The Deer Hunter (1978): "This Is This" (video)

 

This is this! This is this! This is this this this!

Video by Porfle Popnecker. I neither own nor claim any rights to this material. Just having some fun with it. Thanks for watching!

JACK BROWN GENIUS -- Movie Review by Porfle

Originally posted in 2009

Do you miss the good old days when Yahoo Serious was a cinematic force to be reckoned with? Then you may enjoy JACK BROWN, GENIUS, a 1994 comedy from New Zealand, because it plays as though producer Peter Jackson, director Tony Hiles, and co-writer Fran Walsh had him in mind for the title role when they penned the script for Wingnut Films.

The farcical nature of the story emerges during the prologue, with a 10th century English monk named Elmer (Stuart Devenie) jumping off a cliff to test his newly-invented wings only to fall to his death and be wrongly banished to Purgatory for committing "suicide." Nearly 1000 years later, but only days before Elmer is to be consigned to Hell for all time, he enters the brain of a struggling inventor named Jack Brown (Timothy Balme, BRAINDEAD) and nags him into trying to succeed where he failed, thus convincing God that Elmer didn't really intend to commit suicide after all. (Wait--isn't God supposed to be omniscient? Oh, never mind.)

I've seen "Scooby-Doo" episodes that made more sense, but this movie just blithely sails along as though the story weren't completely out to lunch. Like a weird medieval variation of INNERSPACE (with a dash of HUDSON HAWK thrown in, God help us), we see Elmer bopping around inside Jack's brain and poking at his nerves and blood vessels to get attention whenever Jack starts to work on his current project (hydraulic leaping shoes) for his demanding boss (Edward Campbell). "Thou canst not silence me, Jack! Thy brainpan is my permanent place of abode!" Elmer insists.

After spending some time in a "Regional Centre for the Deeply Disturbed", Jack actually does invent a working pair of wings, only to have the power source stolen by The Boss and his evil dominatrix girlfriend, Sylvia (Lisa Chappell), to sell to an Asian businessman. Meanwhile, Jack's best friend Dennis (Marton Csokas, LORD OF THE RINGS, THE BOURNE SUPREMACY), who runs a mobile hot dog stand, is seduced into helping Sylvia while his bride-to-be Eileen (Nicola Murphy) starts to fall for Jack, whom she thinks is crazy. Okay, where did I lose you?

JACK BROWN GENIUS features some nicely garish set design and is directed like a cartoon, full of hyperkinetic action and ridiculous plot developments that just barrel along like a circus wagon with no brakes. Some potentially funny situations are set up and then just sailed through without any elaboration--this movie could've been twice as funny if the writers had just taken the time to insert some comedy into the comedy scenes. This is especially true during Jack's stay in the nuthouse, although the part where he tries to silence Elmer by subjecting himself to shock treatment is nicely done.

Then again, the movie sometimes manages to pull off some almost dazzling sequences out of the blue. Angry with Jack for messing up their leaping-shoes deal with the Asians, The Boss takes after him in a car with the intent of running him down. This leads to some incredible stunt/effects scenes involving a car and two speeding trains as Jack leaps for his life. Another chase in a garbage dump has Jack and Eileen being pursued by a livid Sylvia in a demolition-derby style smash-up with an exhilarating finale. And the climactic flying effects are well-done.

I enjoyed some of the dialogue, such as this simple exchange:

JACK: "There's a monk in my head, Eileen."
EILEEN: "Pardon?"

Timothy Balme is appropriately cartoonlike in the title role, a perplexed wacky-inventor type who depends on his imagination to get him out of a scrape. Nicola Murphy is likable in her debut as Eileen, although her sudden infatuation with Jack, who throws up on her shoes and seems insane enough for her to have him committed to an asylum, seems a bit of a stretch. As The Boss, Edward Campbell has a gruff Vinnie Jones-like thing going. Marton Csokas, who would go on to have quite a successful career, does what he can with the role of Dennis, which is just all over the map.

Likewise, Stuart Devenie makes the best of his wacky monk character, Elmer, which consists mainly of being irritating and bouncing around inside a big rubber brain. My favorite supporting character has to be Lisa Chappell as bad girl Sylvia, for reasons which I will leave to your conjecture. She has the one graphic gore scene in the film, but, unfortunately, neither of the two bare behinds on display belong to her. (You don't wanna know who they do belong to.)

I watched a barebones screener so I can only say that the final DVD extras should include a stills gallery. The 16 x 9 anamorphic widescreen image and 2.0 Dolby Digital audio are good. The film has a nice pop music score and I especially liked the song "Not an Ordinary Life" by the Brainchilds.

JACK BROWN GENIUS gets by on a certain amount of inventiveness, some appealing actors, and lots of energy--which adds up to a decent amount of fun. It isn't one of the best comedies ever made, but it's one of the best comedies that Yahoo Serious never made.

Coopers' Christmas (2008): "I Kill Poppy!" (video)

 

This scene from the 2008 comedy "Coopers' Christmas" teaches a valuable lesson: if you're Poppy, you should never let your guard down around Dougie.

(Caution: something violent happens)

Video by Porfle Popnecker. I neither own nor claim any rights to this material. Just having some fun with it. Thanks for watching!

GHOSTS OF GOLDFIELD -- DVD Review by Porfle

Originally posted on 4/10/09

I didn't like the film version of THE SHINING, so any horror movie about ghosts in a big old hotel is going to have to outdo Kubrick in order to win me over. (Okay, that may be a slight exaggeration.) And like the little engine that could, GHOSTS OF GOLDFIELD (2009) huffs and puffs its little heart out trying to do just that. But despite the best efforts of all involved, it never really builds up much steam.

Julie (Marnette Patterson of "Charmed") is a psych major who's doing a thesis on ghosts, so she rounds up some college friends to help her shoot a film inside the haunted Goldfield Hotel, situated in a ghost town in the middle of the Nevada desert. The main reason the place is haunted is because long ago, the rich bastard who built it tortured his mistress Elizabeth (Ashly Rae) to death in one of the rooms after finding out she was cheating on him with the hotel's bartender. He also tossed the couple's illegitimate baby down a mine shaft (what a sweet guy!), so now Elizabeth's ghost roams the corridors wailing "Where's my baby?" (And no, dingos are not involved.)

There's some other stuff mentioned about the hotel being a portal between the worlds of the living and the dead, but nothing much ever comes of this. And the fact that Elizabeth (who resembles Juliette Lewis after a bad weekend) seems to be the only ghost in the whole place for much of the movie really cuts down on the haunt factor. First-time director Ed Winfield displays little skill at building suspense or putting together effective scare sequences, while the cast seem unable to convincingly convey extreme emotions when necessary. Even their casual banter often seems awkwardly improvised, though much of the blame for this is probably due to the writers not giving them much to work with.

Besides Julie, there's her straitlaced boyfriend Dean (Scott Whyte), nice-guy cameraman Chad (TWILIGHT's Kellan Lutz), obligatory jackass Mike (Richie Chance), who stays drunk most of the time and likes to jump out and scare people, and Keri (Mandy Amano), the whiner who's constantly griping about being hungry or tired when she isn't swiping stuff from the hotel to sell on eBay. You know your cast isn't too impressive when the best performance comes from "Rowdy" Roddy Piper, who plays Elizabeth's secret lover Jackson Smith (in flashback) with something resembling two strips of beef jerky glued to his jowls to represent old-timey sideburns.

As expected, members of the group begin to wander off by themselves down dark, spooky corridors as soon as they enter the hotel. Director Winfield relies heavily on shots of mysterious figures flitting past the camera, clutching hands, and other familiar stuff to keep us on edge. The ghostly image of Elizabeth wandering around with her blazing red eyes, flowing white gown, and crazed expression are somewhat effective at times. Late in the story we begin to get a few gory kill scenes, but nothing very elaborate. Also as expected, nobody is able to get a signal on their cell phones! It's inevitable nowadays that horror movies must deal with this issue, and lately it seems more and more as though scriptwriters are simply saying "Screw it--the cell phones don't work."

The DVD is in 16x9 widescreen with 2.0 stereo sound. Direction and photography are average at best, and at times not very good. I viewed a screener with the movie only, but the release version promises a director's commentary, stills gallery, and trailers.

During the story, Julie begins to have visions of herself in the hotel during a past life, and her possible connection with Elizabeth's tragic demise leads to a downbeat and somewhat surprising finale that sends the movie off on a high note. GHOSTS OF GOLDFIELD is an okay time-waster if you're not in a very demanding mood; otherwise, chances are you'll find it more tame and tedious than scary.

B.T.K. -- DVD Review by Porfle

Originally posted on 4/12/09

The same tall, imposing figure, dressed in coveralls, relentlessly stalking his next hapless victim--Kane Hodder remains as intimidating a screen presence now as he did as Jason Voorhees in the FRIDAY THE 13TH films. But there's no hockey mask here, only the face of a normal, everyday guy. Yet there's something about it that isn't quite right, something a little off...just enough to give you the creeps. Because this isn't the face of a mindless killing machine. It's the guy next door.

Which is one of the reasons B.T.K. (2008) is so effective. Hodder plays Dennis L. Rader, a devoted husband and father of two grown daughters, a man active in his church, a man with a fairly responsible position--he's what's called a "compliance officer", which means he gets to wear an official-looking uniform and drive around his sleepy Kansas town in a white van, looking for infractions of various city ordinances. Rader takes this job seriously, perhaps a bit too seriously, to the point of being anally obsessive and at times downright hostile toward people who let their poodles run loose or don't keep their lawns trimmed (he actually measures the grass). Not only does this feed his voracious ego and help bolster his feelings of inadequacy, but it also gives him an opportunity to scope out potential victims--the women who will be his next targets for home invasion and brutal murder.

B.T.K. isn't your usual colorfully-inane slasher flick for teenagers to hoot and throw popcorn at. It's closer to the somber, uncomfortably realistic feel of HENRY: PORTRAIT OF A SERIAL KILLER, although Dennis isn't quite the remote, solitary cold fish that Henry was. He revels in his family life and his community and church activities, as long as he has brutal murder as a release valve for his pent-up rage and an outlet for his sexual frustrations. Hodder is great at portraying the two sides of Dennis--he's all smiles and banal cordiality until the little psycho-dial in his head inches into the red and he starts turning into a monster. And with his hulking physique, bull neck, and big, powerful hands, he's someone you wouldn't want coming after you.

Writer-director Michael Feifer doesn't go in for the flashy, elaborate kills that require the services of guys like Tom Savini or the inventiveness of Rube Goldberg. The real thing is scary enough when presented in a realistic way, as he does here. The performances in B.T.K. are generally good (Hodder himself is excellent) and natural enough that we feel for these everyday people whom Dennis strangles, stomps to death, smothers with plastic bags, or simply shoots in the head. The fear we all feel of having a vicious killer stalking us in our own homes is vividly portrayed. Feifer uses a hand-held camera to good effect and deftly stages the terror sequences so that they're both unnerving and emotionally disturbing. Direction and editing are above average throughout. Not every scene works, of course, and some of the later ones with Rader's family discovering the truth about him as police investigators move in are less than successful.

As the film goes on, we're taken deeper and deeper into Dennis' whacked-out mind while also getting disquieting glimpses from the victims' POV as well. One rather shocking scene shows him tracking down and getting revenge on a hooker who ran out on him earlier in the film--he decorates the wall with her husband's brains and begins to strangle her, which we see through her eyes as her vision dims, then returns, over and over again as Dennis sadistically brings her to the point of death several times before the kill. Then, he suddenly sees his own daughter in her place and freaks out. His mental state becomes even more unstable later on until ultimately we're just as unsure as he is of what's real and what isn't. Which leads to one of the film's most disturbing moments--a final twist that ends the story on a disorienting, dispiriting note.

Picture and sound quality are good--the DVD image is 16 x 9 widescreen with 5.1 surround audio. My screener contained no extras but the final release should boast a commentary track featuring director Feifer and Kane Hodder, a stills gallery, trailers, and Spanish subtitles.

B.T.K. (the title stands for "bind, torture, kill" after the infamous B.T.K. Killer, who inspired this fictional account) isn't a "fun" movie by any means. But it is often harrowing, disturbing, and effective. Mainly because the killer isn't a faceless automaton in a mask, or a grossly disfigured monster, but just some guy you might pass by on the street. Or glimpse out of the corner of your eye while sitting at home alone at night, right before he whips the plastic bag over your head.

NIGHT STALKER -- DVD Review by Porfle

Originally posted on 7/28/09

A specialist in serial killer films as of late, prolific director Ulli Lommel adds to his screen bios of Son of Sam, the D.C. Sniper, the B.T.K. Killer, the Zodiac Killer, and others with 2007's NIGHTSTALKER, which is being given a new DVD release on Sept. 8 by North American Motion Pictures (under the slightly different title NIGHT STALKER). This weak and ponderous effort makes the recent serial killer films of director Michael Feifer look like "Masterpiece Theater" by comparison.

After a brief flashback of Richard Ramirez as a child witnessing his crazy war-veteran uncle shooting his crabby aunt in the head, the film is virtually plotless. Just about the only other thing that doesn't involve Ramirez skulking around the streets of Los Angeles looking for his next victim is the part where he follows an attractive young woman to a party and is introduced to drugs and Satan worshipping. Her supposed influence on him is manifested by several flashbacks during the murder scenes, consisting of quick closeups of her eyes as she chants "Hail Satan!"

Ramirez hates women, we're told early on, and is intent on putting them in their place. Thus, several of his victims in the movie are bitchy women in the process of bawling out some mousey guy, which seems to set off his "stalker sense" and lead him straight to the scene where he starts blasting away. This is repeated several times ad nauseum during the movie--scenes of couples arguing intercut with shots of Ramirez shuffling down the sidewalk sucking on his ever-present Charms Blow Pop until he arrives on the scene. Bad acting ensues, squibs go off, and star Adolph Cortez is directed to play around with the fake blood that's all over the place while director Lommel fiddles with artsy camera angles and editing.

I've always considered Richard Ramirez to be one of the scariest and most menacing of the famous serial killers, but Cortez plays him like a weaselly high-school dropout looking to score some weed for the big Phish concert. He does a voiceover with a lot of talk about evil and "darkness" and all that stuff, and keeps telling us "God is dead", etc., but there's no real connection between these ominous words and the smirking Richard Grieco wannabe who skulks around endlessly sucking on Blow Pops. Cortez goes through so many bags of Blow Pops during the course of this movie that his stomach lining must have developed an impenetrable candy shell.

Unfortunately, this is just about the only unique trait the character has, so Cortez works those damn things like he was doing a softcore porn tease. Besides that, all the script gives him to do is one walking-around sequence after another topped by yet another splattery bang-bang. After awhile the film becomes mainly a showcase for some decent head-shot squib effects.

NIGHT STALKER has that shot-on-video look and a wildly-inappropriate synth score that often works against the desired effect. The DVD image is 16 x 9 anamorphic widescreen with 2.0 stereo sound. I watched a screener with no extras, but the DVD release is supposed to include a stills gallery and closed captioning.

The film rambles along until the boredom finally ends with Ramirez' capture, which is depicted in a cursory but somewhat accurate manner. Then we're shown the following actual quote: "You don't understand me. You are not expected to. You are not capable of it. I am beyond your experience. I am beyond good and evil." These words are more chilling than anything depicted in NIGHT STALKER. Painting a convincing portrait of Richard Ramirez and giving us an inkling of what it must have been like to live in Los Angeles during his reign of terror or to experience one of his attacks are beyond this film.

 

DRIFTER: HENRY LEE LUCAS -- DVD Review by Porfle

Originally posted in 2009

Director Michael Feifer seems intent on chronicling the lives of every vile, lowlife bastard who comes to mind when you think of the term "serial killer." Now, in addition to "B.T.K.", "Boston Strangler: The Untold Story", "Bundy: A Legacy of Evil", "Chicago Massacre: Richard Speck", and "Ed Gein: The Butcher of Plainfield", comes DRIFTER: HENRY LEE LUCAS (2009), a well-made and fairly engaging account of one of the most notorious killers who ever stalked the countryside.

Most of us know at least the basics of Lucas' story--abused physically and mentally by a sadistic mother, he grew up to be a prolific serial killer who traveled with his equally-demented buddy Ottis Toole and Toole's 12-year-old niece Becky, with whom Henry had a romantic affair. After his capture, he confessed to hundreds of murders but later recanted, making it unclear just how many he was actually guilty of.

The screenplay by Feifer and Wood Dickinson generally sticks pretty closely to the facts. The story of Henry's nightmarish childhood proves most affecting, with Ezra Averill as an 8-year-old Henry and Caia Coley giving a frightening performance as his prostitute mother Viola. In addition to making him watch as she has sex with strange men, the monstrous Viola beats Henry brutally, once putting him into a coma with a wooden board, and also abuses her legless husband. When a teenaged Henry (Nicolas Canel) finally kills Viola in what he claims was self-defense, it's pretty much a fist-in-the-air moment.

We see the adult Henry (Antonio Sabato Jr., "The Bold & The Beautiful") commit the first of his serial murders and his fateful meeting with fellow drifter Ottis Toole, played artlessly but with a lot of energy by "Deuce Bigalow: European Gigolo"'s Kostas Sommer. (The fact that grungy, homely Lucas and Toole are portrayed by a couple of relatively hunky actors is a little disconcerting.) Kelly Curran is good in her debut role as Becky, whose eventual murder by Henry is shown near the beginning of the film and revisited later.

The very familiar John Diehl of such films as "Jurassic Park III" and "Pearl Harbor" plays Sheriff Larabie, a fictionalized version of the actual sheriff who was accused of using Lucas as a "confession machine" in order to clear up hundreds of unsolved murders. Farino, the skeptical D.A. is portrayed by John Burke, whom I know mainly as the co-host of "Personal FX: The Collectibles Show." While there really isn't much of an ending to Lucas' story, the final scenes with him being interviewed by Farino do tie things up rather well and bring the film to a satisfactory conclusion.

Despite several opportunites to do so, director Feifer refrains from filling the screen with excessive blood and gore. One of the more lurid death scenes has Henry forcing his way into a woman's kitchen, knifing her in the back, and then strangling her from behind as she crawls away. Another sequence features the strangulation of a hitchhiker and Henry's subsequent necrophilic violation of her body. A movie theater patron gets his throat cut for daring to "shush" Henry and Ottis, and there are several knifings.

For the most part, however, the violence is quick and Feifer doesn't linger over it, preferring to concentrate on the story. The only drawback to this is that the sheer horror of Lucas' crimes is rarely adequately conveyed by this matter-of-fact approach. Direction and photography are consistently good, displaying a fair amount of style and imagination that helps keep things interesting even though there's not really that much of a plot.

The film is presented in 16 x 9 anamorphic widescreen with 5.1 surround and 2.0 stereo audio. My screener contained no bonus features, but the DVD should include a commentary with Feifer and Sabato, stills gallery, and Spanish subtitles.

DRIFTER: HENRY LEE LUCAS does a pretty good job of showing us, in effect, "How to Make a Monster." The scenes of Lucas' childhood are harrowing and sad, yet Antonio Sabato Jr. manages to convey the idea that there's just something inherently evil about Henry (albeit an infinitely banal evil) regardless of his upbringing. While "Henry: Portrait of a Serial Killer" and the lesser-known gem "Confessions of a Serial Killer" remain the last word on the subject as far as I'm concerned, Michael Feifer's version of the story is both visually interesting and perhaps somewhat closer to the real facts than its predecessors.

 

BUNDY: A LEGACY OF EVIL -- DVD Review by Porfle

Originally posted in 2009

Back in 1990, Corin Nemec starred in a "Ferris Bueller"-inspired TV series called "Parker Lewis Can't Lose." Later, he went against type to play the repellent Harold Lauder in the ABC miniseries "The Stand", based on Stephen King's book. Now, with BUNDY: A LEGACY OF EVIL (2008), Nemec seems intent on exorcising all traces of his nice-guy image by portraying one of the most cold-blooded serial killers of all time, Ted Bundy.

It's hard to say how successful he is at this because at times I couldn't tell if I was supposed to think his Ted Bundy was scary or funny. This is especially true of the scene in which Ted, after murdering a young woman in some isolated location, gets down on all fours and starts howling like a coyote. Sometimes he seems to be still playing perennial loser Harold Lauder, striking out romantically while trying to pass himself off as a normal, dynamic guy. Nemec's theatrical portrayal is occasionally interesting, but rarely convincing.

Some effort is made by writer-director Michael Feifer to show some of the possible reasons for Bundy's warped personality. He had a troubled childhood during which he thought his grandparents were his parents and his mother was his sister (his father's identity being the subject of some dubious speculation). He grew up reading violent horror comics. And he was devastated when his college sweetheart dumped him after she realized that the socially-stunted young man would never grow up. Immediately after this, however, we're shown a montage of brutal abduction-murders with the now totally bonkers Ted having suddenly morphed into a savage, bloodthirsty animal. None of it really comes together to show the evolution of Bundy from troubled youth to psycho.

I read Wikipedia's page on Ted Bundy and found that much of the film's story is fairly accurate, although we still don't get an idea of the sheer number of victims he managed to do away with. The murder sequences themselves are disturbing mainly because the actresses are so convincing--their screams and pleas for mercy are heartrending. Nemec does his best to convey the unhinged monstrousness required, yet his emoting seems overly calculated. He's at his best in the quieter scenes, such as the ones between Bundy and the warden (Kane Hodder) who's about to lead him to the electric chair in the film's bookending segments, or the gripping courtroom sequence in which Bundy serves as his own defense lawyer and makes a mockery of the proceedings.

Michael Feifer, who directed Hodder that same year in B.T.K. and has made a number of other fact-based serial killer films, gives this one the look of an above-average made-for-TV movie. Interestingly, he shoots the early 70s stuff in a way that makes it seem to actually have come from that era, right down to the film stock and cheesy soundtrack songs. This segment of the movie looks as though it could've come right out of a Joe Sarno flick. Artistically, that's the most noteworthy thing about BUNDY: A LEGACY OF EVIL--otherwise, it's capably done but relatively unremarkable.

Other details of Bundy's story are sketched in, including an impromptu jailbreak, a brush with political activism, a stint manning a suicide hotline (where the real Bundy would meet future true-crime author Ann Rule), and a reunion with his college flame Stephanie (the very cute Jen Nikolaisen) which, though fictionalized, results in one of the film's most effective moments. Bundy's infamous rampage through a girls' dormitory is documented in predictably bloody fashion. The final act, of course, consists of Bundy's execution in the electric chair. Feifer, I suspect, was trying for some of the impact of the last minutes of IN COLD BLOOD here. The results are much less effective, yet the sequence does come off pretty well.

How much of Bundy's behavior was simply a deliberate choice to do evil as opposed to the actions of someone incapable of controlling his warped impulses? In the film, a Ted Bundy still hoping for a reprieve puts much of the blame on pornography and other outside influences. Hodder's warden doesn't buy it: "You're not mental. You're not deranged. You're the most normal, intelligent man I've ever had on death row." I think Corin Nemec's performance would have been more effective if he'd played Bundy more like that instead of always trying to make it obvious to us that the guy's a total loon, because we already know that.

GHOST CAT -- DVD Review by Porfle

Originally posted on 7/30/09

This 2003 Canadian made-for-TV film was originally known as "Mrs. Ashboro's Cat" and has appeared as an Animal Planet original movie. Now, North American Motion Pictures is giving it a Sept. 22 DVD release as the somewhat more intriguingly-titled GHOST CAT, with special emphasis in the ads on Oscar-nominated Ellen Page (HARD CANDY, JUNO, X3) in an early starring role.

At first I thought this was going to be a zany combination of THAT DARN CAT and CASPER, but it's actually a pretty serious movie. Michael Ontkean ("Twin Peaks", "The Rookies") plays Wes Merritt, a recently-widowed writer moving to his deceased wife's New England hometown with his young daughter Natalie (Page). While house-hunting they meet a nice elderly woman named Mrs. Ashboro (Shirley Knight) whose weaselly banker nephew Boyd (Tom Barnett) is trying to get her to sell her house so he can replace the money he's been embezzeling before the bank examiners find out.

Mrs. Ashboro withdraws her savings from the bank with the intention of helping her friend Brenda (Lori Hallier, MY BLOODY VALENTINE, MONTE WALSH) who's being pressured to sell her animal shelter to a crooked land developer named Riker (Nigel Bennett). But soon after stashing the money in her house, Mrs. Ashboro dies suddenly and her loyal cat Margaret expires soon after out of grief. Wes and Natalie move into Mrs. Ashboro's now-vacated house and soon become involved in Brenda's struggle to keep her animal shelter as the increasingly ruthless Boyd and Riker join forces against her. Meanwhile, the good guys discover they have an unexpected ally--the ghost of Mrs. Ashboro's cat, Margaret.

Low-key and thoughtful, GHOST CAT has a subtle charm and warmth that sets it apart from the Disney Channel-type film you might expect. The characters, for the most part, behave in a realistic manner. This is especially true of Wes and Natalie, who still display a wistful melancholy after having lost wife and mother respectively, and Brenda, whose lifelong dream of operating her animal shelter is being wrested away from her. Tom Barnett's "Boyd" comes closest to stepping over the line as the stereotypical villain, but even he has an air of clumsy desperation not unlike that of William H. Macy's "Jerry Lundergaard" in FARGO, which keeps him believable.

I liked Lori Hallier as the "hardware widow" in 2003's MONTE WALSH and her down-to-earth performance here is very good. Ontkean does a nice job as the understanding single dad (who you just know is going to get romantic with Brenda sooner or later), and Ellen Page manages to portray a teenage girl without being flighty or precious or insufferable, which is no small feat. Of course, Shirley Knight is wonderful as Mrs. Ashboro and it's a shame her character disappears so soon. The rest of the cast is up to par, particularly Shawn Roberts as Natalie's budding love interest Kurt, whose troubled past makes him a suspect in some of the vandalism that takes place at the animal shelter.

I can't recall any scenes that are supposed to be out and out funny--in fact, the funniest thing about GHOST CAT is that it could've gotten along as a fairly serious drama without having a ghost cat in it at all. Not that I'd want that, since I'm a cat lover and Margaret is a very sweet and likable character. But she isn't really necessary to the plot at all and exists mainly to either lighten things up or to give the filmmakers an excuse to include some mildly spooky stuff like a seance, or a scene where Natalie is awakened in the middle of the night to find the piano playing itself.

In addition to that, Margaret's other functions are to wake people up when the barn's on fire or to lead them to the hidden stash of money, or to attack the bad guys when they're escaping in their car. And with all of that stuff going on, the last third of the movie manages to build a fair amount of suspense.

Direction by "Road to Avonlea" vet Don McBrearty is good; cinematography has that "Canadian made-for-TV" look. The DVD is 16 x 9 widescreen with 2.0 stereo audio. I watched a screener with no bonus features, but the official disc should include a stills gallery and closed captioning.

GHOST CAT is a fine choice for family viewing since the story is interesting, suspenseful, and heartfelt enough for adults, and since it has a ghost cat in it for the kids. Although they're liable to be disappointed that the movie isn't as kooky or as spooky as they might expect a movie called GHOST CAT to be.

THE SACKETTS -- Movie Review by Porfle

Originally posted on 11/26/09
 

 

There were other made-for-TV Westerns before it, but THE SACKETTS (1979) is the first big multi-part cowboy epic that I can think of. It came out a full ten years before the LONESOME DOVE series and, though it isn't nearly as good, it does lay the groundwork for this type of sweeping TV Western.

The story follows the adventures of the three Sackett brothers, Tell, Orrin, and Tyrell. Tell (Sam Elliott) is the loner of the bunch, and we're introduced to him as he is forced to flee his mining job after gunning down a crooked card dealer (James Gammon) who happens to be one of the dreaded Bigelow brothers.

Knowing that the other Bigelows will be after him for revenge, Tell disappears into the mountains, where he stumbles onto a rich vein of gold and starts his own one-man mining operation. When he totes a large bagful of the shiny stuff into the aptly-named town of Purgatorie to trade for cash, it doesn't take long for some of the less scrupulous denizens to try and surgically remove him from his new-found riches.

Meanwhile, his brothers Orrin (Tom Selleck) and Tyrell (Jeff Osterhage) have left their Tennessee homeplace to avoid a bloody feud between the Sacketts and another clan, and are headed West with a cattle drive. When they reach Abilene, Orrin falls for the golden-haired daughter of an ambitious politician named Pritts (John Vernon), who aims to drive all the Mexicans out of Sante Fe.

Tyrell, of course, falls in love with a lovely Mexican lass (Ana Alicia) whose father, Don Luis (Gilbert Roland), is the main stumbling block in Pritts' plans. When they all get together in Santa Fe, the situation soon turns deadly and guns start a-blazin'.

The script is a combination of two Louis L'Amour novels, "Sackett" and "The Daybreakers", and it isn't a very smooth blend, crosscutting between the two barely-related stories the way you might switch channels back-and-forth between two movies that are on at the same time.

The stories overlap only twice--once near the end of the first segment when the three Sacketts run into each other in Purgatorie, and again for the big finale as the Bigelow brothers finally catch up to Tell and he's reunited with Orrin and Tyrell to fight them off.

This awkward overlapping of the two stories bothered me the first time I watched THE SACKETTS, along with some jarring hand-held camerawork (no Steadicam here), an endlessly irritating and inept musical score by Jerrold Immel, and a strange performance by Mercedes McCambridge that makes Ma Sackett look like she's either perpetually tipsy or tetched in the head.

But further viewings have helped me to get over the various minus points and begin to appreciate all the good things about this movie. Despite its somewhat rough-hewn quality, THE SACKETTS is an engaging Western with lots of authentic atmosphere, good characters, and a terrific cast.

For starters, there's Sam Elliott and Tom Selleck, who I think are the two best Western actors of the past twenty or thirty years (with the exception of Clint Eastwood, of course), and Jeff Osterhage, a lesser-known actor who does a fine job here. Glenn Ford plays Tom Sunday, the ramrod of the cattle drive who later joins Orrin and Tyrell in their own cattle venture and eventually ends up as their enemy, and his intense, masterful performance (watch his face twitch in those close-ups!) is a joy to behold.

This can also be said for the great Ben Johnson as Cap Roundtree, who becomes Tell's gold-mining partner. Paul Koslo is a hoot as the blowhard would-be gunslinger Kid Newton. The Bigelow brothers are played by Jack Elam, Slim Pickens, Gene Evans, and James Gammon, and also appearing in the cast are the likes of L.Q. Jones, Ruth Roman, Pat Buttram, Shug Fisher, and Buck Taylor, in addition to the aforementioned John Vernon and Gilbert Roland. (Louis L'Amour himself does the opening narration.) If you're like me and you love great character actors as much as A-list stars, this is the kind of "all-star" cast that will put a smile on your face.

I can't give THE SACKETTS a super high score due to its various deficiencies, and the fact that it's not the polished effort that later TV Westerns like LONESOME DOVE would be, but it has enough going for it to get a solid three-and-a-half out of five spurs. The final shoot-out alone is worth waiting for--it's almost as much fun as the bullet-riddled free-for-all that ended OPEN RANGE. And that cast--awesome. There's one scene which features Sam Elliott, Tom Selleck, Glenn Ford, and Ben Johnson sitting around a campfire, and I thought "Damn...I wish I was sitting around that campfire, too."

 

ALL THE COLORS OF THE DARK -- Blu-ray/CD Review by Porfle

Originally posted on 1/27/19

 

I'm not all that familiar with the Italian "Giallo" genre (save for some Dario Argento classics such as TENEBRE) which consists of warped, horror-tinged murder stories with lots of bloody violence and other lurid elements. 

So it's always nice to catch a really good one like the Italian/Spanish co-production ALL THE COLORS OF THE DARK, aka "Tutti i colori del buio" (Severin Films, 1972) from Sergio Martino, the director who also gave us TORSO, SLAVE OF THE CANNIBAL GOD, and SCREAMERS.

This one is nowhere near as formally-shot and polished-looking as the usual Argento effort, but Martino has a loose, imaginative style that fits the "anything goes" nature of the material, as well as a talent for staging suspense scenes in interesting ways. 

Our heroine, Jane (cult star Edwige Fenech), has been plagued by horrible nightmares ever since the traumatic loss of her unborn baby following a car crash.  Her lover, Richard (George Hilton), is devoted but unable to help, especially since his job keeps him away for days at a time. 

Jane's sister Barbara (Susan Scott) advises her to visit Dr. Burton, the seemingly kindly psychiatrist she works for.  But Jane finds more solace with a new friend, Mary (Marina Malfatti), a mysterious woman who inducts her into a black magic cult filled with arcane rituals that take place in a creepy old castle in the country.

While the mentally and emotionally frazzled Jane may be a bit slow on the uptake, we can tell right away that being forced to drink fresh dog blood and then getting gang-banged by a bunch of stabby, whacked-out weirdos in a cult from which there is no escape probably isn't going to help her as much as a few quiet sessions with Dr. Burton.  Especially since one of the cult members is a creepy trench-coated stalker with neon blue eyes (Ivan Rassimov) who keeps following her everywhere and trying to kill her.

We're never quite sure if we're seeing something real or just one of Jane's waking nightmares, but this lively film keeps us on our toes by constantly alternating the talkier scenes with sudden bursts of action and sometimes shocking violence. 

Much of the suspense is effectively staged around the creaky, open elevator and winding staircase in Jane's shadowy apartment building, and there's a terrific sequence inside Dr. Burton's country estate where Jane discovers a grisly scene involving the elderly caretakers who've been charged with watching over her.

I noticed a few similarities here and there with ROSEMARY'S BABY, which had me suspecting Jane's lover Richard, her sister Barbara, her friend Mary, her shrink Dr. Burton--oh heck, practically everybody--of secretly being part of the cult and their sinister plans for Jane.  Director Martino does like to keep us guessing, all the way up to a nifty fake-out ending in which fantasy and reality clash with deadly results.

The 2-disc Blu-ray from Severin Films is widescreen 1080p full HD resolution with a new 4k scan from the original negative.  Audio is 2.0 English and Italian with English subtitles.  Bonus features include a very learned and thoughtful commentary with Kat Ellinger (author of "All the Colors of Sergio Martino"), interviews with Sergio Martino, screenwriter Ernesto Gastaldi, actor George Hilton & horror expert Antonio Tentori, trailers, and the unrestored alternate US cut of the film entitled "They're Coming to Get You." Also included is a CD of the film's musical score by Bruno Nicolai.

With a fine cast (Edwige Fenech fans will be extra happy), great use of scenic London locations, and a scintillating story full of colorful characters and sinister goings-on, ALL THE COLORS OF THE DARK is pure nerve-wracking fun all the way.




Special Features:
They’re Coming To Get You: Alternate US Cut (88 mins.)
Color My Nightmare: Interview with Director Sergio Martino
Last Of The Mohicans: Interview with Screenwriter Ernesto Gastaldi
Giallo is the Color: Interviews with Actor George Hilton & Italian Horror Expert Antonio Tentori
Audio Commentary with Kat Ellinger, Author of All The Colors of Sergio Martino
Trailers
BONUS Disc: CD Soundtrack 

CAM GIRL -- DVD Review by Porfle

Originally posted on 4/1/19

The title and cover art make it look like the kind of softcore sex drama you might've seen on Cinemax After Dark in the 80s, but the Italian production CAM GIRL (Film Movement, 2014) is a sober and ultimately unsettling look at a homegrown internet sex business slowly going off the rails.

Alice (Antonia Liskova) is hoping for an entry-level position in an advertising firm, but when her bitchy boss steals a profitable idea from her before firing her, Alice needs a way to make money fast.

Her beautiful friend Ross (Alessia Piovan) seems to be doing pretty well working for an outfit called Sexy Cam, so Alice decides to start her own cam girl business that will be different from the rest in that it won't exploit the girls and will always treat them fairly and profitably. 

 

Joined by struggling waitress Gilda (Sveva Alviti) and aspiring basketball player Martina (Ilaria Capponi), they form a core group that goes into the business with just enough reckless idealism and naivete' to get in way over their heads and find their lives crashing down around them.

The pace is slow and deliberate as all the story threads weave together into a narrative tapestry that eventually becomes more and more involving.

Characters and performances are consistently believable, as is every step of the girls' progress in discovering all the legal and financial pitfalls of such an endeavor along with unforeseen emotional consequences regarding romantic and family relationships.

All is fun and games at first and an early montage looks like something out of a high-end sex romp as the team of four are joined by several girls defecting from other webcam outfits. 

Dramatic tension sets in when Alice gets a hard lesson in economics and personnel management, especially when the girls start demanding their money while proving unreliable and irresponsible.

As Alice's idealism turns sour, CAM GIRL ratchets up the tension in other ways. Not only does her semi-partner and advisor Giovanni (Marco Cocci) prove untrustworthy, but the very real threat posed by their more mentally and emotionally unbalanced customers grows more alarming every day.

Director and co-writer Mirca Viola (L'AMORE FA MALE) leads us on a realistic, no-frills journey into the dark side of the webcam sex biz that inevitably ends in misfortune for some and tragedy for others. 

Production values are solid, with direction and photography effectively conveying the oppressive atmosphere in which Alice and the girls have found themselves trapped. 

CAM GIRL doesn't indulge in exploitative sex or tricky plot twists, but resolves things in a satisfyingly realistic manner.  It's a sordid slice of life that's too curdled to appease the palate or go down easy. 


Buy DVD or Stream It From Film Movement


TECH SPECS:
Format: NTSC, Italian w/English subtitles
Region: Region 1 (U.S. and Canada only. Read more about DVD formats.)
Number of discs: 1
Studio: Omnibus Entertainment (Distributed by Film Movement)
DVD Release Date: April 9, 2019
Run Time: 87 minutes
Bonus: None

FIVE CORNERS -- DVD Review by Porfle

Originally posted on 2/13/11

One of those nostalgic reveries about living in the Bronx in the early 60s, FIVE CORNERS (1984) is worth watching because the parts that work are pretty good and the parts that don't are oddly interesting.

Like THE WANDERERS, it uses a Bob Dylan song ("The Times They Are A-Changin'", naturally) as shorthand to let us know that an old era is giving way to a new one.  This is also represented by Harry (Tim Robbins), a formerly violent youth converted to peace by the words of Martin Luther King.  Harry plans to become a civil rights worker in Mississippi, but meanwhile he has a more pressing concern--protecting his friend Linda (Jodie Foster) from the man who once tried to rape her (John Turturro as "Heinz") and has just been released from prison.

Robbins gives a restrained performance, Foster is fine as usual, but Turturro is the one to watch.  Striding angrily into the frame as he makes his entrance, he's all repressed hostility and googly-eyed paranoia and we're not sure what he's capable of.  Heinz nurtures the delusion of hooking up with a decidedly reluctant Linda and proves his love by stealing two penguins from the zoo as a gift.  Her refusal sets him off and from that point on his violent, unpredictable actions fuel the story.

What doesn't really work is that the more hardcore stuff is filtered through the same fondly nostalgic haze as the rest of the subplots, as realistic characters rub shoulders with comedic Noo Yawk caricatures.  Todd Graff (better known as "Hippy" in THE ABYSS) plays Linda's excitable boyfriend, Jamie, as though he's projecting for the back rows.  Two flatfoot police detectives enlisted by Harry to help track down a missing Linda also seem a tad too jokey to be involved in such serious business. 

In addition to Harry's uncomfortable meeting with a hostile black activist (Eriq La Salle of "ER") and a couple of nice scenes with his mother, who worries that she'll lose him as she did her "hero cop" husband, the scenes between Heinz and his cheerfully insane mother (Rose Gregorio) are a real highlight.  She's quite a character, and Heinz struggles to break through her blithely oblivious fascade until he's driven to commit one of the most startling acts in the film.

And then, there's the totally unrelated subplot which seems as though it were excised from a more lighthearted film and shoehorned into this one.  Melanie (Elizabeth Berridge, THE FUNHOUSE) and Brita (Cathryn de Prume) are a couple of ditzy "fast" girls, high on pills and sniffing glue, who hook up with two dopey horndoggers for a day of cheap thrills while Melanie's boyfriend scours the neighborhood for her.  Whenever this storyline pops up it's like switching channels between the movie and a weird episode of "Laverne and Shirley."

Direction by Tony Bill is okay but the editing never quite blends these disparate elements smoothly.  Strange that this period film about the 60s should look so much like an 80s flick, which gives it an oddly interesting visual quality.  (Unless I'm mistaken, the same bar where Frankie Five Angels almost gets whacked in GODFATHER PART II shows up here.)  Also of interest is the score, which, aside from a couple of really nice cues, is pretty awful--thus giving us a chance to observe the great James Newton Howard still finding his way as a film composer in this early effort.

The DVD from Image Entertainment is in 1.78:1 widescreen with Dolby Digital 2.0 sound and English subtitles.  The sole bonus feature consists of about half-an-hour of trailers for this and other Handmade Films releases. 

Turturro's character carries FIVE CORNERS and keeps us involved as the rest of the film's patchwork elements exude their own modestly peculiar charms.  Elizabeth Berridge is a delight as Melanie--I'd like to see the rest of the movie she was plucked from.  I won't even go into the part where there seem to be Eskimos in the Bronx, shooting people with arrows.

Batman Reveals His Secret Identity To Gordon: My Improved Edit ("The Dark Knight Rises", 2012) (video)

 

I always thought Commissioner Gordon's flashback and realization...

...should come while he's still face-to-face with Batman.

So I edited it that way just for fun.

Video by Porfle Popnecker. I neither own nor claim any rights to this material. Just having some fun with it. Thanks for watching!

CHILDREN OF THE CORN -- DVD Review by Porfle

Originally posted on 10/8/09

I've heard the original 1984 version of this movie described as a "classic", but the only things I remember from when I saw it back in the 80s are Linda Hamilton (lookin' good) and Courtney Gains (lookin', unfortunately, like Courtney Gains). And also the fact that, for me, it seems to have been pretty unmemorable. How, then, would I react to a made-for-TV remake of this Stephen King story? Why am I asking you?

Having just watched it, I can now state unequivocally that the 2009 TV-remake of CHILDREN OF THE CORN is...okay. Looking very much like a TV-movie with extra gore and nudity added for the DVD, it begins in 1975 with Burt Stanton (David Anders) and his wife Vicki (Kandyse McClure) driving through Nebraska farm country and trying to find their way out of it. These people hate each other and are constantly arguing, which distracts Burt long enough for him to accidentally run over a little kid who darts out from the tall corn. Shocked and horrified, they discover that the boy's throat has been cut.

Burt decides to take the body to the nearest town and report the incident, but the small village of Gatlin seems deserted. Suddenly, Burt and Vicki are surrounded and attacked by hordes of creepy children who are devoted members of a religious cult led by the diminutive Isaac (Preston Bailey), whom they believe is in direct contact with the wrathful God of the Old Testament. Isaac preaches that all adults over the age of 19 are sinful and must be killed, which is why there aren't any grownups around. Burt and Vicki, naturally, become the next targets of this twisted cult and potential sacrifices to their unusually corn-centric God.

Probably the most noticeable thing about this movie at first is that Kandyse McClure's "Vicki" is one of the most insufferable characters in film history. Crabby, vindictive, self-centered, whiny, verbally sadistic (she berates Burt for being a Viet Nam vet), incessantly bitchy--and these are her good qualities--Vicki is automatically the character we most want to see die horribly.

Others, including perfidious pipsqueak Isaac and his older punk toady Malachai, will join her on that list, along with just about every other brat in the movie, but Vicki tops them all. McClure, who played Sue Snell in another Stephen King TV-remake (the much-superior CARRIE), must be credited for making this character every bit as hateworthy as written.

David Anders' "Burt" thus becomes the only person that we can root for, and the movie is at its best when the former Marine is kicking some serious little-kid butt. His wartime experience comes back to haunt him as he's being chased through the cornfields and has flashbacks in which he imagines himself eluding the Viet Cong, making the protracted chase sequence more interesting. Anders, who I found impressive in the nifty 2006 supernatural flick LEFT IN DARKNESS, does a good job as Burt and gives us just about the only reason we have to care about anything that happens in this movie.

Preston Bailey, who plays Rita's son Cody on "Dexter", tries to be forceful and imposing as cult leader "Isaac" but still looks like he belongs in a Sugar Pops commercial. The kid does manage to spout a heck of a lot of unwieldy dialogue, though, laden with Old Testament-style threats and pronouncements, so you've got to hand it to him. A homicidal fire-and-brimstone wackjob isn't the kind of character that nine-year-old actors are usually asked to portray.

The direction by Donald P. Borchers, who co-produced the original film, is competent but unexceptional. Borchers also wrote the teleplay (inspired by the unused screenplay by King for the first version), which contains some groan-worthy lines such as "Put that in your God and smoke it!" and a whole lot of faux-Biblical blather.

On the sex-and-violence front, some grievous-looking wounds are among the nice gore effects--a broken arm with protruding bone, a spurting throat gash or two, a couple of horribly mutilated victims--and there's a surprising sex scene which takes place on the altar of Isaac's church when he announces that it's time for "fertilization." The score by Jonathan Elias, who also did the music for the original version, is noisy and overbearing. Even the edits make noise.

The DVD from Anchor Bay is 1.78:1 anamorphic widescreen with Dolby Surround 5.1 and English subtitles for the hearing-impaired. The bonus feature is an in-depth, entertaining 45-minute documentary, "Rough Cuts: Remaking 'Children of the Corn'", which is broken into four chapters--"New Directions", "Cast of the Corn", "To Live and Die in Gatlin", and "Fly on the Wall." Included are lots of behind-the-scenes footage and interviews with the cast and filmmakers.

Borchers states that he'd love to hear Stephen King's opinion of the new film, in which the author chose not to participate, since it sticks much closer to his original vision. I've definitely seen worse films that enjoyed King's direct involvement. CHILDREN OF THE CORN redux isn't all that bad for a low-budget TV-movie, although I doubt if very many people will still be talking about it fifteen years from now.

 

FAMOUS NATHAN -- DVD Review by Porfle

Originally posted on 9/18/15

Heartfelt and finely-crafted, the documentary FAMOUS NATHAN (2014) is a glowing tribute to filmmaker Lloyd Handwerker's celebrated grandfather Nathan, the hot dog maven of Brooklyn's Coney Island.  It's a story of dedication, a work ethic the like of which is long past, the will to succeed, and, most importantly, family values. 

Lloyd has combed his way through mounds of ancient home movies and audiotaped interviews in order to give voice and image to long-deceased grandfather Nathan, who tells of leaving Poland, where he toiled as a youngster to help feed his family, and coming to America to work his way from menial jobs to owning one of the most wildly successful restaurants in the history of fast food.

We learn of Nathan's Famous (the name given to his renowned eatery) from its humble beginnings in 1916 to its preeminence with Coney Island visitors who purchased, at its peak, tens of thousands of hot dogs a day.  Nathan's employees churned them out at record speed and took pride in performing at their peak at all times for a boss to whom they were intensely loyal.  Both they and Nathan's friends and competitors gladly attest at length, sometimes emotionally, to what a wonderful guy he was.

Relatives and family also speak highly of him but in more measured terms.  There were the usual squabbles with his sons, Murray and Sol (Lloyd's father), who felt they could never measure up to Nathan's high standards while often waiting in vain for words of praise.  (Sol remarks that if Nathan wasn't criticizing him for something, that was as close as he came to actual praise.) 

Unrest between the brothers themselves over how to run the business once Nathan was urged to take an unwanted retirement (he said he preferred to die on the job over a life of leisure) and subsequent unwise decisions that lead to the company's eventual downfall help give the narrative the same depth and drive of a fictional family saga. 

All the while Lloyd's artful use of montage--many of his faded film clips of a New York that no longer exists are priceless--gives us a sense of the bustling joy that was a day at Nathan's Famous while also humanizing the man whose name sits atop the sign. 

There's a warm humorous element to several of the interview segments with family friends (I loved watching some of the aging Jewish couples lovingly kvetching at each other as they argue over long-ago details) and Lloyd's likable dad Sol himself.  Sol's visit with now-senile brother Murray in an old folks' home is touching, especially the following exchange:

MURRAY: How old are you?
SOL: Eighty-five.
MURRAY: Eighty-five? (Shakes his head) How old am I?
SOL: You're eighty-nine.
MURRAY: Eighty-nine? (Laughs in disbelief)

Finally, FAMOUS NATHAN takes us through the final stages of the Handwerker empire which, no longer in Nathan's hands, takes on increasingly unsuccessful spin-off ventures and franchise operations until the family is forced to sell out to a corporation.  And thus, the once-bustling hot dog palace joins a crumbling Coney Island itself in a slow descent into oblivion.  Lloyd Handwerker manages to make us feel as melancholy about this as he obviously does. 

The DVD from Film Movement is in 1.78:1 widescreen with Dolby 5.1 surround sound.  There are no subtitles but closed captions are available.  Extras include a director's commentary, bonus and deleted footage, and trailers for this and other Film Movement releases.

I've always enjoyed a good, nostalgic documentary about fast food and novel tourist attractions in America (the History Channel's "American Eats" and "Highway Hangouts" are two of my favorites), and FAMOUS NATHAN pays off richly in that regard.  Better yet, though, is its wonderfully engaging portrait of an admirable man who dared to dream and then, against staggering odds, made that dream come true.

ALL THE COLORS OF GIALLO -- Blu-ray/DVD/CD Review by Porfle

Originally posted on 1/31/19

 

A primer, a history, and a celebration of giallo all rolled into one 3-disc set, Severin Films' ALL THE COLORS OF GIALLO pretty much covers all the bases for new fans wanting to learn more and old ones who just want to revel in it all.

As the publicity states, "‘Giallo’ is Italian for ‘yellow’, the color of the lurid pulp novels that inspired one of the most intense, extreme and influential genres in movie history."

The genesis of all this is the krimi, or German crime novel, which contains elements (shadowy settings, shocking murders, mysterious phantom killers, police procedurals) that would later be adopted by Italian filmmakers but jacked up to new levels of violence and lavish indulgences in cinematic style for its own sake.

Disc One (Blu-ray) starts off with a feature-length documentary by Federico Caddeo entitled "All the Colors of Giallo", an exhaustive history of the genre that takes us from the beginnings of the German krimi books and films, and in particular the works of Edgar Wallace, all the way through the evolution of the giallo thrillers by such directors as Mario Bava, Lucio Fulci, and Dario Argento.

Several of giallo's main figures are interviewed including Fulci and Argento themselves, along with familiar screen talents such as Barbara Bouchet and Susan Scott.

"The Giallo Frames" offers even more on the subject, giving us an in-depth interview with John Martin, editor of "The Giallo Pages." 

But best of all (for me, anyway) is a full four-hour collection of giallo trailers that run the gamut of the entire genre and are accompanied by a commentary track from Kat Ellinger, author of "All the Colors of Sergio Martino."

Kat showed her depth of knowledge on the subject during her commentary for Martino's film "All the Colors of the Dark", but here she is a veritable gold mine of information and unbridled enthusiasm on each and every trailer that we see, keeping a running commentary that never fails to entertain.  Thus, the trailer collection becomes a four-hour documentary unto itself, and perhaps the highlight of the entire collection.

Disc two (DVD) delves deeper into the subject of the krimi, with the informative documentaries  "The Case Of The Krimi" and "The Case Of The Krimi: Interview With Film Historian Marcus Stiglegger."

Then we get yet another hour-and-a-half of trailers, this time mostly in beautiful, atmospheric black-and-white (with very nice picture quality as well) before turning to color for the later ones.

Klaus Kinski fans will be pleased to find that he appears in practically all of these krimi trailers, which are a lively bunch of clips providing much entertainment and amusement.

Disc three is a CD entitled "The Strange Sounds of the Bloodstained Films", containing twenty giallo soundtrack selections from such composers as Ennio Morricone, Riz Ortolani, Bruno Nicolai, Stelvio Cipriani, and others.  It's great stuff, whether you have it on in the background or don your headphones for an intensive listening session.

Experienced giallo fans will enjoy reliving old favorites with this collection of documentaries, interviews, and trailers, and those just getting into such lively, lurid, and lavishly cinematic fare may find their curiosity stoked into an insatiable desire.


Buy it from Severin Films

Special Features:
DISC 1 – Blu-ray
All the Colors of Giallo: A New Feature Length Documentary By Federico Caddeo
The Giallo Frames: Interview With John Martin, Editor Of The Giallo Pages
Audio Commentary with Kat Ellinger, Author of All The Colors Of Sergio Martino

DISC 2 – DVD: The Case of the Krimi
Kriminal!: Trailer Compilation
The Case Of The Krimi: Interview With Film Historian Marcus Stiglegger

DISC 3 – CD
The Strange Sounds Of The Bloodstained Films: Compiled By Alfonso Carillo of Rendezvous! From The Archives Of Beat Records. Remastered By Claudio Fuiano.

All The Toni Basil Scenes In "Village Of The Giants" (1965)(video)

 

Toni Basil is a famed singer, dancer, and choreographer.

EASY RIDER (1969) was probably her most high-profile film role.

And most people probably know her from her classic "Mickey" music video.

But for many of us, the first time we ever saw her...

...was as a red-haired go-go dancer in VILLAGE OF THE GIANTS (1965).


I neither own nor claim any rights to this material.  Just having some fun with it. Thanks for watching!

 

WRESTLEMANIAC -- Movie Review by Porfle

(NOTE: This review originally appeared online in 2006 at Bumscorner.com.)

Movies in which a cast of young people gets whittled down "Ten-Little-Indians" style by an unstoppable killer are a dime a dozen these days, and the only things which distinguish any of them from the pack are a good story, competent (at least) execution, and a unique antagonist.  WRESTLEMANIAC (2006) gives us a passably good story which is very well executed by writer-director Jesse Baget and a talented cast. 

As for the antagonist--he's a psychotic Mexican wrestler named El Mascarado who was created by evil scientists (using the bodies of three other Mexican wrestlers) and then abandoned in an isolated ghost town after he went uncontrollably, kill-crazy nuts.  Okay, that's pretty unique.

Adam Huss plays Alphonse, a brash, cocky dude with a pimp goatee and a cowboy hat who's hauling three girls and a couple of other guys down to Mexico in a van to shoot a porn video.  Jeremy Radin is Steve, his pudgy cameraman, and Zack Bennett plays Jimbo, a typical stoner-type who's there mainly because it's his van.  The girls include a couple of blondes--the vivacious Debbie (Margaret Scarborough) and the wasted Daisy (Catherine Wreford)--and a sultry brunette babe named Dallas, played by WWE Raw Diva Leyla Milani (recently seen in THE BOYS AND GIRLS GUIDE TO GETTING DOWN), who should be receiving my marriage proposal in the mail any day now.

On the way to wherever it is they're going, they stop at a gas station that looks like it hasn't seen a drop of gas since 1957 and meet a weird old geezer (familiar character actor Irwin Keyes) who warns them not to stop in the haunted ghost town called La Sangre De Dios.  Whatever you do, he stresses repeatedly, do not stop in the haunted ghost town of La Sangre De Dios.  So what do they do?  They make a beeline for La Sangre De Dios.  Why?  Because, as Alphonse confidently informs everyone, a haunted ghost town would make the perfect location for a porn video.

No sooner do they get there, however, than strange things start happening and members of their group begin to disappear.  They do, of course, find time to start work on their video, which gives us a chance to see a scantily-clad Dallas and Debbie making out on the bar of the saloon.  For those of you who are keeping score at home, Debbie gets topless.  Unfortunately, so does Alphonse.  Daisy, meanwhile, wanders off somewhere to throw up and is never seen again.  Jimbo goes looking for her, and is never seen again.  As darkness begins to fall on the spooky old town, it gradually dawns on the others that something may be amiss.

When the hulking, terrifying Mexican wrestler El Mascarado appears and starts coming after them, they realize that something is definitely amiss.  This is when the fun really starts.  Director Jesse Baget does a good job of keeping the old stalk-and-kill formula interesting, with lots of action and some genuinely suspenseful sequences.  There's also a generous amount of gore, mainly because El Mascarado studiously observes the number one rule of Mexican wrestling: when you defeat an opponent, you rip his mask off.  Our protagonists, of course, don't wear masks, so El Mascarado simply rips their faces off instead.   Yowch!  That's gotta hurt!

I'm not into wrestling myself, but I like to see this sort of horror flick done well, and in this case it's done very well.  If you're into both wrestling and horror, you should really get a kick out of this, especially since El Mascarado is played by none other than Mexican wrestling superstar Rey Misterioso.  He makes a pretty intimidating monster, and when the overweight, out-of-shape Steve squares off with him to try and rip his mask off (which, theoretically, will force him to "retire" and leave them alone), you just know it ain't gonna turn out good.  Forget about the ol' Lone Ranger--Jim Croce should've been a lot more worried about this guy.

Did I mention that every time Dallas or Debbie run away from the killer, the camera zooms in for a closeup of their rear ends?  I didn't notice this myself, of course (ahem) but I believe it's mentioned in the commentary track by Baget, Huss, and director of photography Tabbert Fiiller.  This is just one of the spoofy elements that let you know WRESTLEMANIAC isn't meant to be taken seriously--but, with that in mind, it's still a full-blooded, action-packed horror movie that throws most of the current stalker flicks right out of the ring.

END GAME -- Movie Review by Porfle

(NOTE: This review originally appeared online at Bumscorner.com in 2006.)

1993's IN THE LINE OF FIRE gave us Clint Eastwood as a Secret Service agent on the trail of a wacko assassin whose goal was to kill the President. END GAME (2006) opens with the assassination of the President and then shows us how Secret Service agent Alex Thomas (Cuba Gooding, Jr.) discovers a dark conspiracy behind the "lone assassin" and puts his life on the line to find out who's behind it.

Both Eastwood's Frank Horrigan and Gooding's Thomas suffer from guilt related to a President's death; Horrigan, because he wasn't quick enough to take the bullet meant for JFK, and Thomas, because the assassin's bullet struck the President only because it changed direction after passing through his outstretched hand.

As Thomas takes some time off from the job to languish in his lakeside home and see how fast he can drain several bottles of hooch, investigative reporter Kate Crawford (Angie Harmon, GLASS HOUSE: THE GOOD MOTHER) starts digging into the killer's past.

She uncovers a link between him and a secretive government agency that may have been involved in the assassination, and is alarmed to find that everyone she is receiving information from is being systematically murdered by some bad guys in a black van.

When she goes to Agent Thomas' house for further help, the black van shows up there as well, and things get rather explosive. Thomas begins to buy Kate's conspiracy theories after he himself becomes a target, and together they work their way toward the truth as things get darker and more dangerous at every turn.

END GAME isn't quite a top-of-the-line Hollywood blockbuster but it's definitely worth watching. The production values are very good and the story kept me interested from start to finish.

There are plenty of great action scenes, too, especially when Thomas and a ten-man strike force invade a factory where the black-van guys are holed up and get into a furious shoot-out with them, which leads to a cool car chase in which the main bad guy (Peter Greene, who played "Zed" in PULP FICTION) attempts to discourage Thomas from pursuing him by machine-gunning oncoming vehicles off the road. At first Thomas is too determined to let even this slow him down, but the next vehicle headed toward them is a loaded school bus...

Everyone behind the camera does fine work here, and the cast is highly capable. Cuba Gooding has a talent for creating sympathetic characters without overplaying, which he demonstrates here with his deft performance. Former "Baywatch Nights" regular Angie Harmon is particularly good as well -- her intrepid reporter is likably tenacious and funny, and she and Gooding make a great team.

Old fave James Woods is excellent, as usual, but doesn't get nearly as much screen time as I hoped after seeing him on the DVD cover, though he makes the time he does have count. Familiar television veteran Jack Scalia gives us a likable President (for a little while, anyway), and his First Lady is well played by Anne Archer, who was the wife of Harrison Ford in two of the "Jack Ryan" movies.

The homeless man who first supplies Kate Crawford with information before being bumped off will be recognized by "Dark Shadows" fans -- he's David Selby, who played the werewolf Quentin Collins on that classic series. And the vicious killer who tries to terminate Agent Thomas's investigation, as I mentioned before, is played by none other than "Zed" from PULP FICTION, Peter Greene. ("Zed's dead, baby...Zed's dead.")

Not coming off quite as well, however, is Burt Reynolds as a retired Army general who still likes to keep his irons in the political fire. Burt's heart doesn't really seem to be in his performance here, and his alarmingly advanced state of cosmetic surgery (looking at his tightly-stretched face may give you a tension headache after awhile) distracts from what ultimately ends up being a pretty irrelevant character anyway.

After suffering through [a particularly bad movie] last night, I needed to watch a real movie to help me drag myself out of the depths of cinematic despair, and END GAME was just the ticket. It's not in the same league as IN THE LINE OF FIRE or one of the Jack Ryan movies, but I was certainly very well entertained for an hour and a half, and that's good enough for me.