Night of the Comet (1984)

One from the rewatch pile…

Night of the Comet (1986)

Film: As a horny oversexed teen, this was probably one of the top ten most borrowed VHS films that I hired from my local video shop. Was I because of the high quality acting and drama? The exploration of mankind’s survival at the end of the world? The two gorgeous babes who were the main characters?

Well, I’d like to say it was the first two, but as you probably all will know, it was the hot girls.

No apologies: it was all hormones.

Anyway, having already been a fan of both the book and the BBC TV series of John Wyndam’s Day of the Triffids and I Am Legend by Richard Matheson (not to mention the 80s teledrama of Triffids and Boris Sagal’s The Omega Man), I was on board with this film from the premise, the addition of Kelly Maroney and Catherine Mary Stewart were just a bonus.

This film was written and directed by Thom Eberhardt, who also gave us Soul Survivor, which, like this film, is reminiscent of another uncredited text (in that case Survivor by James Herbert).

Everyone is excited by the comets that are about to fly above the earth, especially Samantha’s (Kelly Maroney) step-mother, whom, while her father is away, is throwing a ‘comet party’ with a bunch of neighbours and her sleepy potential boyfriend. When Samantha and her get into an argument, Samantha runs away and hides, missing the comet event.

Meanwhile, Samantha’s sister, Reggie (Catherine Mary Stewart) is also stuck inside while the comets fly over, but instead, she is staying in the cinema she works in with her ‘boyfriend’, whom has made a deal and has to wait for a guy to arrive with some film reels.

The problem for them both, though, when they wake the next morning, is that they find that everyone who has watched the comet has been reduced to dust, except for an unfortunate few who have become a kind of sun-hating, vampiry things.

They make there way to the city, and have fun (to a cover of Cyndi Lauper’s ‘Girls Just Wanna Have Fun’) in the abandoned malls and meet up with another survivor, Hector (Robert Beltran) who quickly leaves them to see if his family survive, and with a promise to return.

Whilst he is away the girls get in trouble with some of the mutants, but are saved by a team of scientists, one of whom is the friendly Audrey White (Mary Woronov), but does this team of scientists have an ulterior motive to help the girls, and if so, will Hector be able to save them?

This film is a real distillation of the 80s: it features a bunch of characters straight out of a Valley girl/ John Hughes movie nut in a horror/sci fi situation that contains liberal amounts of humour with its walls.

The cast are likeable enough, though Beltran gives off a weird vibe… like he doesn’t want to be there… to the whole preceding. I think the girls and the ‘zombies’ and the scientists are such a charactures that Beltran seems too ‘real’ and he rings untrue within the confines of the movie. There’s no doubt that he is a fine actor, but I’m not sure he is a perfect fit here.

If I’m to criticise the film at all, it must be as to how quickly our two teenage heroines get over the death of…well… everyone. They have a few moments of existential crises, but manage to rise above and get back to shopping and hanging out at the empty mall pretty quickly. There personal issues with the situation are not what the story is about, so on with the show, I guess.

It’s a fun story, if you overlook the ‘influences’ I mentioned earlier, and the special effects suit its age and it’s look.

Score: ****

Format: This review was done on the Arrow films, Region B Bluray release which runs for 95 minutes and is presented in a clear 1.85:1 image with a decent 2.0 audio track.

Score: ***1/2

Extras: As one would expect from Arrow, a shedload of extras!

There is three different commentaries on this disc, one by actors Kelli Maroney and Catherine Mary Stewart, another by writer/ director Thom Eberhardt and the last one by production designer John Muto. Each of the commentaries gives an interesting take on the making of the film, and ultimately they combine to make a pretty cool total experience of the making of the film.

Valley Girls at the End of the World is a really nice recollection of the movie from Catherine Mary Stewart and Kelli Maroney.

The Last Man on Earth? is an interview with Robert Beltran where he talks about his starring role in the film, and he kind of sounds like a bit of a demanding self-involved jerk. I do like his idea of Eberhardt making a sequel now to see how the characters recreated their new world.

End of the World Blues is an interview with cult movie legend Mary Woronov, and she talks a little about her career and her experience with this film. She is still the coolest person that I’ve never met.

Curse of the Comet is an interview with make-up supervisor David B. Miller and his effects used in the film

There is also a trailer for the film.

This package from Arrow video also contains a DVD copy of the film, a reversible cover with alternate artwork, and a booklet featuring an essay about the film by Moviemail’s James Oliver.

Score: *****

WISIA: I have fond memories of this film and no matter what future format may surface, I’ll buy it again and again.

H.P. Lovecraft’s Dagon (2001)

One from the rewatch pile…

H.P. Lovecraft’s Dagon (2001)

Film: I have a lot to thank Stuart Gordon for. If I had never seen Re-Animator in the 80s, I may never have become the fan of H. P. Lovecraft that I did, which means I may never have become the voracious consumer of horror literature that I am, and the book hoarder that’s associated with that.

Yeah. Thanks, Stuart,

What it does mean though, is that any mention of a film being ‘Lovecraftian’ gets my attention, as even though I have consumed much of his output, I am always interested in what others definition of it is. Just like steampunk isn’t just a gear stuck to a stovepipe hat, Lovecraft isn’t just tentacles and old gods. There is SO much more: an aesthetic that just can’t be described that lightly, so I am not going to attempt it here.

This film, Dagon, is a mixture of Lovecraft’s story of the same name, written in 1917 and published in the journal The Vagrant two years later, and another tale, The Shadow Over Innsmouth, written in 1931, but not published until 1936 as Lovecraft himself didn’t like it. The script for the film was written by Gordon collaborator Dennis Paoli, who also wrote the scripts for Gordon’s films Re-animator, From Beyond, Castle Freak and The Pit and The Pendulum.

Entrepreneur Paul Marsh (Ezra Godden) keeps having a dream of a mysterious underwater city and a beautiful mermaid who dwells there, even whilst on a sailing holiday of the coast of Spain with his beautiful girlfriend, Bárbara (Rena Moreño) and their investors, Howard (Brenda Price) and Vicki (Birgit Bofarull).

One afternoon they all hear some mysterious chanting coming from the shore, and very soon a storm swiftly moves in. Howard goes to move the boat away from a reef they were anchored near, but the storm is too fast, and the yacht is smashed against some rocks, painfully trapping Vicki’s leg in the rent in the wooden hull.

With all their communications conveniently down, Paul and Bárbara go to shore in a dingy to find help but what they quickly find is a town full of strange misshapen people who pray to an old god and whom Paul seems to have a history… or a destiny with. This becomes even more apparent when he meets the wheelchair-bound Uxia (Marcarena Gómez) who is the spitting image of his dream mermaid…

Now this story doesn’t resemble Lovecraft’s text greatly, mainly due to the modern setting, but thematically it does its best to delivery the ideas in it. In general though, one can’t be too critical of that as every Lovecraft film Gordon has done resembles Lovecraft’s text only on a surface level, and I don’t mind that as Re-animator and From Beyond are pretty awesome… especially Re-animator, which is my favourite film of all time, without fail.

The story of this film is pretty interesting and the mixture of the Lovecraft tales works well together. Gordon’s direction is typically wonderful, but if I must criticise the film for anything, it’s use of CGI effects is far too early, and considering what Gordon is able to do with practical effects, these stick out awfully… even moreso in this Bluray presentation.

For a film that was made almost twenty years after Gordon’s Re-animator, there is an aesthetic cast revelation in Godden that Gordon likes his heroes to be very much like Jeffrey Coombs portrayal as Herbert West. The rest of the cast is good as well (is it just me or does Moreño have an uncanny resemblance to a young Elle MacPherson) though the Spanish film legend Francisco Rabal, and I don’t want to be disrespectful to someone who has worked since 1943, has a monologue that is barely comprehensible, and when you consider this monologue tells the history of how the town came to worship Dagon, it’s pretty bloody important!

This is nowhere near Gordon’s greatest work, but it is a nice addition to his output of Lovecraft tales.

Score: ***1/2

Format: This film was reviewed on the Umbrella Entertainment, region B Bluray which runs for 98 minutes and has a nice 1.77:1 image with an excellent DTS-HD Master Audio 5.1 audio.

Score: ****

Extras: There’s a couple of extras on this disc, none of which are really that special:

B-roll/ Making Of is NOT what the title would suggest and is instead some shot-on-video of the cast and crew at work.

Interviews with Macarena Gómez, Stuart Gordon, Raquel Meroño and Ezra Godden reveal their experiences on the set, sometimes their first times, and it’s a pleasant, casual series of interviews.

Interviews from the Set is more with Stuart Gordon and Ezra Godden, on the set of the film and they talk about what the film is about.

There is also a teaser, trailer and TV spots for the film. Weirdly, the trailer doesn’t default to the screen edge of you Tv and instead, hovers in the middle with black bars all round.

The presentation of the film, the third in Umbrella’s Beyond Genres series, is immaculate. The slipcase and slick art by Simon Sherry is spectacular (seriously Umbrella, get this art on T-shirts ASAP!!!), and the inner sleeve has the original tale by Lovecraft, which, if you are ancient like me, may take a magnifying glass to fully appreciate.

Score: ***

WISIA: I love Gordon’s body of work and this, being another loose Lovecraft adaptation, is well worth watching over and over again.

Jigsaw (2017)

One from the to watch pile…

Jigsaw (2017)

Film: Am I a fan of the so-called sub-genre torture porn? Oh yeah, you better believe it, though I think that ‘torture porn’ is somewhat of a misnomer. I don’t find a sexual excitement from the films labelled such, but I do find them to be thrilling and I can’t say that I don’t hate the gore of them either.

I’ve stated several times in my career writing horror movie reviews that I don’t find supernatural films in the slightest bit scary, mainly because I don’t actually believe in the supernatural, but I think I like these film is because I find the concept of being trapped horrifying. I just gotta be free…

Jigsaw is the 8th film in the Saw series, this outing directed by Australia’s very own Spierig brothers, who previously gave us Daybreakers and the oddly groundbreaking Undead. The script was written by writing team Pete Goldfinger and Josh Stolberg, whose previous outings include Piranha 3D, Piranha 3DD and Sorority Row.

Our film starts with a young man being pursued by the police, but he has an objective which is a remote trigger hidden on a rooftop, but when he is shot, it starts a series of events…

Five people, Anna (Laura Vandervoort), Mitch (Mandela Van Peebles), Carly (Brittany Allen), Ryan (Paul Braunstein) and another poor individual (who is namelessly dispatched as as an example of the violent nature of our killer) are chained to a series of doors in a room that has circular saw blades through them, and a mysterious voice (that we as Saw viewers have obviously heard before) tells them that to free themselves blood must be shed… this of course leads them on a series of trials that reduce their number one by one.

As the story of their trial continues, we are also introduced to coroner Logan Nelson (Matt Passmore) who begins assisting the investigation on bodies that are being found with a jigsaw piece cut from them… but isn’t the killer Jigsaw (Tobin Bell) dead? If he is, who is committing all the murders? Could it be one of the members of the website of people obsessed with his work?

The thing about the Saw films is, just like porn, you want the ‘money shot’… the building of tension, and then a wad of gore exploding all over your face. The story is almost secondary to those points, and I’m sure if this were the age of VHS, the tape stretch marks would be all over the kills, which would be rewound and replayed over and over.

That’s not to say the story wasn’t a good facility to move from blood-soaked pillar to barbed-wired post, but I think that the straws are well and truly being clutched at. The persistence of there being a history of people working with Jigsaw is a plot device necessary since his early-in-the-series demise but the excuses for them helping are getting thin.

The murders in this film are fun but the innovation of the machines has become stretched to the point of being ridiculous. One must wonder exactly what type of connection Jigsaw had to be able to get his hands on some of the ironic additions to the devices.

The acting in the film is interesting. There seems to be some characters who are well and truly placed within reality, like Vandervoort’s Anna, and others, like Callum Keith Rennie’s Detective Halloran are over the top, almost parodies but somehow, they work together.. and I can’t figure out how. Maybe Tobin Bell’s John Kramer is the blue that holds it together, with his quiet manner and sociopathic hobbies.

The special effects are are nice and bloody, which is what you expect… though the occasional rubbery barbed wire might spoil the authenticity.

Basically, what we have here is another in a series that has a particular method to its delivery of the goods, and this doesn’t fail in that, it’s just we’ve seen all the gore, misdirection and torture before. It might be time for the good name of Jigsaw to be permanently laid to rest.

Score: **

Format: Jigsaw was reviewed on the Australian Region B Bluray which has both an impeccable 2.40:1 image and DTS-HD 5.1 audio track.

Score: *****

Extras: A pretty cool bunch of extras on this disc that explore not just the making of this film, but the legacy of Jigsaw as well. Also I have to point out just how cool the menu is: it’s bizarre and creepy with a bunch of actors made up to look like Billy, and it reminds me of the Rammstein album ‘Sehnsucht

There is an amazing 7 part documentary, with each part exploring a whole different aspect of the film. They are titled A New Game, You Know His Name, Survival Of The Fittest, Death By Design, Blood Sacrifice, The Source Of Fear and The Truth Will Set You Free. I don’t know why they cut this into 7 mini-docs when one big one would have been a better plan. Maybe it was they assume we have short attention spans. The cool thing is though that it cover every aspect of the film, from the writing to the soundtrack and lots of cast and crew are interviewed.

The Choice Is Yours: Exploring the Props looks at the props that were created for the film. It was odd that this was presented separately to the rest of the mini-docos but it was still a welcome addition.

Score: ****

WISIA: I doesn’t matter if a Saw film is good or not, at some point I’ll end up watching it again whilst having a Saw-festival.

Rawhead Rex (1986)

One from the to watch pile…

Rawhead Rex (1986)

Film: I don’t wish to sound pretentious or elitist, but if you are a horror fan who has never heard of Clive Barker, you should perhaps stop, re-assess and use a different term other than ‘horror fan’ to describe yourself.

Seriously. It’s like saying you don’t know who Stephen King or Richard Laymon are… ok, I’ll forgive it if you don’t know who Laymon is (he is the writer of several books that would be a FAR better source of new horror films rather than remakes and sequels: The Beasthouse trilogy would be an amazing franchise).

My first exposure to Barker though, was with the first Hellraiser film, and I became an avid reader of his works though that fandom did wind down the less horror and more fantasy entered his novels. So of course I watched the Hellraiser films and his other works but somehow, Rawhead Rex completely bypassed me. I knew it existed, as Fangoria back in the day had an epic front cover from the film, but I never had the opportunity to see it, and never actively sought it out either.

Thankfully though, Arrow films have presented us with an apparently uncut version of the film! Packed full, typically from Arrow, of supplemental features!

Rawhead Rex tells of a small Irish town that has a horrible secret, and when a farmer moves an obelisk from his property, it gets released back upon the town! It is the ancient beast Rawhead Rex (Heinrich Von Schellendorf), a pagan thing that wants nothing but carnage and to kill!

American historian Howard Hallenbeck (David Dukes), his wife Elaine (Kelly Piper) and their two children (Hugh O’Conner and Cora Venus Lunney) happen to be in the town taking in the sights when Rawhead is released, and get caught up in the hullabaloo that follows, especially when one of them is taken by the beast…

It is common knowledge that Clive Barker wasn’t a fan of this film (apparently a myth according to the director, George Pavlou on one of the extras), which caused him to take more of a role in the making of Hellraiser, based on his novella, The Hellbound Heart, and there is plenty not to like about it.

The costume of the creature is a pretty solid, big monster costume… for a Corman film from the 60s. It appears to be quite firm and fake, and the performers mouth can be quite obviously seen within the creatures own mouth on several close-ups. For a creature with such an impressive head design, the articulation is quite minimal. The noise that emanates from the creature is quite daft too.

Interesting, for a film which contains two kids, the children are not the source of unpleasant characterisation:Kelly Piper’s portrayal of Elaine makes her come across as the most bitchiest of bitches and you honestly pray that she’ll be taken next. Imagine Christine Baranski’s portrayal of Leonard’s mother in Big Bang Theory being played as a ‘real’ serious character in a horror film that is taking itself quite seriously.

The worst thing is the sloppy screenplay. Within the confines of the scene of the first murder, it is quite obvious why one of the potential victims isn’t taken (which obviously gives a massive hint as to how to kill the monster), and it is projected quite hamfistedly. Some of the dialogue has a set-up with no pay-off. Now seeing how Barker himself wrote the screenplay, I assume the direction is at fault, or their was a little bit of freestyling amongst the actors.

For the most part the film LOOKS quite solid, but tends to fall apart a bit under even the slightest scrutiny. It’s identity suffers because it looks like it was trying to be a bit gothic like a Hammer Film, but it’s a little too bloody to successfully do it.

Score: **

Format: Rawhead Rex was reviewed on the Arrow UK release Bluray which runs for approximately 89 minutes and is presented in a fairly clean 1.85:1 image with a decent 2.0 audio track.

Score: ****

Extras: It’s an Arrow Bluray, so sure enough that means heaps of extras!

Call Me Rawhead is an interview with actor Heinrich von Bünau, and by actor, he’s been in this interview and Rawhead Rex. It’s a pretty long interview for someone who keeps claiming to have forgotten so much.

What the Devil Hath Wrought is an interview with Roman Wilmot, who is charming and has some amusing anecdotes.

Rawhead FX: A Cock and Bull Story sees Peter MacKenzie Litten, John Schroonraad, Gerry Johnson, Sean Corcoran and Rosie Blackmore talk about the effects of the film.

Growing Pains; the Children Of Rawhead is a brand new Interview with Hugh O’Conor and Cora Lundy who played the kids in the film.

Rawk ‘n’ Roll is an Interview with score composer Colin Towns, and what an intimidating score it is too!

Rawhead Rising is an interview with comics legend from Death Rattle, Taboo and The Saga Of The Swamp Thing, Steven R. Bissette talk about Barker’s work, and The never published Rawhead Rex comic.

Audio Interview with George Pavlou is, as the name suggests, an newly recorded audio interview with George Pavlou, played over a series of stills from the film, behind the scenes pics and merchandise from the film.

The is an image gallery which features monster design sketch art and behind the scenes pictures, played as a slideshow with the score playing over the top.

The is the original trailer.

There are two commentaries on the disc, one with George Pavlou, moderated by Nightmare USA author Stephen Thrower, and with with podcast favourites The Hysteria Continues.

The disc itself has a pretty cool reversible cover, one drawn by lowbrow artist Wes Benscoter and the other ordinal artwork, and a booklet featuring an essay about the film by Kat Ellinger.

Score: *****

WISIA: I’m glad I’ve seen it as it fills a hole in my watch-history, but I won’t see it again.

Tenebrae (1982)

One from the very top of the rewatch pile…

Tenebrae (1982)

The cover of my well worn Arrow edition of Tenebrae.

Film:

In 1929, Italian publishing company Mondadori started publishing a series of crime books that had garish yellow covers. It is from here that the Italian thriller/ horror film gets its name: giallo, the Italian word for yellow. The films from the early sixties started as adaptation of these early thrillers, but eventually became a genre of their own. The main characteristics of the giallo film take elements from detective stories and slasher films, with operatic elements and a large dose of blood, gore, violence and nudity. While many films from Italian directors can come under the ‘giallo’ title, the masters are truly Mario Bava and Dario Argento. Dario Argento, son of producer Salvatore Argento, began his career as a writer for a film journal, before heading into screen writing. He worked for Sergio Leone on such films as Once Upon Time in the West before heading into his own movies, thrillers that kept in mind his childhood love of Italian folk lore, the tales of the Brothers Grimm, but most of all, the writings of Edgar Allen Poe. Argento is responsible for some of the greatest horror films ever: Deep Red, Suspiria, and this one -Tenebrae.

Author Peter Neal (Anthony Franciosa) has come to Rome to promote his latest novel, titled Tenebrae. His arrival is marred, however, by a series of killings that copy those in his novel. The police, Detective Germani (Giuliano Gemma) and Detective Altieri (Carols Stagnaro) are frustrated by the murderer, who is directly referencing Neal by leaving pages from his novel at the crime scenes.

Anthony Franciosa asks Daria Niccolodi how one can star in more Argento films.

Neal, along with his agent, Bullmer (John Saxon), his assistant, Anne (Daria Niccolodi)and his other employees begin their own investigation to uncover the identity of the killer…but what Neal doesn’t realise is that someone, an ex-lover, Jane (Veronica Lario) is in pursuit of him, but what is HER connections to killing? Does she even HAVE a connection?

John Saxon – legend.

Tenebrae is the film that saw Argento return to traditional giallo after his sojourn into the supernatural with his previous two films Suspiria and Inferno, two chapters of his so called (and as of early 2006 unfinished) ‘Three Mothers’ trilogy and then right back into it with his next film Phenomena. With its rich exterior shots of some exquisite Italian locations, and an unusually bright palette for a horror film…a lot of the murders take place in broad daylight, Tenebrae is a pleasure to watch. Some really great performances by the actors, and some great bloody effects, particularly a brilliant axe murder.

I must admit that Tenebrae is one of those ‘perfect storm’ horror movies for me. My favourite director, an interesting story, a great soundtrack, a big dash of violence, John Saxon and beautiful Italian women. I honestly think there is only one horror film that is better than this one and that is Re-animator.

Score: *****

The menu for the Arrow Bluray Of Tenebrae.

Format: This film was reviewed with the Arrow Video multi-region Bluray release from 2011, which runs for approximately 101 minutes. It is presented in a grainy, but clear 1.85:1 and a good mono audio track.

Score: ***1/2

Extras: Some amazing extras on this disc, but you’d expect nothing less from Arrow! Before the disc, though, the package contains four options for the cover of the disc, a poster of the new disc art and a booklet about the film written by Alan Jones.

There are two commentaries on this disc, both which are super interesting. The first is with horror journalism legends Kim Newman and Alan Jones, and the other is with screenwriter Thomas Rostock.

Screaming Queen! Daria Niccolodi Remembers Tenebrae is an interesting interview where she talks about her character in this film, and her history in cinema and with Argento.

The Unsane World Of Tenebrae: An Interview With Dario Argento where he talks about his career and Tenebrae.

A composition for Carnage: Claudio Simonetti on Tenebrae sees the lead player in the band Goblin and composer (as well as hero of mine) Claudio Simonetti discuss his work on this film and his career.

Goblin: Tenebrae and Phenomena Live from the Glasgow Arches is footage from 2011 of Claudio Simonetti and New Goblin playing live. I admit I caught them in Sydney in 2015 so seeing this brought back fond memories.

Trailer is, well, the trailer for the film.

Score: *****

WISIA: Tenebrae is one of my favourite films of all time so it gets regularly rewatched, and it should be by you, too!

Sometimes, guests arrive when you are still getting ready.

The Hole (2009)

One from the rewatch pile…

The Hole (2009)

The cover to the Australian release of The Hole (2009)

The cover to the Australian release of The Hole (2009)

Film: This is one of those times where I felt like rewatching as it’s like comfort food. First, it’s directed by Joe Dante, responsible for 80s classics like The Howling, Gremlins and Innerspace, and the awesome late 90s kids flick Small Soldiers and written by Mark L. smith who wrote the Vacancy films and The Revenant.

The Hole tells of single mum, Susan (Teri Polo) who has moved to a small town and away from big city life with her sons, Dane (Chris Massoglia) and the younger Lucas (Nathan Gamble) and into a house which, as these sorts of movies alway do, is far to big for her ever to be able to afford.

Our hero, Dane (Chris Massoglia) tries to open his hole.

Our hero, Dane (Chris Massoglia) tries to open his hole.

This house has a weird secret in the basement though: a seemingly bottomless hole that cute next door neighbour Julie (Haley Bennett) suggests may have been dug by previous tenant Creepy Carl (Bruce Dern), but very quickly our young trio discover than maybe, just maybe the Hole has deeper secrets…

…supernatural secrets… secrets that drove Creepy Carl out of the house and into a state weird he fears the stones and what it hides. Will the kids survive the contents of this bottomless pit?

Dane and Julie (Haley Bennett) discuss the dangers of their open hole.

Dane and Julie (Haley Bennett) discuss the dangers of their open hole.

This film really is classic Joe Dante with the small town being attacked by ‘something’ and as usual, he hires a charming cast of good guys and an oddball bunch of weirdos. Special mention has to go not just to the casting of Kate Hudson lookalike, Haley Bennett, but to see Bruce Dern in a film again was a heap of fun, and you can throw in a bit of legend Dick Miller as a pizza boy for a great trifecta.

The unfortunate thing about this film is it’s SO damned generic. Every new boy in town moves into a cute, available girl and has an annoying/ embarrassing younger brother/ quirky aunt/ mental grandfather and there is something weird in the basement/ next door/ at the pier. I will say this film succeeds with its extremely likeable cast, and there are some genuinely creepy moments, but there is not much new being brought to the table to allow it to stand out. It just seems to be a classic trope of ‘kids’ horror movies… those gateway movies for young horror fans…that is wearing out its welcome.

Honestly that trope was the only thing I didn’t like about the Jack Black Goosebumps film. I just think audiences may have evolved beyond that point.

Anyway, all in all it’s not a hateful bad film, it’s a nicely shot slice of average with a loveable cast from a reliable director.

Score: **

The menu to the Australian release of The Hole (2009)

The menu to the Australian release of The Hole (2009)

Format: This film is presented on the disc as both a 3D or a 2D movie, but only the 2D was reviewed as I don’t have the capacity for a 3D viewing at home. The film looks and sound great with a 1.78:1 aspect ratio and DTS-HD 5.1 Dolby digital sound, and runs for approximately 92 minutes, which is about the average attention span of an early teen horror fan.

Score: *****

Extras: The disc opens with trailers for Aftershock, Uninhabited, Larry Crowne and Cane Toads The Conquest, which can also be accessed separately in the extras menu.

In addition to those spectacular trailers though, we also have:

Gateway To Hell: The Making of the Hole which is, well, the making of the the film, The Hole, featuring a whole bunch of interviews with various cats and crew members.

A Peek Inside The Hole looks at the special effects of the film.

Family Matters looks at the relationships between the lead actors and their characters.

The Third Dimension looks at the process of making a 3D film.

The Keeper of the Hole looks at a Bruce Dern’s Creepy Carl character.

Like a lot of extras, all of these featurettes could have been cut together nicely and made a decent 40 minute to an hour ‘making of’ styled thing, rather than a bunch of what feels like worthless little ‘bits’ but I guess more is better, right?

Score: ****

WISIA: The Hole is a cute kids film, but really doesn’t hold up like some of Dante’s other films. I wouldn’t probably watch it again.

This strange ghostly girl crawled out of Dane’s hole.

This strange ghostly girl crawled out of Dane’s hole.

Dead Awake (2016)

One from the to watch pile…

Dead Awake (2016)

Film: This film shouted out at me from the shelves of my local store for one reason: how absolutely stupid the title is. I get that throwing the word ‘Dead’ into a title will make most younger (and this older) horror fan stop and check something out, and if it were a term that was actually used in the English language, you know, like Dead End, Dead Stop, Dead Tired, I’d be impressed, but Dead Awake was such a stupid combination I had to check it out.

Then I read the back of the Bluray slick and I find that it’s about sleep paralysis, which is something I find both horrible to think of, and an interesting idea for a horror film, especially when it’s mixed with a little American-styled post-millennial ghost story like Grudge/ Ring/ Darkness Falls/ Boogeyman films that haunted the cinemas in the early 2000s. I’m not really a fan of many films of this period, but for some reason I find I revisit these films occasionally.

This film was written by Jeffrey Reddick, the guy who came up with the concept of the Final Destination movies so it has some positive providence , and directed by Phillip Guzman, who directed A Kiss and a Promise.

When Kate Bowman’s (Jocelyn Donahue) recovering drug-addict sister Beth dies during a sleep paralysis episode, she discovers that perhaps her sister was being haunted by a creature who kills people in their sleep during these episodes.

She meets Beth’s doctor, Dr Davies (Jesse Borego) and at first isn’t convinced of this weird malevolent being bent on killing that he tries to tell her about, until she starts having episodes herself, as does her sister’s boyfriend, Evan (Jesse Bradford… remember Cliff Pantone from Bring It On? THAT guy!).

So Kate and Evan start a trail that starts at a sleep hospital run by Dr. Sykes (Lori Petty) to try and defeat whatever it is that haunts them, but how many people will die along the way, and can this creature, that appears to have existed for centuries, even be destroyed at all?

I really wanted to like this film. The cast are all really well picked, it’s filmed beautifully, the script is ok, but the premise is just so generic.

Dead Awake is a bizarre 80s-nightclub styled megamix of A Nightmare on Elm Street, The Grudge and Ring, that is, the male and female lead of Ring versus a dream monster, who moves like the ghost from The Grudge. It’s not that this is a bad film, it’s just been done before by other films that did it far better. Emulating something is fine, but doing so with no point of originality is detrimental to your product.

To provide a metaphor, this film is the nerd who desperately wants to be a cool kid, but ends up being the kid from the Pretty Fly for a White Guy film clip.

Score: **

Format: Dead Awake was reviewed with the Australian region B Bluray which runs for 99 minutes and is presented in a 2.0:1 image and a DTS-HD Master Audio 5.1 Audio, both of which are immaculate.

Score: *****

Extras: The disc opens with trailers for Revolt, Faults, Eat Local and 13 Sins.unfortunately, that is it for the extras, but those last three films I’m definitely going to keep an eye out for… Revolt, not so much.

Score: *

WISIA: Probably not.

Day of the Dead Bloodline (2018)

One from the to watch pile…

Day of the Dead Bloodline (2018)

Film: Another day, another ‘Day’. It seems that a lot of Hollywood need to feed from the undead teat of the late George Romero, and if they screw it up, they give someone else a go. The Night of the Dead remake by Tom Savini was a decent watch, Zack Snyder’s remake of Dawn of the Dead was suitable impressive too, even though it was more of an action film with dead people than a horror film with a message like Romero’s, but remakes of Day have constantly screwed up.

Horror legend Steve Miner’s heart may have been in the right place… in his chest, not on a plate… when he remade Romero’s Day Of The Dead, but it just fell a little short with some odd casting, like Mena Suvari, and Ving Rhames, but playing a different character from that which he played in the Dawn remake… confusing! Next we had Day of the Dead 2: Contagion and here we… actually no, the wounds are still too fresh, even after 13 years… and now we have a brand new, 2018 remake, Day of the Dead Bloodline, with a script by Hush’s Mark Tonderai and Baby Blues’ Lars Jacobson, and directed by The Corpse Of Anna Fritz’s writer/ director Hèctor Hernández Vicens.

The Dead walk, and mankind is screwed! You know the story: when there is no more room in Heck, the Dead walk the earth when something fell from space or something, and mankind is in some deep doodoo.

It’s 5 years latter Day Z, and medical student Zoe (Sophie Skelton) is now one of the medical personnel at a military run refugee camp, filled with army personnel, as well as families. One of the children at the camp gets a strain of influenza that desperately needs anti-biotics that she knows is at the University facility where she was five years ago, so of course, she and a bunch of muscle-bound army men travel off to retrieve it.

The problem is though, when they get there, the place has a small zombie problem, and particularly for Zoe, a creepy dude, who was obsessed with Zoe and had a strange and rare blood type, named Max (Johnathon Schaech) is still residing there. Now, though, he’s a zombie, and due to his weird blood type, he only half-turned and still retains some memory or being alive.

Well, this is the assumption, anyway…

Of course, he is intelligent enough to find a way to break into the facility, and when captured, Zoe convinces Lt. Salazar (Jeff Gum), the boss of the refuge that he may be the key to creating a vaccine to protect mankind from become ‘rotters’ (this film’s word for zombies) and she starts her experiments… but will the refuge survive?

So how bad is this? Well, it’s not. It’s interesting insomuch as there is a real proactive movement towards creating an inoculation which is an interesting aspect to the zombie breakout idea, which yes, has been done before but if you overlook some of the stupid script bits and pieces as a few moments of emotional melodrama, it’s actually works.

Schaech does his rapist freak Bub impression just fine, and Gum’s wound-back version of Captain Rhodes actually works far better as he at no time really becomes a caricature like Joe Plato’s did. The army aren’t the enemy here, they are here to protect us,

The zombies all look pretty good too, and the special effects are of a pretty good quality, but there is one problem with the film.

You can definitely tell this isn’t Romero’s Dead World is it all looks new. The story tells us it’s 5 years after the Dead first came back, but everything: the military vehicles, the guns, the uniforms, all look like they were unpacked yesterday. Also, even though supplies are getting thin, everyone at the refugee camp looks like a catalogue model: clean skin, even tan, manicured beard/ hair… thank Revlon a decent hairdresser/ waxer survived the zombie apocalypse.

This is where the suspension of disbelief gene that all movie fans have, fails. I don’t like comparing originals to remakes, but the grit and filth of the facility in the abandoned mine in the original gave a sense of realism, whereas even though the zombies look fine in this, it’s all Ikea fresh. Even the abandoned towns don’t look TOO abandoned, and a little like a movie set.

This is an Ok zombie film, and is more like a sequel to the Snyder Dawn with its slick presentation. I’ve actually seen many worse zombie films than this, and two of them were also called Day of the Dead.

Score: ***

Format: Day of the Dead: Bloodline runs for approximately 90 minutes, and this review was performed on the Australian, region B Bluray which has a perfect 2.35:1 image and an DTS-HD Master Audio 5.1 of matching quality.

Score: *****

Extras: There is a single extra on this disc called Behind the Scenes is a 5 minutes fluff pieces which pays homage to Romero’s original work, but quickly turns into a self-congratulatory thing. Interesting one of the producers says ‘we are not trying to replace Romero’… so why not call your film ‘Military Hospital Of The Dead’ or ‘Blood Type Z’ or something.

Score: **

WISIA: Aside from how stupidly new it looks, it’s good enough to watch again, even though the end may be a little… well, really schmaltzy, but it’s certainly a different ending for a zombie film, that’s for sure.

Black Panther (2018)

One from the to watch pile…

Black Panther (2018)

Film: Now even though this is technically a rewatched film, I’m going to label it a To Watch Piler… why? Well I received a free ticket to see this at the cinema, and unfortunately it was a Mum’s and Bubs session, which means the house lights were on the whole time, so any scene that takes place at night is almost unseeable, especially when the lead cast member is wearing all black!

Black Panther is one of the Marvel Cinematic Universe movies, which all join together in a story ten years in the making which will all be resolved in 2019’s sequel to Avengers: Infinity War. Black Panther has been an important character in the Marvel comics universe since his first appearance in Fantastic Four comics in 1966, and has been an important member of not just that team, but also the Avengers as well as having several impressive comics series’ himself.

The film was directed by Creed director Ryan Coogler from a script that he co-wrote with Amber Lake’s Joe Robert Cole, and what they created caused a massive bag of excitement for its positive role models.

Black Panther tells of the country of Wakanda’s new King T’challa (Chadwick Boseman), who has ascended to the throne after the death of his father (in the film Captain America: Civil War) but the road to his regency isn’t smooth.

First, whilst being watched by his people, including his mother Ramona (Angela Bassett), potential wife Nakia (Lupita Nyong’o) and sister Shuri (Letitia Wright – the real revelation of this film), he must prove his worth as a leader in battle, but all the while, machinations are happening outside of Wakanda that may still threaten his rule.

A man calling himself Erik Killmonger (Michael B. Jordan) has teamed up with arms dealer Ulysses Klaue (Andy Serkis) but what is there nefarious plan, and how does it effect the rule of the Black Panther.

This film initially reminds me of a superheroic version of a James Bond film, much like Captain America: The Winter Soldier did. It has exotic locations, improbable inventions and a wry sense of humour as Boseman performs his African James Bond alongside Wright’s ‘Q’ and Forrest Whitaker’s ‘M’ as they face off against an eccentric bad guy with a sidekick with a bizarre weapon, not to mention a bevy of women, all of whom are defined by their skill, brains and asskickery rather than their looks.

The design of the film is magnificent: quite possibly the best a Marvel film to date has to offer, and the colours jump from the screen and are a nice tribute to the beauty of many African cultures, but occasionally the CGI effects fail. Ok, they don’t actually fail, but there is a standard of effects that some blockbuster films seem to think is ok which occasionally don’t sit right, due to the physics of gravity or the extension limits the human body has. I get it’s a movie based on a comic, but if you are selling it as real, it shouldn’t look like a comic. Also, there is some CGI animals that just don’t look quite right.

Ultimately, the one thing I find about this film that doesn’t work is it’s just an introduction. The Black Panther storyline is reminiscent of the first Iron Man’s story of the rights of ascension in a technological world, and serves really as just frosting on the cake that is actually film that could be called Wakanda: A Prelude to Infinity War, as it sets up one of the battlefields for the next Avengers movie, just as the first Thor and Captain America films were really just a way of getting the punter ready for a more complete film experience with the first Avengers film.

In saying that though, I don’t want to discount the amazing work it did with having a sympathetic bad guy and a great set of role models for various groups that in pop culture don’t get as many as the white male population.

This film, even though it is a fun film, in 100% sticking to the Marvel formula so if you are expecting TOO much different from the stations that the hype train stopped at whilst this film was at the cinemas, you will be disappointed.

Score: ***

Format: This film is presented in an impeccable 16:9 image with a matching DTS-HDMA 7.1 audio which is absolutely amazing.

Score: *****

Extras: As one expects with Marvel films, they have a pack of extras ready to role, some about this film, and others to advertise other product, but why wouldn’t you do that with a captured audience?

There is a Featurettes section which contains 4 parts: Crowning a New King which looks at the character of Black Panther and his world, The Hidden Kingdom Revealed is an introduction to the fictional African nation of Wakanda and making it a ‘real’ place, The Warriors Within looks at the actors who play the various Wakandans throughout the film and finally, Wakanda Tevealed: Exploring the Technology looks at the cool toys in the film.

The usual Marvel Gag Reel is present which seem to get less and less funny each time, as the actors seem to almost be acting the gags.

There is four Deleted Scenes which, like the rest of the film, are quite charming, and honestly, whilst I normally think most deleted scenes are better off deleted, there are a couple of bits here that have some heart that would not have hurt the film at all.

From Page to Screen: A Roundtable Discussion is a really cool look at all the writers of the character, including not just the movie creators, but also comic writers like Don McGregor, Ta-Nehisi Coates and Christopher Priest.

Marvel Studios:The First Ten Years – Connecting The Universe is the first of the Marvel sales pitches on this disc of the Marvel Cinematic Universe. There is no doubt it is extraordinarily clever and it is pretty cool when any series of films have a linking world, like Kevin Smith’s View Askewniverse and more importantly, Universal’s monster movies of the 40s that had multiple crossovers in the form of House of Dracula and House of Frankenstein. This is a fine albeit short celebration and for a moment, you look at all these separate movies as one big story, rather than a series of films with a, to date, continually unresolved plot device as it’s connective tissue.

Exclusive Sneak Peek at Antman and the Wasp is another one of those aforementioned self-promotional pieces that shows off the next attraction coming to the ci emas, in this case, Antman and the Wasp. The first movie was so charming that I actually am really looking more forward to this that either the sequel to Infinity War or my beloved Captain Marvel movie (in which I believe the main character has been miscast, but prove me wrong, Marvel).

There is also an Audio Commentary by writer/ director Coogler and production designer Hannah Beachler is fascinating as it doesn’t talk about the usual writer/ director stuff, it also explores the design of the entire world of Black Panther and Wakanda.

Score: *****

WISIA: As it is a part of the greater world of the Marvel movies, I will watch it again, but it’s not a top tier Marvel movie for me.

The Slayer (1982)

One from the to watch pile…

The Slayer (1982)

Film: Even though I am taking this from the ‘Re Watch Pile’, I am actually regarding it as a ‘To Watch Pile’ contender as the only way I have seen it before was on a pretty awful DVD release from the UK from several years ago. I remember seeing the video cover at my local video shop, but never got to hire it as there must have been some other horror fan in my area who totalled bogarted this tape and no one else EVER got to watch it. He’ll, I even had a copy of the poster hanging up in my bedroom as a kid.

The Slayer was written and directed by J.S. Cardone, who also gave us Puppetmaster and the remake of Prom Night, and co-written by Bill Ewing, who also produced the film.

Artist Kay Church (Sarah Kendall) has always had nightmares, and she exorcises the images from them through her art. On the eve of an important art show, her husband David (Alan McRae), brother Eric (Frederick Flynn) and his wife, Brooke (Carol Kottenbrook), decide to take her away to a secluded island to rest and relax and wind down after the child up to the show.

Once on the island, though, Kaye gets a weird feeling like she has been there before, even though the island is mostly abandoned during the off tourist season, and she starts to recognise places on the island that she has painted from her memory.

Kaye feels off the whole time on the island, and when her husband goes missing, things begin to unravel.. has she actually been here before or has she been getting premonitions about the place that feel like a warning, and when the deaths start happening, who, or what is responsible….

For its time, The Slayer is unusual as the trend was really mainly sexy, slutty teens being killed and this clearly features adults in peril. It also doesn’t feature a murder event ten minutes to keep the short attention spanned audience interested either, and instead slowly tells a story of a woman who may be descending into madness.

I really like this movie. It’s not just a good watch, it’s also a charming document of the time (smoking in a 6 seater Cessna is something no-one under 30 could even comprehend, let alone pass by without a complaint to the management) and has some pretty creepy bits in it, and a left field ending that in lesser hands could potentially have not worked, but actually works really well within the context of the universe the film exists in.

Score: ****

Format: The reviewed copy of this film was the Arrow Video multiregion Bluray, and is presented in a nicely restored 1.78:1 image with a decent Dolby Digital 2.0 audio. It was nice to actually SEE this film for the first time and not on some terribly mastered DVD.

Score: ****

Extras: It’s an Arrow Video release, so you expect there to be HEAPS of extras, and there is!

First, the film is available here on both a Bluray and a DVD version, and the packaging has a reversible sleeve, one with an original image from the film, and the other by Justin Osbourn, which is amazing! There is also a booklet with articles by film historian Lee Gambin and Arrow’s Ewan Cant.

Nightmare Island: The Making Of the Slayer is an exhaustive almost hour long documentary about the making of the film and a great mix of talent are interviewed for it, including writer/ director Cardone, actress Kottenbrook, production executive Eric Weston and a bunch of others. It is a fascinating look at the whole process with some interesting anecdotes from all involved.

Return to Tybee: the Location Of The Slayer is a look at Tybee Island, where the film was made, today. The best thing is in the film there us a dilapidated old cinema which has been restored to its former glory, and enjoying a showing of The Slayer.

The Tybee Post Theatre Experience features the screening mentioned above (which can be watched on this disc with the sound of the audience played as well), and also has a speech from Arrow’s Ewan Cant and a Q&A with the films DoP Arledge Armenaki.

There is a stills gallery which is a slideshow with a combination of behind the scenes stuff and stills from the film, with the soundtrack played over the top.

There is a trailer.

Finally, there is a commentary with Cardone, Weston and Kottenbrook, another one with The Hysteria Continues (a horror podcast from the UK), an isolated composer score track with accompanying interview and finally a repeat of the Tybee Post theatre audio track!

Score: *****

WISIA: As I mentioned, I’d only ever seen this as a pretty poor quality DVD which was a chore to watch, but now I’ve seen it in this cleaned-up version, I’m pretty sure I’ll be back.