House of 1000 Corpses (2003)

One from the re-watch pile…

House of 1000 Corpses (2003)

Film: Are you a fan of Texas Chainsaw Massacre, Last House on the Left, Eaten Alive, and sleazy 70s grindhouse? Well I’ve got a delectable feast of delights for you! A tale where Life and Death are Meaningless…and Pain is God!!

October 30, 1977, Ruggsville, four twenty something’s on a road trip across the USA (Chris Hardwick, Jennifer Jostyn, Erin Daniels and Rainn Wilson) stop at Captain Spaulding’s (Sid Haig) Museum of Monsters and Mayhem, a gas station/ fried chicken hut with a Ripley’s Believe It or Not styled freak show, whose main attraction is the bizarre ‘Murder Ride’. In the ride, the travellers are told about a local psycho, Dr Satan, who was hanged out in the woods by Ruggsville townsfolk, and whose body mysteriously disappeared the next day. The four decide to visit the tree on which he was hanged, and on the way pick up a hitchhiker, Baby Firefly (Sheri Moon). Soon one of their tyres is shot out and the four have to stop in at Baby’s House, where they are introduced to the murderous Firefly family (Karen Black, Bill Moseley, Robert Mukes, Matthew McGrory and Dennis Fimple). The succeeding story will shock, terrify and haunt the viewer…FOREVER!!!

Filmed in 2000, but not released until 2003, due to Universal’s cowardice towards an NC-17 rating, but eventually picked up by Lion’s Gate Films, Rob Zombie has created a visual trip that has more genre homage’s than you can poke a stick at. House of 1000 Corpses received Best Special Effects for Wayne Toth and Michael O’Brien at Fantasporto in 2004 where it was also nominated for Best International Fantasy Film, not to mention it was nominated for Choice Movie- Horror/Thriller at the Teen Choice Awards 2003.

Zombie obviously has great affection for everything that we Horror fans and Gore fiends love. Being a collector of the macabre and trash culture himself, not to mention a Marx Brothers aficionado (to which some of the characters are named after: Otis Driftwood, Rufus Firefly and Ravelli). To a layman, this film might seem a rip-off of The Texas Chainsaw Massacre, and there is no doubt that there are many comparisons, but there are levels to this film that make it so much more than that. To go into those levels would be to reveal far too much of the film itself, and lose some of its journey for the genre fan. Unfortunately this film has been heavily cut, when played at the Mar del Plata Film festival, it ran at 105 minutes but the eventual release plays at a mere 88 minutes. Don’t worry though; there is still plenty of carnage to enjoy.

The filming of this movie is great, sometimes Hollywood gloss, sometimes gritty and grainy, which gives the viewer an impression this was actually made in the seventies, and also has some quick MTV style cuts for dream sequences and such.

I absolutely love this movie. It’s never going to be known as a breakthrough of originality and top shelf acting, but isn’t entertainment what cinema is all about, something that this film delivers by the bloody bucket load. Zombie knows his genre stuff and has collected a cast from movies such as Texas Chainsaw Massacre 2, Spider Baby, Trilogy of Terror and others, to deliver ‘the Most Shocking Tale of Carnage ever Seen’. Have fun!!

Score: *****

Format: Always crisp and sharp, the 16×9 anamorphic widescreen is impressive, the only time this movie sinks to grit and grain is in its segues, where it is obviously deliberate. The audio is presented in an immaculate DTS-HD 7.1.

Score: *****

Extras: Unfortunately, this Bluray release is missing the spectacular menus from the initial DVD release. Those menus, hosted by Baby, Otis and particularly Captain Spaulding were fantastic, powered by Mojo DVD navigation; those menus had these three characters commenting on everything from what the special features contain, to your very own sassy hairdos.

Directors commentary is as you would expect from someone like from Rob Zombie. He talks all way through, rarely taking a break and revealing some interesting aspects of this film, including how much of it was filmed in the basement of his own house. Sometimes commentaries from only one person have long breaks or pauses, but Zombie has a short story for every scene that plays. The amount of extra bits and pieces he points out are incredible, even down to continuity faults.

The Making of featurette is a 4:14 minute summary of the film as told by the actors playing the leads, and a couple of sound bytes from Zombie about the making of the movie, but not very special or informative.

Casting is audition footage of Dennis Fimple (King Kong) who played Grandpa, which is pretty funny.

Rehearsal footage show some of the cast in their rehearsals for some particular scenes in the film.

The Interviews section has Q & A’s with Bill Moseley, Sid Haig, Sheri Moon and Wayne Toth (special make-up effects). Fairly standard fare, but interesting never the less.

Interview with William Bassett is a new interview from Umbrella Entertainment with William Bassett from The Towering Inferno and The Karate Kid.

Theatrical Trailers are fairly self explanatory.

Score: ***

WISIA: I love this film so its a regular rewatcher for me!

I Kill Giants (2017)

One from the to watch pile…

I Kill Giants (2017)

Film: Having a site called ‘The To Watch Pile’ means I need to make sure I watch as many new films as possible… well, not necessarily ‘new’ but certainly ones I haven’t seen before. My ACTUAL to-watch pile is ridiculously large and is spread across my house, filling a footrest and a whole cabinet under my TV. I know that a lot of this is going to be pretty awful, and as a devout movie fan. I’m happy to torture myself with silly stuff. I also know that occasionally I’m going to find a gem amongst the manure.

.. and this is one of them.

I Kill Giants was written by Joe Kelly and is based on the limited series comic made by him along with Ken Niimura which was published by Image Comics between 2008 and 2009. It was directed by Anders Walter, who win an Academy Award for his 2013 short film Helium.

I Kill Giants tells of 12 year old Barbara (Madison Wolfe), an extraordinarily strange girl who walks to the beat of her own drum, resisting normalcy no matter what her sister, Karen (Imogen Poots) asks if her, no matter what the school psychologist, Mrs. Mollé (Zoe Saldana) says and especially no matter what school bully, Taylor (Rory Jackson) does to her, and she seems to have an incredible strength that rises her above all this.

This is because Barbara has a secret: she is the sole defence for her town against the constant threat of giants. Giants that no one else can see.

Barbara has covered the town with protective runes, and has many wards and symbols that help her in her goal, and she also enlists new neighbour Sophie (Sydney Wade), but this causes a problem… Sophie can’t see what it is that Barbara says she can, and is concerned that perhaps Barbara isn’t quite mentally well, and maybe that disbelief will cause Barbara to lose her powers against the giants…

An ambiguous synopsis? You better believe it. Honestly I’ve watched the film twice as of this writing and I am still not quite sure if Barbara can see these mythical creatures or not, and I think that perhaps that ambiguity really makes the film something special.

It’s not just the ambiguity of Kelly’s script though, it’s also the acting skill of the cast, both the established older actors and the children. This whole film hangs on the talent of Wolfe and she not only rises to the occasion, she nails every scene she is in. In particular, there is one scene where she is being challenged by the psychologist and goes from distracted to tears no naturally it’s astounding.

The other small rise to the occasion too. You forget that Saldana has amazing talent now that she is a blockbuster sweetheart, and I have to say her characters husband is played by Noel Clarke was a nice surprise, me being a Doctor Who fan. Imogen Poots also kicks goals with her role as the sister who is trying to keep her family together after a family tragedy (which is an underlying theme of the plot) and her frustrations are almost palpable.

Walter has created a beautifully designed film too. The constant dark and oppressive sky doesn’t just set a tone of potential danger, and reflect Both Barbara’s real and fantastic situations, it also acts as somewhat of a cover for the films giants, which beautifully fit into the landscape.

I honestly didn’t know what to expect from this film, and I have to say I was surprised by what I did get: an engaging quasi-fantasy film that played an amazing song upon my heartstrings.

Score: ****

Format: This film was reviewed on the Umbrella Entertainment R4 NTSC DVD which runs for approximately 106 minutes. It is presented in 2.35:1 image which is great, and a decent audio, running on Dolby 5.1. I did have the sound lose sync on two occasions, but I have been assured by Umbrella Entertainment that this has not been a common complaint.

Score: ****

Extras: Seems to be a common thing with Umbrella DVDs these days, but no extras.

Score: 0

WISIA: I did enjoy this film, very much, but I think it would lose some of its magic with a rewatch, so I thunk I’ll leave it where it is.

Lords of Chaos (2018)

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.

Score: ****1/2

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.

Score: ****

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.

Score: 0

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!

Reform School Girls (1986)

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?

Well, no.

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.

Score: **

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.

Score: ***

Extras: Not a sausage. Not even a disc menu.

Score: 0

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.

Ouija House (2018)

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.

Score: **

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.

Score: ****

Extras: Nothing, not even a DVD menu screen.

Score: 0

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.

Krull (1983)

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…

Krull (1983)

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.

Yep. 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.

Score: ***1/2

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.

Score: *****

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.

Score: ***1/2

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.

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.

The Endless (2017)

One from the to watch pile…

The Endless (2017)

Film: Occasionally, a film comes along that surprises you. I like to think I know what’s going on within the world of genre films, I read several horror news blogs and magazines, I listen to a few horror/ genre podcasts but I guess in a world where SO many films can be made SO quickly it can be hard to keep abreast of the releases.

Somehow, this film of UFO cultish, time-bending supernaturality completely passed me by!

This film was written by Justin Benson, and directed by him and his regular directing partner, Aaron Moorhead who previous made Resolution (which contains a theme used as a small part of this film) and Spring. These two also star as the lead actors.

This film is about Brothers Aaron (Moorhead) and Justin (Benson) who left a UFO cult ten years ago as he believed that they were on the cusp of committing an act of mass suicide which they declared to be ‘the Ascension’ and hoped to find their way in the big old world. Through this time, Justin has convinced the younger Aaron that the cult was a horrible place that was not at all full of any normalcy.

They mysteriously receive a video tape from the cult, and in the ten years that have passed, none of the cultists in the video seem to have aged, and Aaron wants to go back to visit, even though Justin repeated warns him that it is a bad idea.

They return but find that nothing has changed… nothing… and that the entire cult seems to be stuck in some kind of bubble of time that keeps them safe. The problem is, the bubble seems to be a trap set by some being who sends them messages by delivering the photographs and video tapes, or is it a trap… and are others caught in it if it is and is there a ‘something’ out there, or is the cult suffering from a mass delusion?

So many questions, and the answers are innovative and interesting and this film, even though its low budget and low-fi is a fascinating sci-fi/ horror that turns regular tropes of both types of films on their heads, with some decent acting, ok direction and a surprise cameo by Lew Temple!

This film was a surprising first watch, and one that fans of thoughtful sci-fi, not your mass-market Star Wars-y stuff, will probably enjoy, considering elements of it even seem to harken back to ideals proposed by Lovecraft of something bigger being our there and controlling us.

One warning though, this isn’t a gore-fest, special effects laden feature. If you are looking for that go somewhere else, but if you want Story and texture, you might just dig this.

Score: ****

Format: This review was done with the Umbrella region 4 DVD release of the film which runs for approximately 111 minutes and is presented in an average 2.40:1 image with a 5.1 audio track. When I say average though, it is more to do with it low budget rather than it being a damaged print. The print is fine, but it obviously wasn’t filmed with the latest in cinema technology.

Score: ***1/2

Extras: None to speak of at all.

Score: 0

WISIA: I actually think this film NEEDS to be watched more than once for a full absorption of its ideas.

Drive-In Delirium: The New Batch (2018)

One from the to watch pile…

Drive-In Delirium: The New Batch (2018)

The cover to Drive-In Delirium:The New Batch

Film: Whenever anyone, and I mean ANYONE I know, goes and sees a movie, the first question I ask is never ‘was it good?’, it’s always ‘what we’re the trailers before the movie?’ I guess I’m a fan of the anticipation of what is coming rather than what is available.

It’s that secret nerd thing of knowing what is coming out, I guess.

I think it began when I first started becoming a film fan and was hooked on the monthly visit to the video shop. In actual fact, the first VCR my family owned ( top of the line, with a corded remote control) came with a free movie which we could swap for free from good ol’ Joyce Mayne at Auburn. Now occasionally the movie would suck, but I’d rewatch the trailers at the beginning over and over agin so I’d know what to ask my parents to get next time they went over, and my parents were pretty cool so I’d usually get what I wanted.

(As an aside, we once had my father’s choice of Convoy for about two months, a week of which I was sick off school and I spent my days watching and rewatching that movie over and over, to the point I can still, 30 years later, recite the entire film… I was considering performing it as a one-man show with me both as Kris Kristofferson and Ali McGraw)

The Video Dead Masthead

Anyway, what we have here is the third volume on Bluray from Umbrella Entertainment of their Drive-In Delirium series, the previous of which were ‘60s and 70s Savagery’ and ‘Maximum 80s Overdrive’ which both obvious had their focuses on the decades suggested by their titles.

Thankfully this isn’t focusing on the great horror movies of the 90s because, honestly, it would be about ten minutes long… sorry kids, the 90s sucked for horror, even Fangoria had to put Batman Returns and Jurassic Park on the cover of the mag… but instead has a super mix of stuff from all decades and genres.

The disc is divided into three parts. The first is called ‘The Quickening’, and features a mixed bag of trailers of all genres of B movies, from sci-fi stuff like X-tro to comedy like The Nude Bomb. The second section is called ‘The Spawning’ and is a bunch of horror movies and if I’m totally honest, was the focus for me on this disc. I was particularly excited to see the trailer for ‘Demented’ again, a film I never saw, but always wanted too… maybe it’s time to start looking for it again.

The Terror in the Aisles Masthead

These first two parts have some pretty cool adverts and public announcements before, at ‘intermission’ and after, of special note is the totally off-the-wall anti-smoking and starring none other than R2-D2 and C-3PO.

Finally, we have a series of trailers taken from VHS and I kid you not, if you were old enough to have ever hired a Roadshow Home Video tape, you’ll be well aware of a big bunch of these images, and the Australian voiceover preceding each one.

The difference between the first two chapters and the last is that the first two have had a bit of a clean up on the trailers, but the VHS ones are of varying quality, none of which are detrimental to the viewing of the trailers, but they are a bit scratchy nevertheless.

Nostalgia bit me big time with this disc and I enjoyed every second of it!

Score: *****

The menu screen to Derive-In Delirium: The New Batch

Format: This selection of trailers was watched on the Umbrella Entertainment Bluray which is multi-region. All the sound is of a decent quality and is presented in 2.0, but the images are of a varying degree of quality and aspect ratio depending on when they were released or on what format they were released.

Score: ***

Extras: It’s all extras!

Score: N/A

WISIA: This is a definite rewatcher, to the point I’d say if I had a few mates over, you could put this on and watch it over a few beers.

The Howling 2 Masthead

Visitors (2003)

One from the to watch pile…

Visitors (2003)

Film: I love a sunburnt cinema, films of sweeping plains, of rugged outback killers, of tough, arse-kicking dames… yeah, I love Australian films. Not the artsy, fartsy ones that proper critics love, but instead the dumb, violent, Ozploitative stuff made famous recently by Mark Hartley’s awesome doco ‘Not Quite Hollywood’.

I’m never sure that Ozploitation quite left us completely and this film, 2003’s Visitors might be a good example of that. Not only does it tell a story of an attractive woman left to protect herself, it’s also written by Everett De Roche, writer of Razorback and Harlequin, but it’s also directed by Richard Franklin, who gave us Road Games and Patrick.

Visitors tells of Georgia Perry (Radha Mitchell), am around-the-world yachtswoman whose efforts have come to a shuddering halt due to a lack of wind, and she is left in the middle of the ocean, static, surrounded by a huge unforgiving fog.

Being stuck for so long, though, starts to effect her mind and she starts to have bizarre flights of fancy involving strange tattooed men, pirates and dreams of her mother, father and aunts, but are they real? Is it just her mental state screwing with her, or are there more ominous forces at work?

Parts of the background of the story is revealed in a piecemeal, flashback method.. you know, like Pulp Fiction… and the more we see, the more is seems that our heroine’s life may have been unravelling before she even stepped on the deck. It’s an interesting way to tell such a straightforward story when you consider the only real family secret was how her father ended up in a wheelchair.

This is pretty much Radha Mitchell’s Show, and she does it well. She’s likeable and her creeping madness manifests in many ways, some creepy, and some just hilariously bizarre. The addition of Suzanna York to the cast as her oppressive, manipulative mother is fantastic, as are the appearances of Tottie Goldsmith, Dominic Purcell and Ray Barrett.

The problem with this film is though it’s just not very engaging. Whilst Mitchell’s character is a nice enough person who is surrounded by some generic, family tragedies, her plight on the boat would have been enough, but adding the ‘ghosts’ who keep visiting make it difficult to be interested in. To make matters worse, when the stupid reason why they are visiting is revealed, and it’s not just stupid, it’s ridiculous, you’ll be left in a great big pile of ‘what the..?’

I wanted to like this as I like the actors and the writer and director, but it’s just not very good. The addition of SyFy channel quality cgi doesn’t help it too much either.

Score: **

Format: This film was reviewed with the Umbrella Entertainment release DVD and was presented in a clear 2.35:1 image with a matching 5.1 Audio track.

Score: ***1/2

Extras: There is a couple of extras on this disc, including text biographies of the cast and crew (though not Everett De Roche, which seemed out of place), a terrible, out of scale photo gallery (an absolutely worthless addition), the trailer for this film and trailers for Alexandra’s Project, The Rage in Placid Lake, Erskineville Kings and Japanese Story.

Score: **

WISIA: No.