re-make has all but tarnished the films name and reputation, I still believe that Dark Water stands head and shoulders over its rival, more successful, genre brethren. It’s one of Japanese horror cinemas finest offerings and as far as the ghostly, dark haired ghost cliché goes, this is the best the Far East has given us. It may not have the body count that horror fans and gorehounds crave, but it’s a film dripping with suspense, leaking with tension and has a fantastic gut-punch finale that will leave its audience affected in a way The Ring and Ju-On franchises could never come close to achieving. You may also find yourself disturbed by Mitsuko’s cold-hearted, calculated determination to claim what she wants, showing a maturity far beyond her young age; leaving you remembering her long after you’ve forgotten Sadako’s pissed at the world, woe is me schoolgirl attitude. This is a special stuff indeed. Highly Recommended!

Dark Water is available to buy on DVD now.

Beautiful (2008)

2010-10-04T16:25:00.000-07:00

Kim Ki-duk has always shown a questionable attitude towards women in his movies, which tends to be blown way out or proportion with the majority of his critics; seeing as men are portrayed in a worse light in the films that are blasted as misogynistic. However, he seems to have out Kim Ki-duk’d himself with Beautiful, a film so bleak and misanthropic that it’ll leave most viewers as suicidal and depressed as the characters within the film! It’s also one of the finest slices of idiosyncratic cinema to come out of South Korea since Kim’s Bad Guy.

Eun-yeong (Cha Soo-yeon) is haunted by her beauty, men can’t resist her and woman won’t trust her. The unwanted attention she receives from men reaches it fever-pitch with Seong-min (Kim Min-soo), a stalker who can not control himself around her and violently attacks and rapes her when she refuses his flowers. Destroyed after the incident, Eun-yeong tries to ruin her looks by gouging out on junk food in a bid to become ugly. When this doesn’t work she changes tact and refuses to eat and doesn’t stop working out, eventually forcing anorexia and bulimia upon herself. A policeman, Eun-cheol (Lee Chun-hee), watches as this woman slips further down a spiral of self destruction and eventually becomes obsessed with her. As her behaviour becomes increasingly more erratic and violent, he decides to take action.

As you can tell from the premise, not much happiness abounds in Beautiful and it’s a better film for it. Not many films are this hell-bent on destroying its audience. This rivals Kim’s previous effort like Bad Guy, Address Unknown and The Isle in the nihilism stakes but also manages to be thoroughly engaging; especially with the performance turned in by lead actress Cha Soo-yeon, which is truly devastating. Lee Chun-hee also proves a quality counter for Cha, whose mental deterioration isn’t as devastating but is equally as disquieting. As the finale once it arrives, it’s a triple-whammy of gut punches that will shock, astound and have you applauding for the sheer balls of the filmmakers or will leave you completely ruined and in need of a hard drink.

This brazen style of filmmaking is what attracted me to Kim Ki-duk, and it’s been lacking in his movies since The Bow. It’s great to see other filmmakers tackling his material and when a talent as bold as Jeon Jae-hong is behind the camera; it’s a privilege to watch the film, and characters, unfold regardless of how dark the film gets. This is cinema at its bleakest, this doesn’t mean its unwatchable but it certainly powerful enough to leave you haunted after watching, those in a frail state of mind should avoid this like the plague until they’re ready to go where the film dares to take them. It’s not a pretty ride, but it’s a journey well worth takind and Jeon Jae-hong just might be the new infant terrible for South Korean cinema, I hope he gets the chance to follow-up on the overflowing potential he shows here.

Unfortunately Beautiful does not yet have a UK release.

Modern Masterpieces #3: Happy End (2000)

2010-10-04T15:48:00.000-07:00

I’ve been championing Jeong Ji-woo’s phenomenal film, Happy End, for sometime now (See an old review here) and it’s, tragically, still an underappreciated classic waiting for discovery. Granted, I’ve not sold my girlfriend into the sex industry in order to fund this films release outside of Asia (sorry folks), and as of writing Happy End still hasn't been picked up for UK distribution! With labels folding left right and centre after releasing any schlock to come form the orient with some blood and maybe some nudity, to think that Happy End remains elusive is starting to prove insulting.

Not only is it one of the finest movies of the past decade, but also one of the key films in the Korean new-wave movement which started to emerge in the late 90’s. It stars some of South Korea’s biggest names, with instant recognition for both Oldboy’s Choi Min-sik and prestigious actress, and Cannes-winner, Jeon Do-yeon (The Housemaid) in early, but career launching, roles as the husband and wife of the story. Mo Ju-jin is also no stranger to fans of Korean cinema, with his roles in art-house fare like Kim Ki-duk’s Real Fiction and blockbusters like Musa: The Warrior rounding out the main cast and giving his best performance to date here.

Bo-ra (Jeon) is having an affair with college sweetheart, Kim (Mo). Her relationship with husband Seo (Choi) is lifeless, seemingly in existence to provide for their new born daughter. Seo becomes aware of his wife’s infidelity but is contempt with the situation; as long as they stay together and raise their child he’s willing to turn the other cheek. However an unfortunate accident leaves the infant hospitalised and this infuriates Seo, as a result he becomes determined on putting an end to his wife’s affair.

What elevates Happy End out of your typical melodrama tedium is the superb, scratch that, it’s the exquisite characterisation found within the script and the performers willing to launch body and soul into their respective roles. Normal melodrama is a chore to sit through, with directors relying on over the top incidents and awful musical cues to provoke the desired reaction the story cannot delivery organically. However, with Happy End Jeong Ji-woo doesn’t need to rely on external elements to provoke his desired reaction form the audience; the story development is of such a standard that you understand all three characters and can understand why they act the way they do: be it Bo-ra’s desire for passion, Kim’s infatuation or Seo’s belief in family unity. You will not agree with their actions at times, but you’ll understand the reasons behind them; which is what makes the film all the more horrific as the film careens towards its devastating finale.

With a market that has been flooded by all sorts of trash from the Far East, it remains a mystery that such a bold, daring, and genuinely fantastic, film such as Happy End remains the elusive omission for fans of well developed adult material. Despite the films success at the 2000 Cannes film festival and the stars this films boasts, it’s frankly baffling why this remains without distribution here in the United Kingdom: fingers need pulling from rectal cavities and Happy End deserves to find its British audience.

Unfortunately Happy End does not yet have a UK release.

This Is War (Severe Clear- 2009)

2010-09-30T16:56:00.000-07:00

Ever since Apocalypse Now shattered ever known fibre of the war genre in1979, war movies have tended to portray war in a negative light. Gone were the days of war heroes standing tall for their country and destroying the foreign enemy that were out to take all that was good with their homes. Granted, the sheer fuck-up that was the Vietnam War played the biggest part in this cinematic shift and its affects are still felt to this day. Films like The Longest Day, where huge actors played good-hearted solders, were soon replaced by the younger, more violent, and certainly more prone to rape, breed of solder as seen in films like Casualties of War and Platoon.

This Is War however, offers us a mixture of both the old and the new with the added twist of being a documentary... of sorts. Here we have real soldiers fighting in real situations. They are violent young men hyped-up on government spin believing they are fighting the good fight. They are simply doing what is ordered of them. It’s an attitude so rife in Hollywood war movies of old; they are fighting to protect family and friends from those evil foreigners who threaten their homes. Yet they enjoy the slaughter and destruction of their enemy with an uncomfortable, disturbing glee.

Mike Scotti joined the army after a classmate was killed during the 9/11 attacks on New York. He was called up for the invasion of Iraq and shot hours and hours of footage; from the mundane routine and boredom of the road leading to the invasion, on to the paranoia and fear that mounted as they began their mission and the inevitable bloodshed that ensued. It’s a disturbing experience being this close to war, but it’s what also gives the film its power. Some scenes will be too graphic for some viewers, one scene in particular is incredibly hard to watch, but for those with a strong stomach this will be required viewing.

Where is fits in with modern war films that followed in the wake of Apocalypse Now is in its honesty. We see what shitty equipment these people have to rely on to defend themselves and each other. We see the disorder of the missions; no one seems to understand what they have to do, except find weapons of mass destruction that simply do not turn up. It also comes across undoubtedly, and this is where it fits in with the Hollywood mythic, is that these men love their country, that’s why they are there and it’s why they fight. Yet as time goes on and they become numb to the destruction lays an addiction to the chaos and their bond as marines. It’s been said that war is the ultimate drug, and this certainly proves that a lot of these men do become addicted to combat, not just for the rush of risking their lives; but for the need to protect those around them: To be needed.

This Is War is an in your-face experience that ranks as one of the finest example of war cinema since Gunners Palace. It’s disturbing, troubling and oddly entertaining to see these men have so much fun in such a hellish environment, believing they’re doing the right thing, even though their belief slowly starts to fade away from them as time goes on. It’s this honesty and sincerity that makes it such compulsive viewing. Highly recommended.

This Is War is available to buy on DVD from October 4th from Momentum Pictures.

Modern Masterpieces #2: Gone Baby Gone (2007)

2010-09-25T04:57:00.000-07:00

When you think of talented actors turned directors who do you think of? Clint Easwood? Definitely. Sean Penn? Sure. Dennis Hopper? Love him! Tim Robbins? Oh yes! Ben Affleck? Erm… Ben ‘you’re the bomb in Phantoms’ Affleck? Granted it may be too soon to bracket the lad as a great director, but if his debut Gone Baby Gone is a sign of his abilities then there is a talent here waiting to explode. Having already established himself as a Oscar-quality writer with Good Will Hunting, it took him a decade to write again. It was a frenzied decade with, critically panned, box office successes and the infamous ‘Beniffer’ period that gave us Gigli… there was also Surviving Christmas… ouch.

Now, I’m a fan of Affleck the actor, more so his 90’s output with Kevin Smith than his blockbuster movies that’s he’s better known for and who doesn’t love the magic of Good Will Hunting? But I didn’t know what to expect from him as a director, who would he have been influenced most by during his career? Would it be pal Kevin Smith, the reflectiveness of Gus Van Sant? or the more gun-ho aesthetics of Michael Bay? It seems to me neither, but more so his encounter with workmen directors such as Joe Chappelle and Allen Coulter, whose work on HBO’s The Wire and The Sopranos are sterling, that have influenced him most as a director. And for which, all should cheer.

Casey Affleck plays Patrick Mackenzie, a private investigator who works with his girlfriend and business partner, Angie (Michelle Monaghan). When they see a local news report regarding the disappearance of 8 year-old Amanda McCready their heart goes out to her mother, Helene (Amy Ryan). Soon after they are visited by Amanda’s aunt and uncle who ask them to help the police with the investigation; hesitant at first, they eventually agree to aide the police; much to the annoyance of the detectives assigned to the case. As the investigation progresses, secrets that should have been buried are revealed and Patrick and Angie find themselves way in over their heads as their relationship is stretched to breaking point and their lives are thrown into jeopardy as they descend into a hellish nightmare and humanities dark underbelly.

With Gone Baby Gone, Ben Affleck has delivered a brilliant mystery thriller and one of modern cinema’s finest noirs. It may not be trench coat, fedora and rain-soaked alleyway noir that people normally associate with the genre but the core staples of distrust, betrayal and abuse of power are rampant throughout the film. It’s this dark streak that binds the film that impresses most, Affleck isn’t afraid of alienating his audience by showing us the darkest side of human nature in all its morbid glory and having his characters carry out despicable acts all in the name of ‘doing the right thing’.

This selfishness that runs riff through the film could further alienate audiences, if it weren’t for the incredible cast Affleck has assembled. Little brother Casey really shows his worth here, shedding his younger image that saw him in cheese like Soul Survivors and American Pie and revealing a true acting talent in the making. Amy Ryan gives an Oscar nominated performance as Helene McCready, it’s a role that relies on an actress of exceptional talent and luckily Ryan is just that – exceptional. To single out a performance is impossible however, each character is as memorable as the next and the people playing them deliver their best; which shows that Ben Affleck is not just a great writer, but also a promising director to watch. The confidence he displays over every facet of the film here is impressive and makes you wonder how good he’ll be once he has a few more films under his belt?

Gone Baby Gone was unfortunate, due to the nature of the film the last thing distributors were going to do is release movie about child abduction while the United Kingdom is in disarray over the disappearance of Madeleine McCann. The film was in full PR swing when the news of the abduction hit, which resulted in all subsequent promotion of the film stopping immediately. The film was then delayed and quickly released months later with no hype or promotion to go with it, as such the film failed to make an impact at the box-office. It was also overlooked come Oscar season, but it remains one of the most powerful directorial debuts of the last decade.

Gone Baby Gone is available to buy on Blu-ray and DVD now!

Modern Masterpieces #1: Sympathy for Mr. Vengeance (2003)

2010-09-21T04:46:00.000-07:00

Chan-Wook Park is one of the great directors working in film today, that’s not hyperbole or fan-boy hype, it’s a fact. With only a handful of films, he’s managed to launch a career that has raised the global profile of not just his work, but his actors and the South Korean industry as a whole. He’s one of three director’s working in South Korea today that continues to generate international buzz in film magazines and websites; the other two being Bong-Joon Ho (The Host) and Ji-Woon Kim (Bittersweet Life). I first became aware of Park in 2002 with JSA: Joint Security Area, I was still relatively new to Korean film and JSA was a great example of what the country was capable of producing, but then I watched Park’s follow-up, Sympathy for Mr. Vengeance early in 2003 and it truly changed the way I viewed movies.

The story is simple, or so it seems. Ryu (Shin Kyun-ha), a deaf mute is knocked-off by black market organ dealers when he attempts to buy a new kidney for his terminally ill sister. Needing cash quick in order to pay for a legitimate transplant, he devises a plan with his anarchist girlfriend (Bae Doo-na) to kidnap his ex-employers (Song Kang-ho) daughter and hold her for ransom. Naturally, the plan doesn’t go as planned. To divulge more would be criminal to those who have not seen the film, needless to say it gets bloody.

With the financial success of JSA, Park was given creative freedom for his next project, and it shows. JSA was a big production, a blockbuster movie that broke box-office records; many were expecting another such production with Mr. Vengeance. How wrong they were. Mr. Vengeance is so far removed from JSA that it’s remarkable they came from the same person; JSA was a visually striking movie, but in a glossy, MTV fashion that he would later take to his extreme with 2004’s Oldboy. Mr. Vengeance couldn’t have been more different, stripped down to film minimum; Park relies only on the story and actors to wow over his audience: there’s no music, no elaborate set-pieces and no clever twists here, only an oncoming car crash of a narrative that you can’t divert your stare from.

With this bold stylistic decision also comes alienation. The films purposeful cold metallic palette echoes the characters mental anguish which leads to the numerous bloody encounters within the film, but to the casual viewer it may be too much of an extreme; the film drips negativity and is filmed with a documentary-like realism that will disturb and punish more than thrill and excite. This came at a time when South Korean cinema was very much style over substance for the most part, with movies like Shiri and Tell Me Something wowing audiences with their looks rather than their story. This stripped-down, nihilist approach can also be responsible for the films poor performance at the box-office in its home country.

More akin with fellow Korean enfant terrible, Kim Ki-duk’s filmography than anything else Chan has produced, Sympathy for Mr. Vengeance remains one of South Korea’s greatest achievements. It may not have won as many awards as his later films or made as much bank, but in twenty years time this is the film that most will be looking back at and re-visiting to understand Park the film-maker. Here is where his dark heart emerged; this is his first cruel ode to cinema and remains arguably his finest achievement to date. A film that broke all the rules, not just onscreen but off, it’s the product of a man who truly defied, and smashed, every expectation laid upon him to produce something spectacular. Love it or hate it, Sympathy for Mr. Vengeance will leave a scar upon you that will never be removed.

You can buy Sympathy for Mr. Vengeance on Blu-ray of DVD now.

The Housemaid (2010)

2010-09-21T04:33:00.000-07:00

Im Sang-soo is no stranger to controversy in his native South Korea. With films like Tears and The Presidents Last Bang landing the director in hot water for their depiction of teenage sexuality (Tears) and a blasting depiction of Politicians (Presidents Last Bang). So you can rely on the man for shock value, as well his strong visual style of story telling. With his latest release The Housemaid, he’s produced the most sexually explicit mainstream film to have come out of his homeland…

Eun Yi (Jeon Do-yeon), is hired as a nanny/maid for a disgustingly rich family who are expecting twins. The mother (Seo Woo) is due to deliver within weeks of Eun Yi’s employment so Eun Yi takes care of their first born, Nami (Ahn Seo-hyeon) while the mother worries about her figure. The husband (Lee Jeong-jae) is smitten by the new maid and it isn’t long before he’s moving in on her. An affair is sparked and when news that Eun Yi is pregnant breaks, it threatens to not just destroy their relationship, but will affect all of those within the household.

The first thing that grabs the viewers’ attention is Im Sang-soo’s glorious visual style. Each frame is a composition to be marvelled, a shot as simple as a man in a hallway has never, and should never look as beautiful – decadent in fact – as it does here. Each frame is a loving composition that leaves the viewer in awe. You could say that Sang-soo is using these exquisite visuals to hide the films flaws, which is a valid point as the film does have its issues with its rushed finale; but the visuals are essential to the film not just for aesthetics, but it helps us fall in love with the world that Eun-yi herself becomes infatuated with.

The Housemaid is a slow-burner, very little actually happens, its narrative progression is through dialogue and not set-pieces. Character actions are witnessed, but the consequences for these actions are escalated through dialogue driven confrontations which gradually builds and builds until the film literally explodes in the finale. This is the films biggest flaw, the pay-off is built-up throughout the film, yet the finale does come across as rushed. It’s the only flaw the film has, but if you’re caught up in the movies spell, which is hard not to be, it’s forgivable but others may be left disappointed.

The actors are all on form here, with Jeon Do-yeon giving a no-holds barred performance that has seen her rightly rewarded with various accolades on the festival circuit. Lee Jeong-jae also delivers a fantastic performance as a man who has it all and believes he’s entitled to everything within his household regardless of others feelings; he’s a detestable fella, yet his charisma is hard to deny; witness his Patrick Bateman-esque sexual prowess and try and hold a grudge against him.

The Housemaid may not be the masterpiece the original 1960’s version is, but as an erotic thriller the film ranks as one of the genre’s finest. A movie that is truly titillating and thrilling, the film excels with its visual-seduction as the characters sweat the screen up. It may be too slow for most, but for those with patience and appreciation for beautiful compositions and a sold story, there is plenty here to appreciate. It’s bold film and one of South Korea’s best of 2010.

You can buy the Korean DVD for The Housemaid here.

Cherry Tree Lane (2010)

2010-09-19T08:59:00.000-07:00

Paul Andrew Williams has been a director to watch for British cinema fans since his powerful debut in 2006 with London to Brighton. Dealing with such pleasant acts as child prostitution and drug addiction, it was the perfect introduction for a no-holds barred director such as Williams. Two years later he returned with The Cottage, the complete opposite to his debut. The Cottage, by comparison, was a throwaway horror comedy about a couple of would be kidnappers whose choice of hideaway really couldn't have been worse. It was no-brain horror goodness that shocked fans of his debut, but now he's back with Cherry Tree Lane and he's giving audiences another horror film with the social realism that drove London to Brighton. Prepare to be depressed.

The story is a simple one. A middle-class couple are held captive by three, angry, young men who want to murder their son for reporting a crime in which a cousin of one of the youths was the perpetrator. Problem is, he's not home and the youth decide to kill time by terrorising his parents while waiting for him to return.

So, enjoyable premise it is not, but that's not to say the film isn't worth the discomfort the film will cause, and believe me when I say you'll be left destroyed by this film. The film has been labeled as a brutal, unflinching horror film – which it very much is – but the actual onscreen violence in minimal; all be a few slaps and some punches, every other act of violence is not shown. As with another British film that dealt with disillusioned youth menacing the rich, Thomas Clay's The Great Ecstasy of Robert Carmichael, Paul Andrew Williams has applied the ol' Hitchcock favourite of 'what you don't see is worse than what you do see' (and which was lacking in the horrific finale to Robert Carmichael) and has pushed it to the limit.

By using nothing but sound and characters facial expressions to get across the message, Williams masterful restraint has created one of the most uncomfortable viewing experiences in some time. With ever increasing graphic images finding their way into modern horror films, it's refreshing to see a film that is prepared to put it's effort into destroying it's audience by using the their own imagination rather than relying on the special effects team. It's nothing new by any means, but it's all to rarely seen in movies these days outside of Michael Haneke's filmography.

As an exercise in film-making, Cherry Tree Lane is a success but the film as a whole doesn't work as well as it could have. Williams knows he's using a tabloid hot-potatoe with lower-class youth victimising a middle-class couple, but he has no answers or input as to why such events actually happen. He seems more content with using it as an additional tool to mind fuck his audience with, which relegates the film to basic exploitation, as he certainly doesn't have a message or suitable reason for the films brutality. Some may take offense by it, some will not be able to appreciate his film-making abilities regarding violence and others may actually anticipate more brutality than what they'll have been given.

Cherry Tree Lane may not be as important as it might like to appear, but it's certainly an exercise in terror unlike most in the genre. Fans of the technical side of film will likely appreciate it more than a viewer just looking to push their limits of horror; but it's a worthwhile endurance test for anyone who enjoys being manipulated by a film-maker as there's no real substance to the film outside of it's creative inventiveness. It does show Paul Andrew Williams as a film-maker who continues to grow and with each passing movie shows us what he's capable of, needless to say I'm excited for his next movie.

Cherry Tree Lane is out buy now on DVD.

Heartless (2010)

2010-09-19T07:59:00.000-07:00

It's a tight rope to walk when trying to create a fairytale for adults. Sure we've had some attempts that have managed to pull it off effortlessly, who can deny the power and beauty of Geillermo del Toro's Pan's Labyrinth? But for every Pan's Labyrinth we also have Snow White: A Tale of Terror or Rumpelstiltskin to contend with. As fun and cheesy as Rumpelstiltskin is, it fails to have the desired effect of all fairy tales; that of caution and distrust. Philip Ridley however has made a welcome return to film-making with a triumphant new fairytale that hits it's marks perfectly and gives us yet another gripping adult fairytale that ranks as horrific and affecting as anything in Pan's Labyrinth.

Jamie (Jim Sturgess) is an east-end photographer haunted by his birthmark. A large, heart-shaped blemish covering most of the left side of his face, it is the cause of much ridicule that is the creator of the introverted, shy man he is today. With news reports of escalating incidents of random violence carried out by hooded youngsters wearing demon-like masks. One night, he and his mother are attacked by this gang and his mother is murdered, swearing revenge Jamie set out to find who is responsible for his mothers death. Once he meets the sinister Papa B (Joseph Mawle) however, Jamie is offered everything he longs for, all he has to do is re-pay Papa B back when he asks him to. Needless to say, he's in for more than he bargained for.

What makes Heartless such a rewarding film is it's layers. I've given a brief outline of the film, but to know more would likely ruin it's twisted charm and appeal. This is a movie that was designed for repeat viewings, it's secrets aren't going to be revealed to you on first viewing; you have to re-visit and re-evaluate the film with the knowledge acquired upon previous viewings. Everything shot in this film applied itself to the character of Jamie, from the films colour scheme to the actual locations, each symbolize an aspect of understanding Jamie; even the belongings in his home add characterisation. It's also here where the fairytale aspect creeps in as Jamie's room is contains paintings of such classics as Beauty and the Beast and Peter Pan.

As hard as director Ridley has been working behind the camera with his crew for the film unique look, none of that hard work would have been futile hadn't the cast been up to snuff. Luckily Ridley has been blessed with a fine supporting cast to help aide Sturgess, who himself has given his best performance to date her. Timothy Spall and Ruth Sheen both give heartfelt turns here as Jamie's parents, while Eddie Marsan and Joseph Mawle provide the necessary malice the film needs. Clémence Poésy and Noel Clarke round the cast as Jamie's friend and love interest; both give memorable performances and Poésy provides the film with a welcome glimpse of light and softness.

Heartless is a dark film, not just visually but the subject matters the film covers are equally as heavy on the senses. It's not a happy film, situations spiral from bad to worse and just like all good fairy tales, no one will make it out intact, and this goes for the audience too. This is also the films biggest flaw, it's a cold film and may distract viewers from coming back to it and giving it the essential second viewing; where you'll find yourself re-watching the film while discovering another. Philip Ridley has returned to film-making with a bang, this is tough-as-nails stuff that's excellently acted by its ensemble cast and a welcome return to one of British cinemas reclusive talents. Here's hoping we don't have to wait 15 years for the next one!

You can buy Heartless on Blu-ray or DVD now!

Glasgow Film Theatre: October 24th...

2010-09-15T00:06:00.000-07:00

Calum Waddell has announced the awesome line-up for a one-off event in the Glasgow Film Theatre on October 24th 2010. Here's the line-up...

This event off with the UK premiere screening of Frank Henenlotter's freaking fantastic documentary HERSCHELL GORDON LEWIS: THE GODFATHER OF GORE:

A special, pre-DVD release screening of ISLAND OF DEATH with Greek exploitation legend Nico Mastorakis in attendance for an audience Q and A!

Next, the UK premiere of the EXPOSE remake (now re-titled STALKER) with star Jane March in person.

At 8pm we'll be rounding off the evening with a big screen showing of Lamberto Bava's DEMONS.

And you'll be geting two-for-one guests on this because before DEMONS we'll be continuing the video nasty vibe by showing a trailer reel from 1980's CANNIBAL HOLOCAUST followed by a Q and A session with the star Francesca Ciardi (AKA Faye Daniels) making her first UK public appearance.

Followed by a special appearance, and Q and A, with Mr. Sergio Stivaletti - the effects man behind DEMONS, DEMONS 2, PHENOMENA, OPERA, THE CHURCH, CEMETERY MAN, THE PHANTOM OF THE OPERA, MOTHER OF TEARS.... you bloody name it! He also, of course, directed WAX MASK, taking over from the late Lucio Fulci.

So: one day, a quartet of guests, four films - all for £22 or £18 conc. No autograph fees or anything - come, drink, watch movies, shop at the Arrow stall, win some freebies, enjoy yourselves. As always we aim to make sure you get your money's worth!

Evil Dead UK Blu-ray!

2010-09-14T23:57:00.001-07:00

Sony Pictures have announced the UK Blu-Ray debut of Sam Raimi's classic Video Nasty, The Evil Dead! It's one tasty looking package...

Director Sam Raimi’s Cult Horror Classic Available
For the First Time Ever on Blu-ray Disc!

THE EVIL DEAD

Featuring Hours of Innovative New Bonus Features, Including All-New Cast & Crew Commentary & Interactive Picture-in-Picture Commentary

On October 11, cult horror classic THE EVIL DEAD rises to terrifying new life across the globe on Blu-ray Disc, courtesy of Sony Pictures Home Entertainment.

Featuring digitally remastered high definition picture and sound, plus hours of innovative new bonus features, this is the ultimate way for fans old and new; good and evil; alive and un-dead to experience this groundbreaking horror favourite!

Before conquering the global box office with his smash hit Spider-Man series, director Sam Raimi changed the face of horror with this spine-tingling tale of a group of college students facing off against forces of evil at an isolated cabin. At the time of its release, legendary horror author Stephen King called THE EVIL DEAD “the most ferociously original horror film of the year.”

Now, horror fans around the globe can experience the terror in the woods like never before with nightmarishly vivid 1080p HD picture and hauntingly crisp 5.1 Dolby TrueHD sound.

In addition, this stunning new high-def transfer comes loaded with thrilling new bonus features, including all new commentary with Director Sam Raimi, Producer Rob Tapert, and actor Bruce Campbell, plus the interactive Picture-in-Picture commentary “Join Us! The Undying Legacy of The Evil Dead.” Additional bonus features include the featurettes “One by One We Will Take You: The Untold Saga of The Evil Dead,” “Treasures from the Cutting Room Floor,” “At the Drive-In,” “Discovering Evil Dead,” “Make-Up Test,” “Ellen and Drama Teacher” and “On-Stage Interview.”

THE EVIL DEAD will be available on Blu-ray Disc for RRP £17.99.

Synopsis
Five Michigan State University students venture into the hills to spend a weekend at an isolated cabin. There they discover an ancient Sumerian text, known as the “Morturom Demonto”; roughly translated as “The Book of the Dead.” While searching the basement of the cabin, the students find and play a tape recording of demonic incantations from the book, unwittingly resurrecting slumbering demons that thirst for revenge. The characters are then possessed - one by one - by the spirits of the Book.

THE EVIL DEAD was written and directed by Sam Raimi (Spider-Man trilogy, Drag Me To Hell) and produced by Robert G. Tapert (Drag Me To Hell, The Grudge). Its cast features Bruce Campbell (Evil Dead 2, Army of Darkness), Ellen Sandweiss (My Name is Bruce), Hal Delrich (Crimewave), Betsy Baker (TV’s “Southland”, “E.R.”) and Sarah York (TV’s “Dangerous Women”).

It has a run time of approximately 85 minutes and is rated 18.

Blu-ray High Def Bonus Material

* All New Commentary with Director Sam Raimi, Producer Rob Tapert, and actor Bruce Campbell
* Picture-in-Picture: Join Us! The Undying Legacy of The Evil Dead
* One by One We Will Take You: The Untold Saga of The Evil Dead
* Treasures from the Cutting Room Floor
* At the Drive-In
* Discovering Evil Dead
* Make-Up Test
* Ellen and Drama Teacher
* On-Stage Interview
* Make-up Test

The Blu-ray Disc version of THE EVIL DEAD is BD-Live enabled, allowing users to get connected and go beyond the disc via an Internet-connected Blu-ray player and download content.

Animal Sanctuary: Not Cute. Some Fluffy.

2010-09-02T02:50:00.000-07:00

On Christmas Eve, 1896, Georges Méliès created the horror film with ‘Le Manoir du diable’. Everything about early genre films was born here, the gothic castle, witches, Christianity overcoming Satan etc etc. It also touched on an issue that would become a staple of the horror genre in its later period, with it’s depiction of an animal, in this case a bat, turned into an evil, threatening force.

Whereas in early horror films the animal itself was not the threat, as with ‘Le Manoir du diable’ the threat comes once the bat has transformed into the legendary Mephistopheles of the ‘Faust’ tale. But as time progressed and the 50’s brought with it a wave of science-based disaster-horror films featuring giant scientific experiments gone wrong, it became apparent that the creatures of yore were no longer frightening to the majority of moviegoers.

Then came Alfred Hitchcock’s ‘Psycho’ in 1960 and it all changed. No longer was the ‘unbelievable’ scary for audiences. The fear of ‘us’ became the ultimate fear for audiences as cemented by George A. Romero’s legendary ‘Night of the Living Dead’ in 1968, and remains so to this day. There was also another milestone during this period from Hitchcock, ‘The Birds’ in 1963. Not only did we have to be afraid of those around us, but of other creatures: creatures as seemingly unthreatening as seagulls became potential harbingers of doom … and they wouldn’t be the last.

Since those menacing seagulls et al attacked, filmmakers have upped the anti from movie to movie. Exploitation cinema was also there to fill the audience’s desire for more animals running amok with a staggering variation of animals loosing their marbles, from 1972’s ‘Frogs’ from George McCowan; which sees a household being terrorised by not just the titular amphibians but also lizards, birds and more surreally butterflies! And who could forget William F. Claxton’s 1972 carnivorous killer rabbits epic ‘Night of the Lepus’?

Hell, the modern Hollywood blockbuster was born from this pandemic with Steven Spielberg’s ‘Jaws’ in 1975; changing the movie industry forever and shaping it into what we know it as today, cheers Steve! Of course the film industry are always keen to cash-in on success and ‘Jaws’ was no different. All kinds of fish have lost their marbles in filmland, such as killer whales in 1977’s ‘Orca’, octopus in the same years ‘Tentacles’ and barracudas in err… ‘Barracuda’ from Harry Kerwin in1978!

Now, it’s all good and well to find ‘inspiration’ in another movie, but certain filmmakers, well… certain Italian filmmakers, felt that imitation was indeed the sincerest form of hackery and actually ripped ‘Jaws’ off entirely. The father of the ‘Inglorious Basterds’ himself, Enzo G. Castellari was the first inline with 1980’s ‘Great White’ which managed to reframe from ‘referencing’ whole lines of dialogue and even managed to top ‘Jaws 2’ highlight set-piece, involving the shark attacking a helicopter. It was later ‘referenced’ itself by trash cinema icon Bruno Mattei in…

1995’s ‘Cruel Jaws’. Truly a film that needs seeing to be believed! Not only does it rip lines of dialogue straight from Spielberg’s blockbuster, but it also lifts actual footage from fellow rip-offs ‘Great White’ and Joe D’Amato’s lazy 1989 effort ‘Deep Blood’! It’ll never see the light of day in the UK or US, but it can be had for those willing to risk their sanity.

Marine life, Birds, rabbits, butterflies and lizards were just the tip of the iceberg though as audiences have been terrified by electrically juiced up bloodworms in Jeff Lieberman’s grossly effective 1976 outing ‘Squirm’. The same year also saw cult legend Christopher George fending off an 18-foot man-eating bear in, equally cult-worthy, William Girdler’s ‘Grizzly’.

George and Girdler re-teamed in 1977 for ‘Day of the Animals’ which sees the depleted O-zone layer causing a chemical shift in animal life. Animals such as mountain lions, black bears, German shepherds, and birds of prey all lose the plot. Also that year, William Shatner had to defend a small Arizonan town from thousands of hungry tarantulas in John "Bud" Cardos’ epic ‘Kingdom of Spiders’.

1978 saw the last worthwhile forays into the Nature Amok subgenre, with Joe Dante’s horror-comedy ‘Piranha’, capturing the absurdity of the genre to perfection while Australian, Colin Eggleston created a genre masterpiece with ‘Long Weekend’. His tale of a reckless couple whose selfish treatment of their surroundings catches up with them in the most frightening of ways remains an under-looked genre film to this day.

From there the subgenre dwindled with only a few worthwhile titles finding their way to the screen. Roger Corman produced 1979 effort ‘Up From the Depths’ from Charles B. Griffith is a guilty pleasured cheese-fest featuring a killer shark-like critter that will cause many a laugh. As will James Cameron’s (yes, him) ‘Piranha II: The Spawning’ from 1981. An Itlaian-American co-production starring the incomparable Lance Henriksen is as entertaining as it is improbably – flying Piranha?!

1982 saw James Herbert’s novel, ‘The Rats’ transferred into ‘Deadly Eyes’ by ‘Enter the Dragon’ and ‘Black Belt Jones’ director Robert Clouse. Giant killer rats, the produce of contaminated grain (!) go on a rampage in Canada. This Golden Harvest production would be one of the last guilty pleasures of the Nature Amok subgenre, that seemingly died out… until recently.

As re-make fever continues to fester in the horror community, Nature Amok titles have suffered the same fate as some of the horror genre staples like ‘Texas Chainsaw Massacre’ and ‘Dawn of the Dead’, they’ve been… re-imagined, for a whole new generation. With the recent release of Alexandre Aja’s re-make of ‘Piranha’ scaring up big bucks at the box-office, maybe we’ll see more re-imaginings of these guilty pleasure?

But fret not hardened horror fans, original Nature Amok titles are still being produced, and just like the bygone era that birthed them; they remain as underappreciated now as they did then, Carter Smith’s 2008 shocker ‘The Ruins’ being one such title. There’s also Carlos Brooks 2010 feature ‘Burning Bright’ which is currently creating buzz within the horror community.

After nearly 50 years worth of cinematic animal madness, the genre is long overdue a fresh take and ‘Burning Bright’ is just that. Here we have an animal most people wouldn’t care to bump in to, a Bengal tiger, not only is it already known as a prestigious man-eater, but this tiger hasn’t been fed in days! Enter a caring sister and her autistic brother, locked in their waste-of-space step-fathers house which just happens to have been boarded up for an incoming hurricane, and unleash the tiger and watch the fun and games unfold.

Mashing the Nature Amok subgenre with the Home Invasion subgenre, made famous by the likes of Bob Clark’s 1974 seminal ‘Black Christmas’, Robert A Endelson’s 1977 grindhouse classic ‘Fight for your Life’ and Michele Heneke’s 1997 arthouse wonder ‘Funny Games’ is a bold and ingenious realisation. It’s also one that pays off and creates a truly original horror movie in a genre awash with re-imaginings and sequels.

‘Burning Bright’ has just been premiered at Filmfour’s celebrated Frightfest and makes its DVD debut courtesy of Momentum Pictures on September 6th.

Burning Bright (2010)

2010-08-01T05:11:00.000-07:00

Kelly (Sorority Row's Briana Evigan) and her autistic younger brother, Tom (Charlie Tahan), are startled to discover that they've been trapped in their step-father Johnny's (Garret Dillahunt) house-come-safari park with a starving Bengal tiger; recently purchased from a circus (an enjoyable cameo from Meatloaf) that could no longer control it. With a hurricane raging outside, Kelly must stay one-step ahead of the hunter in order to save herself and her brother.

Burning Bright is a very welcome experience. Shelved for nearly 2 years while the market gets bombarded by re-makes of superior movies, this little gem sat gathering dust – great! Taking two classic sub-genres, the nature runs amok and the home invasion movies and bundling them into a brisk eighty minute exercise in tension that is a pleasure from start to finish. It may not be a classic but it will certainly prove a welcome change from the norm.

The film spends the first half hour introducing us to the three characters and the awkward dynamic they have. Kelly wants to put Tom into specialist care so she can go to college, but alcoholic Johnny has used the money saved to purchase the tiger for his Safari park, and to take care of some other unresolved business involving the dead mothers will. Due to the incoming hurricane the house has been completely boarded down, so Johnny unleashes the tiger in the house and hits his local bar. From there on the movie is non-stop tension as the siblings try to escape.

There are several well orchestrated set-pieces, the best being Kelly's first encounter with the tiger in the basement; Kelly hides in the laundry shoot as the tiger prowls below, Kelly's sweat drops down and the tiger picks up her sent and it isn't long before it knows where the next meal can be found. Due to the claustrophobic environment, the constant threat of violence can be felt throughout the final forty minutes and really elevates the film and makes you wonder why it's taken so long to be released? It also helps that they chose to use a real tiger and kept the CGI to a minimum, this added realism really adds to the impact and gives an authentic sense of menace watching the it stalk around the house.

Briana Evigan really impresses, she's pretty much in every shot of the movie so a lot was depending on her performance and she provides a fantastic turn here. The scenes with her and the tiger were filmed separately and cleverly edited together, so it's a credit to the young actress that she gives such a convincing portrayal of fear when there wasn't anything on set to be afraid of... Well, except Garret Dillahunt, who can play creepy and off-putting in his sleep and provides another solid performance here. When is he going to get more substantial roles? He's one of America's finest character actors and deserves more than the type casting he's currently facing!

Don't expect an out-and-out bloodbath, this is a restrained effort that focuses more on atmosphere than kills. The tension is well executed and will have viewers palms sweating on more than one occasion. If you're attending this years Film4 Frightfest in London then you should do yourself a favour and experience this on the big screen, the film premiere's on Friday 27th August at 10:45am and has a follow up showing on the 28th at 9pm. Those who can't make it can find the DVD in stores from 6th September. If you're tired of re-makes and want an enjoyable slice of original horror then you can do worse than Burning Bright, it's an enjoyable thrill-ride that will entertain those looking for atmosphere over claret.

You can pre-order the DVD here.

Burning Bright Coming Soon from Momentum...

2010-07-21T00:58:00.000-07:00

Garret Dillahunt is a personal favorite. He’s proven time and time again that he’s one of the most reliable character actors working in America today. From his roles in HBO’s excellent Deadwood, to Andrew Dominik’s phenomenal Assassination of Jesse James all the way through to Dennis Iliadis pedestrian re-make of Wes Carven’s notorious Last House on the Left and his cameos in prestigious movies like John Hillcoat’s The Road and the Cohen Brothers Oscar winner No Country for Old Men (both based on Cormac McCarthy books incidentally), Dillahunt has left a strong impression on me. So strong infact, I will now watch anything that features this excellent new actor.

Coming in September is Burning Bright. A new horror film that will debut at this year’s Fright-fest:

From the studio that had terrified you with Stephen King’s The Mist and Teeth comes the new edge-of-your-seat thriller BURNING BRIGHT. Trapped in a house with a ravenous tiger during a hurricane, a young woman must decide whether or not to sacrifice her younger brother to save her own skin.

When 20 year old Kelly (Briana Evigan) wakes late at night during a hurricane, she finds a hungry tiger stalking her through her home. With every door and window boarded up from the outside and her stepfather nowhere to be found, Kelly fights frantically to stay one step ahead of the killer beast. Torn between protecting her autistic brother Tom and saving herself from a brutal mauling, Kelly’s situation becomes more complicated and desperate at every terrifying turn.

Briana Evigan, the stunning star of Step Up 2: The Streets and Sorority Row, leads a strong young cast supported by newcomer Charlie Tahan as her vulnerable disabled brother and Garret Dillahunt (No Country for Old Men, The Road) as her step-father. BURNING BRIGHT also boasts a star turn from hell-raising rocker Meat Loaf as the trader who finds a home for the savage Bengali tiger.

The footage of the tiger was shot within the house; no animatronics, no tricks – this tiger is very real and very hungry.

A roaring and engaging ride with a unique concept and suspenseful plot, BURNING BRIGHT is this year’s adrenalin-pumped thriller that is sure to keep you on the edge of your seat till its bloody finale.

The DVD arrives shortly after its August debut on the 6th September, no word on what extras the disc will contain just yet; but as soon as I hear I’ll keep you all updated. In the mean time, check out the tasty looking trailer below:

Trailer:

Or Download it here:

WMV - http://www.yousendit.com/download/T1VuV28xUnJtNEkwTVE9PQ
MOV - http://www.yousendit.com/download/T1VuV28wdkczMWxjR0E9PQ

The Killer Inside Me (2010)

2010-06-08T13:42:00.001-07:00

Much has been made of Jim Thomson’s pulp novel in which this film is based on, labelled as one of literatures great ‘unfilmables’ - like Naked Lunch and American Psycho before it - but for British filmmaker, Michael Winterbottom of 9 Songs infamy, filming the unfilmable is his bread and butter. Here though, instead of hardcore sex he’d be filming material far less explicit, but equally repugnant as Kieran O’Brien’s erection; hardcore violence, more specifically – hardcore violence against women. Blasted as misogynistic from the get-go, it all goes to show a startling level of narrow mindedness when dealing with context; as The Killer Inside Me is a serious study of a man losing control, and the danger he poses to those around him.

Casey Affleck plays Lou Ford; a small town Texan deputy in 50’s America who is seemingly loved by all around him for his gentlemanly southern manners and his will to do good towards his neighbours and township. Just because they grew up with Lou though, doesn’t mean they understand him; as we’ll find out. He’s in a strong relationship with the town’s sweetheart Amy Stanton (Kate Hudson) but little does she know he’s also having an affair with prostitute, Joyce (Jessica Alba).

He’s passionate and himself around Joyce, as they explore various acts of kinky intercourse which he would never dream of acting out on Amy. This penchant for rough sex and violence isn’t new to Lou though, as a flashback provides us with a shocking glimpse into Lou’s horrific past. It’s this traumatic past that will set in motion a series of events that will see Lou take multiple lives while trying to maintain his guise as town deputy and not slip into complete psychosis while trying to rid himself of any blame for these horrific crimes. As each mistake brings with it more trouble, Lou’s mask of sanity slowly starts to slip.

First of all, nobody could play Lou Ford better than Casey Affleck. Taking his creepy introverted, yet somehow endearing, persona of Robert Crawford from 2007’s under-appreciated The Assassination of Jesse James by the Coward Robert Crawford, Affleck gives the performance of his career here. He’s polite and likeable one minute, then grinning with malicious intent the next; while random acts of aggression are carried out care free. He gives the most lifelike depiction of a serial killer since Michael Rooker’s groundbreaking take on Henry Lee Lucas in Henry: Portrait of a Serial Killer – only this time, it’s more frightening for the fact that Lou CAN hold back when he wants too, he decides when he acts and his charm is his ultimate weapon.

Winterbottom fills the film with equally hate-filled men. Every mean natured act carried out in this film is a result of male hate. Women are portrayed as loving and caring, to a fault it seems, whereas men are nothing but beasts that’ll destroy anything to get what they want. Is this sounding misogynistic at all to you yet? The womens' willing to accept and to trust this man is their fatal flaw as Lou exploits this for his own gain. Now, the violence is indeed hard-hitting – especially for a mainstream American picture with A-list actors – but anyone who knows anything about the film or the book will know to expect this. When violence does arrive, its stomach churning for the fact that it dares to show the consequences of the act - some call this extreme, I like to call it sensible filmmaking: Show this to your kids.

The film does disappoint somewhat though, the strong opening half hour leads into a slow burning middle section that doesn’t quiet feel right. It’s too drawn out, something seems to be lost in translation here – it could be the faithfulness to the book having it’s affect on the adaptation, so those who have read the book may benefit more during this period. It’s this extended period of nothingness that brings the film down and prevents it form becoming something truly spectacular. The final third though picks up the speeds and provides a literal stomach punch for the audience as Lou’s illness takes full control of him.

Michael Winterbottom’s first American film might not be the classic a lot of us hoped, but thanks to its beautiful cinematography, knock-out lead performance and a uncompromising look at some horrific material ranks Killer Inside Me as one of 2010 must-see movies, those who have read the book may view the film and see parts that others will miss but regardless of the fact, you’ll walk away with a respect for the film; weather or not you truly like it is another matter – can films this unflinching truly be likeable? It’s a tough one, but I look forward to re-watching this in the comfort of my own home, which may benefit the film second time round. Come Oscar time I’d like to see at least 3 nominations for this movie (Actor, Cinematography and best Adapted Screenplay, please), but how far has Hollywood come? Guess we’ll see next May.

The Killer Inside Me is in cinemas now.

Fire of Conscience (2010)

2010-06-08T13:36:00.001-07:00

Hong Kong Action cinema used to be a thing of beauty, whenever the names John Woo, Ringo Lam, Tsui Hark and even Wong Jing graced title sequences you knew you were in for a full-throttled experience of bullets and bloodshed. The turn of the millennium though saw the industry come to a grinding halt, much of the talent eloped to America in search of wider fame; more money and more than likely better working conditions. The genre became stale during the late nineties, and the ‘heroic bloodshed’ genre, once loved, died its death, replacing it were gritty cop dramas like Infernal Affairs and PTU.

However, if Fire of Conscience is anything to go by, there is a talent out there by the name of Dante Lam and he’s bringing the heroic bloodshed back into Hong Kong cinema, and he’s keeping it as gritty as he is ballistic. This my friends, is one of the finest Hong Kong movies in 20 years and it cements Lam’s calling card as the man in Hong Kong cinema right now, watch out Jonnie To – there’s a new kid in the sandpit and he means business, bloody-brutal-business. For all the nice production values of recent historical blockbusters like Ip Man, Bodyguards and Assassins, Mulan and Confucius – here is what Hong Kong cinema fans have been waiting for.

Detective Manfred (Leon Lai) has had it tough, real tough. He’s lost his wife, lives out of a car, drinks hard and is obsessed with his work; all the while sporting one hell of an un-fetching beard. Due to his violent tendencies towards suspects Internal Affairs are called in to keep a watch over his methods. During the investigation of a hooker’s homicide, in which one of his team are a suspect, Manfred makes acquaintance with high-flying officer Kee (Richie Ren), the two become friends and this bound increases after a huge teahouse shoot-out forces them upon a huge explosives operation involving a crazed bomb-maker.

Taking the heroic bloodshed valour from yesteryear and injecting it into the more common police procedurals of recent, Dante Lam has created an explosive concoction that rivals the bomb-making prowess of the films antagonist. His eye for realism is matched by his overly elaborate set-pieces, from the John Woo-esque teahouse bullet ballet to the Ringo Lam style populated city chase sequence, he’s taken what has already been done yet still manages to make it feel fresh; a true sign of talent if there ever was one. The urgency in these action scenes are reminiscent of Michael Mann, but there’s an added gorilla filmmaking vibe at play here as pedestrians look on bewildered as the actors run around, bloodied up, waving automatic weapons!

There may be nothing ‘new’ so to speak with the film, story wise it’s all been done before, but from the opening shots it’s apparent that we’re going to be treated to something visually new and exciting. The level of aggression displayed in the action scenes also stand out, the guns sound terrifying when they are fired, which is often, explosions combust and make sure the surrounding area stays aflame in gritty realistic fashion, but Dante isn’t above letting some disbelief soothe in as guns seemingly have limitless magazines when needed and bullet wounds aren’t stopping anyone from continuing to blast their piece! As cartoon-y as the violence can be, the characters remain battered through-out which again adds shades of realism not normally de rigueur in Hong Kong cinema.

I could talk on and on about the great daylight shootouts and chases, or indeed the effective use of brutal violence and the lack of melodrama that normally plagues Hong Kong films, but I won’t as this film deserves to be discovered and scrutinised over and over by any self-respecting fan of Hong Kong cinema. This is the best Hong Kong film I’ve seen in years and if it doesn’t win Best Film and receive a respectful UK release I’ll take a leaf outta Manfred’s book and sport one of hell of a dishevelled beard until it gets one! This, I hope, will be the future for Hong Kong film production; tough, balls-to-the-wall actioners with its pulse on realism but its tongue never too far from its cheek when needed. Highly recommended viewing.

Purchase the DVD here.

Universal Soldier: Regeneration (2009)

2010-06-08T13:27:00.001-07:00

Back in 1992, a then unknown German director by the name of Roland Emmerich was flown in to replace Oscar-winner Andrew Davis (The Fugitive) to make a big-budget action/sci-fi extravaganza featuring two of Hollywood’s biggest muscle-heads, Jean-Claude Van Damme and Dolph Lundgren. The film was Universal Soldier and it would become a smash-hit worldwide and one of the last good films Van Damme and Lundgren would appear in!

TV Movies and a theatrical sequel followed, I’ve not seen them as the negative reviews and crappy trailers kept me away, but what bought me to the third instalment? Or fifth if you include the TV movies?! It’s director, John Hyams. Son of Peter Hyams, the man who gave us The Relic with Tom Sizemore, Time Cop and Sudden Death (the last good Van Damme films!) all of which entertained me greatly as a kid. Seeing as Peter was working on this title as DP boosted my interest.

Two teenagers are kidnapped by a band of mercenaries, it transpires that they are the children of the Russian Prime minister and the groups’ leader is demanding the release of hundreds of political prisoners, if this request is not met within 72 hours then they will kill his children and blow up a nuclear reactor they have secured in Chernobyl. To make matters worse, the terrorists also have a Next-Gen UniSol (UFC badass Andrei Arlovski) in their ranks.

Luc Deveraux (Van Damme) is now living in Switzerland and being rehabilitated to integrate back into society by Doctor Sandra Fleming, it’s a bumpy road to recovery however and he still suffers from violent outbursts. When the NGU wipes out the American army and it’s few remaining UniSol’s, they turn their attention to Luc. Pumping him full of drugs and programming him to get the kid’s, stop the nuke and kill the bad guys, but the bad guys still have a trump card up their sleeves…

To think, eighteen years after the original an impressive sequel to one of 90’s cinemas biggest guilty pleasures would be produced, but its here folks and it sure-as-shit is enjoyable. Brutal, well-paced and excellently choreographed, Regeneration does exactly that; maybe not so much for the Universal Soldier franchise as this pretty much brings the film to a satisfying close, but for all the other 90’s genre films out there that deserve the decent sequel they never got, I’m of course referring to films like Cyborg, Blood Sport, Kick Boxer, Red Scorpion, hell, even Showdown in Little Tokyo! It’s about time these films had worthwhile follow ups.

What comes as a surprise is how mature the movie feels; the original had a disposable, even bubblegum, vibe to the proceedings but this one has a harsh sense of realism from the get go that is a pleasant surprise. Part of this stems from the setting and it grounds the story in an area affected by one of mankind’s worse man-made disasters; it would be disrespectful to have a lightness too the proceedings in an area that has seen some of the darkest days in recent history. It’s this maturity that gives the film a quality not many action films can claim these days, and it’s to the creators merit that the film turned out this good. Don’t let the quick release fool you, this is one of 2010 pleasant surprises and deserves its place on the shelf of any action fan, especially those of Van Damme, Lundgren or mixed martial arts.

Purchase the DVD here or Blu-ray here.

Here's something you don't read everyday...

2010-06-07T23:27:00.000-07:00

A landmark event in British censorship took place over the past couple of weeks, one in which I was lucky to be - a small - part of. Dario Argento’s Inferno is due for release later this year from Arrow Video, but the BBFC decided that a 5 second scene of a mouse being eaten by a cat (!) was obscene and would damage the British public, and thus demanded its removal.

Upon hearing this news uproar ensued from genre fans, ranging from confusion over the BBFC’s logic to refusal to purchase the British edition due to the omission. Boutique companies like Arrow Video need all the support they can get from us fans of Cult film; and a group of members, including myself, over at Cult Labs decided to question the BBFC on their logic over this cut. Some said it was a fruitless endeavour that would not result in anything other than a waste of our time; others continued to bitch and moan about waiting on the uncut version to be released. After receiving this email from the BBFC, things weren’t looking good:

Dear Phillip Escott

Thank you for your email and interesting comments. I should point out that no decision has been made about INFERNO. We have not classified this work, and it would not be appropriate to comment on a title under consideration.

As you know, the BBFC has a statutory obligation under the Cinematograph Films (Animals) Act 1937 to ensure that no scene "was organised or directed in such a way as to involve the cruel infliction of pain or terror on any animal or the cruel goading of any animal to fury" in regards to works intended for cinema release in the UK. The same consideration is also given to works released on video and DVD. This approach was endorsed by the Home Office at the time of the designation of the Video Recording Act 1984 and subsequently supported by legal opinion.

The BBFC takes its legal obligations very seriously. If our examiners have any doubts or concerns over the treatment of animals in the works they view, assurances of well-being are sought from the distributors and / or film-makers. Expert veterinary advice has also been taken on a number of occasions to determine whether cruelty towards animals has been involved during the making of a film. Cuts will be made to films or DVDs where there is clear evidence of on-screen cruelty, or the makers are unable to provide convincing assurances.

While a cat eating a mice is a natural, real-life occurrence, if such an incident has been "organised or directed" specifically for the purposes of being filmed - rather than captured on film while occurring naturally as in a wildlife documentary - and involves the cruel infliction of pain, we are legally required by the Act to remove the scene. I hope this explains the situation for you.

Yours sincerely,
J L Green Chief Assistant (Policy)

Well, who’d have thought that taking 10 minutes out of our day would overturn the BBFC’s original decision to cut the movie? Not many, but it’s happened! For the first time in recent history the BBFC have waived an initial cut after peer pressure from the public! Yes folks, us, the people, have been able to apply common sense to a senseless decision and one of Dario Argento’s finest movies can now be enjoyed, for the first time on British shores, uncut!!

Will it be the definitive edition of the film release? Only time will tell. For British fans however, this release has made a little bit of history, and for that it certainly deserves our support. Here’s to letting the BBFC know that we are adults, and wish to be treated as such; though a well-done is indeed due to the BBFC for taking in to consideration our comments on the issue and taking a second opinion on their initial cut. 2010, finally a year in which British genre fans had their opinion taken into consideration in this ever-crazy country we live in!

For those on the fence about buying this release due to BBFC interference, you no longer have to worry; this release will be fully uncut and by the looks of things – packed with some juicy extras! At long last, Argento’s masterpiece will once again be available within Britain; it’s only taken 20 years!

THIS AMAZING 30th ANNIVERSARY EDITION CONTAINS:

- Reversible sleeve with original and newly commissioned art work

- Double-sided fold out Poster

- Collector’s Booklet featuring brand new writing on Inferno by Alan Jones, author of Profondo Argento

- High Definition Presentation of the film (1080p)

- Optional 7.1 DTS-HD/2.0 Stereo Audio

SPECIAL FEATURES:

- Introduction to Inferno by star Daria Nicolodi

- Dario's Inferno (16 mins interview with Dario Argento)

- Acting in Hot Water: An Interview with Daria Nicolodi (18 mins interview)

- The Other Mother: Making the Black Cat (16 mins) In 1989 director Luigi Cozzi (a long time friend and collaborator of Dario Argento) decided to make the unofficial follow-up to Inferno and 'complete' the Three Mothers legacy. This feature looks at the torrid history of The Black Cat, with plenty of clips too!

- Dario Argento: An Eye for Horror (57 mins) Mark Kermode narrates this documentary on Argento’s career including interviews with George A. Romero and John Carpenter

- The Complete Dario Argento Trailer Gallery [18 films]

- Easter Egg (5 mins of Dario Argento in English, with random memories of Inferno)

Pre-order this essential release here for the DVD or here for the Blu-ray.

City of the Living Dead (1980)

2010-05-26T13:18:00.000-07:00

Paura nella città dei morti viventi.

To say that Lucio Fulci is the most revered Italian Cult icon of the decade is an understatement. His films have grown in popularity from year to year, back before the millennium there was only really one way of seeing his films here in the UK – via Dutch/Swedish company EC Entertainment. They released his most popular films, along with his not so popular later outings, on to the digital format in their widescreen and uncut glory that, at that point, was forbidden on British shores.

If you didn’t have the internet and a credit card then you were destined to endure the heinous Vipco releases that removed all of the glory and featured rather un-flattering Pan&Scan presentations! Now, those of us who grew up with Fulci in the 90’s were no stranger to these horrific bastardisations, as the VHS releases were almost identical, apart from these new versions boasting a unflattering box placed on the front that proclaimed the new DVD releases as the ‘Strong Version’ which meant that the BBFC had let some added gore into ‘em. This didn’t mean dick really.
As luscious as the EC versions were in comparison to the UK releases, better was just around the corner. Anchor Bay (US and UK), THE company for Cult movies in the early 2000’s, was about to unleash their Lucio Fulci collection which featured all the gore and once again gave us those lovely widescreen presentations. Grindhouse Releasing then went and dropped the ‘must have’ release for Fulci fans when they partnered with Anchor Bay to release The Beyond in a lovely tin set that still fetches high prices with collectors. His reputation has gone from strength to strength thanks to these companies' hard work, but there’s still more to be done.

Flash-forward to 2010 and we now have our first taste of Fulci on UK Blu-ray! Uncut with original aspect ratio intact and bursting with supplementary material! Gone is the BBFC tampering! Gone is the Pan&Scan! Gone are those pesky Vipco covers! In comes the hi-definition! What a difference a decade makes.

Now, City of the Living Dead has faired surprisingly well with the BBFC in comparison to other Fulci titles. Upon it’s initial release it was only cut for one scene of head-drilling ultra violence; but more were to come when it came to the video release; luckily, the DPP never targeted the film and it was the first Fulci title to be released uncut here in the UK back in 2001. That doesn’t mean it’s Fulci’s ‘lightest’ film though, for this holds its own in Fulci’s gross-out oeuvre.

The suicide of Father Thomas, in the small town of Dunwich, unlocks one of hell's gates, and supernatural deadites come back to feed on the living. During a séance, a Medium named Mary (Catriona MacColl) appears to drop dead from fright; journalist Peter (Christopher George) is intrigued by the case and visits her gravesite on the day of her burial, only to discover that Mary is still very much alive and already in a whole lot of trouble but is thankfully saved by Peter. According to the Book of Enoch, if the gateway isn’t closed by All Saints Day then it will remain open for eternity and the dead will continue to rise and feed on the living. So Mary and Peter head off in search of Dunwich and attempt to save the world, but Father Thomas and his minions aren’t going to make it easy…

The first of his celebrated trilogy of fright flicks to feature the lovely Catriona MacColl, City of the Living Dead is a true testament to the maestro’s ability to generate cold, claustrophobic atmosphere from simple set-ups. His love for the work of H.P. Lovecraft truly shows here, not with the small town terror (Dunwich!), but with the fog shrouded streets and the decrepit vaults in which humanity fends off the otherworld; the only thing that would make this film more Lovecraftian would be to have the Freudstein residence, from House by the Cemetery, smack in the town’s centre!

The story is threadbare, a valid criticism that can be launched at the majority of Fulci’s output, but we aren’t interested in the film for it’s groundbreaking story arc, what we want is for the dead to rise-up and feed on the living in various graphic displays of grand-guignol bloodshed – and that’s where the film delivers. From the infamous head-drilling scene to the regurgitation of real sheep entrails, there’s something here to upset, or mildly unbalance, the stomach of the most hardened of gorehounds. However, that’s not to say the film is a full throttle splatter-fest, nay, it’s a slow paced little piece that acts very much like the supernatural forces attempting to end humanity: sporadic, grimy, unsettling and at times frightening but ultimately endearing!

After the success of Zombi 2 (Zombie Flesh Easters), Fulci found himself pigeonholed as a director who could churn out a half decent horror flick on time and within a limited budget, the fact that he was able to do it time-after-time during this golden age really does demonstrate the mans genius, he has given Cult cinema numerous films that will remain genre favourites amongst the ever-growing number of fans. It’s only fitting that his catalogue be given such deluxe treatment on the home media format – once branded a hack, the man is slowly starting to be seen for the original talent he was, maverick in his exploits, legendary, or infamous, to all who met him and inspiring to all who appreciates his style of cinema.

The new release from Arrow Video is a thing of beauty; the 1080p presentation is a revelation when compared to previous releases from Vipco, Anchor Bay and Blue Underground. The film has always had a grainy aura about it, which adds to the atmosphere, so it’s great that the presentation still contains an amount for the nostalgic out there, but they have cleaned the print up beautifully and trumps the best DVD release the film received from Another World Entertainment. Then there are the extras…

The set is a strong tribute to Fulci, more so than the film in question, but also to the people who worked with him. The disc is brimmed with interviews with likeable colleagues of Fulci and even a family member. There are interviews with Catriona MacColl, Carlo De Mejo, Luigi Cozzi, Giovanni Lombardo Radici and finally Antonella Fulci; the centre piece being a fifty minute career-spanning interview with Radici that covers the many deaths he’s undergone during his exploitation career! Most enjoyable however was Carlo De Mejo who remains a very passionate and charismatic chap whose love for the film and Fulci really shows.

The interviews are all greatly entertaining and each has a glossy approach, the animated introductions are classic and the little snippets from films that occur through-out add additional humour that will crack a smile in the hardest of fans faces. There’s also a trailer for the film, a booklet written by Calum Waddell, 6 postcards sporting various poster art and a fold-out reversible poster featuring Arrow’s newly commissioned art and a vintage poster on the opposite side. We are also given some ported over extras, first being Catriona MacColl’s commentary from an earlier Vipco release, and a featurette about Fulci from Arrow’s House by the Cemetery DVD entitled ‘Fulci in the House’. That’s not all folks! They’ve gone and commissioned a new audio commentary from Giovanni Lombardo Radici; which amazingly manages to re-frame from covering grounds mentioned in his interview!

Earlier this year I was fortunate enough to attend a special Fulci double-bill in Glasgow, City of the Living Dead was the main attraction, after The Beyond got the evening started in great style. What made it all the more special was Catriona MacColl and Giovanni Lombardo Radici being in attendance to offer a Q&A after the film! I managed to get some questions to them, some of which appear on Arrow’s new release, and some which will surface on their upcoming release of The Beyond. The real treat though, and a thousand thanks to Calum Waddell, was to spend some time after the showing with them. Getting drunk, and shooting the shit with the likes of Catriona and David Hess (who was also in town) was quite the experience! They were great people and truly touched by the number of people who came out to see them that evening. The next event is due in October and I can’t stress how much fun they are and urge you all to make an effort to attend!

City of the Living Dead remains a classic in 80’s horror cinema, and has finally been given the release it deserves thanks to Arrow Video’s hard work and the even harder work from the folks at High Rising Productions whom provided all of the extra material. Fan’s of Fulci should treat this as a no brainer and pick this release up ASAP, fans of Cult cinema will equally find the release essential due to the supplementary material brimming with a vast amount of insight from Cult cinema icons regarding genre favourites. In a word: essential.

Purchase the Blu-ray here.
Purchase the DVD here.

So Sweet, So Dead (1972)

2010-05-11T13:26:00.000-07:00

Roberto Bianchi Montero, father to the infamous Mario Bianchi, has gone somewhat unsung in the digital age. Whereas his spawn has gone on to achieve some notoriety, Bianchi senior has still yet to find his place in Euro-cult history. Born in Rome on the 7th December 1907, Montero made his directorial debut; as Roberto Bianchi, in 1943 with comedy Gli assi della risata. A jack of all trades, Montero bounced from genre to genre during his time as director, finding work constantly from his debut up to his death in 1986; which by that time had seen him move into the hardcore industry working with Mario on smutty projects for Porn icon Marina Hedman (a.k.a Marina Lotar) such as L'amore e la bestia. From Noir to Peplums and Gialli to Pornography, Montero was willing to try his hand at anything if there was money to be made. One of his more memorable films has just been given a deluxe release from Camera Obscura, who’ve just released So Sweet, So Dead his sleazy 1972 Giallo starring Hitchcock regular Farley Granger.

A maniac is murdering affluent women in a small Italian town, at the scene of each crime the killer has left incriminating photographs of the victim in the throws of passion with men whose faces have been obscured; however one thing is certain, the men in the photographs are not the murdered women’s husbands! It appears there’s a moral avenger on the prowl for unfaithful wives and Inspector Capuana (Granger) is the man handed the case due to his big city experience. As high-society fears for its women, politics comes into play as the men upstairs demand that Capuana keep his nose outta rich peoples business, as the fact that their wives had been unfaithful is enough to ruin their reputations, and focus on finding this low-rent scumbag. Red herrings pile up, twists abound but the killer remains as elusive as ever, until Capuana goes to the press with details of the supposed killer … making himself a possible target.

So Sweet, So Dead is a very accomplished Giallo. It’ll appeal more to Sergio Martino fans than Dario Argento’s as it aims to please fans through gratuitous nudity and violence as well as a sterling storyline. Many may see it as misogynistic, which isn’t hard to see why, but the film is almost forty years old and from a stern Catholic country that holds marital vows in high-regard; so it’s more of a ‘warning’ than an out and out attack on women; much like the Slasher movie, which was influenced by the Giallo, was a ‘warning’ to teenagers about the dangers of pre-martial sex! It may seem a dated view point today, as does the Slasher, but back them I’m sure it cause a stir amongst high-society, much like other Gialli in this vein, like Forbidden Photo’s of a Lady Above Suspicion, would have.

Montero handles the death scenes with great style, well some great style as one instance of slow-motion starts off rather effective but then over-does it and becomes unintentionally hilarious as it begins to outstay its welcome. That small stylistic hiccup aside the film proves quite an impressive little shocker, with an intriguing premise and plenty of obviously creepy red herrings thrown into the mix as the story progresses; my favorite being genre legend Luciano Rossi as Gastone, the macabre mortician whose love of death is only matched by his love for the naked, preferably dead, female from! He’s obviously not the killer but his presence is eerie and adds discomfort, and at times, sympathy from the viewer.

What stops the film from achieving more respect though, and no doubt the cause of its obscurity, is the slow second act. After establishing a strong story following Capuana trying his damnedest to get a lead the focus shifts over to the daughter of a high-flier who witnesses a murder, seemingly shifting from a Martino inspired effort to an Argento inspired one that fails to remain as gripping as the opening act. Luckily the focus shifts once again back on Capuana for one of Giallo cinemas finest, misanthropic finales that manages to pack quite a punch still. One scene that also stands out as a fine achievement for Montero is the opening scene of police gathered around the corpse of a slain woman discussing the details of the crime. It’s a gripping introduction that launches the viewer into the mystery from minute one.

For Giallo fans, this title is a must. The one big flaw will be forgivable to hardened fans of the genre; it’s one that you’ll have experienced in more than your fair share of titles. Camera Obscura has created a lovely package for us, as with their previous addition to the Italian Genre Cinema Collection, the equally sleazy Terror Express, this disc is the definitive edition of the film. Housed in a gorgeous slipcase with a fold out cardboard inbox that houses the disc and inlay notes from German Cult film specialist Christian Kessler, who writes a small essay on the feature (which contains both English and German text). Kessler is also on hand for a audio commentary with fellow Cult expert Marcus Stiglegger, it’s in German but the kind folks have seen to it that English subtitles have been added!

The presentation itself is a thing of beauty bar two scenes that have been sorced from what must be VHS, this takes away nothing from the film actually and probably wouldn’t have been missed, but like any good completist they’ve included them here for the full effect: plus some of the added material is additional Susan Scott nudity so I guess we should be thankful for that! Supplement-wise we’re given an extensive interview with composer Giorgio Gaslini, who created a memorable and effective score for the film, which spans his whole career in the Italian film biz. A very nice, geeky extra is the inclusion of the French photo novel! Once again they have provided us with English friendly subtitles for those, like moi, who don’t speak French! It’s also scored for added effect.

Alas there is no trailer for the film, which is a let down but who can be disappointed by that when the package is this great? There was talk that they would include the XXX version of the film which was released stateside as Penetration but due to lack of source elements that has not come to fruition, which is shame as Farley Granger staring in a Harry Reems and Tina Russell shag-a-thon is one hell of a proposition! The material was not shot for the film of course, so has no relevance to the actual finished product but it would have served as a great reminder for a bygone era where producers would go to any length to scrape a few extra bucks from their acquisitions!

So Sweet, So Dead has deservedly been rescued from obscurity and afforded a beautiful release by one of the finest companies out there with a true respect for the product they’re releasing. I’m already excited for their next release, La Orca, which is due out later this year. Genre fans owe it to themselves to treat themselves to this gorgeous release: beg, borrow, steel or ask a loved one – just get it!

Purchase the DVD from these sites:

www.omg-entertainment.nl
www.chainsawvideo.com
www.dtm.at
www.diabolikdvd.com

The Human Centipede (2009)

2010-05-09T05:53:00.000-07:00

Tired of re-makes and sequels? Pained by the thought of conveyer-belt horror being churned out, not just Hollywood, but by Indie production companies and faux-underground auteurs that seem to think that fake-snuff movies are the future for the genre? You certainly aren’t alone, mio amico. When news of Tom Six’ debut The Human Centipede hit the World Wide Web, my interest was instantly raised; what was a Human Centipede? How do you make one? Are they safe? Can I have one? After seeing the trailer for the film, I instantly decided that having one would be wrong and somewhat amoral, but I did want to see the film still– as nasty and twisted as it appeared to be!

Two annoying American tourists, Lindsey and Ashley, breakdown in the middle of some woodland while looking for a club called ‘Bunker’. They are accosted by some German perv who propositions them, but refuses to lend a helping hand in fixing their flat tire. Too add to the cliché, they decide to wonder off into the woods in order to find help… or a road. What they find is a nice secluded house of the mad Doctor Heiter, who specializes in separating Siamese twins; only he's shifted focus from separation to attachment. We can see from a photo that he has successfully made a Dog Centipede and now aims to do the same with these American girls. All he has to do is find a suitable third part, which he does in a Japanese touris, Katsura.

Taking the most clichéd of horror clichés, Tom Six manages to avoid boredom and tedium by creating a great air of unease and mystery from the off-set. There’s also a great sense of dark humor powering the film that is evident from the start; what with the mad doctor trapping bait by shooting a trucker with a dart gun while he takes a roadside dump. When we first meet our American tourists, they come across as air-headed bimbo’s whom you secretly wish bad things upon, which is where the dark humor strikes once again, as bad things do happen to these poor girls; very bad things.

This is the beauty within the grime; the set up is so familiar that you’ve already figured out what the character will do next in vein attempts to escape; but much like the doomed protagonists, Director Tom Six is playing with us as the villainous doctor is his captives. They aren’t going to escape and neither are we – the horror will play out, and we will watch and endure it. The idea of the human centipede is revolting enough, but when the doctor begins to describe how he will achieve his goals, the stomach will start to feel queasy. Then the harsh realities of what would occur, in such a situation as this, start to arrive as the film progresses and it isn’t pretty; but then again when has the consumption of excretion ever been portrayed as pleasant? Let alone scar tissue exposed to such bodily discharge – revolting stuff indeed. Yet for all the revulsion the film remains gripping and engrossing.

Taking our fear of medical procedures to new sickening heights, The Human Centipede is a film that will be required viewing for genre fans whom believe they have 'seen it all'. The film itself is like an extended version of a Tales From The Crypt episode, so some viewers may loose interest after the first hour. Which is understandable, as it's a film with little to say and even little less to show after it's initial premise, we get to see the Centipede within the first half hour of the film, once seen the gimmick will soon wear-off and the story really has nowhere to go after that. Luckily, Deiter Laser gives a hugely enjoyable performance as the demented Dr. Heiter. Given that he's in the majority of the films run-time, had the role been cast to a lesser actor the film wouldn't be half as enjoyable and watchable as it is.

Tom Six is due to start production on the films sequel, which will apparently make this outing look like a child's movie, as long as he has more to say in this outing I can't see why the sequel can't better the original,. outside of it's great premise, lead performance and confident direction, The Human Centipede does begin to outstay it's welcome, even at ninety minutes. I wouldn't call the film a disappointment in the least, it's a solid little entry into a new decade of horror; but it's a film that was in need of a much needed kick in the ass in terms of pacing, Six goes hell for leather for forty minutes then falls into lackluster for the next half hour before picking back up the pace in the films admittedly gripping climax.

Highly recommended indeed, just don't expect to have your world moved, there's a talented man waiting to bloom; if this film hints at anything, it's that of a brave new voice in the horror community. One that has been brought up on Cronenberg movies, while having a love for the Japanese horror explosion of the late 90's/ early noughties – Takeshi Miike in particular – and is fully aware of the fear we have of traveling abroad.

Theatrical Trailer:

May releases...

2010-04-29T01:19:00.001-07:00

May is going to be a great month for Cult fans here in the UK, with a triple-bill of sleazy goodness coming our way from Arrow Video and Shameless Screen Entertainment!

THE DEFINITIVE DVD AND BLU-RAY RELEASE OF LUCIO FULCI’S ZOMBIE CLASSIC.

One of the most revered zombie films of all time amongst horror fans, Lucio Fulci’s classic City Of The Living Dead gets the full Arrow Video treatment on DVD and Blu-ray in May 2010, presenting the film fully restored and uncut and complete with a host of unique and exclusive extras and featurettes specially commissioned for this must-have release.

Among the many extras are a newly recorded audio commentary with actor Giovanni Lombardo Radice, an introduction to the film by star Carlo De Mejo, ‘Carlo Of The Living Dead’, a 17-minute featurette in which De Mejo reflects upon his time working with the Italian master of splatter, Lucio Fulci, plus ‘Penning Some Paura’ in which the film’s screenwriter Dardano Sacchetti shares his recollections of writing an Italian horror classic.

The 50-minute ‘The Many Lives And Deaths Of Giovanni Lombaro Radice’ presents an extensive biography of the legendary screen victim, who guides viewers through the making of his most famous gut-crunching classics including ‘House On The Edge Of The Park’, ‘Cannibal Apocalypse’, ‘Cannibal Ferox’ and, of course, ‘City of the Living Dead’.

In addition to providing an alternative audio commentary to the main feature, legendary horror actress Catriona MacCall recalls playing the role of Mary in the film in ‘Dame Of The Dead’ and reflects upon the film 30 years on. Catriona also appears alongside Giovanni Lombardo Radice in a 20-minute retrospective Q&A session exclusively filmed live at the Glasgow Film Theatre following a recent special screening of the film.

Filmed in the Profondo Rosso shop in Rome, ‘Profondo Luigi: A Colleague’s Memories Of Lucio Fulci’ focuses on director Luigi Cozzi (Contamination; Starcrash; The Killer Must Kill Again) who talks about his own memories of Lucio Fulci and the Italian boom in zombie horror, while in ‘Fulci’s Daughter: Memories of the Italian Gore Maestro’, Antonella Fulci, the daughter of the legendary filmmaker, reflects upon ‘City Of The Living Dead’, the experience of visiting her father’s sets and about his enduring legacy.

Both the DVD and the Blu-ray releases of ‘City Of The Living Dead’ also come with four sleeve artwork options, double-sided poster, six postcards and a newly commissioned booklet, ‘Fulci Of The Living Dead’, written by Calum Waddell and featuring exclusive new interviews with Sergio Stivaletti (Wax Mask), Carlo De Mejo, Antonella Fulci and Ian McCulloch (Zombie Flesh Eaters) among others, providing an in depth career retrospective on the Grand Old Man of Italian Gore.

Directed by Lucio Fulci (The House By The Cemetery; The Beyond; Zombie Flesh Eaters) and starring Christopher George (Mortuary; The Exterminator; Grizzly), Catriona MacColl (The House By The Cemetery; The Beyond), Carlo De Mejo (The House By The Cemetery; Alien Contamination), Giovanni Lombardo Radice (Cannibal Apocalypse; Demons 3 and 4) and Michele Soavi (Demons; Phenomena; Tenebrae), City Of The Living Dead begins with the suicide of a priest in a church cemetery in the small town of Dunwich, New England. A sacrilegious act, the priest’s death mysteriously results in the opening of the gates of hell and, as fate would have it, it falls upon a reporter, a young psychic, a psychiatrist and his patient to team up and find a way to close the portal before All Saints Day, when the dead will rise and feed upon the living.

A hugely influential and much-admired work of horror cinema by one of the genre’s undisputed masters, City Of The Living Dead, taken purely as a stand-alone film, is a must-see horror classic. Now, this definitive special release from Arrow Video is, without doubt, a must-have for every horror fan.

City Of The Living Dead (cert. 18) will be released a two-disc DVD (£17.99) and single-disc Blu-ray (£22.99) by Arrow Video on 24th May 2010.

Special Features include: newly recorded audio commentary by actor Giovanni Lombardo Radice; audio commentary by actress Catriona MacColl and author Jay Slater; introduction to the film by star Carlo De Mejo; ‘Carlo Of The Living Dead featurette; ‘The Many Lives And Deaths Of Giovanni Lombardo Radice’ featurette; ‘Dame Of The Dead’ featurette; ‘Fulci’s Daughter: Memories Of The Italian Gore Maestro’ featurette; ‘Penning Some Paura’ featurette; ‘Profondo Luigi: A Colleague’s Memories Of Lucio Fulci’ featurette; Catriona MacCall and Giovanni Lombardo Radice Q&A session at the Glasgow Film Theatre; ‘Fulci In The House – The Italian Master Of Splatter’ featurette.

UK exclusive features directed by Calum Waddell and edited and produced by Naomi Holwill with associate producer Nick Frame.

Just so everyone knows here's the running time on these new extras:

Carlo of the Living Dead (17 minutes)

The Many Lives and Deaths of Giovanni Lombardo Radice (50 minutes)
Dame of the Dead (25 minutes)

Live from the Glasgow Film Theatre (20 minutes)

Fulci’s Daughter: Memories of the Italian Gore Maestro (27 minutes)

Penning Some Paura (18 minutes)

Profondo Luigi: A Colleague's Memories of Lucio Fulci (17 minutes)

Whilst the collector's booklet chips in at over 5000 words!

I was in attendance for the 'Live from the Glasgow Film Theatre' featurette and it promises to be a great watch.

Next up from Shameless is:

THE FIRST EVER UK RELEASE OF

MARIO BIANCHI’S EUROSLEAZE SHOCKER!

Horror, madness and fevered sexual tension build into a frenzy of unhinged lust and murder in Satan’s Baby Doll, a psychedelic slice of Eurosleaze madness that delivers all the twisted weirdness and cinematic insanity a cult movie fan could desire.

Now this cult classic from prolific porn director Mario Bianchi gets the full Shameless treatment on DVD, featuring an exclusive Shameless ‘Rebuild’ version of the film.

Satan’s Baby Doll features golden age porn diva Marina Hedman, trash movie queen Mariangela Giordano and, in her unique appearance, Jacqueline Dupré. The latter stars as a innocent teenage girl possessed by the wicked spirit of her dead mother; a slain woman who seeks revenge by driving her kin to the edge of sanity.

Now, in the crypt deep beneath a gothic castle, evil is stirring, ready to whip the residents into an orgy of carnal desire and bloody murder...

Satan’s Baby Doll (cert. 18) will be released on DVD (£15.99) by Shameless Screen Entertainment on 31st May 2010.

Special Features include: Shameless ‘Rebuild’ version of feature presentation with extra footage previously only available in XXX version; unique collector’s poster of the original artwork for the film; Mariangela Giordano biography (adapted from an article by Alan Jones and Mark Ashworth); alternate scenes; theatrical trailers; Shameless trailers; optional English subtitles

Reverse art:

This will be the third unique cut of the film, Severin Films is was just the softcore release while the X-Rated Kult release was the full-on hardcore version; this baby is somewhere in the middle!

Finally we have:

Caligula, one of the most notorious films in cinematic history, becomes the ultimate in high def decadence with Arrow Video’s release of Tinto Brass’ ludicrously opulent, multi-million dollar ‘porn epic’ as a spectacular two-disc Blu-ray edition, featuring the uncut version of the film in all its eye-opening glory.

Caligula – The Blu Edition comes complete with four alternate sleeves (including one especially commissioned for this release), a double-sided poster plus a special collector’s booklet.

Initially hauled over the coals (and drastically censored) in 1979 on the grounds that it was indecent and potentially obscene, almost 30 years later, in 2008, this uncut version of Caligula was finally granted an 18 Certificate by the BBFC. Notable for being the only major motion picture ever to star esteemed British actors of the calibre of Malcolm McDowell, John Gielgud, Peter O'Toole and Helen Mirren alongside scenes of extreme violence and explicit hardcore sex, Caligula is a true ‘porn epic', a veritable catalogue of depravity the likes of which have never been seen in one single film before or since.

A ridiculous and bombastic hymn to the decadence of the Roman Empire, this is definitely one movie that that has to be seen, if only to wonder, firstly, how the thing ever got off the ground, and secondly, how it was ever completed. Based on Suetonius's ‘Lives Of The Twelve Caesars' and scripted by celebrated author and historian Gore Vidal, the film was produced by ‘Penthouse' magazine publisher Bob Guccione, with the list of potential directors including the likes of John Huston and Nicolas Roeg. However, when Guccione chanced upon a preview screening of Tinto Brass's ‘Salon Kitty', he knew he had found the right man for the job. Unfortunately, Brass and Guccione's respective visions of what the film should be were worlds apart and no sooner had shooting started than the ‘artistic' bickering began with Vidal, Guccione and Brass all falling out with each other. Vidal was barred from the set and once principal photography was complete, Guccione banned Brass from the editing room and, after shooting extra footage of hardcore sex scenes, the ‘Penthouse' boss set about editing the film himself.

The result is the stuff of legend - an insane, pornographic orgy of a film that details the rise and fall of the titular Roman Emperor (brilliantly played by McDowell), his sexual passion for his sister, his marriage to Rome's most infamous prostitute (Mirren), and his spectacularly inventive ways of dealing with his enemies, all garnished with the totally inappropriate sexual rompings of a dozen or so Penthouse Pets. If nothing else, Caligula truly is cinematic madness on the grandest scale.

The two-disc Caligula – The Blu Edition (cert. 18) will be released on Blu-ray (£19.99) by Arrow Video on 3rd May 2010. Special Features include: deleted and alternate scenes; theatrical trailers; North American bonus footage; behind the scenes footage; ‘The Making of Caligula’; ‘My Roman Holiday’ with John Steiner; ‘Caligula’s Pet: A Conversation with Lori Wagner’; ‘Tinto Brass: The Orgy of Power’; stills galleries; DVD-ROM content.

Harlequin (1980)

2010-04-23T03:11:00.001-07:00

(A.K.A Dark Forces)

Australian cinema wasn’t of interest to me until recently, sure I’m a fan of the current crop of new wave films such as Wolf Creek, Coffin Rock, The Proposition, Van Deimen’s Land and the like; but films from the yesteryear of Ozploitation really hasn’t appealed to me. Films like Stone and Felicity have entertained me greatly, yet I didn’t feel the need to actively search for further viewing, that was until I watched Not Quite Hollywood, which is essential viewing for anyone interested in exploitation cinema from around the globe. It’s an eye-opening experience that has left me kicking myself for not picking up the slack at the earliest opportunity as there is a goldmine of Ozploitation treasure to be found! One such treasure is Harlequin (Dark Forces) directed by Simon Wincer.

Basically a modern re-telling of the Rasputin story, the film stars David Hemmings as Nick Rast, a senator with friends in the right places and a shot at furthering his career. However, things aren’t all rosy for Nick as his wife, Sandra (Carmen Duncan) no longer loves him and their son is terminally-ill with leukaemia. When a mysterious faith healer named Gregory Wolfe (Robert Powell) shows up at the family home promising to cure the boy, Sandy accepts his proposal much to Nick’s objection. The boy shows signs of improvement and is soon on the road to recovery, Sandy soon falls for Wolfe and Nick’s friends start to worry that their poster boy’s image is going to be tarnished by these recent events. Wolfe is seen as a threat, and has to be removed, by any means.

Harlequin is a slow-burning pleasure from start to finish. The opening birthday party sequence features Powell in the most arresting of clown costumes, one that will surely send a shiver down the spine of the most hardened of horror fans. The most intriguing aspect to the film is the mystery that surrounds the characters, who is Wolfe? Why are Nick and Sandra in this loveless relationship? Just who are Nick’s friends and how much clout to they have? The film keeps your attention for 90 minutes of solid entertainment. I came into the film expecting an exploitation movie, but this is assured filmmaking with a great cast and was clearly a product of love. Granted the effect work is dated and now add a camp charm to the proceedings but the film still remains an engrossing piece regardless of its surface flaws.

Robert Powell gives a great performance as Wolfe; he’s clearly engaged in the role and delivers the goods as the mysterious, but loveable, stranger. He also rivals Tim Curry for the most sinister looking cinematic clown. David Hemmings also provides us with a likeable performance as Nick, he’s a flawed man but determined, as his life begins to crumble around him it becomes clear that maybe he isn’t the great man he’s told he is. Carmen Duncan also shines as the suffering housewife longing for some genuine affection and attention. They are three complex characters, who could have come across as complete arseholes, but thanks to the three main stars it’s a pleasure to get involved in their situation, seeing it play out and watching them feed off one another.

There’s also an alarming message for viewers in the films climax, I don’t want to give it away but it’s certainly as relevant and frightening now as it was back in 1980. Harlequin is quite the gem, it’s engrossing, well acted, well directed and well photographed, it’s let down by a few ‘signs of the time’ in regards to the not so special effects work, but other than that there is very little to the film that I can see spoiling the viewing experience. Definitely a great film to settle down with on a Sunday evening with a nice cold beer.

Purchase the British DVD here.
Purchase the superior R1 DVD here.

Day of the Dead (1986)

2010-04-23T02:44:00.000-07:00

Much, much and much has been written about George A. Romero’s acclaimed … of the Dead trilogy, but there’s something at play here that brings fans back to these films and attracts hordes of new horror fans annually. So why shouldn’t I put in my five pence? I myself remember the first time I witnessed Night of the Living Dead on television in the mid 90’s, out in a cottage in the middle of nowhere in West Wales, late at night with some dodgy aerial reception that didn’t hinder the experience in the slightest, in fact it amplified the effect of the movie, as did my location. Luckily my mother was clued up and had friends with an equally fine taste in entertainment, so I was witnessing Dawn of the Dead within days of my first expose to this zombie outbreak.

That tape didn’t move from my VHS player for pretty much my whole stint in High School (except maybe for the occasional viewing of Pulp Fiction, From Dusk Till Dawn or Usual Suspects – hey, it was the mid 90’s, who wasn’t watching them?) causing me nightmares on a nightly basis, it didn’t bug me, they actually made sleep more enjoyable. Living out my own zombie outbreaks in my head on a nightly basis, who could begrudge that?

Finding the final piece of the story didn’t come for a little while longer however, when cable station Bravo finally showed it late one night, needless to say I was ready, very ready. How was this going to live up to Dawn of the Dead? For me that was the pinnacle of horror cinema, if a kid would claim they’d seen the greatest horror movie ever, normally Wes Craven’s Scream during this period, I’d call them a liar to their face: What did they know?

I may only have been 13 but I thought I’d seen the greatest accomplishment in horror history; could the darkest day in horror really beat it? Back then I’d have said no, but now? I’m thinking it did.
The world has been defeated; the walking dead have claimed the world for themselves. Survivors are few and even further between; those who have made it through are gathered in an abandoned military silo. Risking their lives to venture into heart of Florida to look for stragglers, hope of finding further survivors is bleak to say the least. Sarah and fellow scientists, Dr. Fisher and the eccentric Dr. Logan, are conducting various experiments on the undead in hopes of finding a cure or reversal to the outbreak. Captain Rhodes and his men, including Sarah’s boyfriend Miguel, have other designs. They want nothing more than to get free of the silo and attempt to locate other military personnel. John, a helicopter pilot and Bill, the radio operative round out the group as a third party to the scientists and military bodies: keeping themselves to themselves in their self made ‘Rtiz’ cabin.

Rhodes has become a tyrant, claiming the clan as his property he barks orders and makes demands of everyone in the silo; even those not under his command. He’s unhappy that his men are taking fatalities due to the scientists requiring zombie specimens and demands evidence that their work is worth the risk. As anger boils, distrust runs high and hate is the only common bond between the inhabitants; it becomes apparent that being around other humans is just as destructive as being out there with the zombies.

Dr. Logan has a breakthrough with his pet experiment, Bub. A zombie that shows signs of emotion towards his captor and is even docile around other humans, it would appear he’s been taught to behave. Rhodes in none too please by the circus act and threatens to close down the project totally, however a tragic accident sets in motion a chain of horrific events that proves just as deadly as any zombies threat they were trying to protect themselves from.

‘The darkest day of horror the world has even known’ couldn’t have been a more fitting tagline for this movie. The bleak realisation that humans are their own worst enemy (which was touched upon in both Night and Dawn) never makes for an entertaining watch, but Romero ingeniously makes the villains of the piece so fantastically vile that you get some relief in seeing them perish. On the flipside, there’s also a humanity to them, at heart they’re scared little school boys resorting to bullying tactics as a result of severe hardship from their authority figures.

The most human of character however, and the irony isn’t hard to miss, is Bub. There’s so much to praise in Sherman Howard’s performance that it’s pointless discussing it, all you need to know is he’s possibly the most memorable character in all of Romero’s Dead movies. Having Bub as the heart to this otherwise heartless movie is also cause for more darkness, the tone is so bleak that you have to question whether or not humans are worth saving in a world were the lifeless show more care and compassion. Even the charismatic John and Bill show favouritism towards leaving other humans behind and taking care of themselves – though with Rhodes in charge of the show you can hardly blame them.
Much criticism was launched at the unsympathetic characters, this has always bothered me. Romero obviously wanted to do something different here, possibly due to his own observations on Regan-era America? Maybe he was just angry at the fact he had his budget pulled from beneath him and lashed out? Or it could be he just felt that it was the logical progression for the series? Nice guys finish last they say; so where does that leave mankind at the end of the earth? Whatever his reasons were, it was a brave decision that is only just starting to find its rightful place in the horror canon as the classic that it is.

Arrow Video has just released a 25th anniversary edition Blu-ray and it’s a thing of beauty. The film looks fantastic in 1080p resolution, with vivid colours and strong blacks making the final onslaught of blood and guts extra easy on the eye; just not on the stomach. They’ve also gathered plenty of extras for the fans; porting over various features and documentaries from past releases (Anchor Bay US and the previous Arrow DVD release), they’ve chucked tonnes onto a second DVD. On the Blu they’ve carted over a commentary from a previous release and they’ve also commissioned some new features exclusive to this release, by up and comers High Rise Productions.
Joe of the Dead is an in-depth interview with the obnoxious captain Rhodes himself, Joe Pilato. He discusses his roots in acting, how he met George A. Romero and how he came to be cast as one of 80’s cinemas finest villains. He also offers up his thoughts on the great man, a statement he’ll state himself in an entertaining 50 minutes of chin-wagging. Travelogue of the Dead is the second feature and it’s a fun 15 minutes of Joe at screenings of Day of the Dead in Scotland and Ireland meeting his fans and holding entertaining Q&A sessions. If you think he looks a little tipsy during some of these sessions I have it good authority that he actually was, rock and roll, Joe… rock and roll.
If that wasn’t enough we also get a miniature replica UK quad poster, four covers to choose from and a booklet entitled For Every Dawn There Is A Day written by UK journalist Calum Waddell, which features some great insights from cast members and his good self. There’s also a marvellous 24-page comic book produced exclusively for this release, Day of the Dead: Desertion a prequel of sorts that tells the story of the iconic Bub and how he ended up in the situation he finds himself in during the movie. Who could refuse such a loving package?

Purchase the Blu-ray here.
*Please note that the images contained within this review are not taken from the Blu-ray.

Law Abiding Citizen (2009)

2010-04-23T02:29:00.001-07:00

This might seem an odd choice to cover on a blog such as this, but it’s actually a polished exploitation movie from a director who has made some exciting genre films within his career, not to mention some great music videos but then again he’s also responsible for some pretty shoddy studio movies too. F. Gary Gray’s 1995 directorial debut was ‘hood’ comedy-classic Friday, starring Ice Cube, whom Gray had worked with on Cube’s excellent ‘It Was a Good Day’ video, and Chris Tucker as a couple of stoners who are about to get in over their head with a neighbourhood drug dealer. He followed that up with Set It Off in 1996, an underrated heist movie featuring all women bank robbers which was notable for Queen Latifah’s performance. His big break followed shortly with The Negotiator in 1998.

The Negotiator was Gray’s first studio movie, with a big-budget and big names attached. Kevin Spacey and Samuel L. Jackson star as titular hostage negotiators, the twist being that a hostage negotiator is actually holding hostages after a cover-up incriminates him erroneously and forces him to take desperate actions in order to clear his name. It’s one of 90’s action cinemas finest and holds up even today, Graeme Revell score is a thing of beauty I might add. Too bad it was all down film from there, with The Italian Job re-make, Vin Diesel disaster A Man Part and the terrible Get Shorty sequel, Be Cool taking up space on his CV throughout the noughties.

Law Abiding Citizen is a powerful return to form. It’s also very reminiscent of 80’s vigilante flicks that you’d expect Bill Lustig and Larry Cohen to have produced; only it benefits from modern technology and a greater budget. After the vicious murder of his wife and daughter, Clyde Shelton is devastated to learn that the lead perpetrator in the act has coped a plea with the prosecution, lead by Nick Rice, that will see him charged with 3rd degree murder for pinning the blame on his partner in crime. 10 years later and it’s execution time for Ames, the unwilling partner, however things don’t go to plan and his injection tank has been replaced with some sort of acidic chemical causing a violent death.

Baffled by the act, Nick tries to locate Darby, the man who made a deal with him 10 years previous. Unfortunately for him Shelton gets to him first, paralyzing him and slowly torturing him to death whole filming the act. Once the body is discovered Rice wastes no time in tracking Shelton down, who willingly goes with the police for interrogation. During the interview Shelton confesses that he did wish them dead, but does not give a full confession, if Rice wants that he has to bargain with him and meet a series of demands; demands that appear trivial but carry a heavy consequence if they aren’t, met as Rice will find out. Shelton is about to wage war upon the system that stole justice from him… and it’s going to be biblical.

Starting with the brutal home invasion of Shelton, it’s obvious from the get-go that the film isn’t going to shy away from the violence. It’s gritty, hard-to-watch and a horribly realistic depiction of barbarity that will offend, disturb or revolt the viewer; which is what makes the film so gripping, watching to see how far they will take it. One scene of violence will stun even the hardened of gore hounds, it’s a single-take bloodbath of crushing carnage that rivals the fire extinguisher scene from Gasper Noe’s revenge tale Irreversible for shock value. This is the stand-out piece however that towers over all the explosives that follow after it, it’s the shocking realism of violence that elevates the film and makes it memorable – explosions are fun, but they’re rarely memorable.

Gerard Butler steels the film as the vengeful Shelton, he’s a man pushed over the edge not but an act of violence, but by an act of injustice. Plotting his payback over a decade, he truly means it when he says that he plans on bringing down the justice system on those who thrive within it. It’s a full bloodied story that will have the majority of its audience on Shelton’s side for the opening half, the line begins to blur as it seems as if he has snapped and become no better than the animals that snatched his family from him. He may believe he’s doing the right thing, hell maybe some will agree that he is, but can the taking of innocent peoples lives ever be justified? To the films credit it remains unbiased in its depiction, allowing audiences to question the actions within the film and come to their own conclusion.

The film looses it’s urgency after the first 50 minutes as the film changes focus from Shelton executing his plans to Rice trying to prevent him from continuing his revenge; even though he’s in prison the whole time! The ending might prove frustrating for some, it’s not a gun-ho finale but a more restraint effort which deals more with the complexities of the characters actions and walks that fine line between right and wrong which again will depend on the viewer. It’s a great premise that provides its audience with two solid hours of bone-crushing entertainment. It’s a return to form for F. Gary Gray and it proves that Gerard Butler can find work outside of chick-flicks! Too bad Gray’s next scheduled film is a sequel to the re-make of The Italian Job. Here’s hoping he has some more quality genre films up his sleeve for us.

Purchase the DVD here or Blu-ray here.

Vice Squad (1982)

2010-04-14T00:54:00.000-07:00

Chicago born Gary Sherman is an underrated man in my book; he’s produced more than his fair share of certified classics and remains somewhat unsung. His debut was one of British horror cinema’s greatest films of the 70’s, the Donald Pleasance staring shocker Death Line (or Raw Meat as it was renamed in the US), is as original as it is brutal. Pre-dating Chris Smith’s 2004 sophomore effort, Creep, by some 30 years, the films tells the story of Cannibals roaming the London underground. It’s a British horror classic that deserves space on any self-respecting horror fans shelf, as does his next foray...

Dead & Buried is not shy of infamy here in the Britain, after managing to land it self on the Director of Public Prosecutions list of ‘Video Nasties’ during the 80’s. Whether or not it deserved to be on that list is up to the viewer, I’m of the opinion it didn’t. It’s a confidently made piece with a true air of unsettling dread that deserved to be on top 10 horror movies of the decade and not one of the 39 titles deemed obscene and corruptive to the British public; along with schlocky titles such as Mardi Gras Massacre, Unhinged and Snuff which when compared, in terms of quality and overall goodness with Dead and Buried really does makes ones head ache. But I digress.

His third film was the lesser known, Vice Squad, a sleazy little number that focuses around the pimps, hoes, john’s and police who try in vain to maintain order in the shady areas of downtown Los Angeles. Princess is a struggling mother who has turned to prostitution in order to support her child once her business career comes to an abrupt end. Ramrod is a brutal pimp who is responsible for the death of a young hooker and detective Tom Walsh wants him behind bars and is willing to go to any length to accomplish this.

After busting Princess on an undercover sting he uses her as bait to get Ramrod, who is less than happy at being set-up and makes it his mission to exterminate the deceitful little hooker. Busting out of the cop car, he escapes and makes it his goal to snuff out the floozy that turned coat on him; it’s a race against time for Walsh and his people as they all attempt to hunt down Princess before Ramrod gets his grubby, but trusted, little coat hanger on/in her and ruins her already pretty shitty night.

Vice Squad remains something of an undiscovered gem, considering it’s made from a respected director, with the majority of his filmography available on DVD here in the UK, it’s saddening that this is the only early title yet to be made available to us; as it’s a hoot from start to finish. Wings Hauser, who plays the psychopathic Ramrod with a balls-to-the-wall performance, is one of 80’s cinemas undiscovered super-villains. His dedication to get what he wants is only matched by his need to brutalise women, and his dumb-as-a-hammer cowboy persona soon turns to unrelenting psychotic with terrifying glee.

Kurt Russell’s ex-squeeze Season Hubley does what’s required of her but she’s upstaged at every point by both Hauser and Gary Swanson, who plays Walsh, bringing an air of cool to his performance that wouldn’t seem out of place in a Paul Newman performance; though he too weans when sharing a scene with the mighty Hauser. Along with some top performances, Vice Squad also sports some great location shots; the neon strip of L.A. really gets it praise sung here. It’s as seedy and frightening as it is intriguing to watch, as people of the night stalk each corner and john’s approach pro’s for a list of shameless sex acts, from water sports to er… necrophilia.

Sherman handles the material with maturity and never exploits the situations that arise throughout the script, he also demonstrates a great knack for action set-pieces here, which would come in handy when he followed up Vice Squad with the 1987 Rutger Hauer shoot ‘em up Wanted: Dead or Alive. The fluidity of Vice Squad shows Sherman was well on his way to mastering the craft, which would then peek with his big studio horror outing, Poltergeist III, which remains as under-appreciated today as it was in 1988.

Years of slipping under the radar have obviously taken its toll on Sherman as since 1990 he’s made only 2 theatrical features, the obscure schoolgirls-in-peril movie Lisa and more recently, 2006’s 39: A Film by Carroll McKane which sees Sherman departing from genre filmmaking and branching into experimental media. He spent the majority of the 90’s working in television making movies and producing such Cult classic television shows as Poltergeist: The Legacy.
He’s now a full-time lecturer of Directing & Producing at Columbia University. He’s an unsung hero of the horror genre who deserves more acclaim than he has thus far, luckily with saturated DVD companies being forced to hunt down new material, maybe we’ll see this on British shores one day soon? Here’s hoping Sherman is given the chance to speak on his career and tell us his feelings on his time as a genre filmmaker. Do yourselves a favour and check out this mans great additions to the genre cinema, if you haven’t already began doing so.

Gary Sherman on DVD:
Death Line
Dead & Buried
Vice Squad
Wanted: Dead or Alive
Poltergeist III

Grizzly (1976)

2010-04-14T00:37:00.000-07:00

When a small little movie by the name of Jaws hit big at the box-office in 1975, Universal Pictures cinematic landmark inevitably spawned a whole slew of rip-offs, some which were shamelessly ripping it, such as Italian schlock master Bruno Mattei’s infamous 1995 TV effort Cruel Jaws , which went as far as to steel the dialogue! Others however decided to camouflage its influence somewhat, such as William Girdler’s 1976’s Grizzly. Armed with a budget of $750,000 – compared to Spielberg’s $7,000,000 – Girdler decided to set his feature inland, and his chaos causing animal of choice was a ferocious 18-foot grizzly bear, hence the loving moniker ‘Jaws with claws’ being born.

Two young hikers are mauled at a National Park, Ranger Michael Kelly (Christopher George) is shocked at the destruction caused to the surrounding areas as well as the victims bodies and fears for the worst. The corner confirms his fears, the girls died after receiving wounds inflicted by a bear. The park’s supervisor, Charley Kittridge (Joe Dorsey), pins the blame and Michael as all bears were supposed to have been cleared out before tourist season began and demands the corpse of the guilty bear. Arthur Scott (Richard Jaeckel), the parks naturalist informs that all bears were moved in time and none got by him, Michael asks Charley to close the park to allow him and Arthur time to locate the rogue bear but his request is denied.

Deaths in the park area are becoming more and more frequent, and they are starting to hit home as part of the Park Rangers are starting to perish, yet the park’s supervisor still refuses to close shop until the mauling of a mother and her child. As desperation mounts, Michael, Arthur and park guide Don Stober (Andrew Pine) launch one more ditch attempt to bring this bear down once and for all. The hunter is now the hunted, or is it?

Grizzly lives up to the name in more than one definition, what first impresses is the level of gore the film contains. It may have only a fraction of the budget the movie which inspired it has, but it sure-as-hell has more grue to offer. It doesn’t have the money to make a full animatronic bear, so opts for a real grizzly. Unfortunately for them, kinda, finding a tamed bear that big would be nigh-on impossible, so Girdler has to be creative with what he shows and which angels to shoot; some of these shots are pretty laughable in this day and age, but certain shots of the live bear raising on it’s hind legs do send shivers down the spine – the bear looks rather large, in real life it was 11-foot, and intimidating! You won’t envy the cameraman that’s for certain.

Christopher George does his best Sheriff Brody impersonation here; the character bears (tee hee) a little too much in common for it to be coincidental. In fact the whole dynamic of the three male leads is strikingly similar to that of Jaws, however the characters here aren’t as likeable and they’re lacking a Quint-like older character. Where it does excel over Jaws is in its brutality, grizzly is 2,000 tonnes of big furry anger and he sure-as-shit isn’t afraid of showing that off! Bloodily clawing peoples arms and heads off with ease and bear-crushing chumps like it ain’t no thang, Grizzly is one mean mother.

Though the film doesn’t have the same energy that drove its inspiration it does have the heart to match it. It’s a likeable little film let down by some sloppy pacing towards the final third, but small gripes aside, this is a modest classic in itself. It’s vicious, it’s funny (some times unintentionally) and it’s all entertainment! Those with a fondness, like myself, for the Jaws clones will find plenty to admire here and the films climax is truly legendary, it needs witnessing to be believed. Ignore the UK release however, there’s a lovely 2-disc edition from US company Shriek Show that’s more than worth your hard earned pennies. Overall Grizzly is certainly big, but it sure isn’t clever and it’s all the more loveable for it.

As an interesting aside, a sequel was to Grizzly was planned and actually went into production 1983. Grizzly II: The Predator was never fully completed, cast in minor roles in the movie were none other than George Clooney, Laura Dern and Charlie Sheen! After fund ran out in ’83, production restarted in ’87 and filming was completed, however now actual footage of the bear was completed and neither were all the effect shots. The film was believed to be an urban legend of sorts until a workprint for the film surfaced online in 2007! Apparently the film resolves around a rock concert in which the bear was due to come and terrorise, the title was also renamed to Predator: The Concert due to rights issues. Oh what could have been aye?

Purchase the 30th anniversary edition here.
Those without a multi-region player can get the UK release here. (Not recommended)

The House of the Devil (2009)

2010-04-11T07:00:00.000-07:00

In 2005, a then 24 year-old, Ti West released The Roost, a low-budget fright flick involving teenagers under attack from rabid bats who turn their victims into blood thirsty zombies. As fun as it was trashy, the film did well on the festival circuit but didn’t make much impact on the horror community generally. It's a stylish piece that employees 16mm filmstock and looks all the better for it! His break came when he was hired to direct the follow-up to Eli Roth's smash-hit gross-fest Cabin Fever in 2007.

Cabin Fever 2: Spring Break was a troubled production for the young director, producer interference resulted in West wanting his name removed from the finished film and having it replaced with the now legendary Alan Smithee. Due to him not being a guild member the request was denied and his name has remained as director of that film, while all of this was going on however, West had set in motion another movie, a throwback to the good ol' 80's entitled The House of the Devil.

The House of the Devil tells the story of Samantha Hughes, a college student who is in desperate need of escaping the confides of her student accommodation. She has found the perfect apartment, the landlady (a nice little cameo from Dee Wallace) is taken by her and offers her the apartment without requesting the $300 deposit she normally would. All Samantha has to do now is find the $300 for the first months rent. Spotting an advert for a babysitter she contacts the number on the advert and registers her interest, she's asked if she can meet the man who placed the add, they agree a time and place but he doesn't turn up.

Later that night she receives a desperate call from the man asking if she is still available, she accepts and heads out to his house in the sticks with her buddy, Megan. Once there they're met by the ageing Mr. Ulman, his desperation is evident and he confesses that he doesn't require a babysitter, but someone to take care of his mother. Hesitant at first, Samantha refuses, in desperation Mr. Ulman offers her $300, Samantha agrees to do it for $400 and he agrees, half up front and half once he returns. Megan leaves Samantha and agrees to pick her back up in 4 hours, but as Samantha is about to learn, a lot can change within 4 hours.

Once again, West opts to shoot his film on 16mm and the results are fantastic. The essence of early 80's cinema is evident from the first scene, by the time the title card hits the screen you know you're in confident hands. This is a director that truly admires the era he's homaging and his ability to recapture the aura of these films is apparently effortless for him, he knows every angel and every technique from 80's horror and throws them at the audience one after another. If you admire this era of filmmaking then you'll instantly fall in love with the movie.

If the opening statement of the film is to be believed, 70% of Americans by the 80's believed in Satanic Cults and the other 30% believed this was a government conspiracy. This helps explain the rash of the satanic themed movies that hit screens through the 70's and early 80's, we've come along way since then and the demand for Satanic based movies has dropped significantly; so it's to West's credit that he's set about re-discovering an under appreciated genre for cult enthusiasts to get their teeth into, he just may also have made Rosemary's Baby for a whole new generation to admire and discover.

The biggest problem I can see the film facing, when faced with mainstream audiences, is its slow burning approach; in these days of relentlessly paced action-horror movies will the average movie goer understand the nature of the films pace? I'm hoping it doesn't hinder the films mainstream acceptance and the slow approach really does have a heart-stopping climax. Jocelin Donahue performance is also career starting material, she carries the film from the first scene the last and she moulds Samantha into a warm and likeable character that you'll find yourself attached to within the first five minutes of the film. Once the peril and jeopardy mount you'll be praying for her to make it out safe...

Ton Noonan, now a full-fledged Ti West regular, gives a great supporting performance as the unsettling Mr. Ulman. He gives us a man that is as frightening as he is likeable, he gives a performance that is oddly sympathetic; there's a sadness to it that suggests a man conflicted with the events he's setting in motion. On one hand he knows it's wrong, yet on the other he has to make this happen – it's his destiny and purpose in life. Needless to say he's a great asset to the movie, just as he was in The Roost and credit to Ti West for continuing to hire such an underrated actor.

The House of the Devil may not become the modern classic that many are suggesting it is, it's certainly going to put Ti West on Hollywood's talent map, the atmosphere is menacing and the performances are gripping, but the uneventful first hour may alienate the majority of viewers, especially those unfamiliar with the genre in which this film belongs. Those who appreciate the genre will no doubt lap this gem up, it's a modern Cult classic and is up there with Dead Girl as the best of modern American horror production. It's also Ti West's greatest achievement to date. Lets hope he has more such achievements to come in his career.

Purchase the DVD here or Blu-ray here.

'Must Buy' release...

2010-04-08T03:50:00.000-07:00

Arrow Video has released the definitive edition of Day of the Dead on Blu-ray this week.
Celebrating the 25th Anniversary of writer-director George A. Romero’s 1985 horror masterpiece, Day Of The Dead, with a special two-disc Blu-ray release that features a host of world exclusive extras, including a restored presentation of the film, a new hi-def soundtrack (the original ‘uncensored dialogue’ version, completely restored), four alternate sleeves, a double-sided poster, a 24-page collector’s booklet ‘For Every Dawn There Is A Day’, plus a very special collector’s comic – ‘Day Of The Dead: Desertion’ – featuring a brand new ‘Bub’ storyline. Also after years of ‘Dawn Of The Dead’ getting all the great documentaries, ‘Day…’ finally gets the retrospectives it deserves with the all-new ‘Joe Of The Dead’ and ‘Travelogue Of The Dead’.

Specially commissioned for this 25th Anniversary Blu-ray release of Day Of The Dead, the world exclusive 24-page comic ‘Day Of The Day: Desertion’ is written by ‘Hack/Slash Meets Re-Animator’ co-writer, Barry Keating, and ‘Halloween: Nightdance’ creator, Stefan Hutchinson, with artwork by ‘Halloween: The First Death of Laurie Strode’ illustrator Jeff Zornow. The storyline recounts the dark and disturbing origins of Day Of The Dead’s iconic zombie, Bub. Only available as part of this Blu-ray release, ‘Day Of The Dead: Desertion’ is just one of the many features that makes this release the one, must-have edition of Day Of The Dead for fans and collectors worldwide.

The Day of the Dead Blu-ray was developed in conjunction with the members of Cult Labs - (www.cult-labs.com) - a forum where film distributors interested in fan opinions spend time getting their expert feedback. One of the artwork options included in the packaging - the triple layer Night/Dawn/Day of the Dead poster was their most popular alternate choice. The main artwork is an all-new oil painting commissioned from artist Rick Melton.

In this, the third instalment in Romero’s ongoing zombie saga, the living dead have now taken over the world and only small pockets of human resistance survive. One such group of desperate survivors, a motley crew of scientists and soldiers, are holed up in a 14-mile long underground missile silo. As the scientists experiment on forcibly captured zombie specimens to try and find a way to control them, the soldiers become increasingly impatient with the lack of results and are eager to wage an all-out war on the undead. Soon, the tension between the two human camps erupts into a violent situation that is only overshadowed by the vicious zombie slaughter that surrounds them.

Easily the bleakest, goriest and most chilling of Romero’s zombie movies to date, Day Of The Dead sees Tom Savini and his special effects team hitting an all-time career high with an endless succession of super-realistic flesh tearing, bone snapping, gut spilling mayhem that for some viewers will prove almost too much to endure. The setting within a seemingly endless series of underground caverns adds an unbearable tension to a movie that is still as shockingly violent and claustrophobic today as it was twenty-five years ago.

Two all-new documentaries were commissioned for this epic release. In ‘Joe Of The Dead’ (directed by Calum Waddell) actor Joe Pilato talks about his career in movies - from his early appearance in the little-seen Pittsburgh horror outing ‘Effects’ (which also featured Romero regulars Tom Savini and John Harrison) to his small parts in ‘Dawn Of The Dead’ and ‘Knightriders’ and, of course, his work as Captain Rhodes in Day Of The Dead. In addition, Pilato addresses the remake, where his career went following Day of The Dead's disastrous box office upon its initial release and his thoughts on the movie being rediscovered and hailed as a classic. In ‘Travelogue of the Dead’ (directed by Naomi Holwill), we join Pilato as he travels across Dublin, Edinburgh and Glasgow in October 2009 celebrating the 25th anniversary of Day Of The Dead and witness him meeting the fans, reciting his most famous lines from the movie - live and on stage - and drinking with the best of them!  

Calum Waddell also penned the ‘For Every Dawn There Is A Day’ collector’s booklet, which is an essay on the making of the movie that collects brand new interviews with Romero, Savini, editor Pasquale Buba, assistant director/composer John Harrison and actors Joe Pilato, Lori Cardille and Gary Steele.

The two-disc 25th Anniversary Edition Day Of The Dead (cert. 18) will be released on Blu-ray (£24.99) by Arrow Video on 29th March 2010.

Special Features
Four sleeve art options; double-sided fold-out poster; ‘For Every Dawn There Is A Day’ collector’s booklet; ‘Day Of The Dead: Desertion’ – an all new exclusive 24-page collector’s comic featuring new Bub storyline; 5.1 DTS HD Master Audio and 1.0 Mono audio options.

Disc One (Blu-ray)
Theatrical feature; audio commentary with special effects team of Greg Nicotero, Howard Berger, Everett Burrell and Mike Deak; Joe Of The Dead – Acting In A Romero Classic; Travelogue Of The Dead.

Disc Two (DVD)
The Many Days Of The Dead; Behind the Zombies footage; Romero Zombography;Photo Album of the Dead; Souvenirs of the Dead; Night Of The Living Dead trailer; Dawn Of The Dead trailer; TV Ads of the Dead; The Audio Recollections of Richard Liberty; Wampum Mine promo.

Purchase the film here.

Kingdom of the Spiders (1977)

2010-04-08T01:48:00.001-07:00

There’s always been an intriguing element to a small town in jeopardy that never fails to entertain me. It could be because I read too many Stephen King novels as a child; which has instilled that love of small town terror deep within my subconscious, or maybe it’s the fact that I live in a small-ish city in a small country within Britain (Wales) which helps add to the ‘small town America’ vibe? All I know is its infectious; even the worst of the ‘small town in terror’ films can bring a smile to my face – especially when it’s the mayor’s fault for all the ensuing carnage! Those fucking Mayors’ ruin everything!

Back in the 70’s, small towns weren’t safe from anything; sharks, bears, frogs, rabbits, bees… Worms! Anything exploitation masterminds deemed worthy would get a shot a crushing a town. Kingdom of the Spiders carries on with this tradition and gives Spidy a shot at causing some chaos – a good decade before Arachnophobia scared the pants off of us too I may add. If the thought of tarantulas ruining a small town wasn’t appetite whetting enough, they only went and cast William Shatner as the hero of the piece! Dig it.

A slight warning to lovers of the eight legged blighters, this film should probably be avoided!

Verde Valley, Arizona is a rural town that survives off of agriculture, when veterinarian ‘Rack’ Hansen (Shats) receives a call from a local farmer whose prize calf has fallen mysteriously ill. Blood samples sent to a near-by university state that the calf perished as a result of spider venom, but what spider could bring down a calf? Diane Ashley (the lovely Tiffany Bolling) is sent in to help establish what is going on and prove to everyone that a spider was behind the murder of the animal. She is met with much scepticism, until they discover a huge spider hill containing hundreds of tarantulas not too far from the farm. An annual fare is approaching and the mayor (Roy Engel) arranges for a plane full of pesticide to spray the land believing it will kill the spiders, Diane protests but she is denied and chaos inevitably ensues!

It transpires that chemical pesticides have evolved the species from a cannibalistic arachnid into a carnivorous predator of men, women, children, cattle and dogs! This is where the fun comes in, watching as tarantulas lazily bumble towards their intended prey and watching as actors are covered in live spiders; that roam freely over their bodies! It’s enough to give any arachnophobe the willies. It may not be original, but god damn it’s a lot of fun! First of all, for a PG rated film, this has some pretty horrific moments on offer – one including a woman who shoots a tarantula off her hand only to have the bullet rip threw the beast and plough through her hand, taking off multiple fingers… nice!

For a low budget ‘nature amok’ film, this is quality stuff. It’s utter exploitation in execution and that’s the reason I had a warm reaction to it, it knows what it is, what it has to deliver and sets out to deliver - in spades. The acting is hammy in a 70’s soap opera kinda way which is becoming more and more endearing as these films age I find, so judging on your tolerance for ‘good’ bad acting then you may have a hoot with this element too. The biggest joy however is from the spiders, those evil, evil tarantulas that can bring down anything they apply themselves upon, even aeroplanes!
It’s hard to find a flaw in Kingdom of the Spiders when viewed through B-movie goggles, those looking for them may want to seek Xanax and mellow out. Yes it’s cheesy, yes the country singing intro sucks, yes that is library music, yes that’s William Shatner in a fetching salmon pink shirt and yes, those spiders are being run over by a police cruiser! The death of all those arachnids is deplorable, unless you have that certain phobia of course, but this was made in different times and the fun of the premise overrides the horrors of squished spiders; hell, I’m sure most viewers will be more concerned – hopefully - by the fact that children get covered in live tarantulas.

This is a mean spirited little film, made all the more remarkable for the fact it was granted a PG certificate! How far we’ve come aye? Few films truly earn ‘Cult’ status these days, but Kingdom of the Spiders makes it look effortless, it’s a one-of-a-kind film that could never be made today and for that reason alone it deserves a place on any horror, sci-fi and exploitation collectors shelving. Not sure how the film would go down with the BBFC these days, do they care about spiders getting killed onscreen? Or must the animal be fluffy and have a tail before such footage is removed? I hope we get the chance of finding out one day if a company is willing to take the risk on this fun, trashy, exceptionally entertaining little title that comes highly recommended.

Purchase the DVD here.

Stay tuned for more nature amok film reviews, coming soooon...

Anthropophagus: The Beast (1980)

2010-04-01T04:24:00.001-07:00

Anthropophagus: The Beast
(Aka, The Grim Reaper)

Joe D’Amato remains a personal favourite of mine, so this will be somewhat biased, as I’m apparently blind to the flaws within his productions. I wouldn’t class it as blindness, more so being ‘tuned in’ with the man’s style and approach. There’s something about this man’s work ethic and execution that I admire; the soft photography, the random interludes (some call it filler), hell; even his shoddy day-for-night shots all bring a smile to my face. It would appear that he’s Jess Franco with an added ‘Marmite’ factor, but damnit do I respect him.

Anthropophagus remains something of a cult favourite because of two scenes that feature pretty tasteless violence, but for me the overall execution of the film is what makes it a ‘cult’ film. The fact it was made by a holidaying film crew adds charm to the film that serious productions cannot capture. You get a ‘wish you were here’ feeling from the film as D’Amato treats us to gratuitous travelogue episodes throughout the film’s introduction; witness the Greek guards at the palace gates seemingly breaking for lunch in rather dramatic fashion or the semi-bustling streets with passers-by not expecting to be caught on camera and quickly removing themselves form the shot!

The film starts with the murder of two German tourists, after the woman discovers an abandoned rowboat just off the beach they are visiting; she is soon dragged underwater and dispatched, shortly after her boyfriend receives a meat clever to the face; presumably for the gigantic headphones he’s wearing, or the God awful music that’s coming from them? One thing’s certain - we’ll never know for sure. I personally pin it on those headphones. Once the story starts proper we are introduced to a band of merry tourists who have come to the Greek islands for some fun in the sun, and maybe even some romance.

What they do find when they arrive at their destination is a deserted island. No inhabitants, vacant property after vacant property. Upon investigation of house they find a blind girl hidden in a huge vat of wine, brandishing a large kitchen knife and clearly afraid for her life. Once calm she explains to the group that it was a man, a man who smells of blood, who did this to the island. It’s little too late though, as he’s found them first and proceeds to pick ‘em off one by one by one…
I have to admit, the premise of deserted island retreats really appeals to me. There’s something about the ‘holiday from hell’ set-up that really grabs hold of my attention and continuously intrigues me. Add in the beautiful, sun-drenched, coastal setting and you have me hooked for however long you want me, I’m like brainwashed infant for material like this. Meeting horror in paradise is hardly an original staple in the horror genre, but it remains underused in my opinion; last years A Perfect Getaway is a more recent example of an average movie made better by horrible shit happening in a beautiful part of the world.

The writer and co-star of the movie, George Eastman (Luigi Montefori), has gone on record and said this was a money making excursion; as was most of his work with D’Amato, but whatever the reasons behind the films genesis it doesn’t stop the film from being fun. All involved are clearly enjoying themselves, and who can blame them, which rubs off on the viewer; just so long as they don’t suffer from jealousy. As lazy as the production feels at times - new drinking game: spot the visible camera equipment - this never takes away from my enjoyment of the film, if anything it makes it endearing. I’m sure many will find these same elements infuriating or even mundane; but that’s beauty of Joe D’Amato, if movies are somehow beyond criticism in the traditional sense. He’s openly making product for the monetary gain and didn’t view himself as an artist, he’s a businessman at heart and what he’s done is incorporate all the staples he believes will create an entertaining horror film and bundled them together, as such, if you don’t find his effort bearable, it wasn’t marketed towards you. Just like Marmite.

And then there’s the controversy. Here in Britain the film was no stranger to the general public, footage appeared on news reports, its cover in newspapers and eventually earned itself a ‘Video Nasty’ credential for a scene in which Eastman’s character strangles a pregnant character and removes her foetus and proceeds to eat it raw. The scene is certainly in poor taste, that’s undeniable, but the lengths in which the moral brigade went to prove the film obscene is just as offensive, they believed that the filmmakers actually films the extraction of the foetus and claimed as such in their outcries to the media. I’m no surgeon, but with my limited knowledge of biology can tell that a developed human embryo does not look like a skinned rabbit covered in acrylic-red fake blood! The fact that politicians and government officials believed this is a truly depressing realisation of life in Britain during the 80’s.

As much as I want to hate the people who rallied for the films demise, I really need to be thankful for them. Had they not have created such furore over a small-time independent film from Italy, regardless if they genuinely thought that it threatened the minds and lives of the British public or not, would I be aware of its existence? If anything, all their hard work as cemented that the film lives on forever; waiting to be found by future cult film enthusiasts like myself for decades to come. The film may not be available uncut on British shores still, it’s been 30 years people; can we at least attempt to get his on retailers shelves once again… please? The world is aware that movies are movies and not demonic entities created by soulless devils with nothing but corruption of youth and general decency in their hearts, it was made by a couple of Italians out to make a buck, now who can begrudge that?

Purchase the DVD: Here

Black Emanuelle: Beautiful Decadence

2010-04-01T03:29:00.000-07:00

The seventies would not have been the same had the exploits of one globe-trotting, not to mention bed-hopping, journalist Emanuelle not had taken place. Imagine it, if you dare. It's like trying to imagine a world where the Germans won World War II and Elvis hadn't got fat. There’s something timeless, not unlike fat-period Elvis, which brings legions of sleaze-hounds back to the lovely image of Laura Gemser's exquisite breas… looks, time and time again... And lets us not forget D'Amato's fine cinematography, of course.

I'm going to shoot-the-shit over two of the harsher entries in the Black Emanuelle franchise, Emanuelle Around the World and the infamous Emanuelle in America! So, lock the missus/fella under the stairs (or don't), close the curtains and get ready for pubic hair, I mean, exploitation overload!Emanuelle Around the World:
Emanuelle's back to take you places you've never been before!
D'Amato wastes no time in getting Gemser in the buff, in fact the opening shot sees our spunky lass doing a trucker (porn legend Paul Thomas) in the back of his wagon; a little 'thank you' for the lift – lucky, lucky man! Moving swiftly on, Emanuelle is wooed by the suave Dr. Malcolm Robertson (Ivan Rassimov) who, unlike Emanuelle, won't jump into the sack with any ol' skank and before she has time to set her hooks in she is whisked away on assignment too India to interview a 'love guru' by the name of Shanti (George Eastman).

While in India she learns of an 'out of sight' ring that specializes in white slaves. The young lady who whets Emanuelle's whistle talks of a near fatal rape by the hands of five goons, upon hearing this Emanuelle takes it upon herself to smash this ring... that is until she learns of the fellow journalist Cora Norman (porn queen Karin Shubert) is following the same leads and shares the same goal. Joining forces they set out to bring these filthy pigs down. One sex scene at a time.

Although not on the levels of depravity as the film discussed later, Emanuelle Around the World contains some thoroughly questionable material. The XXX European version will have many sleaze-hounds trying to pick their jaws up from off the floor as Joe D'Amato serves up one shock piece after another. Scenes such as the disfigured crime boss (sporting a ugly-ass fake yellow, eye!) raping a poor woman who, you guessed it, starts to enjoy the experience halfway through really pushes the limits of taste and decency... and D'Amato is just getting started! What follows can only be described as sick, wrong, perverted and something your parents should never know you've witnessed.
When we aren't graced with obscenity, the film still remains engaging and very entertaining. Nico Fidenco has created one of the finest soundtracks in the Black Emanuelle canon, each track is a guilty pleasure for fans of Italian exploitation and will have your head continuously bobbing. It also remains the most ambitious of all Emanuelle films, with filming taking place on location in the US, Rome, India, Tehran and Hong Kong, it's a film that really does live up to its title. It may also feature the biggest T&A count out of all the Emanuelle films – which is no small feat, I can assure you.

As shocking, entertaining and funktastic as Emanuelle Around the World is, it still remains an intriguing runner-up to exploitations Holy-grail – Emanuelle in America. A film that reviles and attracts as many unsuspecting fans now as it did way back when. Just when you had thought you'd seen it all, along comes...

Emanuelle in America:
No one is ever the same after . . . Emanuelle.

This is the one you've read about over and over, heard all the rumors about the graphic material contained within it, but is it really as down and dirty as you've heard? Well... Yes, it is. Very much so. This is the film that dares to go where only D'Amato would dare to go; which means pretty much anywhere he wants to... and he's dragging you with him. Whether or not you’ll be kicking and screaming is strictly down to your threshold for the wrong, vile and perverted.

The film starts off innocently enough, with the attempted rape of our heroine by some bible bashing nut-job! Once Emanuelle has turned him on to the ways of free love, he flees with a new found appreciation of ‘loose’ women; whom he previously held in contempt. Once the story starts proper, Emanuelle is investigating a hot lead regarding a possible harem of women which turns out is funded by a gun smuggling operation which in turn has connections to a ring in the Caribbean that offers rich women the chance to live out sexual fantasies with buff men, which finally leads our journalist to stumble upon a brutal South American snuff ring with connections to high-powered diplomats! Phew, all in a days work aye?
So, is Emanuelle in America the ‘ultimate’ exploitation movie? It’s certainly a contender and depending on your acceptance levels for bad taste then this might very well top the list. The hardcore sex won’t shock anyone, its standard 70’s smut; so be prepared for plenty of body hair and flabby bellies! Come to think of it, that might be shocking enough for some viewers, but the real meat and veg of the shocks is found in the final third of the movie, once Emanuelle has stumbled onto the evil South American snuff cartel.
To say the material is shocking, even by today’s hardened standards, is an insult to the legacy of Joe D’Amato. Without this film it’s impossible to imagine what the general consensus on the snuff ‘look’ would be. Here we have grainy 8mm footage, no sound, and lots of horrible, horrible acts being performed in front of the camera. It’s revolting in its depiction, but it’s also extremely realistic in its execution. I won’t go into details as to the content, but for those who believe they’ve ‘seen it all’ and haven’t witnessed this cinematic atrocity may want to track this down and prepare to feel violated.
These ambitious little adventures are two down and dirty movies that are required viewing for anyone interested in furthering their exploitation knowledge, or even thinking of treading that dangerous ground that is 70’s Grindhouse roughies. They’re grimy and skuzzy, but also oddly gripping and engaging: mostly down to Gemser and her willingness to un-robe at every given chance and/or requests from D’Amato; who clearly enjoys seeing his lead in next to nothing – constantly! Another reason why these films are so endearing is their soundtracks, Nico Fidenco has done stellar work on the franchise and these two classicks contain some of his catchiest music. Those with a fondness for 70’s funk will no doubt want to purchase both Black Emanuelle boxsets available from Severin Films as they come with the music contained within the films.

The Black Emanuelle series is a true classic for the Exploitation genre and remains a treasure trove for enthusiasts; those who haven’t taken the plunge yet really owe it to themselves to check out a truly legendary series of movies. D’Amato may not have started the franchise, but sure-as-shit claimed it for himself!
The Black Emanuelle films are:

Black Emanuelle (aka, Emanuelle Nera, dir: Bitto Albertini, 1975)

Black Emanuelle 2 (aka, Emanuelle Nera No. 2, dir: Bitto Albertini 1976)

Emanuelle in Bangkok (aka, Emanuelle nera: Orient reportage, dir: Joe D’Amato, 1976)

Emanuelle in America (dir: Joe D’Amato, 1977)

Emanuelle Around the World (aka, Emanuelle - Perché violenza alle donne? dir: Joe D’Amato, 1977)

Emanuelle and the Last Cannibals (aka, Emanuelle e gli ultimi cannibali, dir: Joe D’Amato, 1977)

Emanuelle and the White Slave Trade (aka, La via della prostituzione, dir: Joe D’Amato, 1978)

Other films have been released in English speaking territories with Gemser playing the Emanuelle character, which was added to the dub and was not intended to be part of the series, these films are:

Emmanuelle on Taboo Island (aka. La Spiaggia del desiderio, dir: Enzo D'Ambrosio & Humberto Morales, 1976)

Black Emmanuelle, White Emmanuelle (aka. Velluto nero, dir: Brunello Rondi, 1976)

Sister Emanuelle (dir: Giuseppe Vari, 1977)

Emanuelle and the Porno Nights (aka. Emanuelle, Erotic Nights, aka, Emanuelle E Le Porno Notti, aka, Emanuelle E Le Pornonotti Nel Mondo, aka, Emmanuelle the Seductress, aka, Porno Exotic Love, aka, Sexy Night Report, aka, Emanuelle e le porno Notti Nel Mondo no. 2. dir: Joe D’Amato & Bruno Mattei, 1977)

Emanuelle in the Country (aka. L'Infermiera di campagna, dir: Mario Bianchi, 1978)

Emanuelle: Queen of Sados (aka. Mavri Emmanouella, dir: Elia Milonakos, 1979)

Divine Emanuelle (aka. Die Todesgöttin des Liebescamps, dir: Christian Anders, 1981)

Emanuelle: Queen of the Desert (aka. La Belva dalle calda pelle, dir: Bruno Fontana, 1982)

Emanuelle Escapes from Hell (aka. Emanuelle fuga dall'inferno, dir: Bruno Mattei, 1983)

Violence in a Women's Prison (aka. Violenza in un carcere femminile, aka, Caged Women, aka. Violence in a Women's Prison, aka. Emanuelle in Hell, aka. Emanuelle Reports from a Women's Prison, dir: Bruno Mattei, 1982)

Severin Films have released two great boxsets that any cult film fan should own: Here and Here.

Cabin Fever 2: Spring Break (2009)

2010-03-27T05:34:00.000-07:00

In 2002, Eli Roth released Cabin Fever, the kick in the ass the American film industry required. It was a film that pushed the boundaries of good taste. Reminiscent of 80's classicks from the brains of Peter Jackson, Stuart Gordon and David Cronenberg, in its depiction of horrid body horror. It also brought sex back into the genre – long lost in the flood of good mannered horror films that followed in the wake of Scream. It became a box-office smash and sex and violence was back on the menu.

The sequel to it, finally out for us to enjoy, has been troubled to say the least. Production started in 2007, but news of studio interference and re-shoots have been well publicised online and in genre magazines. Director Ti West went as far as to demand his name be removed from the finished product, the credit remains (due to him not being a Union member) but he refused to do any publicity on the film or appear at all on additional content for the DVD release. All did not look good...

The film opens with the survivor of the original, showing signs of severe infection, making their way from the riverbank in which they were left to rot. Stumbling through the woods they stumble out of the wilderness onto a road, at which point they are obliterated by a passing school bus! Deputy Wilson Olsen, the party mad young officer from the original, dismiss the incident and tells the driver that he's hit a moose – regardless of a boot, with some foot left in it, being found in a nearby tree. Deputy Wilson is about to have bigger problems though, Down Home Water has become contaminated by the flesh-eating virus after lifting water from an infected creek and is now in circulation.

The school bus returns back to school and the kids are all excited about the Prom. John and Alex are discussing weather or not to attend, John is in love with life-long friend Cassie but she has a violent boyfriend, Alex doesn't have anyone to invite but would rather go alone than stay home and watch the director's cut of Bride of the Cannibal God (which was banned in 29 countries no less “Can you even begin to comprehend that awesomeness?”) with some fellow horror geek's. Alex's luck changed though, stumbling upon an upset (and recently dumped) teen, he winds up getting blown in the toilet by the vengeful young lady – however there's a sore upon her lip and she's been drinking Down Home Water. Looks like his luck just changed for the worst. After some begging, Alex manages to talk John into attending the Prom... where Down Home Water is the water of choice! It's going to be a messy night.

Now, as much as the original Cabin Fever was a homage to 80's horror; it always struck me as more of a 70's homage, the fashion and the hair, the redkneck's and the overall approach struck me as 70's influenced. Cabin Fever 2 however, is very 80's. Ti West is in love with the decade (see House of the Devil) but how much of this is his doing we may never know; but the shaped flash-fades, the pace, the characterisation is all very 80's and it gives the film a charm that makes the audience forgive and forget the clichés inherent with such genre-fare.

The overall juvenile attitude, and somewhat vile imagery, of the film may alienate some viewers; especially those looking for something with something to say: other than teens are obsessed with sex, but then again this IS the sequel to Cabin Fever so you should come with some notion of what to expect. Those in the mood for a good, old-school gross-out may find themselves presently surprised, fans of 80’s teen sex comedies should also take the plunge with this title, as it works well on that level too – horny teens doing themselves a mischief is always a hoot, especially when the climax is this gooey!

The films Achilles heel is slashed after the school has been shutdown by the military, it should have ended here but the film continues for what seems like an eternity. It smacks of cheap re-shoots and damages the film, however, the tone of these re-shoots does manage to capture that which Ti West had set up, so depending on how you react to the first hour or so, you may find yourself forgiving this tacked on finale and enjoying it for its crudeness (visually and the material depicted).

Where the film did surprise me, is in its acting. Noah Segan proves to be the star and impresses again, after his recent outing in Dead Girl. He’s a talented young actor who appears to have a genuine appreciation for the genre and I hope he continues to work within it once stardom comes knocking, which it no doubt will. The film is chock-full of likeable’s, even the Karate mad douche-bag boyfriend of Cassie is oddly likeable… in a love to hate sort of way! He checks off all the required nasty elements required for us to really dislike the guy.

Cabin Fever 2: Spring Fever is a pleasant(?) surprise, I was worried that it was truly going to be awful, the stories had taken away my hope and belief for the film so it's reassuring to know I was wrong and that we have a great little sequel here that actually leaves you wanting more from the franchise. Some may be turned off by this films approach, others will no doubt embrace it and some may even find themselves preferring this over the original. Recommended.

Purchase the DVD here.

2010-03-24T09:48:00.000-07:00

Welcome to my own little slice of 42nd Street. A place I never had the privilege of visiting, from an era I wasn’t even born in! However, it represents a time in which spirits were free but somewhat angered, artists could express themselves outside of studio restraint; while infiltrating the same studios they chose to ignore, and best of all; p0rnography went mainstream. How could you not hold a torch for an era that gave the world a Hollywood-style premier to a movie called Deep Throat only to then threaten legal action against its lead actor?

It’s a decade that remains as influential today as it was then. Imagine, if you can, Quentin Tarantino, Roger Avery, Robert Rodriquez, Eli Roth, Gregg Maclean, James Wan, Alexandre Aja, Ti West and Pascal Laugier, to name but a few who, existing had this movement never had happened. Dare to imagine further a world without Martin Scorcese, Paul Schreider, John Waters, George A. Romero, John Carpenter, Alejandro Jodorowsky, Wes Craven, Dario Argento, Lucio Fulci, Joe D’Amato, Sergio Martino, Umberto Lenzi and Ruggero Deodato; all of whom would not have the fanbase they have today were it not for The Deuece.

It was a place where exploitation and art collided, and that is my aim with this site. To provide news and reviews from the wildest, artiest and dirtiest movies from around the globe, just like The Deuce did before me.