The Lucid Nightmare

i SPY EUROSPY: Coplan Saves His Skin

2012-02-14T21:52:00.000-05:00

Coplan Saves His Skin
Director: Yves Boisset
Year 1968

Coplan Saves His Skin is a wonderfully original Eurospy film, which strays from the usual formula that James Bond’s Dr. No set up, and mixes things up a bit. The result gives way to a rather raw representation of secret agent Francis Coplan, depicting him as more of a human character set against some tremendous odds.

The film opens up in Istanbul, where an accomplished scientist named Otto Eisner and his assistant Mara are browsing goods in an open market. Suddenly an assassin strikes, stabbing Otto to death and leaving Mara to run for her life as the opening credits begin to roll. The sequence sets this film in motion and there really is no time to prepare yourself before the espionage mayhem cranks in.

With Mara in survival mode, she contacts her old flame CIA agent Francis Coplan, who appears to be still holding a flame for his lost love, because he rushes to her aid. Just before they are about to rekindle their love, a pack of assassins get the drop on them, leaving Coplan to wake up on a deserted shoreline with Mara nowhere in sight. Was she killed? Was she kidnapped? Coplan makes it his sole mission to hunt down the killers and make them pay. Yippie!

This film is fun, but far more serious then the other Eurospy films that I’ve covered for the “i Spy Eurospy” segment. With more of a revenge tale at the heart of the film, the story becomes more personal and in a result, more emotional for the main character of Coplan. Claudio Brook plays the scorned agent and for the most part he does a good job. He looks nothing like the typical 60’s secret agent, coming off gaunt and not the best looking representation of the male species, but boy can this man dish out some well deserved punishment. His action scenes are what make up for his lack of charisma and style, for when the shit really hits the fan this Coplan knows how to kick some serious ass.

Aside from the action department, Brook is a little stiff when it comes to the ability to convey emotion. The man only has a few facial expressions and none of them are rather flattering or expressive. This is actually kind of strange seeing that this story seems to focus on the more personal reactions of his character. Be that as it may, Brook still does a more than efficient job with the material and the strangeness of his casting only adds to the oddity that this film is.

Playing a dual role, is the absolutely ravishing Margaret Lee, who takes on the character of Mara and her twin sister Eva. That’s right, this film has so much Margaret Lee that it doesn’t know what to do with. Well actually they do know what to do and that’s give Lee one of the most accomplished and tantalizing stripteases ever seen in a Eurospy flick. Thanks guys! She actually has a bunch more to do in this film and as always Lee does any absolute amazing job with the two characters, casting shadows of sympathy, seduction, and ambiguity between her two roles.

Lee’s not the only femme fatale to show up in this film. We also get a sadistic chick by the name of Carole, played by the intense Nanna Michael. With the name of Carole, you’d think that she wasn’t that bad, but damn is she crazy. Her hobbies are playing with whips, hunting men for sport, and taking care of her man-hating pet falcon. She also enjoys horseback riding and long walks across the battlements of her employer’s castle, but that’s a whole other can of worms. Her presence in the film really amps up the Bond factor and she’d fit right in with some of the most famous Bond villainesses.

Another mad bastard that would fit in nicely antagonizing James Bond, would have to be the main villain Hugo, played by Hans Meyer. The guy is a sight to see and you really couldn’t miss him in a crowded room. You’d recognize him by his leather mask that he wears on the side of his face, his pet cat that he carries with him everywhere, and his wardrobe that consists entirely of priest inspired robes and garments. To top it all off, the guy owns his own private castle that’s literally constructed in the middle of nowhere. The location alone is enough to satisfy any Bond lovers’ cravings for interesting lairs.

It’s in this locale where we spend most of the second portion of the film and admittedly, this choice leads to some rather interesting scenarios for Agent Coplan. There’s a memorable scene in which he is hunted down by a gaggle of Hugo’s henchmen, led by the sadistic Carole on horseback. The sequence plays out like the films The Running Man, Surviving the Game, or The Most Dangerous Game, where Coplan is literally hunted in an environment that is far from hospitable. I enjoyed the animalistic and raw nature of this segment and it was a blast watching Coplan savagely take down his hunters, one by one. It’s a great bookend to the film and gives us one last dose of action before the curtain falls.

Coplan Saves His Skin is a film that really shies away from the Eurospy formula, but never strays so far as to alienate itself. The clichéd bits and pieces that crop up here and there, give us a rather odd mixture of elements that add up to one hell of an entertaining ride.

On the subject of the cast and characters, Claudio Brook’s turn as Francis Coplan is an oddity of the genre, replacing witty charisma and good looks with steely glares and utmost seriousness. I for one enjoyed the flipping of style and tone, and thought it mixed well with some of the more traditional Eurospy staples that we’re used to seeing. Margaret Lee is a vision of Eurospy perfection and her presence in this film in dual form, is a welcomed choice and so damn enjoyable. The bad guys were also perfectly realized in all their diabolical glory.

The film was just an overall blast that gives the viewer enough unique elements to keep them intrigued while placing the film in its own distinct territory without breaking the entire Eurospy mold. I’d have to say that Coplan Saves His Skin is…….

Get up you lazy piece of Coplan!

Are you ready for your happy ending?

Kinski you disgust me.

The many facial expressions of Claudio Brook.

It's too sexy! Too SEXY!

Another of the many facial expressons of Claudio Brook.

Pull my finger.

My name is Coplan...... and I am a slave.

The deadly game of trust.

Mr. Whiskers doesn't like you.

Heaven must be missing an angel.

The lovely couple win! Let's see what's behind door number one.

Yeah that's right. I'm cool as shit.

I don't know whether to be scared or aroused.

KHAN! I mean........ HUGO!

Hugs are the best. Even Coplan likes them.

REVIEW: Moon Zero Two

2012-02-13T21:32:00.000-05:00

Moon Zero Two
Director: Roy Ward Baker
Year 1969

It’s Sci-Fi Hammer time! Moon Zero Two is a groovy science fiction film produced by the British horror house, Hammer Film Productions. Set in the far psychedelic future, when man has colonized the moon, space pilot Captain William H. Kemp is offered a lucrative yet illegal job of guiding a sapphire meteor to crash land on the moon’s surface in order for a rich tycoon to become, well, richer.

That’s not Kemp’s only moral dilemma, for a beautiful young woman has asked the captain to help assist her on tracking down her lost brother, a moon miner who has suddenly come up missing. Caught between a rock and a hard place, Kemp must figure out how to do both jobs, while staying out of the watchful eyes of the moon police. But what happens when the two jobs become intertwined and Kemp’s personal interests become entangled? Find out in Moon Zero Two….. in space!

The film stars James Olson, of The Andromeda Strain, Amityville 2: The Possession, and Commando fame, as the retired exploration pilot Capt. William Kemp. Olson does a tremendous job in making the character brooding, yet at the same time allowing him to appear like one hell of a cool and fun guy. This swinging astronaut spends most of his time at the wild moon bar, where gaggles of cleavage baring chorus girls provide the patrons some rather interesting dance numbers, but if you can’t find him there, you might find him sulking in a corner reminiscing about how space exploration has been given the ax thanks to budgetary reasons. Poor Kemp.

Don’t feel so bad for the guy just yet, because his life is pretty damn good. Aside from the spandex loving chorus girls, Kemp has his hands full with a few more moon beauties. There’s Elizabeth Murphy, a strict but fair Moon authority, played by Adrienne Corri, who happens to regularly find Kemp relaxing between the sheets on her beyond trippy bed. Then there’s Clementine Taplin, played by Catherine Schell, who has the role of the “fish out of water” girl, who is looking for her missing brother. Both women do a great job in fleshing out Kemp’s character a bit more, allowing for us to witness a gentler side of the Captain. Kemp you old softy.

This film isn’t all about Kemp and his ladies though, far from it. It has a rather interesting story, albeit a far fetched one, filled with a good amount of action and intrigue. I’d go as far as to say that Kemp’s character serves as a futuristic James Bond, pitting him up against an evil genius bent on diabolical plans. The film also allows Kemp to provide some witty and genuinely smart ass lines that wouldn’t be so out of place in the Bond universe. Add the fact that Kemp is frequently getting into some romantically intriguing situations with a few choice femme fatales, makes it that much more familiar to a 60’s spy flick.

There’s also a great deal of twists and turns in the narrative that I personally felt were creative and interesting. The film feels like a straight forward affair when first introduced, but you come to find later that there is a great deal of weight to the story, that’s hidden under the wacky psychedelic presentation of the set designs and comedic filled flare.

I especially enjoyed the miniature work done on this film. We get a wonderfully retro envisioned Moon colony, filled with glass domed communities, expansive monorail traveled terrain, and architecturally diverse cityscapes, all from a modest budget. It’s a quaint re-imagining on what society would be like on the Moon’s surface while being embedded with the style and sassiness of the time period in which the film was created in. I’ve always loved this vision of the future and I absolutely eat up the scenery whenever I come across one of these interesting snapshots of 60’s injected future worlds. Moon Zero Two is a great example of this mind set, and the addition of the enjoyable similarities between Kemp’s reluctant hero/ pseudo spy and the staples of the Bond universe and other Eurospy agents is just silly and extremely entertaining. They don’t make them like this anymore and that is a sad but all too real fact.

Moon Zero Two is somewhat of an enigma in the Hammer Films library. While they dabbled in various science fiction themed movies, none of them went as out of left field as this one. Played more for the fun factor of it all, Kemp’s heroic turn as a morally incorruptible space adventurer is a blast, giving us another memorable and wise cracking guy to look up to.

Though the set designs and miniature work are modest at best, there is a special charm found within the production. Simply put, the film just screams fun. If you’re looking for a serious trip into the great unknown or a contemplative look at our society living amongst the stars, then I suggest you look elsewhere. Moon Zero Two doesn’t concern itself with such matters. It only aims to deliver a fun, retro infused ride, and that’s exactly what it accomplishes. Here’s to Kemp and to a movie that is just……..

No way! We've landed on the MOON!

Nice fuckin model!

Get outta here you little pervert!

I'm not talking to you until you take off that ridiculous hat.

Look, I can see my house from here.

The future looks good!

Moonopoly..... Priceless!

Did I forget to turn the iron off again?

Well one of us farted in this elevator.

It's the super group Mr. Peanut and the Fabulous Fruits!

Looks like this dude is pulling a Tom Petty.... Free Falling!

Boo!

Where do you boys come up with these crazy suits?

Now that's some cool ass shit right there!

Alright, everyone smile and say.... Space sucks. That's gonna be a good one!

Kemp..... William Kemp. Bitches!

TITLE SEQUENCE: Snake and Crane Arts of Shaolin

2012-02-12T16:55:00.000-05:00

Snake and Crane Arts of Shaolin

Director: Chi-Hwa Chen

Year 1978

REVIEW: Flesheater

2012-02-09T19:32:00.000-05:00

Flesheater

Director: S. William Hinzman

Year 1988

Flesheater is a low budget zombie flick that rises above the throngs of Z-grade genre efforts, by establishing a unique atmosphere provided by the colorful characters that serve up as entertaining meals for the bloodthirsty zombie horde. Directed by and starring Bill Hinzman, the legendary first zombie in the original Night of the Living Dead, the film has many parallels to Romero’s universe from the Pennsylvania locations to the rustic overall look of the era, yet it lacks any sort of capable actors making for an uneven but enjoyable zombie film.

The movie starts out with a man discovering a grave marker in the middle of nowhere. Being curious and ultimately stupid, he digs up the grave to see what’s inside. What he finds is a pissed off zombie in the form of actor/director Bill Hinzman. Hinzman, being the flesh eating beast that he is, rips the throat out of the unsuspecting hick and then proceeds to wreak havoc on anyone who crosses his path, turning everyday 80’s teens into ravenous zombies. I’d mention the rest of the cast, but there really isn’t much to say. They basically only serve one purpose and that’s zombie food. Overall the film is fun as shit, mixing elements of Slasher flicks with the tried and true staples of the zombie genre.

Let’s delve deeper into Hinzman’s role, both in front of the camera and behind. Having passed away last week at the age of 75, I felt I needed to write something up about the man seeing that he was always a joy to talk with at the conventions and seemed like an all around stand up guy. I’ve always enjoyed his turn as the first zombie in Night of the Living Dead and I wholly appreciated his efforts in bringing Flesheater to the masses. The film may not be critically acclaimed, but there are some very positive aspects to the production that are sadly brushed off by most viewers as being amateur and repetitive to what Romero brought to the table. Despite this familiar aspect of the film, I felt it was a nice homage to his iconic role while at the same time bringing an expanded look into what other creative and entertaining things his zombie character could get into. If anything can be said about the film, it’s a fun zombie romp.

How can you complain about a movie that brings that first memorable zombie from one of the genre’s most classic films, and then let him loose on an unsuspecting town? Even if some of the execution or acting chops of the performers is sub par at best, we still have Hinzman bringing the ravenous fury and that’s all I really wanted to see in the first place. You can tell the man loves what he does, and he brings that crazy zombie munching love in full force, often developing his character as a sort of serial killer that just so happens to infect his victims with the same flesh craving hunger.

Often at times, the film feels like a Slasher movie. For instance, in the beginning of the film, we are introduced to a group of kids that are preparing for a night of partying in the woods. The stage is set as if the production crew was expecting Jason Vooress to stumble into frame at any moment. Even Hinzman’s uber zombie tends to mimic some of Voorhees’ killer tendencies. Multiple times, Hinzman opts to stab his victims with weapons instead of going for the old trusty chompers, giving him more of a cerebral edge over the average zombie archetype. This isn’t as far fetched as his character in Night of the Living Dead, seeing that he used a brick in that film to bash a car window in, but in this movie it is taken to a more unmistakably human level of thinking. It’s a bit different and maybe an evolution of his character prior to this film, but I like it and feel that it fits in perfectly with the Slasher films of that time.

What also fits in perfectly with the time period is the atrocious acting by the main cast of teens. If this was an award winning drama I would be highly disappointed with this film and write it off entirely, but come on, this is a low budget zombie film that is spun from the success of George Romero’s masterpiece. It will never live up to that exceptional film and frankly it isn’t trying to. It also isn’t trying to be a classic such as the original Friday the 13^th or Halloween, but instead it’s aiming to be what Slasher flicks and most horror movies were at this moment in time and that’s pure fun and gory entertainment. I for one enjoyed the campiness of films during the late 80’s and felt that his movie provided that unique brand of 80’s horror that unfortunately died out long ago. If Flesheaters would have tried to play it straight, then the movie would have been an entirely different beast and that’s not what Hinzman and company seemed to want to produce. Hell, its fun and I wouldn’t have it any other way.

For me it adds to the atmosphere of the film and provides a whole other level of weirdness that wouldn’t be present if the acting was something more substantial. These kind of low budget productions always have a genuine feeling to them. It’s not something that makes us believe that these horrors are happening in reality, but instead in a place that only exists in some weird cinema world where characters make bad decisions and only want to screw at the most inappropriate times. Ultimately it’s this kind of outlook that eventually stereotyped the horror genre as a whole, presenting to genre outsiders as horror being one big Slasher filled joke, but in my mind these type of films are just plain old fun and are not meant to be taken too seriously or judged by a scale that it’s not trying to measure up to. My advice would be to check this movie out only, and I stress that notion only, if you want to have a fun and gore filled time.

Flesheater is a low budget blast that takes Hinzman’s Night of the Living Dead zombie and lets him loose on a blood filled rampage. The tone is grim but filled with tongue and cheek moments that only serve to add to the fun. Acting wise, the movie is a void, but that never takes away from the sure enjoyment of the film.

If you are intrigued by a movie with the title of Flesheater, then I suspect that you aren’t going into this cinematic experience to view an Oscar nominated performance or award winning production values. Instead you get what the title implies and that’s a whole hell of a lot of flesh eating provided by Hinzman and a large group of his ravenous friends. Give it a chance and you just might like it. As for me, I’m going to remember and honor this cult legend the best way I can, and that’s by popping this flick into the player and enjoying some…..

The gangs all here!

Note to self, don't move head stones with crucifixes on them.

Hey there sleeping beauty.

Peek A Boo!

Hinzman's really sticking it to the MAN.

Look into the eyes of a maniac.

Dinner time!

It's zombie nap time, sponsered by John Deere tractors.

Hinzman turned this guy into a human popsicle.

Say one more crack about my jean jacket and you're dead!

Where's the zombie women at?

Honey you look like shit.

Die you zombie bastards!

Talk about a bad hair day.

Bet he has a splitting headache.

Trick R Treat!

That's one hell of a trick Hinzman.

Stop in the name of LOVE!

This film is as fun as a hole in the head.

Laugh it up Dracula. You're about to DIE!

OK everyone! Just act like a stereotypical hick!

Ready.....

Aim.....

FIRE!

It's the literal interpretation of Cronenberg's Naked Lunch.

Rest In Peace Hinzman. You're the man!

REVIEW: That Man From Rio

2012-02-05T21:15:00.000-05:00

That Man From Rio
Director: Philippe de Broca
Year 1964

Belmondo! Belmondo! That Man From Rio is an exceptional adventure yarn, that perfectly showcases the acting chops, comedic flare, and the amazing stuntman talents of French actor Jean-Paul Belmondo. Coming off as a cross between Eurospy lavishness and the action packed goodness of the Indiana Jones series, That Man From Rio is one hell of an entertaining omnibus that never ceases to awe and amaze.

The film opens with Pvt. Adrien Dufourquet, played by the wonderful Jean-Paul Belmondo, as he is out on leave in Paris to visit his girlfriend Agnes. Unfortunately for him, a theft of an Amazon figurine at the Museum of Man starts a chain reaction that leads to Agnes' kidnapping. Determined to get her back, Adrien sets off in hot pursuit, following the kidnappers all the way to Rio. What unfolds is a series of wacky situations that constantly bombard our unlikely hero. From parachutes, alligators, murderers and women.... only an adventurer like Adrien, with the skills of Belmondo, can make it look this easy.

Jean-Paul Belmondo is fantastic in the role of Adrien, the unlikely adventurer. His charisma shines in every frame as he stumbles from one antic filled situation to the next. He's also given multiple opportunities to strut his athleticism, by performing his own harrowing stunts. From scaling tall buildings, to jumping out of speeding cars, to skydiving and everything in between, the man is a living legend of danger.

He's almost comparable to Jackie Chan, with all of the stunt work that he does and his willingness to be in harms way at any opportunity. His mixture of comedy and action is also reminiscent to the trademark style of Chan. If I had to give the most accurate description of what Belmondo the actor was like for a person not familiar with his filmography, it would be that he is basically the French version of Jackie Chan and just as thrilling. What makes him even more entertaining is the fact that he makes it all look so easy and effortless, while providing a heavy dose of charm and wit.

One of the most memorable scenes in the film has him driving full speed up to a parked car surrounded by bad guys. He casually jumps out of the moving vehicle and dashes into the driver's seat to steal the unsuspecting thugs car in a blink of an eye. The transition is so smooth and astounding that you don't realize that what you've just witnessed is damn near impossible and pretty damn impressive to boot. It's that kind of magic that propels That Man From Rio into a whole other cinematic stratosphere compared to other regular action comedies.

Another welcomed addition to the film is provided by the actress Francoise Dorleac. Her role in That Man From Rio is that of the strangely alluring and unpredictable character of Agnes Villermosa, the girlfriend of Adrien and the main component that keeps the story moving along. It is her kidnapping that propels Adrien to take action and follow her nabbers to Rio. She does an excellent job in being lively and spontaneous, which makes her a perfect fit for Belmondo's hectic and adventurous Adrien.

Agnes' character also has a revitalizing persona change once she gets along the shores of Rio. This personality flip, not surprisingly, has Adrien questioning his sanity for following her all this way. The once rather plain Agnes is transformed into a wild and free spirit, bursting out of her shell when confronted with her childhood stomping grounds. The revival of spirit is perfectly juxtaposed against the lush surroundings of Rio de Janeiro, Brasilia, and Amazonas Brazil, bringing out the exotic spirit in Agnes' character while mirroring Adrien's shock on entering uncharted territories, both in location and within his untamed lover. The whole attitude of the film is care-free while being set inside these picturesque locations, making the mood for the movie feel just right.

That Man From Rio is just so much damn fun. From beginning to end, the film never stops, thanks to the frantic acting of Jean-Paul Belmondo and the energized character turn of Francoise Dorleac. The action was smooth and death defying, the character interactions were memorable and natural, and the entire look of the film was top notch and extravagant to boot.

Rio de Janeiro is one of my most favorite film locations to visit in this cinematic medium, and That Man From Rio uses this breathtaking venue to its fullest. Not only have they caught the gorgeous scenery of 60's era Rio, but they've managed to capture the essence and atmosphere of this wild locale and present it to the world over. The combination of stark visuals, memorable characters, and intriguing narrative, launch this film to the top of my most favorite viewings in recent memories. If you need to know anything else about this movie, I've got one word for ya.....

Belmondo's Born to be Wild!

Belmondo is so excited, he's going to run all the way to Rio.

Have you seen these three weirdos?

It's Grand Theft Tractor!

Where the hell am I?!?!

Belmondo, the man of many talents.

That's right..... I'm badass.

I think he got the point.

Belmondo doing a bit of sight seeing in Rio.

Is it creepy that I like to watch you sleep?

It's the silhouette staring contest.

Can I get a lick of that delicious looking popsicle?

Good.... Bad..... I'm the guy with the shit-eating grin.

Look it's the Rio Hillbillies!

There's a Belmondo on the wing of the plane!

Heads up you two.

TRAILER: Kill Kringle Kill

2012-01-31T23:06:00.000-05:00

Hey everyone, I've got some more Trailer Obscura goodies for you to munch on. This time it's a Christmas themed slasher flick called Kill Kringle Kill. It's the sequel to last years Tis the Season to be DEAD, and follows the crazy and psychotic holiday hating Henry Kringle as he starts out on yet another, blood filled massacre.

As usual, there's no shortage of camp and the thing is played out like a grindhouse feature with trash, grunge, and all. Let's not delay this train wreck any longer. Check it out for yourself and feel the holiday horror of.... Kill Kringle Kill!

Kill Kringle Kill Trailer by jayskitstar

TITLE SEQUENCE: Moon Zero Two

2012-01-31T22:42:00.000-05:00

Moon Zero Two is a rare science fiction flick produced by the legendary horror house, Hammer Film Productions. The film is set in a retro styled future, where mankind has established colonies on the moon.

The beginning of the film introduces us to this brave new world, in animation form. The film is a live action production, but the filmmakers must have felt that it might be an interesting move to open up the film with an animated sequence. The decision is an interesting one, and it helps tell the prehistory of how man made it to the moon by showing us the slapstick and comedic battles between two stereotypically caricatured astronauts, represented by the United States and Russia.

It's a fun and lighthearted way to start out a film that is both ridiculous and highly entertaining in the camp department. This fluff filled, tongue and cheek adventure is anything but a serious ride and it's nice to see that the intro doesn't hold back on giving the viewer and precursor on what's to come. Check it out!

REVIEW: The Golden Voyage of Sinbad

2012-01-26T22:06:00.000-05:00

The Golden Voyage of Sinbad
Director: Gordon Hessler
Year 1973

SINBAD! There's one name that is engrained in my head. One that automatically makes me think of fun-filled fantasy adventures permeating with cool mythical creatures and that name is Sinbad. Forget the comedian of the same name because this Sinbad doesn't do family comedies. Instead he's all about adventuring, battling beasts, and picking up chicks. You can call him the fantasy version of James Bond, but I'll just call him Sinbad.

In The Golden Voyage of Sinbad, the titular character finds himself embarking on a most interesting and mysterious quest that leads him into both perilous situations and interesting company. After coming across a strange golden amulet and then coincidentally coming into contact with a strange golden mask-wearing man named Vizier, Sinbad and his crew set sail to discover the answers to this intriguing puzzle of the amulets purpose. With danger around every corner, can they unlock the mystery behind the golden amulet, or will this adventure claim their lives? Sinbad you crazy bastard! Let's set sail!

The Golden Voyage of Sinbad is one lavish production and its quality shows throughout the entire spread of the film. From marvelous matte paintings, to exquisitely imagined miniatures, to drop dead gorgeous sets, the visual splendor across the board is unparalleled. What is also an impressive feat is that each intricate effects laden shot is intertwined flawlessly into the story, never taking away from the broad spectrum of the outlandish journey. It instead makes the film feel cohesive and lived in, thriving across the screen as we go along with Sinbad on this outstanding, fantasy imbued, ride.

You will literally be taken aback at some of the wonders that grace themselves across the screen, at the most unexpected moments. Gargantuan beasts, tiny winged creatures, and stone and wooden statues spring to life, thanks to the skillful hands of animation master Ray Harryhausen. The man is a legend of the cinema and we get to see first hand how truly great the man was. The Golden Voyage of Sinbad showcases some of his most impressive work.

There is a scene in the closing moments of the film that really gives us our moneys worth and proves that Harryhausen is the master at what he does. This moment occurs when we witness a centaur clash heads with a wonderfully imagined griffen. The presentation is remarkably crafted and the two creatures look immensely powerful, as they gnash and snarl at one another. It's strange that when the two fictional creatures spring into battle, you begin to feel a prick of sympathy and a heavy dose of pitty for the losing beast. I credit that to Harryhausen's outstanding animation work. His mastery allows us to believe that these are flesh and blood monsters, proving possibly that stop motion animation was a better effects method in injecting life into an inanimate object.

It's true that with the more modern day computer generated creatures like Weta's Gollum and Planet of the Apes' Caeser, we get a photo realistic looking being with plenty of emotion and heart, but there is something missing with those creations. There is a tangible void of representation that is always there with these CGI infused creatures, and there's a separation between the live action counterparts and the man made wonders that supposedly share the same space. The same goes for these older films and Harryhausen's work, but for some reason, the way they were filmed possibly, it isn't as soulless and fabricated. I guess it all comes down to a matter of opinion and what you're preferences are, but I've always felt that Harryhausen's works were more grounded in reality over the more computer generated creations of modern day cinema. Oh well, they're both great techniques and have produced many masterpieces, but Sinbad rules!

Aside from the outstanding works of Ray Harryhausen and the impeccable production designs, the film has a tremendous set of characters to play around with. Leading the pact is cult film star John Phillip Law, who has brought us such memorable characters like Diabolik from Danger: Diabolik and Pygar from the outstandingly psychedelic Barbarella. The man is entertaining as hell and he brings an exciting energy to his role of Sinbad. Each actor that has portrayed Sinbad in the various other iterations have brought their own sensibilities to the role, but I find Law's approach to be the most intense. Maybe it's his eyes, but the man has a demanding screen presence.

Speaking of screen presence, how about that Caroline Munro! Ever since seeing her in William Lustig's Maniac, I've been hooked. She's just a breathtaking actress that can literally steal a scene by just walking into a room. Her credits run long, but her most stand out rolls would have to be Captain Kronos - Vampire Hunter, At the Earth's Core, The Spy Who Loved Me, Starcrash, and The Last Horror Film. All great flicks, only enhanced by the inclusion of Munro. In The Golden Voyage of Sinbad, Caroline plays a slave girl that is swept up into the high adventures of Sinbad, often finding herself in danger and needing to be saved. She looks amazing in this one, as the screen shots can attest, and I'm glad that she found herself in one of the Sinbad films. You gotta love the Munro!

The Golden Voyage of Sinbad is a great fantasy flick during a time when stop motion animation was king. Ray Harryhausen's hand in this film can be felt throughout the entire production, leaving a very heavy atmosphere of Greek mythology colliding with strong fantasy based visuals. The combination, as always, is astounding, giving way to one of the most entertaining genre turns of the time period.

The acting across the board is both energetic and captivating, especially when you stop and realize that many of the actors were reacting to nothing at all when it comes to the creature scenes, which were aplenty. From wooden and stone statues coming to stark life, to mythical creatures, this film has the goods, giving enough fantasy en-charged flavor to satisfy any cynic of the genre. The bottom line is that this film is........

That's some fat bling there Daddy-O.

Ladies and Gentlemen it's........ Sorry lost my train of thought.

You want some of this drink Woody?

Back! Back you demon!

Osama Bin Koura.

Dance for me little one. DANCE!

Sinbad has his eyes locked onto something more beautiful then Caroline's cleavage.

She's looking up, while the rest of the cast is looking down.

This can't be good.

Caroline Munro is scared out of her damn mind.

Well hey there good looking.

John Phillip Law doing his best Jambi impersonation. Not bad.

Help. I've fallen and I can't get up.

That Koura is such a drama queen.

Stand by your Sinbad.... I mean Man.

Oh it's you. What are you so happy about?

This doesn't look like a fair fight. That Centaur doesn't have a chance.

Ladies and Gentlemen, again here's...... What the hell was I just talking about?

Prepare to be shish kabob you Centaur son of a bitch!

Sinbad and his crazy DEATH BLOW!

Oh look. It's that romantic fountain that shoots blood.

Look everyone, here come the credits.

REVIEW: Battle in Outer Space

2012-01-25T21:38:00.000-05:00

Battle in Outer Space
Director: Ishiro Honda
Year 1959

Aliens got you down? You're not the only one. In Ishiro Honda's epic alien invasion flick, the Earth is threatened by a race of beings who want nothing more then to take our planet from us and leave us to extinction. This Toho Production is spectacular, bringing together an expansive story of the Earth's survival, while focusing the conflict on the brave men and women who fought tooth and nail to repel its invaders.

The production and story may be as serious as a heart attack, but there's a lot of fun to be had with this movie. Simply put, it's the era in which it was produced that allows for this devastating story to have an edge of fun. The retro clothing and production design is so stylistically cool that you'll find yourself getting lost in the vibrant lunacy of it all. It's nothing that surpasses some of the most gaudy and fanciful productions of the time, but there's something special about the Japanese science fiction efforts that came out of Toho during this time period.

The miniature work and special effects also lend to that sense of retro wonder and wishful thinking that this is what the future would have been like. To the simple yet sleek designs of the alien and human spaceships, to the handcrafted look of the space-stations, and to the silly but highly effective approach of the moon tracker vehicles, the film has a consistent appearance that overshadows its aged effects and instead paints a complete picture of a world created by practical effects and painstaking efforts.

This era of sci-fi movie making has always astounded and impressed me, not because of the realistic effects and awe inspiring possibility of it all, but rather the combination of the overall complete package that the filmmakers are able to gather together. Nothing stands out on its own as wholly believable, but put them together and you have one cohesive and believable world within the context and confines of the screen. While these techniques work as a whole, the retro sensibility and time frame that the film is held in doesn't hurt the production either. I love me some retro sci-fi and can't get enough of the stylistic nature of it all, so I allow things like visible strings holding up space saucers and noticeable miniature work pass from my mind while I soak up all the vintage goodness.

Though the effects might be dated by some, the story is something of an obscure masterpiece, showcasing the entire world coming together for the common good of the planet in order to press back our invading foes. The story is somewhat inspirational, making the viewer believe that if we were put to the test, we would drop our differences and fight for the good of the planet. It's sentimental and quite cheesy, but within the world that the filmmakers set up, it just feels right. Die you alien SCUM!

Another strange approach to the material that I found rather refreshing, was the decision to make the alien menace more of a mystery then a full blown effects laden race of creatures. Throughout most of the run time of the film, we are only given representation of these maniacal creatures as flying spaceships and nothing more. We only get a fleeting look at the alien race far into the second half of the film (which ends up being pretty silly) and it's only for a few key moments. The rest of the film is played out much like the beginning half of the movie and that's with anonymous spaceships battling over the Earth's surface.

I really liked this approach because it allows the viewer to focus on the overall message of the invading force instead of fixating on their appearances. For me it made them that much more viscous and heartless, displaying them as an unknown race of creatures rather then individuals with possible stories of their own.

Battle in Outer Space really is a blast and it never ceased to amaze me that this film was as old as it was. It always felt vibrant and the film continuously threw new things at me that I didn't see coming. The concept of aliens using mind control to make earthlings do their bidding was something that really tipped the scale for the film and allowed the fixation on who these aliens were and what they looked like to be put on the back burner. It was the idea that Earth was in eminent danger of being taken over that drove the narrative along and it worked wonders.

To top that off, the stupendous effects work, that by today's standards is somewhat hokey, are breathtaking in their grand scale and ambitious execution. It was delightful to see the various practical effects work and miniature models during a time when these kind of effects were at their pinnacle point in cinematic history. Simply wonderful.

For me, the film was amazing from beginning to end, showcasing all the elements of an alien invasion flick, combined with a retro style that is just a blast to be bombarded with. After the credits rolled, I could think of nothing more appropriate to shout, then..... EARTH.......

Look up in the sky! It's a bird! It's a plane! It's a fucking UFO! RUN!

Hello up there. Take me to your leader.

Get down honey! Get down!

The models are set and ready for takeoff.

You don't look so good buddy.

For some reason the Police Academy theme song is running through my mind.

Well someone looks guilty.

Surely you can't be serious. I am serious... and don't call me Shirley!

Oh my god! We've landed on the Moon!

Styling on the Moon.

Home Sweet Home.

The astronauts go marching one by one. Hurrah! Hurrah!

Now that's a pretty psychedelic Mothership.

Take that you alien bastards!

The flying Oscar Myer Hotdog Mobiles!

We have lift off!

Welcome to the spaceship jungle baby. You're gonna die!

Is everyone in the audience enjoying themselves?

Lady Liberty! Look out!

Oh please let the Tanner family be OK. DJ, Stephanie, Michelle... RUN!

Auntie Em! It's a twister! It's a twister!

You did it Earth. You're safe and sound...... For now.

i SPY EUROSPY: OK Connery

2012-01-25T20:34:00.000-05:00

OK Connery (Operation Kid Brother)
Director: Alberto De Martino
Year 1967

If you thought Sean Connery was the only Connery in the family that kicked all kinds of ass, then you my friend would be dead wrong. Enter Neil Connery, the jack of all trades. The guy is a world renowned plastic surgeon, a professional archer, an expert hypnotist and an ace lip-reader. Well at least in the film, OK Connery, in which he stars as the normal everyday citizen turned secret agent, Dr. Neil Connery. If any of this sounds enjoyable to you, then OK Connery is right up your alley.

The overall story of OK Connery, also known as Operation Kid Brother, is that there is an evil organization called Thanatos who has created a device that can render any mechanical metal devices, most importantly guns, useless. This would be the perfect assignment for the world's most experienced secret agent, but unfortunately he isn't available. What to do, what to do? Well the answer is easy. Get his younger brother to do it. Duh!

Dr. Neil Connery, played by who else, Neil Connery, is recruited into saving the world from the evil schemes of the Thanatos organization. Armed with expert knowledge and the genetic DNA of his super agent brother, Neil proves that Operation Kid Brother is too much for one mother. What a tag line!

When first watching this flick, I wasn't too sure whether Neil had the chops to pull off this classic role, but boy was I wrong. The guy has charisma. Not as much as his legendary older brother Sean, but close enough. He carries himself with an effortless poise and confident swagger, that you just can't help believe that he can do all the things his more experienced brother can and possibly more. I really was surprised how well he blended into the role and my only regret is that he didn't go on to have a more illustrious career for himself in cinema. Oh well, I'll take what I can get.

Neil isn't the only one strutting his stuff and making this film so much damn fun to watch. We also have some veteran actors of the Eurospy circle to help Neil out in giving the film some much needed street cred. First we have the lovely Daniela Bianchi, who is arguably one of the key female spokespersons for this genre. She has been in so many memorable spy efforts that it's hard to keep count. From her standout roles in From Russia With Love, Code Name: Tiger, Slalom, Requiem for a Secret Agent, and my personal favorite, Special Mission Lady Chaplin, Daniela is anything but a slouch in the cinematic espionage world. In OK Connery, Daniela plays the role of Maya Rafis, an assassin with a heart of gold, who eventually falls to the charms of Mr. Connery. She's had quite a career for herself, though terribly short, having charmed the pants, literally, off of two Connery brothers. Way to go Daniela!

On the flip side of that we have the wonderfully evil Adolfo Celi, who plays the role of Mr. Thai, an ambitious man in the ranks of the Thanatos organization. Celi is a familiar face to those of you out there that have seen your fair share of Eurospy flicks. He's been in a number of classic spy films like That Man From Rio, Slalom (alongside Daniela Bianchi), Thunderball, and Danger: Diabolik, just to name a few. He plays the usual sneaky character in this film, constantly trying to best Neil at every turn, playing a cat and mouse kind of game with Connery while trying to keep his allegiance to Thanatos a secret.

There's also some more friendly and familiar faces for those of you out there that love the Bond universe. Bernard Lee and Lois Maxwell give us another dose of Bond recognition as they play fairly similar characters compared to their official James Bond roles. Lois Maxwell as Miss Moneypenny is one of my favorite reoccurring Bond characters and her role in OK Connery is something of a treat. In this film she plays the character of.... wait for it.... Miss Maxwell. I guess they didn't really feel the need to stray very far from the original actor's and actress' names in this flick, but needless to say, Maxwell gets to see far much more action then her Moneypenny counterpart has ever seen in her entire go at the role. The Maxwell in OK Connery gets to fire an automatic machine-gun into a crowd of bad guys like some sort of badass out of the Expendables movies. Now that's one hell of an idea!

Now the film has the memorable characters and familiar faces, but does it have that special something that makes these Eurospy films so damn enjoyable? You bet your ass it does! Neil Connery has the charm and wit to match any Ken Clark, John Gavin, Kerwin Mathews, Ray Danton, or even Sean Connery for that matter. Those clever lines of dialogue that have come to be a staple of the genre are here in all their ridiculous glory. "Do you ever walk upright like other people?", is said by Neil after repeatedly coming into contact with a young girl who is always clamoring on all fours, looking for something. It's a smart ass remark that gets me every time, and it showcases perfectly the expert timing and delivery that Connery was capable of. Aside from the charm and wit of Connery, the film is just a whole hell of a lot of fun, proving that talent runs in the family and that you don't need an A-lister to have a rip roaring Eurospy filled fun time.

OK Connery was an unexpected treat, one that took me for a loop in bringing about a highly entertaining Eurospy flick. Neil Connery really made a believer out of me and that is quite a feat, seeing that he was up against one of the greatest actors to ever take on the James Bond character. Being his younger brother, the cards were stacked against him, leaving people to assume that he just got the role because of his looks and relation. Thankfully that wasn't the case because Neil really made this movie his own, creating a secret agent that is both physically and mentally up to the task of bringing the bad guys down.

His agent was not solely relying on his brawn, but his intellect in order to get him out of sticky situations. The entire fact that the main villain's evil scheme was to render guns useless, giving Connery the opportunity to showcase his characters archery skills in the final climactic battle, was a sight to see and gave the film a unique flavor that separates itself from the rest of the Eurospy pack. Plain and simple this film is a great and entertaining fun ride and one that simply......

Damn it feels good to be a gangsta.

The gang's all back together again..... sorta.

Holy shit! It's a bazooka packing nun!

When will Bernard Lee ever find his prince charming?

Do you ever walk upright like other people....... boobs.

Look it's Hillbilly Robin Hood!

It's not you...... it's me.

The murderer was Madame Peacock with the binoculars!

Alright! The Wild Pussy Club is in town!

Get your fat ass off my car.

Breaker One, I'm coming in for a refuel.

So what do you think of my submarine? Pretty fancy huh?

Yeah, I'm a pretty big deal.

Neil takes a crack at playing Moses.

I also wear turtle-necks. Pretty fancy huh?

Next time I want to play the captain.

I should have hired better back up dancers.

Just let me grab my bow and I think you'll get the point.

Hit me with your best shot Adolfo!

ANNOUNCEMENT: My Collection & Requests

2012-01-22T21:24:00.000-05:00

Hey everyone! I thought it might be a good idea to spice up The Lucid Nightmare a bit and get a little more interactive with the various people that stumble across the site.

I've made the decision to post my entire film collection in the hopes that, by allowing the masses to check out the extensive list, that a few brave souls might take it upon themselves to request specific films that they'd like reviewed or expanded upon.

The cinema landscape can be a daunting thing to dive into and it's always nice to be able to pull from other people's adventures and knowledge in the subject, so if you see something on the list that you've been craving to learn more about, contact me by email, Facebook, comments, or good old fashion pony express (joking of course).

I'm interested to know what you guys would like to read up on and even if the addition of the collection doesn't garner some interactivity within the site, at least repeat viewers can keep up to date with what's in the collection.

Well for those of you that are interested in perusing the shelves in my collection, digitally speaking of course, check it out [HERE] or on the right hand side of the site under the image labeled,
THE COLLECTION.

Thanks for checking it out and enjoy.

REVIEW: Our Man Flint

2012-01-14T20:16:00.001-05:00

Our Man Flint

Director: Daniel Mann

Year 1966

James Coburn you beautiful bastard! If you look up the definition of fun in the dictionary, chances are that you'll find the name Coburn somewhere in the mix, right next to the words, Our Man Flint. This flick is a wild ride, that never passes up a chance to thrill the audience with its audacious wit and feverish charm.

Our Man Flint follows the espionage filled antics of secret agent Derek Flint, a Renaissance man that omits so much self-esteem that if somehow harnessed, his mojo could power the entire United States for a couple of years. In his knowledgeable wisdom, Flint is asked to foil the diabolical plan of a couple of rouge scientists who are controlling the world's weather in order to bring about peace and their own personal views of how the world should be run. Flint sympathizes with their plight, but once the eco-terrorists kidnap his five best girls and brainwash them into joining their little cult, all bets are off. Those pencil neck pushers are going down.

Coburn is absolutely electrifying in this film, bringing as much charisma as he does deadly force when taking down the bad guys. His performance isn't done through brooding seriousness, but through light and campy filled banter that treads the fine line of comedy and satire. It's all played out in great fun, and why shouldn't it be? This is the age of Bond and the Eurospy, so why not get down and dirty and have a little fun.

The style, of course, goes hand in hand with the wild nature of the film, setting up some rather interesting attire and extravagant 60's garb. This is especially noticeable when Flint reaches the scientists' retro cool secret getaway, filled with swinging chicks for as far as the eye can see. It's at this glorious moment that we bare witness to the scientist's lavish style and their bland henchmen in their matching and ridiculous jump suits. What a fashion statement and no doubt the inspiration for a plethora of Austin Powers inside jokes.

As goofy of a film that it is, there is actually some surprising and restrained aspects of the production. For a lavish and whimsical story, the film feels rather focused, never getting lost in the ridiculousness of the situation or pandering to a specific joke only to be derailed by its inconsequential worth. The character of Derek Flint is also something of an enigma. For such a swinging egotistical know-it-all, he comes off as a rather decent guy, even going as far as being a spokesperson for women's liberation rights of all things. Going into the movie, I felt that I had a biased opinion on who Derek Flint was going to be, probably because of all of the spoofs and reincarnations of 60's spy culture that I had previously seen up until that point, but with Flint he is a different beast entirely.

He's a refined, cultured, and knowledgeable gentlemen spy that so happens to love the ladies. Much like his counterpart, James Bond, Flint has both the smarts and the sex appeal, yet it seems that both are cranked up to maximum levels in the Flint universe. The guy knows everything! The simple fact that he never misses a step and is always right, could come off as annoying, but in true Flint fashion it just adds to the charm of Derek's world. The balance of comedy and action is also pitch perfect and I don't think anyone could have pulled it off other then the smooth James Coburn.

In a nut shell, the film is entertainment in its highest form of 60's style, serving us with a side order of laughs while we're shown just how cool the era of cinematic international spying really was. Our Man Flint is every bit as fun as you would expect, giving us a diabolical plot that is both silly yet fused with energy at every turn. Coburn is outstanding and his portrayal of Derek Flint, literally the most interesting man in the world, is without a doubt a show-stopper. So in other words, I think the film......

WHAT THE HELL HAVE I BEEN DOING: Kill Kringle Kill

2012-01-13T20:00:00.001-05:00

So what's new with my world outside of the blogging stratosphere? Well the answer to that question would be that I've been working on my latest Trailer Obscura project, Kill Kringle Kill.

The Christmas themed faux trailer is the sequel to last year's killer Santa flick, Tis The Season To Be Dead. I've been filming and editing the trailer together for the past week and only have a few more key scenes to go. Here's a small little preview of what you have in-store when the main attraction hits later this month. Enjoy and stay tuned.

The scumbag beginning titles.

Mother of god, I'm coming apart!

My most prized possessions, earmuffs.

Santa.... you creep!

I'm freaking out. I'M FREAKING OUT!

The special effects are top notch!

Just say no to drugs kids.

Scott unveils his inner dirt-bag.

Mike AKA The Stoned Axl Rose.

Douchebags in the mist.

Doc sports a pretty sweet blonde mullet.

Ho, Ho, Ho, here I go!

The surprise.

Take this you naughty bastard!

The kill.

I think I might be mentally unstable.

Henry Kringle walks the lonely walk of loneliness.

Look at this tough guy.

Santa as he takes his midnight stroll.

Someone's gonna get CUT!

That's one pissed off Santa Clause.

Mike and Doc prove that sledding isn't always the safest thing in the world.

What a CREEP.

The victorious Santa!

FUN, KRINGLE, FUN

X-MAS LOOT - 2011

2012-01-10T23:21:00.000-05:00

Merry Christmas... Happy Holidays.... Happy Festivus.... or whatever happy greetings you festive nuts prefer.

Christmas has come and gone and now I'm left with a shitload of new movies for my collection, thanks to my generous family and that fat bastard named Santa Clause. It's time for The Lucid Nightmare's yearly rundown of loot that I've managed to collect over the holiday festivities and there's some rather fine gems in the mix if I do say so myself. Let's get this shit started. Ho Ho Holy Shit I love movies!

STAR WARS: THE CLONE WARS (SEASON 3)

Year 2010

I was initially skeptical about these animated versions of the Star Wars universe, but after giving the introductory movie a chance, I found that there's much to like about this series. I've waited patiently for each season to come out on DVD, because I couldn't FORCE, no pun intended, myself to bunker down and watch the live showings with commercial breaks included.

Being able to plunk down and watch each episode in a non-interrupted viewing session, gives the show a more meaningful and cinematic feel that mirrors their feature film counterparts. Now that I've got season three, I can reintroduce myself into this vibrant world of cartoon jedi and surprisingly entertaining stories that surpass the prequels.

Working on Christmas? Sucks to be a clone.

GORGO

Director: Eugene Lourie

Year 1961

GORGO! Every country needs to get themselves a movie monster that they can call their own. One that can decimate local landmarks and essentially wreak havoc on their respective home turf. Japan has their Godzilla and the UK has their GORGO! I have yet to see this film, but from what I have seen in the trailers, it is nothing short of fun-tastic.

Practical effects, rubber suited monsters, and miniatures galore. This is the stuff movie magic is made from and I can't wait to check it out for the first time. There's just something special about watching an over-sized monster topple over buildings and just basically be an all out wrecking ball of destruction. Can't see myself coming away from this one disappointed.

Don't be naughty or Gorgo will GET YOU!

THE CANNONBALL RUN

Director: Hal Needham

Year 1981

Now here's a real treat. I'm really looking forward to checking this film out again, because I haven't seen it since it was running on TV almost fifteen years ago. Such a great cast across the board from front runners Burt Reynolds and Dom DeLuise, to the priceless Roger Moore, Dean Martin, and Sammy Davis Jr., to the vivacious Farrah Fawcett and Adrienne Barbeau, this flick has it all. Hell they even threw in Jackie Chan for good measure!

For a fun romp filled with early 80's icons, comedic antics, slick cars, and fast women, you can't go wrong with the old classics like The Cannonball Run. Gonna put this bad boy in and rev it up soon!

The whole gang is here.... even the twins.

BATTLE BEYOND THE STARS

Director: Jimmy T. Murakami

Year 1980

I have never seen this interesting little Sci-fi film, which was produced by Roger Corman during the year of my birth, and I'm finally making it my goal to remedy that horrible fact. From the cover art alone, I'd want to see it, and to couple the fact that the film resembles the wacky science fiction antics of a favorite flick of mine, Ice Pirates, is too much to handle.

Not to mention that the film is scored by James Horner, of all people, the composer of my all time favorite movie score Willow. Let's also not forget that a young James Cameron did some effects work on this movie. Sounds like a good time to me, but either way it has to be interesting. I mean look at that damn cover! Does that spaceship have BOOBS?!?

Just give me my damn presents or there will be hell to pay.

THE CAPTURE OF BIGFOOT

Director: Bill Rebane

Year 1979

I first saw this flick this year while I was doing some research for an upcoming faux trailer that I am developing that centers around a killer sasquatch. I'm fascinated by any film that focuses on that mysterious stink ape, including the strange turd of a film, Abominable. Alright, so Abominable isn't that bad of a flick, but when sitting down with some friends to check out The Capture of Bigfoot, my expectations were low yet my interest was peaked in seeing if it could capture that atmospheric essence that is The Legend of Boggy Creek.

I'm happy to say that the filmmakers of The Capture of Bigfoot nailed it. This low budget sasquatch flick is enjoyable to say the least and those special moments that Boggy Creek let slip out every so often, is replicated with that same gitty enthusiasm and strange spectacle. Couldn't be happier that I'm able to add it to my collection and revisit it whenever I get that hankering for stink ape. Now that just sounded plain nasty.

I see you over there you naughty little monkey.

THE CHRISTOPHER LEE COLLECTION

THE BLOOD OF FU MANCHU

Director: Jesus Franco

Year 1968

This collection looks to be epic in every way possible. Having not seen any of the movies featured in this Christopher Lee box set, I'm highly looking forward to delving right in to this legendary actors mix of films. The blood of Fu Manchu looks to be nothing more then bloody good fun, featuring Lee in one of his more memorable roles outside of Dracula. The Blood of Fu Manchu marks the fourth time Lee has revisited this character, setting my expectations for this entry rather high.

I feel kind of bad though that it's taken me this long to see these particular performances by Lee, but I guess better late then never. This entry for the series is directed by Jesus Franco, who is better known for his sleazy horror flicks that experimented with the ideas of sex, death, and SEX. The guy is a master of sleaze and I love him for it, so I'm looking forward to checking out his collaboration with the iconic stature of Christopher Lee.

All Fu Manchu wants for Christmas is a line of hot chicks.

THE CASTLE OF FU MANCHU

Director: Jesus Franco

Year 1969

Franco and Lee return for the sequel to The Blood of Fu Manchu and to the fifth entry in the series, which again looks like it's going to be a winner. From what little I've read up on the film, it seems that Lee's Fu Manchu is plotting to freeze the Earth's oceans in some wild diabolical plot. I'm game. Sounds like good harmful fun and there's nothing wrong with that. If I dig these entries in the Fu Manchu series, I'm going to have to recover the previous three entries and experience the entire insanity of this treasured collection of films. Plus the film has Rosalba Neri listed in the credits so at least we get a little Lady Frankenstein action. Woohoo!

Good.... Bad..... I'm the guy with the fu manchu.

CIRCUS OF FEAR

Director: John Llewellyn Moxey

Year 1966

Now these next two films, Circus of Fear and The Bloody Judge, are the main reason why I wanted this Christopher Lee collection, and that reason would be the lovely and talented Margaret Lee. Mostly known for her handful of roles within the Eurospy genre, Margaret takes a stab at two horror-centric flicks headlined by the master of disaster himself, Christopher Lee. Upon hearing about this I was compelled to check it out for myself and... well here we are.

I haven't seen this film yet, but from what I can gather, Circus of Fear features a whodunnit story where a murder has been committed on the grounds of a strange circus in which Christopher Lee performs as a lion tamer. The film features a diverse cast of strange characters and oddities, and the interactions between them all appear to be quite interesting and entertaining. At least that's what I'm hoping. If anything, it at least looks like a strange time at the movies.

Hey kids! There goes Santa!

THE BLOODY JUDGE

Director: Jesus Franco

Year 1970

This film is another one of Christopher Lee's heralded roles, where he portrays.... a bloody judge of all things. Franco directs and it looks like he's up to his old sleazy tricks again. The Bloody Judge looks like it borrows heavily from The Witchfinder General, which is not at all a bad thing, and appears to also be a distant cousin to the film, Mark of the Devil, that came out the same year. To add even more interest and intrigue into the mix, the film lists Margaret Lee in the credits, so even if it is just a short cameo we get a double Lee sandwich. Yippie! I'm anticipating a good time with this one.

On the naughty list? Don't pout Mr. Lee. There's always next year.

THE CITY OF LOST CHILDREN

Directors: Marc Caro & Jean-Pierre Jeunet

Year 1995

What a warped looking movie. The plot goes a little something like this, set in a strange and obscure city, a scientist kidnaps local children to steal their dreams in hopes that this will slow his aging process. Say what? As crazy as the film sounds, it's even wackier visually. The strangeness of it all is actually quite breathtaking and from my quick overview of the film and from what I've seen while researching the movie, it looks to be a rather unique production.

I've seen both directors' works, from Jean-Pierre Jeunet's A Very Long Engagement and Alien: Resurrection to Marc Caro's Dante 01, and I have no reservations that this collaboration between both of their talents is going to be nothing less that spectacular. Damn I still need to check out Delicatessen and Amelie! Too many movies, not enough time.

I'm officially weirded out.

JACK THE GIANT KILLER

Director: Nathan Juran

Year 1962

Now this one just looks like plain old fun. A Ray Harryhausen-esque stop animation adventure, that features a plethora of interesting creatures and plenty of cheesy antics. The film stars Kerwin Mathews who starred in such winners as The 7th Voyage of Sinbad, OSS 117 se dechaine, OSS 117 Panic in Bangkok, and The 3 Worlds of Gulliver.

As always, he's entertaining as hell, hamming it up for the camera and having a generally damn good time in the process. I'm going to be making this one a priority watch, because I love me some old school fantasy flicks. Check out those other Kerwin Mathews films I mentioned. They're stellar!

You two-faced son of a bitch!

KOMISSAR X COLLECTION

KISS KISS, KILL KILL

Director: Gianfranco Parolini

Year 1966

Well here's an odd treat. Say hello to Germany's answer to James Bond. I've been dying to check these films out and I've finally got a watchable version to quench my curiosity. While I was searching for a few stills, I couldn't help but notice how extremely enjoyable the films were looking. There looks to be enough tongue and cheek style to satisfy any Eurospy fan, with a plethora of wacky spy situations provided by actor Tony Kendall who portrays the super spy Kommissar X. In this entry, Tony teams with his muscled partner Captain Tom Rowland as they investigate a recent explosion that has killed two prominent crime lords. That's about all I know of the film, but it looks to be a rip roaring fun time and one hell of a Eurospy effort. Can't wait!

Santa got me a gun.

DEATH IS NIMBLE, DEATH IS QUICK

Director: Gianfranco Parolini

Year 1966

Kendall you crazy bastard! Tony Kendall is at it again in Death Is Nimble, Death Is Quick, as he plays the ever charismatic super agent, Kommissar X. Like with Kiss Kiss, Kill Kill, I don't know much about the plot aside from an evil scientist that has some form of deadly bacteria he wants to infect the world with. Hey, that's good enough for me. The same respectable pair of crime fighters from the previous film appear, Brad Harris and Tony Kendall, and the film looks to be another fun and wild ride. Super excited to check all of these movies out.

Looks like somebody's pissed that they didn't get that Easy Bake Oven.

SO DARLING, SO DEADLY

Director: Gianfranco Parolini

Year 1966

And now for the third film in this interesting box-set. So Darling, So Deadly once again brings Kendall and Harris back together as they embark on a brand new mission. In this entry, it looks like another mad man is out to conquer the world. This time the baddy has his eyes on a scientist's new invention, a laser that can shut down electrical engines from miles away. As usual with these kinds of Eurospy films, the good guys must travel to exotic locations, battle henchmen, and have a few close encounters with the lovely female population. This third film looks to be a silly yet highly enjoyable romp.

On a side note for anyone out there that is interested in buying this set of three Kommissar X films, apparently it has just been announced in a few Eurospy forums, that 6 of the 7 Kommissar films will be put out by Koch Films in a running box-set. From what I could gather, they are going to gradually release each film throughout 2012, and the transfer that they are using for this edition is said to be a great step above the edition that I just received. Widescreen and all! Bring it on!

Don't fight you guys, it's Christmas.

LADY IN CEMENT

Director: Gordon Douglas

Year 1968

I stumbled across this little unknown gem while I was doing some research on Raquel Welch's filmography. After seeing the trailer, I knew that I had to check it out for myself. The film stars Frank Sinatra as Tony Rome, a Maimi based detective who finds the body of a dead woman at the bottom of the ocean. He's then hired to get to the bottom of the mystery. The film looks beautifully shot and with the inclusion of Raquel Welch, the film gets that much more stunning.

The movie appears to be something quite special and I'm willing to bet that this will be my skipping stone to Sinatra's other detective films including his other Tony Rome detective entry, simply entitled Tony Rome. Even if the film somehow turns out to be a dud, at least it has this awesome scene below. Frank you perv.

Merry Christmas to me!

MOTHER, JUGS & SPEED

Director: Peter Yates

Year 1976

I saw this movie for the first time over the Thanksgiving holidays and had a blast with it. The film follows a rag tag group of ambulance drivers who work for a privately owned and chaotic LA ambulance company. There's a huge dose of dark comedy splattered throughout the film and the movie tackles some pretty edgy topics, making it one hell of an interesting flick. I really don't know what genre you would place Mother, Jugs & Speed in, because it doesn't really apply itself to one single frame of mind.

It definitely has that raw late 70's vibe down, with that gritty persona and politically incorrect mindset that I absolutely love revisiting on film. The cast is superb giving screen greats like Raquel Welch, Harvey Keitel, and Bill Cosby, a handful of entertaining things to do. The film is an interesting look into the seedier side of the ambulance world, so give it a spin.

Give me a damn Jello shot.

PAPERHOUSE

Director: Bernard Rose

Year 1988

Paperhouse is one of those films that make it their sole purpose in life to scare the shit out of kids that accidentally stumble across it when it comes on TV. The movie plays like a child's fantasy come to life, as a young girl named Anna paints a picture of a house in the middle of an open field that later shows up in her dreams. At first the notion of dream creation is a fun concept, but quickly Anna realizes that the dream has a life of its own and her own fears begin to work against her, turning the dream into a nightmare.

The film is a magical one that genuinely brings the fears that children have of being abandoned and forgotten to stark reality. The cast is also quite inspired, with the key performances of the younger actors feeling natural and not forced. Paperhouse is without a doubt a unique experience. If you have the chance, check it out.

Socks! You got me SOCKS!

PRECODE HOLLYWOOD DOUBLE FEATURE

HELL HARBOR

Director: Henry King

Year 1930

I've got Lupe Fever! If you haven't ever heard of Lupe Velez, well then you're not alone. She was an amazing actress who reached her peak in the late 30's and early 40's just before a tragic turn of events claimed her life. The Mexican born actress was able to churn out a number of great performances in her short career, my favorites being The Mexican Spitfire series where she played the character of Carmelita for an astounding eight films. Being a huge fan of those films, I had to branch out and see if I could obtain some of her other cinematic efforts and that is where Hell Harbor comes into play.

I've never seen this film before, but from the short clip that I saw while doing my research, it looks to be the same kind of comedic turn that she's done so well in The Mexican Spitfire series. Lupe plays the role of Anita Morgan, a descendant of the famous pirate Henry Morgan, who lives in the Caribbean longing for a more exciting life. Once her father offers her hand in marriage to a local merchant, Anita tries everything in her power to escape to Havana and make her dreams a reality. The film looks to be something of a lost treasure and I'm looking forward to experiencing it for myself. Never can get enough of Lupe!

Lovely Lupe.

JUNGLE BRIDE

Director: Harry O. Hoyt & Albert H. Kelley

Year 1933

The second film of this Precode Collection, is called Jungle Bride. I've never seen it and have no idea what it's about. The film stars Anita Page as a curious young woman who believes that her recently imprisoned brother is innocent. Determined to prove his innocence, she follows a man that she believes to be the real culprit onto a ship headed to South America. Unfortunately the ship sinks and she is then stranded on a desert island. Sounds interesting enough and I'll give it a look, but I mainly got this collection to obtain Hell Harbor. Who knows, this could be one hell of a bonus flick.

Merry Christmas you wacky dame.

THINGS TO COME

Director: William Cameron Menzies

Year 1936

This film looks to be epic, spanning one hundred years of a civilization's existence that has been ravaged by a a decades long war, famine, and chaos, until it is rebuilt in wondrous futuristic fashion. I've been meaning to see this film for the longest time, because the practical effects for this time period are, through the roof, spectacular. Plus the concept of seeing a society change over the course of one hundred years is to enticing to pass up.

I really love the Sci-Fi genre and to see such an ambitious effort put forth in the early years of the genre is mind boggling. It reminds me of the grandeur of Metropolis, a film that probably inspired the creators of this movie in more ways then one. I'm putting this one on the top of my viewing list.

The future RULES!

SONNY CHIBA - MASUTATSU OYAMA TRILOGY

KARATE BULL FIGHTER, KARATE BEAR FIGHTER, KARATE FOR LIFE

Director: Kazuhiko Yamaguchi

Year 1977

Chiba you beautiful bastard! I've been collecting Chiba films lately at a furious pace and the newest entry to my collection is the Masutatsu Oyama Trilogy. These are another series of films that I have yet to check out but they look phenomenal.

Karate Bull Fighter, Karate Bear Fighter, and Karate For Life are based off the real life story of Choi Bae-dal, a Korean fighter who founded the Kyokushin Karate Organization in 1953. These films tell the story of his trails and tribulations, providing an interesting look into the man now known as Masutatsu Oyama. I would be talking out my ass ff I went into any more detail, because the man's life is a mystery to me. I'm looking forward to gaining some knowledge when I put these three bad mofos in. Viva Chiba!

Heads up!

Was it something I said?

How do I keep getting into these situations?

Well I'm afraid that's it folks, but wasn't it a wonderful ride while it lasted? I might have forgotten a few that have gotten lost in the chaos that is Christmas and I added a few more gems recently on a wild online shopping spree, but hopefully those missing flicks will crop up in the form of reviews in the future. Until then, I hope you had a Merry Christmas and see you soon.

REVIEW: The Fog

2011-12-07T23:09:00.001-05:00

The Fog
Director: John Carpenter
Year 1980

The Fog is John Carpenter's sensational ghost tale about a shipwrecked undead crew who terrorizes the residents of the sleepy coastal town of Antonio Bay. After churning out two exceptional TV movies, Someone's Watching Me and Elvis, Carpenter burst back onto the big screen to continue his legacy of fear which started with the cult classic Halloween.

Crafted with a heavy dose of atmosphere and a stellar cast, The Fog makes for a great viewing that really showcases the wild ride that Carpenter's career would take in the following years. If you're looking for a neat little haunted tale, then look no further then The Fog.

Adrienne Barbeau you are AMAZING!

Something's in the fog.... Who is that?

Antonio Bay is the fictional setting for this wonderful little horror gem and boy is it a picturesque sight. Nestled against the moody shores of the Pacific Ocean, Carpenter uses a number of various locations to set up his quaint cinematic town that soon becomes the victim of a terrible curse that is violently set upon its townsfolk for the crimes committed by its founding fathers. A slow and brooding build up provides the perfect introduction and ambient opening to let us get to know the world that Carpenter has created in this story. It's these quiet moments that occur in the early parts of the film, that really give the movie a deliberately restrained pace, allowing for us to get to know the layout of the town and the living cast within it.

The gradual approach of slowly revealing the various areas and inhabitants of Antonio Bay, is complimented rather nicely against the director's trademark use of anamorphic lenses, which beautifully showcase the surrounding areas breathtaking landscapes and unique vistas. This eye for detail is not just provided for visual splendor, but for emotional impact as well, as Carpenter cleverly uses these locations to tell a parallel story within the film. He places his characters in secluded locations throughout Antonio Bay, in order to emphasis that lonely feeling that he sets up in the initial moments of the introductory opening of the film. With his guided direction, the town to us feels empty and lifeless, home to only a few lost souls that we are slowly introduced to one by one.

Is that one of the Goonies? Hey you guy!!!!

Who's the son of a bitch that stole my mustache?!?!

What is most interesting to me, is that the haunting nature of the film is not only provided by the ghostly zombie like apparitions that come into play later on in the movie, but it is assisted by the overall coldness of Carpenter's portrayal of the town of Antonio Bay. By combining the moody visuals of the coastal town with the jaded lives of the various characters of the film, Carpenter makes for a unique blend of melancholy malaise that perfectly establishes the film in a ghost-like reflection. This really comes to light when comparing some of the characters to their assigned locales within the movie.

A great example of this, is that of the lighthouse which serves as one of the film's most iconic fixtures and an essential informational post for the film's entire citizen population. The lighthouse serves as the local radio station, Radio K.A.B., and it is essentially home to disc jockey Stevie Wayne, played by the fabulous Adrienne Barbeau. Set at the end of a seemingly never ending iron staircase, high upon the cliffs, the secluded nature of the radio station helps to provide a feeling of helplessness that is highly prevalent when shit really starts to hit the fan for the sleepy town of Antonio Bay. Being the only person in the whole town that really has an eye on the whole situation high atop her lighthouse station, Stevie Wayne provides the much needed information to the unsuspecting people below.

Someone's not gonna like finding this guy home.

So why'd you steal Tom Atkins' mustache Padre?

What's unique about this position that she is in, is that she is as helpless as the rest of the people of Antonio Bay. Trapped with no where to go, she is powerless to protect her young son when a thick fog rolls into town containing some very pissed off and vengeful ghosts. The seclusion is maddening, but deliberate in part by Carpenter's overall vision for the movie. You could say that his approach is almost Hitchcockian in a sense, most notably mimicking elements from Rear Window, where she is forced to see this impending doom approaching the town, but can do little to stop it. Even in such dire circumstances, she finds a way to hinder the oncoming storm by broadcasting updates on where the fog is heading and the safest place to ride out the strange arrival of this dangerous and mysterious thing that has gripped their small coastal town.

It is through these efforts of communication, by Barbeau's character, that we are primarily connected to the rest of the ensemble cast. From Tom Atkins and Jamie Lee Curtis' group to Charles Cyphers, Janet Leigh, Nancy Kyes, and finally Hal Holbrook's character, a community begins to form bringing a cohesion that isn't as strongly felt during the beginning half of the film. It's fascinating to see things come together, starting from the cold and distant relations of the individual characters to eventually ending with them coming together as a solid unit in the most desperate of times. It's something that you don't initially come away with after first watching the film, but after analyzing it after a few viewings, you begin to realize that this movie is far more then just a simple ghost story.

Damn hitchhiking ghosts.

One of the creepiest and coolest wedding processionals.

Aside from my deep personal analysis of the film, the movie is just stupendous if viewed as a straight forward tale of terror. Carpenter injects such a sense of dread and foreboding, that you really don't need to look as in-depth and personal as I have stated earlier in the review. You can take the film at face value and it still makes for one classic tale, filled with some great subtle performances and killer atmosphere. Hell, the ghostly apparitions are creepy to boot, coming off more as a horde of zombies then any kind of ghost that I've seen prior to this film.

Fundamentally, the film just hits all the right notes in providing an engaging story with memorable characters, frightening ghouls, and exceptionally crafted atmosphere. I haven't even mentioned the amazing original soundtrack provided by John Carpenter himself, which compliments the visuals so well that you'd be hard pressed to separate the two. When it comes to music, not many can capture that unique flare that Carpenter seems to effortlessly create for his projects. The Fog is definitely a film that has the Carpenter stamp of approval, having his professionally crafted hands in all aspects of the production. The man is a legend.

Holy Shit! The power of Christ compels you!

Smoke if you got em.

The Fog is a film that feels complete in every aspect of its production. The world that John Carpenter has created in this film, feels whole and lived in, even if it is lifeless and lonely for the characters within it. The hauntingly somber and picturesque locations, enhance that feeling of dread and solitude that lies so heavy on this ghostly tale. Much like the sordid history of Antonio Bay's past, the story gives off that overbearing presence of being inherently marked by the events of the past. Cursed to pay for the wrong doings of our forefathers, yet there is a silver lining in the coming together of the various characters. Through their sense of community and the combined efforts of the townspeople as a whole, they can right the wrongs done and find new life.

Whether you look at the film from a more in-depth view point or just take it as one hell of a fun ghost story, you are going to come away from this film with an appreciation for what John Carpenter has created in this little gem and what he has contributed to the genre. The movie just oozes atmosphere in every inch of the frame and is paced beautifully, so check it out if you haven't already and if you have, give it another go. Long live Carpenter!

5 out of 5 stars John Carpenter's Ghostly Masterpiece!

FLICKS OF THE WEEK: November 6-12, November 13-19

2011-11-21T23:08:00.000-05:00

NOVEMBER 6TH - 12TH

Alphaville is a harsh and stark depiction of a future society void of artistry, love, and self-expression. Set in the future on an unknown planet, secret agent Lemmy Caution must infiltrate this oppressive city of the future as a journalist in order to confront the evil scientist Von Braun, the overlord of this disheartened culture-less wasteland. Awashed in a Noir lit cityscape that seems lost in darkness, Alphaville tells Lemmy's strange story filled with intriguing possibilities and mind boggling revelations. Let's get down to it.

Directed by Jean-Luc Godard, this sci-fi spy mash-up is strangely hypnotic. The fish out of water tale that places Lemmy into an unfamiliar world, is interesting enough, but combine that with the film noir-like atmosphere and you've got yourself one hell of an original movie with enough mystery and mystique to compel the viewer onward for quite some time. Setting the film in 1960's Paris, as Alphaville's futuristic dystopian city, is a simplistic notion but one that pays off by use of some fascinating locales within the French metropolis. I had an interesting journey with this one and highly recommend you check it out if you haven't seen it yet. It's a rather unique flick with an abundance of subtexts that lie just underneath the main narrative, just begging to be explored by the determined cinephile, plus you can't go wrong with Godard. The man makes magic.

The H-Man is a Toho produced science fiction film that depicts the horrors of atomic weapons and the overall effects that the use of such devices have had on the Japanese culture, both inside and outside the cinema world . The film starts out rather mysteriously, with a drug deal gone bad resulting in one of the dealers to suspiciously vanish, leaving behind his clothes and all of his possessions. Soon, more bodies begin to come up missing, all with the same unexplainable conclusion, a pile of clothes with no body. Stumped, the police follow a few leads, but everything seems to add up to it being a simple result of warring gangs. That is until scientist Dr. Masada shows up, claiming that atomic bomb testing off the coast of the Pacific is to blame for the strange disappearances. Could radiation be the cause of these odd events, or is there another piece to the puzzle that has yet to reveal itself?

The film is a blast, relying on the mystery of the disappearances to move the narrative along. There's also a great deal of horror infused elements, like a ghost ship filled with green glowing ghouls that horrendously devour anyone they touch. The decision to focus this story in the more seedier side of the Japanese culture was a nice touch for this science fiction tale, taking more of a cue from the films of the time and their centralization on the gangster culture. It's an interesting mixture of genres that never ceases to entertain, while providing a highly original concept that warns future societies of the dangers of waging war with atomic weapons. Another great Toho film!

Mothra! What a hoot! This is my first time watching Mothra and what a funny and interesting film it is. The movie starts out with a shipwrecked crew being rescued from a highly radiated island, only to be free and clear of any signs of radiation. After deliberating the reasons behind this marvelous discovery, the crew theorizes that they must have been immune from radiation after drinking a special kind of juice that the natives had given them. Being surprised to realize that there are people actually living on the old atomic bomb test site, the Japanese and Rosilican (I assume American) government form a joint expedition to the island to investigate this strange tale. The movie follows the misadventures of a journalist and explorer, who along with the team of Japanese and Rosilican scientists, come into contact with a pair of miniature twin women who worship a creature called Mothra. Unknown to the majority of the group, one Rosilican representative plans to snatch the two miniature wonders and escape the island in order to peddle them to the masses as the next big thing in entertainment. One problem is that those are Mothra's girls.... and you won't like Mothra when he's angry.

Another great addition to the Toho catalog and my recent string of Toho viewings, Mothra is a well put together little film that follows in the footsteps of the great Godzilla's destructive path, yet sets itself as its own unique beast. There is a lot of fun to be had with this film for there are a plethora of comedic moments, mostly provided by the character of the journalist, who at first annoyed the hell out of me but then gradually I began to warm to. It's also interesting to see the comparisons to the country of Rosilican to the United States and we even get a nice set of destructive scenes as Mothra brings the pain to a very familiar location. Good stuff.

The Golden Buddha is a fun Asiaspy flick that takes the classy and cool moments of the James Bond genre and spruces it up for an Asian audience. The film tells of a simple man named Paul who does extraordinary things, like kicking ass and taking names. I kid, but not really. Well, I'll start at the beginning. After having his luggage mixed up with his long time friend aboard a plane, Paul's life goes from boring to action packed. You see the contents of Paul's friend's bag is somewhat of a hot commodity and it seems that every cutthroat son of a bitch is coming out of the woodwork to have himself a piece of the pie. This pie is in the form of a small Buddha figurine, that houses directions to a families long standing lost fortune. With the sudden assassination of his friend, Paul is forced to run for his life while at the same time track down the clues of the Buddha statue, slowly making his way closer to the famed treasure. It sounds corny, but it's tons of fun.

Infused with a great sense of Eurospy cool, the film has all the trappings of a 60's spy romp, including sexy femme fatales, diabolical evil masterminds, and armies of dangerous henchmen that fall by the hands of the unstoppable Paul. It's an extremely fun movie that never takes itself too serious, but is competently executed and filmed with a vivid style. I'm glad I hunted it down, cause it was entertaining as hell. Hopefully I'll be able to run across some more Asiaspy flicks during my cinematic journeys. Check it out if you're a fan of the Bond films or just love anything spy oriented in the 60's.

NOVEMBER 13TH - 19TH

3 Seconds Before Explosion is another Asiaspy outing that has that cool and stylistic quality to it. An agent is sent undercover to monitor a group of scrupulous characters who are warring against each other for the obtainment of a cache of jewels. Setting them against each other, the slick agent defies death at every turn, almost seeming too cool for his own good. In other genres this fact would be a hindrance, but we're talking Eurospy flavor here so bring it on. Spying his way to the top of the gang, the super spy comes face to face with a fellow agent who is mixed up in this dangerous game for his own personal reasons. The clash of skill and wits is tremendously done, giving the film a little more to stand on other then its respectable visual style and 60's spy setting.

It seems that this film is another one of those Japanese lost gems, where only a handful of people are out there promoting it and giving their insight on the movie, but this is one of those flicks you really should hunt for. It has an extremely beautiful style to it, almost lavish in a sense, and respectfully succinct in providing an entertaining thrill ride of action and intrigue. 3 Seconds Before Explosion is another wonderful step for myself, into the wild world of Asiaspy flicks. Here's hoping for more gems like this.

Battle in Outer Space is my third Toho science fiction film of the past two weeks and it's another wonderful entry for the genre. This surprisingly epic movie, depicts what would happen if an alien race attacked Earth. After a space station's destruction and a mass number of strange phenomenon occur on the planet Earth, the powers that be come to realize that we have come into contact with an alien race that, unlike E.T., doesn't want to be our friends. The nations of Earth band together to combatant the extraterrestrial menace, enlisting an elite group of multinational astronauts to take the fight to the alien bastards. After reconstructing a pair of technologically advances rockets, two teams embark on a mission to destroy the alien's base on the far side of the moon. Will this hopeful victory end the advancing legion of munchkin sized invaders or will this only insight a more destructive battle upon the Earth's surface? Today is our Independence Day!

I was kind of shocked by how epic this film really is. There's a lot going for it in its rather modest run time and you definitely get more bang for your buck compared to the other films of the era. I especially enjoyed the way that they made the threat of the alien invasion so wide spread and ominous, forcing everyone on planet Earth to unify as one in order to collectively combatant this shared enemy. It was kind of inspiring and hopeful that if such a thing did happen in real life that us Earthlings would stop fighting amongst ourselves for one second and come together for the common good in its most dire of moments. In general the film is just grade A class all the way and an instant classic of the genre. I had a fun time with this one and I think you will too.

THX 1138 is George Lucas' most respectable film, in the dramatic and thought provoking sense, giving us a story of rebellion in the 25th century. This science fiction dystopian tale tells of an oppressed society, grinding on order and standards, and void of compassion and human feeling. Drained to the core, a man and woman attempt to rebel against the system, only to find that it is easier said then done. The main thematic impulse of the film is the pursuit of freedom. Freedom in every sense of the word, and the insurmountable odds one has to push through in order to obtain it. With its strikingly established world, filled with the visual burdens that come with living in an imprisoned state of loveless existence, THX 1138 is a tremendous statement on what it means to be human and it's a great example on how far we can go if pushed to the limit, in both life and filmmaking.

Lucas depicts an extremely humanistic story, built on the emotional and inherent needs found in all of us, making it all the more puzzling that his breakout film is Star Wars and not this more thought provoking piece of cinematic art. Now don't get me wrong, I love me some Star Wars, but the level of filmmaking on display in THX 1138 is on a whole other level then what he would eventually be known for around the world. Still, it is a hard film to wrap your head around and a lot of the content found within the story could be unsettling for some viewers. It still is a masterful piece of filmmaking that establishes itself quickly and gives an extreme amount of ideas for the audience to mull over long after the credits have finished rolling and we wander back into our own intimately entrapped lives. Way to go Lucas. I just wish you would have focused more on this kind of caliber work, then in revisiting your equally wonderful series of Star Wars films. What's a science fiction fan to do?

MY FILM: Among the Fallen Featured

2011-11-13T16:56:00.000-05:00

It's time for another update on Among the Fallen's crazy adventures through the internet. The film has just been featured over at Mutantville in their Scary Movie Saturday segment. Big thanks to Streebo for making it happen! CHECK IT OUT!

REVIEW: The Dead

2011-11-10T22:49:00.000-05:00

The Dead
Director: Howard J. Ford & Jonathan Ford
Year 2010

The Dead is a highly ambitious entry in the ever expanding genre of the flesh eating zombie film. Directed by sibling filmmakers, Howard J. Ford and Jonathan Ford, the movie tells the tale of a lone Air Force Engineer named Brian Murphy, who must survive a zombie apocalypse after crash landing off the coast of Africa. Surrounded by the walking dead and stranded in the middle of nowhere, Lieutenant Murphy must traverse the harsh landscape in order to find a way to return to his wife and young child. With the cards stacked against him, will he be able to escape the dead's unfaltering pursuit for his flesh or will he be just another dinner for the walking corpses?

Watch as Brian Murphy stands in his b-boy stance.

You're not looking so good buddy.

The hardships of this production have been documented by the Ford Brothers in quite a few interviews that I've come across, stating the harsh conditions and unexpected set backs that came with filming in such an inhospitable territory and unforgiving climate. From clashing with local military to having their main actor contracting malaria, the brothers have encountered a lot of hardships in order to finish their epic zombie story and in hind sight, the film has come out the better for it. The fatigue and grit of the location shooting has translated extremely well, making the entire movie feel vividly real and genuine in its savage struggle for survival. You can see it on the actors' faces as they trudge across the sun baked landscape and the resulting experience is unlike anything you've seen in a zombie film to date.

The fact that they went full out on shooting on location is a spectacular decision, reflecting their dedication in bringing something real and tangible to the zombie genre. The effect is highly inspirational in making the viewer experience what it would be like to have to roam the open plains, with nothing but your wits and cunning to keep you from being devoured. The open vistas that the Ford brothers constantly barrage the viewer with, highlights this horrific fact. The main character, Brian Murphy, has an impossible feat ahead of him and by showing the ever expansive terrain of the African landscape, we are reminded on how epic of a quest he really is on.

Damn this tide! Now I have to build another sand castle all over again!

Get outta my dreams Prince David Oseia, get into my car.

Another additional benefit that comes from filming on location, specifically the diverse landscapes of Africa, is the beautiful and picturesque scenery that it provides. From rolling sand dunes, to breathtaking shorelines, to spacious open terrains, The Dead has a visually stunning palette of sun burned orange landscapes that really establish the film as a rich experience for the eyes. This is probably the most beautiful looking zombie film that I've ever scene, adding another layer of vibrance that you don't usually see in this genre. The mixture of the beautiful panoramic moments with the decayed and disemboweled walking corpses is something of a stunner, showcasing the great contrast between life and death. Poetically executed, the Ford brothers lament an unusual combination of sentiment and fear that was greatly appreciated by this viewer.

The direction and camera movements of the film should also be noted. Not only does the film have some breathtakingly beautiful establishing shots of the surrounding landscape, but they energize this heavenly perspective with some techniques that up the tension and inject a dose of horror and thrills into the mix. There's an extreme sense of paranoia in the filming techniques that the Ford brothers use, making the main characters of the piece constantly look over their shoulders for any unwanted and unannounced walking dead. This approach is then replicated in the many perspective views of the characters as they constantly stay vigilant of the zombie horde. There is never really a moment in which we feel the cast is safe within the story and the sibling directors nail this idea home by including these fervent and obsessive camera angles to peak our curious minds on what lies behind that abandoned truck or past those bushes. It's almost exhaustive, but highly effective in ratcheting up the tension for the audience and creating a kinetic atmosphere that exudes a morbid and foreboding sense of doom.

He buddy.... got a light?

Can't get me up here dickhead!

Awe inspiring locales and super charged atmosphere aside, the film at its core is a buddy/road trip style movie, showcasing the camaraderie between two men of discerning backgrounds. In the film, Brian Murphy has a run in with another fellow survivor named Daniel Dembele, and the two forge a friendship that first ignites out of necessity but eventually morphs into a respectful bond between the two characters. The connection between the two is genuinely acted out and the slow bonding of their friendship is nice to see come forth. Both actors, Rob Freeman, who takes on the role of Murphy, and Prince David Oseia, who plays the role of Dembele, do a courageous job of portraying the two contrasting characters that come together amid turmoil.

Stepping outside of the zombie mold, the film focuses on the good qualities of human kind instead of depicting us as hate filled and fearful animals when the shit hits the fan. There is no underlying lesson on how humanity is the real monster, like in Romero's zombie efforts, instead we get a rather encouraging lesson on the integrity of the human race and the unseen bond that we all have within us. It's uplifting and surprising to see this kind of story play out in a zombie film, and I appreciated the change of tone.

A zombie apocalypse can get pretty lonely, but man are they beautiful.

People are dying to get into this town.... yuk...yuk.

Now let's end with the zombies. These guys are the good old fashion slow moving corpses of yesteryear and they are sprinkled throughout this movie, threatening to suffocate the frame in every shot. The directors make good use of their appearance and presentation, always making sure to add them in the background to ram home the overwhelming experience of being surrounded by a never ending swarm of flesh hungry ghouls. These guys are everywhere and while not in great numbers, their presence can be felt in every second of the films run time. Their existence lies heavy on the film, creating a surprisingly claustrophobic atmosphere amid such an expansive open wide terrain.

The Ford brothers' overall look for the flesh eaters are simple, yet convincing, harkening back to some of the work on Fulci's Zombie. They are not as grotesque as Fulci's masterpieces, but their overall grungy look and stilled movements are reminiscent of the iconic imagery for his walking dead. The gore and violent nature of the zombies in this film, also seem to echo the feel of those Italian zombie romps, exhibiting their cannibalistic tendencies in bloody fashion. Flesh is torn and devoured, all in its focused glory, giving off the primal essence that makes these zombie films so unsettling. The Ford brothers' attention to detail and unabashed respect for the genre is quite evident in their execution during these horrific moments. You can't help but admire the love they have for this type of movie and it shows in the tremendous output of their intimate little masterpiece.

He's got that hungry look in his eye.

Don't take candy, or odd necklaces, from strangers.

The Dead is a zombie film that uses its location to the fullest, while providing a movie that is simply beautiful. Having a rather unorthodox approach to the material, the film still manages to hold true to the rules of the modern zombie film. With care and consideration, they have infused an overwhelming sense of tension and paranoia that perfectly resembles the chaos that one would experience when fighting for their life while fending off an army of the living dead. The relationship between the two main characters was heartfelt and natural, never threatening to dabble into cliche or familiar territory. The zombies of the film were excellently realized and wholly threatening, taking cues from some of the most iconic deadheads of the biz.

If there's one thing I can say about the film to summarize it up, it would be that it is the most authentic portrayal of a zombie uprising that I have seen in a long time. Everything is genuine, paced, and realistic, never going overboard just for the sake of cheap thrills and nonsensical plot devices. The Dead is a true classic of the genre and I hope in time that it will be recognized as such. Check this out for the zombie lover in you.

5 out of 5 stars A Future Zombie Cult Classic!

MY FILM: Among the Fallen Review #4

2011-11-09T19:22:00.000-05:00

Well hot dog! It looks like the reviews just keep coming in for my first feature film, Among the Fallen. J Luis Rivera at W-Cinema has just posted a rather complimentary review on my movie, so come scope it out HERE.

If you still haven't gotten off your lazy ass and checked out the movie for yourself, the entire thing is online and you can check it out HERE.

MY FILM: Among the Fallen Review #3

2011-11-08T21:33:00.000-05:00

NEW REVIEW! NEW REVIEW! Kevin over at For It Is Man's Number has just posted a review for my film, Among the Fallen. It's a fairly positive review, but also gives some good criticisms of the flick. You can check it out HERE.

For those of you who still haven't seen the film, you can see the movie in its entirety HERE.

ALL THE COLORS: Baron Prasil

2011-11-08T21:31:00.000-05:00

FLICKS OF THE WEEK: October 23-29, October 30 - November 5

2011-11-07T21:18:00.000-05:00

OCTOBER 23RD - OCTOBER 29TH

Attack the Block pits inner city kids against interstellar creatures, with fantastic results. Directed by first time feature filmmaker Joe Cornish, the movie moves at a steady pace and gives us an entertaining group of remarkably memorable characters. The film follows the exploits of a gang of South London youths that reside in a highrise apartment complex as they drink, rob, rhyme, and pillage, while representing their Block. One night a meteor falls from the sky and the gang decides to investigate, only to unsuspectingly come into contact with an extraterrestrial. The confrontation heats up when the leader of the group, Moses, is scratched by the alien, forcing him to deliver a beat down to the tiny creature in order to save his rep with the rest of the group. This violent act, sets in motion an epic invasion of larger scaled creatures that lay havoc on the apartment complex, forcing the youths to protect their turf against the outer space invaders.

The film is a whole hell of a lot of fun, blending a plethora of elements from horror films, science fiction films, and kid adventure films from the 80's like The Goonies, The Monster Squad, and The Lost Boys. The direction for the film was spellbinding, crafting some pretty original moments and hair raising scenes. The mixture of comedy and horror was wonderful, and it was given a sense of reality by the young cast of actors. Nick Frost even gives a fun little running cameo throughout the film, that showcases his unique comedic style. The film was just great fun overall and I'm glad that I hesitated on reading up on the film before I watched it. It was a great surprise and deserves the hype that it has been getting.

Captain America: The First Avenger, is a great throwback to those wonderful period adventures like The Rocketeer and Indiana Jones, that were steeped in that kind of pulp action adventure serial vibe that's so damn fun to visit on the screen. Chris Evans plays Steve Rogers, a scrawny kid from the Bronx who has been rejected multiple times from enlisting in the fight against Hitler's Nazi Germany. After catching the eye of Dr. Abraham Erskine, Rogers is picked to try out a new super serum that could have the ability to change him from a weakling weighing 98 pounds into a bad ass super hero. Of course, the experiment is a success and Captain America is born, but after a few unfortunate events, Cap. is sidelined and forced to be more of an entertainer then an action hero. This humble life, serves as a great introduction to Rogers new-found abilities and gives a great inside look on his personality and character before the action revs up and Captain America gets to bashing in Nazi skulls or the equivalent to it.

Chris Evans does a remarkable job as the titular hero, both as Steve Rogers and as Captain America himself. He really gives a great deal of depth to the character and balances both versions of the man with great equality. Director Joe Johnston gives us a film that hits all the right notes by establishing a movie that is as fun as it is intriguing. The time period and various locations are exquisitely realized and the main villain, the Red Skull, played by Hugo Weaving, is as mesmerizing as he is pure evil. The film is just a down and out thrill ride, filled with some amazingly action filled moments and some somber and heartfelt connections between the characters. Loved it!

Jerry Cotton: Death and Diamonds, is George Nader's sixth attempt at playing the sneaky and suave FBI agent Jerry Cotton. In this entry, Cotton must infiltrate a gang of robbers, posing as an expert alarm specialist in order to thwart the gang and take down its mysterious leader named Stone. Cotton comes to find that they plan on lifting a large haul of diamonds that happen to be on display at a private and secretive meeting, but he is on constant observation by his dubious employers for asking too many questions about the heist and its illusive and faceless leader. To make matters more complicated, Cotton has started to fall for a dame by the name of Lana who is mixed up herself with the crew of crooks. Can Cotton put a monkey wrench in the gangs plans, while at the same time save the girl? I assumed the answer was yes before I watched the film, and after the credits rolled I found that I was right. That Jerry Cotton is one bad mutha... shut your mouth! I'm just talking about Cotton.

This was my first introduction into the Jerry Cotton crime fighting world, and I have to say that I was pleasantly surprised. Often people have compared Cotton's films to the espionage-filled realms of the Eurospy films and I'd have to agree to a certain extent that they seem like distant cousins. While the Jerry Cotton films lack the globe trotting elements found in most Eurospy films, there is a certain quality to the movie that is undeniably Eurospy-esque. The girls, the guns, and the charismatic lead are all there and the amount of fun that I had watching the film was equal to the majority of Eurospy flicks that have entered my collection. Can't wait to delve into the two other entries that I was able to pick up with this one. Bring them on!

Tuvalu is a fantastic and inspiring coming of age film that sets itself in a world that can only be imagined within the fanciful confines of the screen. This sepia infused fairy tale comes from Germany, boasting some of the most imaginative locations and characters to ever grace the cinemas wacky and wild stage. The film follows the trials and tribulations of a strange man-child named Anton, who aids his blind father and languished mother in running their broken and battered bathhouse. The normally hidden and naive Anton, one day unexpectedly meets a beautiful young girl named Eva on a random visit to the bathhouses with her father. Anton is infatuated with her and strangely enough, she seems to feel the same way. That is until her father meets an untimely death by a blow to the head from falling debris, thanks to the decrepit bathhouse's decaying roof and the help of a sinister assailant. With the affections of Eva now turning to hatred, Anton must also contend with the bathhouse being placed under investigation, spurred by a greedy landowner and his desires to bulldoze the building for more lucrative real estate. Can Anton save the bathhouse and win back Eva's heart? The answer to that question is yes, but it happens in such a way that you'd never expect, projecting this movie into such weird realms that most imaginative minds could never fathom.

This movie is a treat. It's a lost gem that begs to be discovered. The cinematic world that director Veit Helmer has created in this film is just ritualistically odd and refreshingly original. The heart and soul of the movie is its characters, especially that of Anton and Eva played by Denis Lavant and Chulpan Khamatova. The two have a spark about them that really ignites the world to life, particularly Chulpan. I've come across a number of her films on my cinematic journeys and every single one of them has been a masterpiece of cinematic wonders. Much like her roles in Luna Papa, Strana glukhikh, and The Sword Bearer, she exudes a presence that is unlike any actress that I've come across. She's vulnerable, quiet, and quaint, but fierce and wholly capable of carrying a film and Tuvalu is no exception. She takes on the role of Eva with force and makes her lovable and hypnotizing. The film in general is hypnotizing, never placating the raw and artistic nature of the cinematic realm that is has created. It's a feast for the eyes and really should be seen.

OCTOBER 30TH - NOVEMBER 5TH

Baron Prasil is another film that is a feast for the eyes. This Czechoslovakian film is a vivid masterpiece, showcasing Baron Munchausen's color tinted adventures across time and space. After meeting a spaceman on the moon, Baron takes it upon himself to show this "Moonman" how life on earth works. They descend onto the world vie the Baron's flying ship, powered by birds of all things, and start out on one of the most absurd adventures in history. Baron Munchausen is a fanciful man, prone to boasting and bragging about his eccentric journeys and miraculous encounters, and we get to see some of these misadventures first hand. From battling an army of Turkish soldiers single handedly, to being swallowed by a giant whale whole, to riding a cannon ball across the countryside, the Baron takes the world on and he does it in style. The film is a fantastically outlandish trip into a world that might only exist inside the self centered and possibly insane Baron Munchausen's head, but it is one that is as amazingly fun to visit as you would think.

The production value on this strange film is actually quite brilliant, blending oddball animations, with flat two dimensional backdrops and silhouetted actors, there really isn't anything like this movie. Its unusual style lends a great deal to the film's originality and placement within the cinemas many varying entries. It's a bewitching experience to say the least, and you'll not soon forget your marvelous trip through the wacky adventurous life of Baron Munchausen. I don't think I can fully describe the outrageous nature of this film, so I'm just going to leave it at that. You must see this film for yourself, because it is rather special.

Black Heaven is a surreal trip into the unknown, that balances the effects of the real world with that of the digital realm of an online game called Black Hole. Seemingly named after the consuming nature of its obsessed players and their addictive tendencies, the film follows an unsuspecting young man by the name of Gaspard, who with the help of a sexy stranger named Audrey, begins to get wrapped up in a fantasy world that quickly begins to threaten to claim is life. After saving the life of a suicidal woman (Audrey), Gaspard becomes desperate in finding out anything he can about her, which leads him to the online universe of the Black Hole. In this internet world, people are not always what they appear to be and dangers sometimes make their way into the real world. His infatuation with Audrey compels him onward, ignoring the risks and warnings of his closest friends, making him change from an innocent and kind-hearted youth into something else entirely. Does a sinister plot lie at the end of Gaspard's sorted tale? You bet your sweet tattooed ass!

This tense virtual thriller is not an action packed epic, but it delivers a story that is down-right compelling and extremely mysterious. The allure of the virtual world is as intriguing to the main character of Gaspard as it is to the viewer, pulling us both into this digital realm by the reigns of this alluring woman who seems surrounded by death. The mystery of who she is and what she is all about, tugs at the viewer allowing us to partake in Gaspard's quest. I loved the parallels that the film sets up, comparing the unknown intentions of the internet avatars to the intentions of the cast of the real world. The dangers and consequences hit the viewer hard and in the closing moments of the film, we see the extent of the damage it has taken on Gaspard's life. The film is a little unknown at the present, but hopefully more people will come to find this honorable and twisted gem. I dug it and I think you might too.

Godzilla Against MechaGodzilla is another outstanding entry in the prestigious Kaiju series. In this film's history, Godzilla has only attacked Tokyo once, leaving the death of Godzilla from the first movie to be the last appearance from the giant behemoth. Unlucky for Japan, a new Godzilla is on the scene and he's tearing the place up. After this new Godzilla's rampage, the government decides to construct a weapon that can destroy Godzilla for good and keep the people of Japan safe. They devise a plan to construct a metallic replica of Godzilla, one that infuses his DNA that has been extracted from his newly found skeletal body at the bottom of the ocean. With MechaGodzilla fully operational, the match is set for a colossal showdown that is sure to rock Tokyo to its core. Let's get it on!

This film, like all Godzilla Toho Productions, is enjoyable to say the least. The story is a bit sentimental, with the human characters having to overcome their tragic pasts in order to realize their worth, but it's sprinkled enough over the entire breadth of the film that it doesn't take away from the main event of Goliath against Goliath, and what a show that is. The two combatants go at it with harsh aggression and there is a great deal of destruction to be seen in these climactic battles. The miniature work is good and it's blended with some nice digital effects that don't seem as cheesy as one would expect. If you're looking for a fun time and you're in the mood for some good old fashion monster destruction, then look no further then Godzilla Against MechaGodzilla. You're in for one hell of a time.

Primal is an Australian genre film that has a great concept, yet doesn't really fully realize its own potential. The movie is a blend of Cabin Fever with a hint of Lamberto Bava's Demons, but doesn't fair as good as the originators of the concept. The film follows a group of friends as they go on a camping expedition to investigate a cave painting in the remote jungles of Australia. It appears that this region of the outback is a cursed place, transforming its inhabitants into bloodthirsty demon-like creatures. Before you know it, one of campers becomes violently sick, spitting blood and teeth and wallowing in pain like a rabid animal. This feral reaction soon turns to ravenous anger as the transformed camper begins to attack the rest of the group, slowly transforming them into devilish creatures themselves. The night runs with blood, while the surviving few struggle to stay alive and find a way out of this harsh territory and dangerous company.

The concept is exciting, but the eventual demise of some of the campers leaves much to be desired. First off, the actions of some of these characters are downright stupid. I know that this is a staple of the genre, but if someone is still holding a flame for his significant other, even when that person is attacking them with razor sharp teeth and blood all over their body, then you have to say wake the fuck up man! With that said, the film does have some good elements to it like the creepiness of the location and the special effects. With a better fleshed out story and a cast of sensible characters, the film could be something of a genre favorite. Still, it isn't really all that bad, just could have been so much better.

The Spy Who Loved Flowers is an Umberto Lenzi directed Eurospy that is as fun as its title is ridiculous. The film follows secret agent Martin Stevens, played by Roger Browne, as he cleans up some loose ends from his previous mission. Stevens is ordered to hunt down three important persons that were linked to his past assignment, assassinating them at any cost. What turns out to be a routine cleanup mission, turns into a thrilling game, filled with twists and turns, revealing some surprising revelations for super spy Martin Stevens. As previously stated, the film is so much fun. Roger Browne nails the role of the charismatic mans man, as he woos the ladies and takes out the bad guys, sometimes mixing it up a bit and taking down some double crossing women.

The film takes place in a number of locations, from Paris to Geneva and then finally to the iconic scenery of Athens, Greece. There's some great moments with Stevens, amongst the monolithic ruins of Greece, and Lenzi utilizes these exotic locations to their fullest. The one great thing about Eurospy films, is that they are a living and breathing slideshow of wonderful places during a time that was stylistically unique and ultimately thrilling to view in retrospect. The Spy Who Loved Flowers supports this concept with its beautiful locations, cast, and exciting story. This film may not be one of the best examples of the Eurospy genre, but it definitely holds a memorable place in the interesting catalog of films.

MY FILM: Among the Fallen

2011-11-03T19:42:00.000-04:00

MY FILM: Online Premiere Announcement!

2011-11-03T19:29:00.000-04:00

Here's a late Halloween treat for you horror hungry bastards out there. I'm going to be uploading my entire first film, Among the Fallen, in a matter of hours to the site!

If you've been interested in seeing the final film, now is your chance. It's a very abstract and surreal film, but hopefully many of you will come away digging it. Here's the synopsis for the film to refresh your memory and stay tuned for the online premiere.

SYNOPSIS

Among the Fallen is a compellingly deep film that delves into the unexplored inner workings of the human mind, by balancing both the physical and mental horrors that a person experiences when dealt a horrible loss of a loved one, and combines that with the gruesome visual decadence of a zombie film. Combining the reflective aesthetics of art-house cinema with the gory and primitive nature of zombie films, Among the Fallen brings about an original story of a grieving writer named Will Ashford, as he struggles to come to terms with the tragic death of his wife and unborn child.

Breaking off from the rest of the world, Will journeys to a secluded cabin to both finish his novel and cope with his depression. It is here that Will must battle his inner and outer demons as he descends into a downward spiral of haunting memories, ravenous creatures, and startling truths. With its violent nature and uncompromising portrayal of a man struggling to survive both bittersweet memories of what once was and an onslaught of mysterious watchers that begin appearing in the surrounding woods, Among the Fallen is a heavily atmospheric film drenched in zombie lore.

Gathering inspiration from such filmmakers as Dario Argento, Lucio Fulci, and George Romero, the film combines a plethora of unconventional themes to create an unorthodox and surreal zombie story with a human soul and a lot of bite.

Get ready to kick some zombie ass!

REVIEW: Halloween 2

2011-10-27T23:04:00.000-04:00

Halloween 2
Director: Rick Rosenthal
Year 1981

Halloween 2 is an exceptionally faithful sequel to the John Carpenter directed classic, starting off mere seconds after the events of the first film. As Laurie Strode is taken to the hospital to be treated for the traumas she endured in the first movie, Dr. Loomis and Sheriff Brackett search the neighborhood for the death defying Michael Myers. After being shot SIX TIMES, miraculously Myers escapes the crime scene, aiming to finish the job and track down Laurie by any means necessary.

The film starts out in such an amazing and almost calming way, with long and extended takes of Myers passing through the neighborhood as police sirens wail and cop cars begin searching up and down every nook and cranny of the quiet little town of Haddonfield. It's a perfect reflection of the slow pacing of the first film, mimicking the patient build up that got the classic set in motion, but then violently everything comes to an abrupt moment of sheer chaos when Loomis thinks he spots the famed killer and begins to chase the fiend across an already chaotic scene of scared suburbanites. What follows is one of the most masterfully accomplished surprises in sequel history, making me feel quite sad for the poor kid who decided to wear a jump suit and faded William Shatner mask for his Halloween costume. Damn that is one hell of a way to go!

....And after a thorough examination.....

Yep.... Yep..... This fucker's dead!

Damn! This startling scene sets in motion the tone of this sequel, while basically summarizing the entire notion of the first film, and that is that no one is safe on Halloween when Michael Myers is set loose upon the world, specifically Haddonfield. With all the pandemonium from the first film spilling over into the second, we get one of the first kills being that of an innocent trick-r-treater. The crazy thing is that it's not by the hands of Michael Myers, but from the paranoid actions of Dr. Loomis. What a hell of a set up.

After that explosive scene, we are then shown where the remainder of the film will be located and that is at the local hospital where Laurie Strode has been taken. Much like the residential streets of the first film, The hospital hallways serve as a hunting ground for Michael Myers. Each room of the hospital almost represents the houses that lined the streets in the first movie, inhabited by a whole new group of young and unexpecting victims. Strangely enough, the atmosphere of the hospital mirrors the empty streets of the first Halloween perfectly, giving off that unsettling feeling of solitude. The decision to correlate the two individual locales was just plain brilliant, keeping the simple aesthetics of the first film intact while giving the audience a familiar setup, but with a totally different location for the mayhem to take place in.

You need a snuggle buddy?

Michael you little pervert.

Another great decision on the filmmakers parts, was keeping the intensity of Donald Pleasence's character, Dr. Loomis, intact. By instilling an almost rabid sense of urgency within his character's mind set, he basically aids the hysteria of the moment, causing more of a problem for the already overworked and stressed Sheriff Brackett. In the first film, Loomis spent a great deal of effort in trying to convince the Sheriff that his quiet little town was in serious danger. After experiencing the horrible events first hand, we would naturally expect Sheriff Brackett to now listen to whatever Dr. Loomis says and follow him without question, but because of Loomis' wreck-less abandon in pursuing his white whale, Michael Myers, he's become an almost equal threat to the town's safety.

All of this is made all the clearer after his accidental accusation of the Michael Myers dressed trick-r-treater that led to that innocent kid's explosive death. This in effect allowed the same head butting that occurred between the two saviors of the town in the first film to continue into the sequel. If it wasn't for that pinnacle event, there would most likely be a more peaceful existence between the two as they hunted for their same goal, the capturing of Michael Myers. Instead, that event skewed the characters into two opposing factions. One that wanted to capture Myers, but within reason and without endangering the lives of any more people, against the other faction who wanted nothing more in the world to end Michael Myers even if a few lives were snuffed out in the mix of things.

The duality of the situation and the dichotomy of their group of avengers was brilliantly accomplished with that specific chain of events and made for a better story in my opinion. When I saw the film for the first time, I came away from that scene thinking that it was brutal as all hell, but in retrospect I now can see the ripple effect that changed the rest of the film into something much more substantial. Great stuff.

Did I remember to turn the stove off? I turned it off SIX TIMES!

Jimmy, what a numbskull.

It also seems like the violence and graphic nature of the film was also cranked up a bit compared to its predecessor. Usually that's the case when a film as classic as Halloween is assigned a sequel. In general, the director and producers feel the need to out-due the previous iteration, but luckily the bar was only raised slightly as not to eclipse itself too far from the world that John Carpenter had created in the first film. We get a subtle addition of bloody kills and nudity, but nothing so shocking to make us think that we've stumbled into a gore encrusted Friday the 13th entry.

The decision to step up the violence a bit more, but keep it at a moderate level, was a rational adjustment. We often forget, after viewing so many slashers that have come into existence since the first entry in the Halloween series, that the actual first film wasn't very bloody at all. That concept I mentioned earlier about upping the ante, was some of the main thinking forces behind Halloween's competitors. By slasher standards, Halloween has always been a series that lent its success more to the atmosphere that it created rather then the amount of blood splashed across the screen. Halloween 2, catering to this tradition, keeps the bloodletting to a moderate amount while flirting with that concept of the more gore, the merrier.

Good job nurse. Time to give you a raise.

Jamie Lee Curtis snuck into the Suspiria set. You little sneak.

As mentioned previously, the main core of the cast reprise their roles with Donald Pleasence playing Dr. Loomis, Charles Cyphers playing Sheriff Brackett, and of course Jamie Lee Curtis playing Laurie Strode. In the sense of Curtis' screen time, she doesn't really factor into the equation until the later half of the film, but when she does it's a tension filled game of cat and mouse played within the confines of a maze like series of hospital hallways and endless corridors. Her timid portrayal in the first film is nothing compared to her traumatized depiction of the now battered and beaten Laurie Strode. Weary from a night full of surviving the constant attacks from her estranged brother, the Laurie in this film is that of a drugged lunatic, fighting on instinct. The weight of the night's battle is quite evident and Curtis does a tremendous job in making the viewer feel her pain.

On the other side of the coin, both Pleasence and Cyphers do a great job in continuing their already established character's motives, with Cyphers bowing out earlier then Pleasence, but not without leaving a few lasting impressions. Pleasence's Dr. Loomis has a great deal more to do in this film, yet his actions mirror his movements from the first film by having him follow in the footsteps of the famed killer. The detective work that leads him to the hospital and the obstacles that he must overcome in order to make it there in time to save Laurie, is entertaining to see play out. Dr. Loomis the law breaker, who would have thought. All in all, the cast is stupendous, including the fresh meat that Michael Myers gets to slice into and choke the life out of. The film is just a perfect continuation of an already perfect horror film.

How do you like your Michael Myers? Medium or well done?

So long Jamie Lee Curtis. See you in twenty years.

Halloween 2 is a sequel that matches the intense atmosphere of the original, while upping the ante in a number of areas. The kills are a little bit bloodier and the nudity is a little bit... nudier, but the director and crew never forget that blood, gore, and nudity, were never an emphasized thing in the first Halloween. It was the atmosphere of the holiday of Halloween and the silent moments of Michael Myers stalking his prey that really made an impression on the audience, myself included.

In this entry, they've kept the things that work and made a comprehensive continuation of the first film that seamlessly begins where the first film leaves off. If you loved the original Halloween, then it's highly likely that you'll dig the second one. Hey, it's four more days until Halloween so get to watching!

5 out of 5 stars One Hell of a Sequel to a Classic Slasher Film.