So, I did a thing, and that thing is a TWP Podcast, and it can be heard right here:
This will be eventually available on Spotify, Apple Podcasts and other places, so search ‘To Watch Pile After Dark’ in your favourite Podcast place!
So, I did a thing, and that thing is a TWP Podcast, and it can be heard right here:
This will be eventually available on Spotify, Apple Podcasts and other places, so search ‘To Watch Pile After Dark’ in your favourite Podcast place!
One from the to watch pile…
Lords of Chaos (2018)
Film: In addition to collecting movies, and books, and toys, and comics, I am also, stupidly, a record collector. This is an expensive hobby that is wonderful and a money pot if you allow it to be. As I am a movie lover, I predominantly own soundtracks to films, but I also have a fair bit of new wave, synth wave and heavy metal.
Now I understand that within the sub-genres of metal there is some quite opposed to each other, but I just don’t know why we can’t just all get along. Thematically, I do tend to lean more towards the harder, darker side of metal when I listen to it, though seeing as how my significant other is a country and western fan, I listen to it by myself. I also have read many biographies about musical artists and amongst those is a book by Didrik Søderlind and Michael Moynihan called Lords of Chaos, whose popularity is probably WHY this film was made as it is a fascinating story, and to paraphrase an old saying, the truth is almost always stranger than fiction.
Lords of Chaos tells the tale of Øystein Aarseth aka Euronymous (Rory Culkin), from whose point of view the entire tale is told, and the inception of a musical sub genre called Norwegian Black Metal.
Euronymous has a band called Mayhem which is looking for a new singer, which they find in a young man from Norway nicknamed ‘Dead’ (Jack Kilmer) who has a severe case of depression and a suicidal nature.
Euronymous has an ‘inner circle’ of devout followers to whom he preached the bands themes of destruction and rebellion, but it wasn’t until he met a young man named Varg Vikernes (Emory Cohen) that someone actually decided to act upon them.
Varg’s yearning for acceptance means he is willing to take Euronymous’ word as gospel, and eventually it seems Varg is more of a believer than Euronymous…. and this competition can only end in bloodshed.
Apparently, those who have survived this story, which has a subtext of ‘based on truth… and lies… ‘ have been critical of the accuracy of the film but a good filmmaker doesn’t always let the truth get in the way of a good story: the film ‘24 Hour Party People’ is a good example of this, where even within the confines of the film itself, the real people the film is representing appear to deny claims made about them, which makes for a seriously meta experience. Varg Vikernes was one who apparently particularly made commentary about the lack of accuracy within the film with reference to his character, and also it’s apparently not true that Euronymous had a girlfriend during some of the events of this film, but any excuse to see Sky Ferreira (from Eli Roth’s Green Inferno) is a good one, right?
As for the quality of the film itself, it’s completely engaging and the cast are a likeable bunch of teenage miscreants and Rory Culkin certainly makes the film his own and he controls every scene he is in even if he’s not the focus at that moment. The subtleties of his performance really makes ring true.
The director, Jonas Åkerlund certainly gets the best out of all the actors and his re-telling of some scenes from different points of view really makes this film tragic as well as just a fun ‘let’s make a band’ film. What’s also amazing, and this might be a result of his Swedish heritage, he really knows how to make places look cold, and the bleakness of the environment reflects the attitudes the characters have towards each other… well initially.
Another choice that was made to make this film more agreeable with an audience not into the music is that it doesn’t actually appear on the soundtrack too frequently. This was a wise decision and the music is only really present during performances so the story of the people and the scene, which is what the movie is about takes precedence over the music.
From the amazing cinematography to great acting and sublime direction, I have to say I thoroughly enjoyed this film and really think anyone who is into music biopics should look into it, even if they aren’t into the music.
Format: The film was reviewed with the Umbrella Entertainment DVD release and is presented in a thoroughly decent 1.85:1 image with a matching 5.1 audio.
Extras: When one considers this is based on a true story, it’s a shame they couldn’t find any extras. There is a couple of cool interviews on the Arrow Bluray release so if extras are important to you, that might be an option.
WISIA: This is one of those films that the filmmaker has been so careful in creating subtleties in the mise-en-scène that it really does take a couple of watches to take it all in. Make SURE you watch it more than once!
One from the rewatch pile…
Kill Bill Volume 1 (2003)
Film: Quentin Tarantino is one of those writer/ directors whose films are either loved or loathed. QT is regularly accused of plagiarism and being unoriginal on one hand, and on the other hand, he almost single handed lay brought back the popularity of some exploitation and international films into the limelight. It is unfair to call QT a plagiarist, as he freely acknowledges his influences, and ha always worn them on his sleeve. This film, Kill Bill Volume 1, was conceived during the filming of Pulp Fiction, where GT could see a potential in Uma Thurman to be a great female action lead, and decided to write an entire film around her.
As the title suggests, Kill Bill Volume 1 tells the first part of a revenge tale. ‘The Bride’ (Uma Thurman) was thought to have been murdered by a squad of killers she was once a part of, The Deadly Viper Assassin Squad, a group led by the mysterious Bill (David Carradine). She cuts a swath of violence in this film to get to her intended victims: O-ren Iishi (Lucy Lui) , Elle Driver (Darryl Hannah), Vernita Green (Vivica A. Fox), Budd (Michael Madsen), but will she get to them all? Will she survive countless battles so that she can finally Kill Bill? Mmmm…I guess you shall have to watch Volume 2.
So, what is your pleasure? Wuxia? Got it! Exploitation? Yeah, got that too. What about gangster flicks? Yep, there’s a little of that as well. We even have a little bit of anime!! Some of the dialogue in this film suffers from ‘Lucas’ Romantic Scene Disorder’, where the lines seem to have trouble coming out of the actors mouths, and feel as awkward as a contestant on Young Talent Time. Tarantino’s plotting talents however should keep you interested enough that it is only a minor bother.
As usual, QT’s supporting characters are just as interesting as the main cast, and the plot, disjointed though it may be (like Pulp Fiction), moves along at a great pace. A fan of the type of cinema QT has interests in could really spend hours with a group of like-minded friends spotting the massive amounts of nods to other films.
With influences ranging from Tobe Hooper to the Shaw Brothers, and even sometimes borrowing from his own films, Kill Bill Volume 1 could have easily been takeaway crap, but instead it is a fresh dine-in meal with all the trimming… though the dessert has been saved for a Kill Bill Volume 2.
Format: Kill Bill Volume 1 was reviewed with the Australian release Bluray, which is presented in a 2.40:1 anamorphic widescreen which is clean and perfect. The reds are SO red, the yellows are SO yellow and the black and white is… well, contrasting! This film is in Dolby 5.1 and is a kick ass track. The sounds of blood spraying and swords clanging together will ring in your lounge room long after the film has finished. There is some great use of musical cues that really make full use of the 5.1 sound stage as well.
Extras: The Making of Kill Bill should have been a three hour extravaganza where QT goes through everything that influenced this film and his career, but instead we get a 22 minute fluff piece that admittedly has a lot of interviews but ultimately leaves you unsatisfied.
There are two music clips from the 5,6,7,8’s, ‘Walk like Jayne Mansfield’ and “I’m Blue’. Is it surf music, is it pink? Who cares, it’s awesome!
There is also two trailers for Kill Bill Volume 1: a teaser trailer and a‘ bootleg’ trailer, which weirdly contains some footage from Volume 2!
WISIA: Oh HELL yeah I’ll watch this again!
One from the re watch pile…
Thriller: A Cruel Picture (1973)
Film: You have to love the way some people think. When director Bo Arne Vibenius’ 1969 family film flopped, he did what any good director would do: he got straight back on the horse and made what was to become one of the most un-family oriented mainstream releases ever made (albeit under the pseudonym Alex Fridolinski). This film, Thriller – En Grym Film, in its original Swedish title, has gone by many names: Hookers Revenge and They Call Her One Eye to name a few, and has been released in more running times, due to censorship laws in various countries, than you would find at the Olympics. Notorious to its core, this version, Thriller: A Cruel Picture, is unrated and with the unnecessary hardcore sex and (apparent) actual corpse mutilation in lieu of special effects. Synapse released both the hardcore and no-core versions on DVD, the Red cover, with the subtitle ‘A Cruel Picture’ is the XXX one where as the yellow cover, with the subtitle ‘They Call Her One-Eye’ is the non-awkward porn version.
Thriller: A Cruel Picture tells the tale of young Frigga (Christina Lindberg), who lost the ability to speak after being raped at a very young age. Her mother and father regularly send her to various doctors in the hopes that she will regain her voice. One day, after missing the bus to one of her appointments, she accepts a lift from Tony (Heinz Hopf) who dopes her and within ten days has her hooked on heroin and working for him as a prostitute. After she attacks a client, Tony cuts one of her eyes out. Eventually the pressure of all her woes gets to her, and she decides to fight back…with a vengeance! (Cue zoom in and stabbing strings)
The first thing to say about this movie is hubba hubba: even with one eye covered, Christina Lindberg oozes a sweet sexuality that would be slipped on if you stepped in it. It is unsurprising however that Vibenius had little success with his previous film, as he is an extraordinarily BORING filmmaker. His action scenes are suitable enough, although the use of slo-mo is somewhat excessive. The dialogue or ’emotive’ scenes are done with such extreme close ups of the actors faces that instead of looking sad or friendly, they just all looked ominous. Also of particular note are how badly the cars must be made in Sweden: even the slightest bump during the car chase scene causes these pieces of rubbish to explode. Having said all that though, it was kind of like watching a train wreck; you just couldn’t take your eyes off its grizzly allure.
The hardcore scenes in this film also deserve a mention, as the ‘stunt actors’ in them are quite obviously not Lindberg and her fellow cast mates.
This film never quite fits a certain genre. It’s sometimes arthouse, grindhouse and porno-house all mixed in one. Even though the hardcore parts were obviously tacked-on and felt completely out of place, they didn’t really effect my overall enjoyment of the film (although there was one bit of going-in-dry footage that made me cringe). This is one of those must see oddities. You have heard a lot about it, especially in the wake of the Kill Bill films, but few will probably enjoy it. I was one who thoroughly did, and it will become a regular rotation… although I might fast forward through some of the hairy nut parts, or watch the alternate release, Thriller: They Call Her One Eye.
Format: The picture quality is all over the shop. Grain, cigarette burns… you name an artefact, and this film has it. I will say though, the image is still clear enough to be watchable, and judging by the amount of bootlegs there are around of this film, it is probably the best it has looked in years. To be brutally honest, the slightly off image just adds to the sleaziness of the entire proceedings, and is probably reminiscent of those old grind house cinemas that exploitation stuff like this used to get shown in. The film is presented in an anamorphic 1.66:1 aspect ratio, even though the package states it’s 1.78:1. Presented in spectacular 1.0! This is a fairly clear mono track, but to fully appreciate this film you need to watch it both in English, and then with the subtitles…they are almost a different story! Even the main character’s name goes from Frigga (English dub) to Madeline (English subtitle). Keep your ear out for sound effects straight out of Scooby Doo cartoons, especially during the car chase scenes
Extras: There are 4 theatrical trailers on this disc: the TV spot (for They Call Her One Eye), the theatrical trailer (for They Call Her One Eye), the Double Feature trailer (a grind house double feature trailer where the film is called the Hooker’s Revenge and is accompanied by The Photographer’s Model) and the Thriller trailer.
Outtake Reel is a few short outtakes, all in complete silence.
Alternate Harbor Fight is a reconstructed version of the harbor fight sequence using pieces of thought to be lost footage, which is then put together with some actual film footage to make a ‘new’ version of the fight.
Movie in Pictures (38 seconds) is the entire movie shown with a single shot from each scene…why? It’s like a crappy View Master version of the film.
There are 5 stills galleries: In Bed with Christina, a series of nude shots of Lindberg. Behind the Scenes, which is a collection of BTS footage, mainly of Lindberg, but dressed this time. Advertising and Promotion shows the posters and other advertising paraphernalia for the film. Deleted Fight Scene shows the still pics from a scene omitted from the final film, and Production photos are on set photos taken during the production of this feature.
There are also text filmographies for Lindberg and Vibenius.
WISIA: This film is such a weirdo watch, I actually can’t resist it, and have watched it several times.
One from the re-watch pile…
Reform School Girls (1986)
Film: The Women In Prison (WIP) subgenre of exploitation films has been around for a long time, the first really of note being 1933’s Ladies They Talk About which starred Barbara Stanwick and Lillian Roth. The genre continued not just in films but also in the men’s pulp magazine like Argosy and even still continues to this day with stuff like 2009’s Sugar Boxx, though the post 60s films were slightly saucier than the ones previous to that decade.
Reform School Girls was a 1980s entry in the subgenre, written by Jack Cummins (co-writer of another WIP film The Concrete Jungle) and directed by Tom DiSimone who also directed The Concrete Jungle as well as other exploitation classics like Savage Streets and Hell Night.
Reform School Girls tells of the ‘fresh meat’ being delivered to a girl’s reform school for rehabilitation. Jenny (Linda Carol) decides to be a ‘protector’ of sorts to psychologically damaged Lisa (Sherri Stoner) and it’s something she desperately needs in this particular reform school as it’s run by the vicious warden Sutter (Sybil Danning), her fearful second-in-command Edna (Pat Ast) and a group of lecherous cruel guards.
Problem is though, the guards aren’t the only ingredients in this prison that are potentially deadly. The dorm bully is Charlie (Wendy O. Williams) who is constantly causing trouble for our heroes. Thankfully, there is relief in the form of the school psychologist Dr Norton (Charlotte McGinnis) but that doesn’t matter to Jenny, because she is slowly formulating a plan to escape…
From an exploitation point of view, this film has some epic exploitation pedigree, from the director’s previous output, the appearances from the They’re Playing With Fire and The Howling 2’s Sybil Danning, Friday the 13th: A New Beginning’s Tiffany Helm, Friday the 13th Part VI: Jason Loves Darcy DeMoss, Heat’s Pat Ast and most importantly, The Plasmatic’s singer Wendy O. Williams.
Does that make it a good example of the genre though?
At it’s best, Reform School Girls is a parody of WIP films, and really doesn’t stretch itself beyond the generic tropes it’s type: naked shower scenes, delousing, food hall fights, initiations, fire hose torture etc, and it does all seem to be done quite tongue in cheek… especially when you consider the uniforms for Pridemore doesn’t include pants, and the bed clothing consists of everything from g-strings and bras, to aerobic fitness tights rejected from the Olivia Newton-John ‘Physical’ filmclip.
Unfortunately for the film, it’s so badly acted that it fails to execute the timing of any comedy it attempts, and any times it attempts to take itself seriously, it fails miserably. Also, for a ‘reform school’, there isn’t an inmate less than 25 years old!
When this came out, I am sure for a young man that the amount of female nudity would have been a great reason to watch it, but with the level of nudity available on the internet I’m sure it’s not so appealing now. It does, however, have an amazing soundtrack… mainly featuring Wendy O. Williams… which kicks arse.
Format: This movie was reviewed on the Umbrella Entertainment DVD release, presented in a decent 1.77:1 image with a 2.0 Mono soundtrack that does the job well enough.
Extras: Not a sausage. Not even a disc menu.
WISIA: I saw thins when it was first released on VHS back in the 80s and this is the first time I’ve watched it since. The next time I watch it will probably be in two new formats time, for whatever the future of the internet looks like, but not before that.
One from the to watch pile…
Ouija House (2018)
Film: The cover to this film boldly presents this film to star both American Pie’s Tara Reid and The O.C.’s Mischa Barton which I find really weird as it seems to me that having their names on a DVD is like those awful photos and warnings that you find on a cigarette packet, though just like those warnings, those of us addicted to horror sally forth regardless and suck up their awful goodness.
Maybe the addition of Dee Wallace (Cujo) takes the edge off?
I’d like to suggest that perhaps Carly Schroeder’s name helps too, but I’m not sure one of the Lizzie MacQuire stars is quite horror royalty.
Anyway, I should point out that this is not a part of the ‘Ouija’ film series that includes ‘Ouija’ (2014) and ‘Ouija: Origin of Evil’ (2016) but instead one of the knock offs using the ‘Ouija’ name to tap into some of those films popularity… did they even have enough popularity to even do that?!?
If we are even questioning that, I guess they MUST have!
This film was directed by Ben Demaree, the director of Apocalypse Pompeii and Dear Diary I Died, and was written by Justin Hawkins and Jeff Miller, who also co-wrote 2019’s Dolls.
Our tale of the Ouija House begins in 1988, with a group of people, (including Tara Reid and Tiffany Shepis) who are in what appears to be an old, unused house where it was rumoured murder and torture and witchcraft occurred, using a Ouija board to communicate with any spirits who may exist within the house. Of course, this being a horror movie and not an historical drama, everything ends badly.
Flash forward to now, and we are introduced to Laurie Fields (Carly Schroeder) who is studying demonology at University (cool uni!) and intends on going to the same house, her Aunt’s, for research, even though her mother Katherine (Dee Wallace Stone) has strictly forbidden it.
Laurie goes against her wishes and travels to the house regardless with her friends, Nick (Mark Grossman), Tina (Grace DeMarco) and Spence (Derrick A. King), where they will be meeting her cousin Samantha (Mischa Barton).
The house seems normal enough but after Tina finds a doll, she begins to act… off, and the supernatural shenanigans begin…
The premise of the story is actually pretty good, and even the some of the performances are ok: it’s cheap popcorn horror, but it’s executed well. There’s some pretty stupid inconsistencies in the story, and I mean glaring, dumbass inconsistencies, but there are a few conceptual ideas that are pretty innovative… none I can discuss without spoiling the movie, so please, just trust me.
Barton and Reid are clearly here for name purposes only, though I’m not sure if their names either hit the young hip horror crowd, or the older, degenerative fans (like me, and you can tell I’m one of them as I used the word ‘hip’. These days it’s more ‘hip replacement’). I think the marketing department on Ron Lee Productions need to look deeper into who is cult-popular and cheap.
Overall, it’s a tidy, and mildly innovative story, with a cute cast and a soundtrack reminiscent of some 80s synth scores (by Johnathon Price) so it gets an extra bit of credit from me for that.
Format: The reviewed copy of this film was the Umbrella Entertainment Australian DVD release, presented in a decent and unblemished 1.77:1 image with a clear and precise 5.1 audio track.
Extras: Nothing, not even a DVD menu screen.
WISIA: I can confirm any prediction that may suggest I will never watch this again. Not because it’s bad, but just because it’s a one-watch screamer.
One from the to watch pile…
Sidecar Racers (1975)
Film: I fell absolutely head-over-heels in love with Australian filmmaker Mark Hartley’s documentary Not Quite Hollywood, which was an amazing celebration of the Australian film industry’s darker, and perhaps occasionally sleazier side. There is a problem with admiring that doco as much as I do, though.
I have found myself in a situation where all you have to do to sell me a film, is describe it as an ‘Ozploitation Classic’ and dammit, Australian company Umbrella Entertainment have found so many films of this ‘Ozploitation period’ that my stupid DVD and Bluray collection is swollen with so many films that I may not have bothered with.
The Gods of Marketing have discovered my Kryptonite and take advantage of it at every opportunity.
This offering is certainly a film that I would never have bothered with as it’s about a sport, and I have a mind and a body made for horror, sci-fi and action, I’m afraid, but here we are, due to that dastardly label.
Sidecar Racers was directed by prolific American TV director Earl Bellamy, who worked on everything from The Brady Bunch to The Mighty Isis, from a script by John Cleary, who has several of his novels made into movies, such as High Road to China and Scobie Malone (based of his book ‘Helga’s Web’).
Sidecar Racers tells of Jeff Rayburn (Ben Murphy), a former American Olympic swimmer who is spending is time bumming around Australia, trying to figure out what to do with his life when he happens upon Lynn (Wendy Hughes) who sees his amazing balance whilst surfing and introduces him to her not-quite boyfriend, Dave (John Clayton), a sidecar motorcycle racer who was responsible for the death of his former racing partner in a horrific crash.
Dave and Jeff become a solid team and have dreams of hitting the European Sidecar Racing Circuit, but only if their partnership can survive their mutual affection for Lynn, a local motorcycle gang and more importantly, Dave’s seemingly self-destructive nature.
One of the things I found amazing about this movie is the fact that you’d have to be an absolute bloody mad-person to have ever engaged in this sport! Crappy 70s cycle-gear, nutso-drivers and insane daredevilry make for a spectacle that I can’t say I’ve seen before.
This film, of course, has a few names floating around in it other than the ones I’ve mentioned above. John Meillon (Crocodile Dundee) plays a mechanic known as ‘Ocker’, Peter Graves (Million Impossible TV series) plays Lynn’s father and type magnate Carson and Australian well-known TV face Serge Lazareff, seen in things like Bluey, Cop Shop and A Country Practice.
It’s a weird film too. It comes across as a pretty straight drama, with an occasional odd directorial choice. For example, there is a ‘musical interlude’ scene where a live band is playing at a party, and the singer spends part of the time looking directly into the camera as if she’s aware that it’s there. Fans of understated and subtle acting won’t find much here for them either as it’s as melodramatic like you wouldn’t believe. Every piece of emotion is underlined with shouting rather than actual ‘acting’.
The films also runs at 100 minutes, which is probably about 20 minutes too long, and even then, the ending is ultimately, a little unsatisfying.
This is a fun, albeit silly film that for me is more interesting as a document of Australia in 1975. Honestly, I didn’t realise that Wendy Hughes was such a stunner either, so that was a pleasant surprise.
Format: This film was reviewed on the Umbrella Entertainment DVD release which is presented in a surprisingly good 1.33:1 image with a clear 2.0 mono audio track.
Extras: None, not even a menu screen. The disc rolls straight into playing the film.
WISIA: It not being the type of film I’d normally watch, but for the images of Australia in 1975 it’s worth looking at again.
One from the to watch pile, even though it’s technically a rewatch, though I haven’t seen the film since it’s first release on VHS in the 80s…
Film: I am terribly sorry to those of you who love the Peter Jackson Lord of the Rings/ Hobbit films, but they aren’t for me. I don’t like ‘em. Sure they are technological achievements in cinema and Jackson fulfilled a lifelong dream, but they are just so looooooooooooooong, and boring.
What I want from a fantasy film is expediency in storytelling, a story that tells a Dungeons and Dragon styled ‘bunch of rogues versus impossible evil’ tale, a pile of violence, and maybe, just maybe, boobs.
Krull was directed by Peter Yates, who directed things like The Deep, An Innocent Man and Eyewitness, from a script by Stanford Sherman, who wrote a whole bunch of episodes of the Batman TV show from the 60s, and honestly, that possibly shows with this movie.
Krull tells of the occupants of the planet called… Krull! Krull has a scourge on its surface though in the form of the Beast (voiced by Trevor Martin), and his constantly teleporting vehicle/ castle/ meteor The Black Fortress.
On the evening of the wedding of opposing kingdoms Colwyn (Ken Marshall) and his bride, Lyssa (Lysette Anthony), The Beast attacks and everyone is killed, except for Colwyn, and Lyssa is kidnapped. With everyone from both sides of the family killed, Colwyn in now the king of a united kingdom, but has no army.
So, he travels across the land, collecting a band of miscreants, including a cyclops who is cursed to see his own death (Bernard Bresslaw), a wizard (David Battley), an elderly seer (Freddie Jones) and a gang of escaped convicts (including Robbie Coltrane, Liam Neeson and Alun Armstrong with several others) overcoming many obstacles and adventures until they finally find themselves at the gates of The Black Fortress, ready to save the princess trapped inside.
So, yes, what you see here is the classic fantasy story with all the tropes, like kidnapped princess, evil bad guy, ragtag gang of heroes, charming male lead, that has been used in everything from Robert E. Howard’s Conan stories, to Star Wars and even video games, and Krull doesn’t try to rise above and challenge those lofty themes.
The world of Krull, like Star Wars, is a wholly fantasy one that exists outside of any Earthly timeline… perhaps it too, is a long time ago in a galaxy far, far away… though it appears to be set in a D&D styled environment, with a little sci-fi thrown in for good measure.
As I mentioned, the script is as one would expect. It’s camp and attempts a Shakespearean styled dialogue even though what they are saying is melodramatic claptrap… which I guess is perfectly Shakespearean! Thankfully the performances are solid, and the direction and cinematography is amazing. The exterior shots are impressive long shots which show amazing scenery, and the smaller scenes and interiors, all filmed in a soundstage a Pinewood Studios incredibly, look fine.
The special effects are occasionally clunky, but it’s to be expected. In actual fact some of them are quite effective, like the stop-motion crystal spider and even the cyclops’s prosthetic eye, though Bresslaw’s lack of vision is occasionally apparent when he has trouble manipulating objects.
There is also a couple of effects which are surprisingly gruesome for a G rated film, especially in regards to the Beast’s appearance, and the fact that his H. R. Giger-ish soldier’s head split open and release a bloody worm that burrows into the ground.
Krull is a fun rollicking adventure that you can watch with the kids. Sure it’s nothing you haven’t seen before, but it’s charm outweighs how derivative it might appear.
Format: This bluray release of Krull from Umbrella Australia is presented in a 2.35:1 image with a Dolby DTS 5.1 audio, both of which are really nice for a film that’s 30 years old.
Extras: There’s a nice mix of extras on this disc.
We have two commentaries (found under the ‘Audio’ selection rather than in the extras). One is a cast and crew commentary performed by director Peter Yates and performers Ken Marshall and Lysette Anthony and another labelled a ‘Behind the Scenes’ Commentary, which features a reading taken from Cinefantastique, a now deceased sci-fi magazine.
In the regular Extras section, there is a trailer for the film, Journey to Krull, a half hour TV special on the making of the film and finally, a look at the Marvel Comics Movie Special of Krull, which came out in 1982 (Marvel Comics, in the 80s, and after the success of the comics of both Star Wars and to a lesser extent, 2001:A Space Odyssey, was doing heaps of comic adaptations of films, some of which became regular series’s, like the aforementioned Star Wars and The Further Adventures of Indiana Jones). This feature shows panels of the comic with dialogue from the film played over the top.
The cover is also reversible: one side has new art from Simon Sherry and the other has the original poster art from the 80s.
WISIA: Now that it’s back under my nose, I’m sure I’ll have no problem putting it in again when I feel like a nice easy watch.
One from the to watch pile…
Ghostland aka Incident in a Ghostland (2018)
Film: Many film critics and academics have discussed the important virtues of films that James Quandt described as ‘the New French Extremity’. Hell, it’s such an important part of film history that the Faculty of Horror’s Alexandra West wrote a whole damned BOOK about it (titled Films of the New French Extremity, available now). The key things, according to Wikipedia (who were quoting an article from MUBI), that define the New French Extremity are a ‘crossover between sexual decadence, bestial violence and troubling psychosis’.
Now, I am no academic, and I write this site because I just love horror and cult and sci-fi movies, but to me that also sounds like a description of ‘torture porn’. I guess because it’s French it becomes artistic rather than lowbrow (you can tell it’s lowbrow as it doesn’t deserve capital letters).
Anyway, this film was made by a person who is associated with this movement (New French Extremity, not torture porn), Pascal Laugier, writer and director of the award winning, and critically-acclaimed film Martyrs, a film which he claimed was written whilst under the influence of clinical depression, and by the torture porn poster boy Hostel: in some hands that mix might be a recipe for destruction, but in this filmmakers hands it was an exercise in the futility of existence.
This film, Ghostland, has thematical similarities to Martyrs, but honestly, effected me far more.
Pauline (Mylène Farmer) and her daughters Beth (Emilia Jones), a studious, wannabe-writer who resides mostly in a fantasy world, and Vera (Taylor Hickson), an obstreperous teen-bitch, are travelling to an old house they have inherited from Pauline’s cousin’s step-sister. On the way they encounter a strange candy truck, driven by an odd woman (Kevin Power) who waves and then drives off, only to return to observe them when they stop at a truck stop for directions.
The continue on their way to the house and find that their relative was an odd person who had a dramatically large collection of dolls and other bizarre curios all through her two-story house. Something else that becomes a surprise to them is the Candy Truck Woman turning up again, but this time with a large, brutish accomplice (Rob Archer).
It would appear that these two travel around, collecting victims for the larger of the two to rape and beat, but this man has a particular kink which is the person he is raping has to lie perfectly still like a doll. Beth has just started her first-ever period, and after sniffing her, the brute decide to start with Vera instead, and drags her off, kicking and screaming.
Beth attempts an escape and witnesses her mother, previously incapacitated by the men, attack and kill the Candy Truck Woman, before turning her attentions to the large man, and after a fight, dispatches him also.
We then flash forward several years and Beth (now played by Crystal Reed) has a perfect life. She is a successful author, happily married to a wonderful man and has a young son. After a stint on a TV show promoting her latest book, she is contacted by Vera (now played by Anastasia Phillips) who is screaming and in a panic.
Beth returns to the house and finds that Vera is now completely mad, and lives in the basement where her rape occurred, and her mother is dealing with it as best she can. She decides to stay for a few days, but the longer she stays, something seems to be fracturing her psyche… or maybe her memory… and all is definitely NOT what it seems!
There was basically nothing to dislike about this film. Laugier has directed it perfectly and gotten performances from everyone, no matter how small their role, that really creates tension and once it really kicks off, doesn’t let up. At no point during this film did I look at the time or become distracted, which is unusual for me, and the sense of dread throughout the film is SO pervasive that my stomach felt like I had a rock sitting in the bottom of it.
Please, see this film but make sure you have a cartoon or some ice cream to eat after it: you’ll need it.
One small note: the cover of the Australian release of this film clearly has the title ‘Ghostland’ emblazoned on the front, whilst the actual movie itself presents us with the alternate title ‘Incident In A Ghostland’. Weirdly, IMDB has this listed as ‘Ghostland’ but the cover used to represent the film has the other title. Subsequently, I have no idea what this film is called, exactly.
Format: This film was reviewed using the Australia release, marked as region B on the back cover. Both the 2.40:1 image and the DTS-HD Master Audio 5.1 audio were of a high quality.
WISIA: It’s an enormously good film, and I enjoyed it thoroughly, but I am not sure I could watch it again.
One from the to watch pile…
We Are Still Here (2015)
Film: I don’t believe in ghosts or the supernatural. I don’t, which may be unusual for a fan of horror movies but because of this, a ‘ghostly’ horror movie has to be REAL good to either engage me or get a reaction from me. In general, the western output of these types of films, the ‘post-millennial ghost story’ if you will, hold very little interest to me. You know the ones: the Conjuring films, the Insidious films and their ilk, the ones that desperately try to emulate the j-horror movement of the late 90s/ early 2000s… the ones that try to put a fear of the supernatural into a generation that don’t believe in anything, and considering everything they do has to be filmed as proof, not even each other.
This film, We Are Still Here, feels very much like a film from another time and doesn’t seem to relate to those modern films at all. I imagine writer/ director Ted Georghegan, writer of Sweatshop and co-writer of Andrea Schnaas’ first English language film, Demonium, is much more a fan of of those earlier horror films as this feels like a European thriller, and maybe he does wear it a little more on his sleeve when you consider the scotch the characters are drinking is B&J Scotch, an obvious tribute to the J&B Scotch labels frequently seen in 60s and 70s giallo.
We Are Still Here tells of the Sacchetti family, Anne (Barbara Crampton) and husband Paul (Andrew Sensenig) who have moved to the country into a house that has been empty for 30 years, to escape the memories of their son who died in a car accident.
In the first two weeks they live in the house though, weird things start to happen. There’s an odd smell of smoke, the basement is always hot, and the townsfolk have a strange story regarding the history of the house and the original occupants.
Anne invites their son’s friend, Harry Lewis (Michael Patrick Nicolson) and his parents, May (Lisa Marie) and her husband, Jacob (Larry Fessenden) to visit, as May is a psychic and she may be able to contact what Anne thinks is the boys spirit… but May detects something darker, something that the town needs to feed once every 30 years….
If I’m totally honest, the thing that attracted me to this film was mainly Barbara Crampton, an actress I’ve adored since seeing her… a LOT of her… in my favourite film, Re-animator, and I’m willing to give anything she is in a go… well, except maybe for The Bold and the Beautiful.
This film was surprising in every way. The story was surprisingly good. The acting was great, the cast was a good mix, and the gore was totally unexpected. I won’t say I thoroughly enjoyed it, but it certainly is one of the better ghost stories I have seen in the past 20 years, but that may be due to the film deliberately being set in the late 70s/ early 80s.
Essentially it’s a pastiche of Fulci’s House by the Cemetery and A Nightmare on Elm Street that really works.
Format: This film was reviewed with the Australian Bluray release which is presented in a perfect 2.35:1 image and a matchingDolby 5.1 audio.
Extras: There is a bunch of trailers on this disc for other Áccent releases, such as Late Phases, Jug Face, In Their Skin and Static, as well as one for this film.
There is a short extra called We Are Still Here: Building A Haunted House which discusses the foundations of the story and making of the film.
There is also a commentary by Georghagen and Producer Travis Stevens which is interesting as it’s a proper ‘making of films’ type commentary.
WISIA: It was great, so yeah!