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Showing posts with label Animation. Show all posts
Showing posts with label Animation. Show all posts

Saturday, August 30, 2025

WHEN THE WIND BLOWS -- Blu-ray Review by Porfle




Originally posted on 4/24/20

 

Did you ever wonder what it would look like if THREADS had a cartoon-animated subplot? Or if the creators of "Wallace & Gromit" had placed their beloved characters in the middle of a nuclear holocaust?

Children's author Raymond Briggs conceived such an idea in a graphic novel which a group of filmmakers including director Jimmy T. Murakami (HEAVY METAL, BATTLE BEYOND THE STARS) brought to the screen, thus giving us the entrancingly compelling cinematic oddity entitled WHEN THE WIND BLOWS (Severin Kids, 1986).

Unlike the frantically alarmist apocalypse thrillers to which we're accustomed, this tale of an elderly couple whose peaceful retirement is shattered by nuclear war is quietly, disarmingly genteel.


We first see them enjoying a typical day in their secluded cottage, chatting absently about tea and gardening and such, while news of impending war sparks Jim's interest and motivates him into a mildly industrious fervor of preparation that brings back nostalgic feelings of the Blitz.

Meanwhile, Hilda (whom Jim endearingly calls "Ducks") refuses to entertain the notion that anything could disturb their blissful daily routines, their ability to pop down to a shop for fresh food or other supplies, or their access to telly or radio plays. 

These are the sort of likable, roundly-drawn cartoon characters (they look a bit like cuddly plush dolls) we know from a thousand children's books and movies, characters whose only concerns should be gentle, placid ones such as, say, a naughty bunny rabbit helping himself to their carrot garden.


Here, however, their idyllic lives are disrupted when the harsh, cruel reality of the really-real world ruptures the curtain of their cartoon dimension and leaves it all a charred, smoking ruin with a dark cloud of radioactive fallout drifting through it.

Jim and Hilda are similar to the older couple in THREADS with their lean-to shelter in the livingroom providing sparse protection against the blast and their halfhearted efforts to stock food, water, and other necessities quickly proving inadequate. 

What makes them different is that they continue to behave just like endearing cartoon figures out of a children's story, with Jim remaining a font of quiet optimism--after all, they lived through something similar back when they fought the Jerries--and Hilda blessedly oblivious to the fact that she can't just tidy things up and wait for the milkman to come.


The restraint shown by the filmmakers in not giving in to the usual dramatic overkill makes the encroaching horrors Jim and Hilda inevitably face seem even more wrenching, with their continued devotion to each other through it all especially heartrending as their ordinary storybook lives crumble to dust.

Artwork and animation are expertly done, using a combination of various methods such as cel animation, a bit of CGI, what appears to be some miniature work on the interiors, and the occasional well-integrated live action footage. 

The musical score includes songs by David Bowie, Roger Waters, and others. Jim and Hilda are wonderfully voiced by venerable actors Sir John Mills and Dame Peggy Ashcroft.


The Blu-ray from Severin Films' "Severin Kids" label contains their usual ample menu, including a documentary about the director ("Jimmy Murakami: Non Alien"), a making-of featurette ("The Wind and the Bomb"), an audio commentary with first assistant editor Joe Fordham and film historian Nick Redman, an interview with children's author Raymond Briggs, an original public information film ("Protect and Serve"), isolated music and effects audio track, and trailers.

In its own remarkable way, WHEN THE WIND BLOWS is one of the darkest and most disheartening of the post-nuclear nightmare tales. It's like watching Wallace and Gromit slowly withering away from radiation poisoning, and, worst of all, Wallace finally realizing at the point of dying that there may never, ever be any more cheese.


Buy it from Severin Films

Special Features:

    Jimmy Murakami: Non Alien – Feature Length Documentary About the Film’s Director
    The Wind and The Bomb: The Making of WHEN THE WIND BLOWS
    Audio Commentary with First Assistant Editor Joe Fordham and Film Historian Nick Redman
    An Interview with Raymond Briggs
    Protect and Survive: Public Information Film Designed to be Broadcast When a Nuclear Attack Was Imminent
    Isolated Music and Effects Audio Track
    Trailers





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Wednesday, July 9, 2025

THE TRANSFORMERS: THE MOVIE (30th ANNIVERSARY EDITION) -- Blu-ray Review by Porfle



 

Originally posted in 2016

 

I watched an awful lot of afternoon TV back in the 80s, but I somehow missed out on "Transformers."  (Although I did buy my nephew one of the toys for Christmas once.) 

This half-hour cartoon series--some would call it an extended toy commercial--about the never-ending war for planet Earth between two opposing factions of intelligent shape-shifting robots named the Autobots and the Decepticons, who can all turn into various high-powered vehicles or cyber-creatures, ran from 1984-87 and garnered a fervent cult following for which it rated a feature-film treatment in 1986. 

Thus, THE TRANSFORMERS: THE MOVIE (30th ANNIVERSARY EDITION) (Shout! Factory and Hasbro Studios, 2-disc Blu-ray) is a great way not only to catch up on what all the nostalgia's about but also to see it at what I assume to be its very best.


Even for a "Transformers" novice like myself, the 80s nostalgia that this rollicking animated space adventure radiates is intoxicating.  It's old-school anime-style cel animation without the CGI gimmicks.  Even if it sometimes betrays its TV origins, it looks fantastic.  And it has a voice cast that's to short-circuit for. 

The film opens with a pretty spectacular sequence in which a renegade planet-sized robot named Unicron (voiced by Orson Welles in his final film appearance) attacks a peaceful world populated by robots and ingests it for fuel.  The artistic depiction of this massive global devastation is stunning, the first of several more upcoming scenes that will dazzle the viewer.

After a "Superman: The Movie"-style main titles sequence featuring the show's familiar theme song, we then settle into the story proper as our mechanical heroes, the Autobots, thunder into action to stave off an attack from the evil Decepticons in the far-off year of 2005.


No sooner is this action-packed battle over than Unicron shows up and transforms some of the surviving Decepticons into his own personal army with which to defeat the Autobots and steal from them an all-powerful device known as the Matrix of Leadership.  Leonard Nimoy himself provides the voice for Unicron's duplicitous number-one, Galvatron (formerly Megatron), who covets the Matrix for himself.

An interesting side note: the deaths and transformations of several regular characters during this sequence are a result of the scripters' instructions to retire the old line of toys and replace them with new ones for young viewers to covet.  This proved to be more traumatic for fans than anyone expected, especially the intensely dramatic death of the Autobots' leader, Optimus Prime, who passed the Matrix on to new leader Ultra Magnus (voiced by Robert Stack.) 

The rest of the film is a robot vs. robot free-for-all with several cool detours along the way, including a visit to a junk planet with "Monty Python" alum Eric Idle voicing a comedic bot named "Wreck-Gar" who listens to too much Earth television, and an encounter with a race of grotesque mecha-beings whose main form of entertainment is to conduct kangaroo courts in which to sentence strangers such as Hot Rod (Judd Nelson) and Kup (Lionel Stander) to "death-by-sharkticon."


Dealing with these foes leads to the ultimate battle with Unicron (who turns out to be one huge transformer himself) and his dark forces which provides the film with its thrilling finale. By this time, I was finally starting to sort out all the many characters including good guys Hot Rod, Kup (he turns into a pickup--get it?), female robot Arcee, human Spike and his plucky son Daniel--both of whom also get to be transformers by wearing exo-suits--Bumblebee, Blurr, and the diminutive Wheelie.

Much comedy relief is provided by the Dinobots, who lack all social graces, talk in Bizarro-Speak ("Me, Grimlock, want to munch metal!"), and live for the times in which old soldier Kup regales them all with oft-told war stories ("Tell Grimlock about petro-rabbits again!") The Decepticons are also good for a few laughs when their inter-family squabbles escalate into all-out fights for dominance among the different robot clans. 

Character design is good and the backgrounds are often beautiful.  The musical score is okay when we aren't assaulted by bad 80s arena rock (I did enjoy hearing "Weird Al" Yankovic's "Dare to Be Stupid" at one point).


Dialogue ranges from likably dumb ("Your days are numbered now, Decepti-creeps!") to quite good, as in the numerous exchanges between Welles and Nimoy.  Celebrity voice talent also includes Scatman Crothers ("Jazz"), Casey Kasem ("Cliffjumper"), Clive Revill ("Kickback"), Norm Alden ("Kranix"), and Roger C. Carmel ("Cyclonus"). Legendary voice performer Frank Welker takes on no less than six different roles.

The 2-disc Blu-ray set from Shout! Factory and Hasbro Studios gives us both the 1.85:1 widescreen version (disc 1) and the full screen version (disc 2) with English stereo and 5.1 sound and subtitles in English and Spanish.  Remastered from a brand-new 4k transfer of original film elements.  (A steelbook edition and a single-disc DVD edition with only the widescreen version plus digital copy are also available.)

Special features include a lengthy and highly-informative behind-the-scenes featurette entitled "'Til All Are One" (the segment on voice talent is especially fun), several other short featurettes, animated storyboards, trailers and TV spots, and an audio commentary with director Nelson Shin, story consultant Flint Dill, and star Susan Blu ("Arcee").  The cover illustration is reversible.  Also contains the code for downloading a digital copy.

THE TRANSFORMERS: THE MOVIE (30th ANNIVERSARY EDITION) is good old bombastic meat-and-potatoes space opera for kids and adults alike, with a welcome anime flavor.  It should rocket original fans of the show right back to their childhoods (or teenhoods, as the case may be) while gaining new ones such as myself who just love a good mind-expanding sci-fi adventure.  

Street date: Sept. 13, 2016

www.shoutfactory.com
www.hasbro.com

Images shown are not taken from the Blu-ray disc.


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Friday, June 13, 2025

FLCL: PROGRESSIVE & ALTERNATIVE COMBO PACK -- Blu-ray Review by Porfle




(Warner Bros. Home Entertainment provided me with a free copy of the Blu-ray I reviewed in this blog post. The opinions I share are my own.)  

Originally posted on 1/27/20



If you like frenetic science-fiction-based anime with an emphasis on quirky teen relationships amidst a visual cacophony of robotic, city-smashing chaos, then Warner Bros. Home Entertainment's 2-disc Blu-ray FLCL: PROGRESSIVE & ALTERNATIVE COMBO PACK (Blu-ray+Digital) should keep you happily occupied for more than a few hours.

It's a two-season sequel to the original 2000 series about a wild young minx named Haruko who rides a Vesper and wields an electric guitar that doubles as a chainsaw, sledgehammer, and various other weapons and devices. 


Young people in her vicinity tend to suddenly sprout raging robot monsters from their foreheads, which Haruko gleefully engages in battle with the fate of everything and everyone around her in the balance.

Season two, FLCL: PROGRESSIVE, gives us an appealing new cast of typical middle-school teens of the kind that will be familiar to anime fans, including pretty but pensive Hidomi, her eventual love interest Ide, and his pals Mori and Marco. 

Hidomi is never without her headphones, which help block out the world around her, although they also have another, more mysterious purpose.


Into their everyday world blazes Haruko in the guise of a teacher, seducing Ide and drawing Hidomi under her influence to be used in bringing out inter-dimensional robot monsters for her to battle.

This time she has an alter ego in the form of super-cool Jinju, and they share a secret desire to somehow facilitate the return of a powerful being named Atomsk.

Meanwhile, weird things are going on in Hidomi's hometown, particularly a giant flat iron that's parked on the edge of town which will eventually be put into motion by a giant hand from above, mowing down and flattening everything in its path.


This all has to do with a struggle between two forces known as Medical Mechanica and Fraternity, agents of which are at work trying to either cause or prevent various disasters from occurring.

But for all its sci-fi sound and fury, the likable teenage characters are what give FLCL its heart and maintain our interest.  Even as the story charges irrevocably toward its catastrophic finale, the emphasis is as much on Hidomi, Ide, and their friends, whose interpersonal relationships we follow even as they begin to play key roles in the impending battle, as on the freaky warrior chick Haruko and other combatants.

FLCL: ALTERNATIVE continues with the return of Haruko, still on her no-holds-barred quest for whatever (it ultimately doesn't really matter), and a timid, insecure young girl named Kana who continually seeks acceptance from her close circle of female friends, each of whom has her own problems. 


But even as Haruko somehow stumbles into the role of mentor for this young girl, she also uses her potential mind powers to kick-start Armageddon all over again, this time on a level more cataclysmic than before.

If all this sounds complicated, it's because it is.  In fact, I pretty much gave up trying to keep up with all the different plotlines and such, and just started holding on for dear life as this dizzying succession of eye-candy animation and swirling, surreal imagery went rushing by like a river of watercolors.

Most impressive are the intricate, exquisitely-rendered artwork and full animation, which looks just like traditional cel animation but with digital enhancements.  Character design is semi-realistic for the most part but full of cartoony manga-like silliness and exaggerated reactions, all of which adds to the fun.


As for the battle sequences, the artists and animators let their imaginations run wild with some of the most surreal and dazzling imagery you're likely to see in a series of this kind. The combination of such startling visuals with the sometimes childlike, sometimes mature story themes remains compelling throughout.

Both seasons offer satisfying final episodes, yet FLCL: PROGRESSIVE & ALTERNATIVE COMBO PACK ultimately leaves the door open for more adventures of guitar-slinging wild girl Haruko and another hapless group of youthful protagonists enduring the vagaries of adolescence while caught in a colorful clash of powerful opposing forces.



BLU-RAY COMBO PACK SPECIAL FEATURES

    The Making of FLCL: Progressive & Alternative: An in depth look behind the scenes featuring interviews with the cast and crew.
    Meet the Creators
    The Pillows
    English Voice Actors
    Production: Behind-the-Scenes


FLCL: ALTERNATIVE DVD SPECIAL FEATURES

    English Voice Actors
    Production: Behind-the-Scenes


COMBO PACK INCLUDES ALL 12 EPISODES

    RE: Start
    Freebie Honey
    Stone Skipping
    LooPQR
    Fool On the Planet
    Our Running
    Flying Memory
    Grown-Up Wannabe
    Freestyle Collection
    Pit-a-Pat
    Shake it Off
    Full Flat


DIGITAL
FLCL: Progressive & Alternative Combo Pack is available to own on Digital. Digital purchase allows consumers to instantly stream and download all episodes to watch anywhere and anytime on their favorite devices. Digital movies and TV shows are available from various digital retailers including Amazon Video, iTunes, Google Play, Vudu and others. A Digital Copy is also included with the purchase of specially marked Blu-ray discs for redemption and cloud storage.

BASICS
Blu-ray/DVD Release Dates: February 4, 2020
Blu-ray and DVD Presented in 16x9 widescreen format


BLU-RAY COMBO PACK
Price: $44.98 SRP ($52.99 in Canada)
Running Time: Feature: Approx. 264 min
Enhanced Content: Approx. 35 min
2 BD 50s
Audio – English (5.1)
Subtitles – English
UPC# 883929707584
Catalog#1000757643


FLCL: ALTERNATIVE DVD
Price: $19.99 SRP ($24.99 in Canada)
Running Time: Feature: Approx. 132 min
Enhanced Content: Approx. 10 min
2 DVD-9s
Audio – English (5.1)
Subtitles – English
UPC# 883929707577
Catalog# 1000757642


See our original coverage




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Tuesday, June 3, 2025

OUTPOST EARTH -- Movie Review by Porfle



Originally posted on 4/2/17

 

Remember that cool low-budget monster flick where the giant stop-motion-animated crab terrorized a small town? No, I'm not talking about one of the great black-and-white 50s classics, but 2015's QUEEN CRAB, which came as a welcome CGI-free throwback to the old days when filmmakers with limited resources were trying to make Ray Harryhausen movies.

Now, the same team behind that bundle of old-school fun is at it again, this time going the pulp sci-fi route with their alien invasion thriller OUTPOST EARTH (2016).

Human civilization gets destroyed during the opening titles in a scaled-down riff on INDEPENDENCE DAY by way of EARTH VS. THE FLYING SAUCERS, leaving a devasted dystopian world whose few human survivors are being hunted down by hostile aliens and their mutant mongrel pets.


Erin Waterhouse plays Kay, a bow-hunting babe with supermodel looks who encounters brash, wisecracking anti-hero Blake (Titus Himmelberger) while wandering the wasteland "hunting wabbits" and avoiding other hungry humans out for food.

After Blake saves her from some "goons" (slang for aliens) Kay invites him back to her hideout which she shares with naive sister Penny (Kristen Gylling), dour den-mother Kagen (Yolie Canales, QUEEN CRAB), and brilliant theoretical physicist Uncle Zayden (Mason Carver), a white-bearded egghead who's always in his makeshift lab trying to figure out what makes the aliens tick.

It takes Blake a while to gain the trust of the others, especially the skeptical Kagen.  But when Penny gets captured by a group of bad humans (including QUEEN CRAB's Ken Van Sant as the loathsome eye-patched Manny) he comes through during a daring rescue and then later discovers the secret to operating one of the crashed alien spacecraft (part of which involves getting really drunk).


OUTPOST EARTH plays a bit like a small-scale DAY OF THE DEAD (Uncle Zayden reminds me of that film's giddy scientist, Dr. Logan) and 50s classic THE DAY THE WORLD ENDED, both featuring the remnants of humanity battling outside forces from their secluded hideout. There's also a hint of the flash-forward scenes in THE TERMINATOR albeit much less populated. 

Locations are well-chosen for their desolate, bombed-out look, bringing to mind the final segment of "Threads."  Performances and dialogue are good and the characters are likable, particularly the two leads whom we just know will eventually form a twosome and help repopulate the Earth. 

But that's for later--in the meantime, it's interesting how writer-director Brett Piper (QUEEN CRAB, TRICLOPS, A NYMPHOID BARBARIAN IN DINOSAUR HELL) takes what is basically a James Cameron-level scenario and drastically scales it down while still coming up with something that's fun to watch.


Much of the fun, in fact, comes from seeing how he solves various SPFX challenges without simply being able to throw money at them.  This includes not only humanoid aliens in nifty masks and full-body suits, but a delightful array of stop-motion creatures, some of which do battle in the time-honored monster movie tradition. 

These SPFX remind one of such films as EQUINOX, THE CRATER LAKE MONSTER, and THE EVIL DEAD, along with the stop-motion creatures on the 70s Saturday morning series "Jason of Star Command." 

One humanoid mutant, who may or may not have once been human (he's played by Steve Diasparra in full body-suit before morphing into a towering animated behemoth), even resembles something out of those old Jack Kirby monster comics as well as KING KONG animator Willis O'Brien's sketches for his proposed KING KONG VS. FRANKENSTEIN.


The film ends with a wild sequence involving Blake getting good and loaded (for the cause, of course), hopping into that crashed spacecraft with Kay, and making a daring attack run (aka "drunken joyride") on an alien outpost thought to be one of their main command centers.  The ending is left wide open for a sequel.

Despite the miniscule budget, OUTPOST EARTH is loaded with entertainment value--especially for us nostalgic Monster Kids--and intriguing elements of both serious and pulp sci-fi.  It's the kind of flick I used to run home from school to watch on the afternoon movie.



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Monday, June 2, 2025

All the Black Scorpion Scenes From "THE BLACK SCORPION" (1957) (video)





Richard Denning and Mara Corday star...

...in this Mexican-American giant monster extravaganza.

Legendary "King Kong" animator Willis O'Brien supervised the special effects.

His assistant, Pete Peterson, performed most of the actual stop-motion animation.
Peterson also worked on "Mighty Joe Young" and "The Giant Behemoth."

It is one of the most effects-intensive stop-motion animation films ever made...
...filled with detailed sets, multiple models, and inspired animation.

It is reminiscent of some of the most horrific scenes from "King Kong."
And also foretells some of the monster effects for "Starship Troopers."

The cavern sequence hints at what the "spider pit" scene in "King Kong" may have looked like.
Some of the models may, in fact, be left over from that scene.

The final monster vs. military battle is a SPFX spectacle...
...and ranks as one of the finest stop-motion sequences ever filmed.


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



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Sunday, June 1, 2025

QUEEN CRAB -- DVD Review by Porfle



 

Originally posted on 9/23/15

 

"Let me get this straight--your best friend is a giant crab?"

Like one of those old Roger Corman B-movie creature features, or a giant-monster cheapie that wanted to use stop-motion animation for its oversized critters but couldn't afford to get Ray Harryhausen to do it (think MONSTER FROM GREEN HELL or CRATER LAKE MONSTER), the monster-movie spoof QUEEN CRAB (2015) is a giddy, goofy throwback to those hokey flicks we grew up eating TV dinners to.

The first "crab" we see is an ill-tempered young wife and mother who constantly berates her well-meaning but mischievous daughter Melissa and henpecks her nerdy scientist husband whose upstairs laboratory is home to experiments in unnatural animal growth.  While dancing around on the banks of Crabbe Creek Pond, Melissa finds and makes a pet of a small crab which she feeds with some strange berries grown in her father's lab.  You can pretty much guess what happens next.


Skip ahead a decade or two, and Melissa (Michelle Miller, who earlier played the part of Melissa's mother), orphaned by an unfortunate lab explosion, is now an eccentric trigger-happy hermit with an isolated cabin near Crabbe Creek Pond where she can commune with her crab-monster significant other, whom she has dubbed "Goliath."

But encroaching on her personal space are childhood friend Jennifer Kane (Kathryn Metz), now a Hollywood actress popping in for an unexpected visit, and state wildlife agent Stewart MacKendrick (A.J. DeLucia), drawn to the area after examining Sheriff Ray's plaster cast of a giant crab pincer print made at the scene of a cow-devouring. (It seems something really big and awfully hungry has been crashing through barn walls and chowing down on the local livestock.)

What really sets the colossal crustacean off, however, is when she pops out a passel of football-sized crab eggs that are shotgunned by Sally (Yolie Canales), another of the reclusive local loons who all seem to wield shotguns.  The eggs that actually hatch into little baby giant crabs are crunched by a recklessly driving  yokel who laughingly careens all over the highway while his terrified passenger, a woman he picked up after her own narrow escape from the creatures, screams in terror (one of my favorite scenes).


The caustic relationship between burly Sheriff Ray (Ken Van Sant), who raised niece Melissa after her parents' death, and boneheaded deputy Sonny Huggins (Rich Lounello) is also rife with lowbrow humor.  Some of it takes place in the town biker bar where Sonny picks a fight with Jennifer and, unaware that she has received martial arts training for one of her films, gets the old foot to the face until dizzy.

This comic interlude is interrupted, however, by the beginning of what will become a full-scale crab attack, which is when QUEEN CRAB really takes off.  Once Goliath goes into action, the fun barely lets up with a succession of stop-motion animation sequences that are a real treat to anyone who loves this particular medium and is a little tired of seeing nothing but CGI at every turn. 

While not exactly spectacular, the effects are smoothly executed and well integrated into the live action.  One particularly nice shot is when Melissa actually mounts Goliath and rides her "like a pony" as MacKendrick describes it.  It reminded me of one of those shows about a circus kid and their pet elephant.  Also impressive are some of the attack sequences with the crab pursuing her human prey and disposing of them in well-animated fashion.


There's even some nicely rendered miniature backgrounds, model vehicles (including a jeep and an army tank), and a couple of jet planes that dive bomb the creek where Sheriff Ray and a well-armed local militia (called into service with the promise of something to shoot at like they're never seen before) have the Queen Crab cornered.

The acting ranges from serviceable to pretty good, with even the lesser-skilled non-thespians in the cast managing to be rather amusing.  (I like the guy who plays the mechanic filling in for the bartender and getting everyone's drinks wrong.  The guy can't act but he's still funny.)  Prolific schlock filmmaker Brett Piper (TRICLOPS, A NYMPHOID BARBARIAN IN DINOSAUR HELL) handles the technical end of things well enough and knows how to direct this kind of hokey material.

The DVD from Wild Eye Releasing is in widescreen with 2.0 sound.  No subtitles.  Extras include a commentary with director Piper and producer Mark Polonia, a blooper reel, behind-the-scenes featurettes, and trailers for this and other Wild Eye releases including some of Piper's other films. 

It's definitely lightweight stuff and it isn't likely to win many awards, but QUEEN CRAB is the kind of movie that intentionally tries to be "so bad it's good" and actually succeeds.  Although don't be surprised if you pop it into the DVD player and then end up watching it alone after the unenlightened have fled the scene.





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Thursday, May 22, 2025

Legendary "King Kong" Volkswagen Ad (1972): Stop-Motion Animation By Dave Allen (video)




(Originally posted on 10/6/18)

 

Dave Allen was one of film's leading stop-motion animators.

His work can be seen in such films as "The Crater Lake Monster", "Equinox", and "Honey, I Shrunk the Kids."

In 1972 Volkswagen hired him to recreate the classic King Kong for a TV commercial.

The woman is Fay Wray's daughter, Victoria Riskin.

The commercial was aired only once.

Volkswagen pulled it because viewers didn't remember the car...just Kong.
(I got to see it!) 


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



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Saturday, April 12, 2025

THE SWAN PRINCESS: ROYALLY UNDERCOVER -- DVD Review by Porfle



 

Originally posted on 3/27/17

 

I'm not that big a fan of the endless parade of digital "cartoons" these days, but that doesn't mean I can't enjoy an engaging and pleasantly-rendered romp like THE SWAN PRINCESS: ROYALLY UNDERCOVER (2017) when it comes my way. 

Directed by former Disney animation director Richard Rich, it's the sixth direct-to-video sequel to his 1994 theatrical film THE SWAN PRINCESS which was done with old-school handpainted cel animation (which I sorely miss) as were the first three sequels. 

The main characters of that film were a beautiful princess named Odette and a handsome prince named Derek.  In the current sequels, they're older, married, and have an adopted daughter, Princess Alise. 


She and her friend Lucas, a shy peasant boy living with his parents on a tulip farm, are the new focus of our attention as they have colorful adventures in and around their mythical kingdom.  Here, they go undercover as spies to find out if ditzy Queen Uberta's dashing young suitor, a Count from a nearby kingdom, is really as nice as he seems or if he has ulterior motives that could threaten the entire kingdom and its royal family.

Alise and Lucas are the typical spunky, likable kids who get in and out of trouble by their own wits and also with the help of their talking animal friends.  Their grown-up ally is a grandfatherly Lord Rogers, an inventor with a secret subterranean vault full of cool steampunk spy gadgets.  He's sort of a Hans Conried type with the look of a sage old gentleman but the heart of a child, and he secretly loves the Queen.

Aside from some shots of him, the kids, and their animal friends wearing shades and walking in slo-mo RESERVOIR DOGS style (to accentuate the "spy" theme), there are refreshingly few "nudge-nudge" modern references barring a rather spectacular nod to GOLDENEYE in the pre-titles sequence. 


Moreover, this film really is G-rated, with no smirky double-entendres or unwelcome sexual innuendos of the kind that crop up in much of the so-called "childrens" entertainment these days.  Everything remains resolutely juvenile throughout--in a good way.

Adults should find it more than tolerable, especially in the second half when the kids infiltrate the Count's castle and all that spy stuff starts to pay off in a big way.  Alise and Lucas encounter a number of bad guys and dangerous situations, and the action and suspense are pretty much nonstop.

At this point in the series, the songs (what few there are) aren't that special and there are no celebrity character voiceovers, but I doubt if kids will really mind all that much. 


Characters are genuinely warm and caring toward each other, and the story puts forth various benevolent themes of togetherness, teamwork, and charity (a neighboring kingdom damaged by a flood receives emergency aid) in unobtrusive ways. "Don't trust kindly strangers bearing chocolate" is another subtle message.

The DVD from Sony Pictures Home Entertainment is in 1.78:1 anamorphic widescreen with Dolby 5.1 sound in English and French, and Dolby Surround in Mandarin, Korean, Spanish, and Thai.  Subtitles are available.  In addition to several trailers for other Sony kids' films, there's a brief featurette with singer Macy Kate recording the end titles song.

Online comments from fans of the series indicate that some feel THE SWAN PRINCESS: ROYALLY UNDERCOVER is inferior to its predecessors.  But it's such a colorful and brightly entertaining diversion that, not having seen any of the earlier ones, I found this sequel quite enjoyable.




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Tuesday, January 14, 2025

The Burning Orphanage Scene From "MIGHTY JOE YOUNG" (1949) (video)




(spoilers)

Jill Young (Terry Moore) and her friend Gregg (Ben Johnson) are fleeing from the law...

...after a judge orders that her beloved pet gorilla Joe be shot to death.

But a burning orphanage causes them to cut short their escape.

Excellent stop-motion animation by Willis O'Brien and Ray Harryhausen...

...make this is one of the most thrilling sequences ever filmed.


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



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Monday, January 13, 2025

MORE Lesser Known Stop-Motion Animation Monsters (video)




The most famous stop-motion animators are Willis O'Brien (KING KONG)…

...and Ray Harryhausen (JASON AND THE ARGONAUTS).

But other animators have given us their own interesting creations throughout the years...

The Lost Continent (1951)
The Black Scorpion (Willis O'Brien, 1957)
The Giant Behemoth (Willis O'Brien, 1959)
Dinosaurus! (1960)
Planet of Dinosaurs (1978)
Caveman (1981)


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



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Sunday, January 12, 2025

Lesser Known Stop-Motion Animation Monsters (video)




The most famous stop-motion animators are Willis O'Brien (KING KONG)…

...and Ray Harryhausen (7th VOYAGE OF SINBAD).

But other animators have given us their own interesting creations throughout the years...

Three Ages (Buster Keaton, 1923)
Beast of Hollow Mountain (1956)
Monster From Green Hell (1957)
Jack the Giant Killer (1962)
Equinox (1970)
The Crater Lake Monster (1977)


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



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Saturday, January 11, 2025

Kong Undresses Ann in (Censored!) Scene From KING KONG (1933) (video)




When "King Kong" (1933) was re-released in 1938, several violent shots which violated the Production Code were removed.

Along with these went a scene considered much too risque' in which a curious Kong peels off some of Ann Darrow's clothing.

The new edit cut away just as Kong was getting started.

Here's the original, restored version...


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



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Friday, January 10, 2025

KING KONG (1933) -- DVD Review by Porfle



(NOTE: This review was written upon the DVD's initial release in 2005.)

Before CGI, before summer blockbuster films like JAWS, before "giant-monster-on-the-loose" movies of any kind, there was...KING KONG. Depression audiences who barely had two coins to scrape together jammed theaters in 1933 to witness this thrilling pinnacle of pure escapism and marvel at the sight of a giant gorilla battling dinosaurs, wrestling elevated trains, and swatting biplanes from his lofty perch atop the towering Empire State Building. Up to that time, KING KONG was the most spectacular, jaw-dropping adventure film ever made, and few films since, if any, have even come close to topping it.

The first forty minutes or so consist of careful, methodical build-up as flamboyant movie producer Carl Denham (Robert Armstrong) sets sail for Skull Island with the crew of a merchant ship called The Venture. He's heard stories of a giant monster called Kong who lives on the island, and plans to capture the beast on film. Along for the ride are the beautiful Ann Darrow (Fay Wray) to provide the "love interest" for his movie, and first mate Jack Driscoll (Bruce Cabot) to provide the love interest for Ann.

When they arrive, they witness a tribe of natives preparing to sacrifice a young girl to Kong. But one look at Ann, whom they call "the golden woman", convinces them that she would make a much more unique bride for the beast. ("Well, blondes are scarce around here," Denham notes.) They steal onto the ship that night and kidnap Ann, then open the massive doors of the huge protective wall that separates them from the rest of the island and bind her to an altar. As the crew of The Venture discover Ann's absence and race to the rescue, the natives wait atop the wall in awed silence for the arrival of the fearsome Kong. Suddenly there are loud, echoing footsteps...the trees are torn aside...and there stands King Kong, the greatest of all movie monsters.


 
All necessary exposition is laid out for us so that when Kong makes his appearance at this point, the rest of the film is a non-stop rollercoaster ride of action. Kong takes Ann in hand and disappears into the dense jungle, with Denham, Driscoll, and most of the Venture crew in hot pursuit. But it doesn't take long for these hunters to become the hunted, when they suddenly find themselves on the run from an array of ill-tempered prehistoric beasts ("from the dinosaur family!", Denham informs us). In one horrific scene, the sailors are trapped on a log over a deep chasm as the enraged Kong shakes them off into the pit below. Having dispatched his pursuers, Kong takes Ann to his lair at the top of Skull Mountain, engaging in awesome battles with various other giant creatures along the way.

But Driscoll, who managed to avoid plunging into the pit, rescues Ann and returns her to the native village. An angry Kong arrives moments later, pounds his way through the door of the great wall, and goes on a rampage in which he chews and stomps several unfortunate villagers. Denham, however, is prepared for such an eventuality, and hurls a gas bomb which knocks Kong unconscious. Realizing that the giant ape himself is worth more than any motion picture, Denham arranges to have a giant raft built to transport Kong back to New York, where he will be put on display for paying customers. "We're millionaires, boys!" he cries to the surviving sailors. "I'll share it with all of you!"

We all know, of course, that once Kong is taken to the Big Apple, he escapes and goes on a rampage of destruction that climaxes at the top of the Empire State Building, where he must fight off attacking biplanes amidst a hail of machine gun bullets -- one of the most enduring images in movie history and popular culture. 

KING KONG continues to astound all but the most jaded viewers even today, which is a tribute to the imagination and ingenuity of its makers. Special effects wizard Willis O'Brien laid the groundwork for all future effects-laden "event" movies as he created ways of bringing the most outrageous visions to the screen, many of which are still used today. His meticulous frame-by-frame stop-motion animation of Kong and the various dinosaurs never fails to impress, especially in the spectacular battle between Kong and the Tyrannosaurus Rex. 

Murray Spivack's sound design was an amazing feat considering that sound itself had only existed in movies for a few years before KING KONG. And the musical score by Max Steiner, with its beautiful descriptive passages and themes for various characters, is a masterpiece that showed all film composers to come how it should be done.

Upon its re-release in 1938, several of the more violent scenes were censored, including Kong popping various Skull Islanders and New Yorkers into his mouth and chewing on them, or stomping them underfoot. And the scene in which Kong curiously peels off bits of Fay Wray's clothing and sniffs them was deemed inappropriate as well, and out it went. The film was also darkened considerably to disguise much of the blood that flows during the battle scenes. For many years, this was the only version of the film available, until finally the excised scenes were rediscovered and restored in the early 70s.


 
Now, with Warner Brothers' current release of KING KONG on DVD, the film is restored, uncensored, and better-looking than ever before, with special features that will delight fans of the film. There is a commentary featuring stop-motion master Ray Harryhausen (SEVENTH VOYAGE OF SINBAD, JASON AND THE ARGONAUTS) and special-effects veteran Ken Ralston that is fun to listen to since the men are such devoted Kong fans. 

A documentary on the life of Kong producer Merian C. Cooper (upon whom the character of Carl Denham is based) is a fascinating look at a man whose exploits rival those of Indiana Jones. And the seven-part documentary "RKO Production 601:The Making Of Kong, Eighth Wonder Of The World" is packed with fascinating details about the film and comments from well-known filmmakers who have been influenced by it.

LORD OF THE RINGS director Peter Jackson, whose KONG remake hits theaters in December 2005, went to great lengths to help make this DVD a special event, including assembling his special-effects artists to recreate the legendary lost "Spider Pit Sequence" which was originally removed from the film due to its intensity ("It stopped the show!", as Merian C. Cooper put it). Jackson also created a new Kong scene using the same equipment and methods employed by Willis O'Brien, simply to give us an idea of how the effects for KONG were done since there is so little behind-the-scenes documentation of the original work. 

Also included are scenes from Willis O'Brien's aborted dinosaur project CREATION, which are so well-restored that they look as though they might have been filmed yesterday. And rounding out the special features on the disc are trailers from KING KONG, SON OF KONG, MIGHTY JOE YOUNG (Willis O'Brien's three great "Giant Ape" movies), and other Cooper productions.

If you're a fan of KING KONG, or you just want to see what all the fuss is about, there's never been a better time to watch this film in all its glory. The passage of time, and the advancement of special-effects technology, have not dimmed its power. It is still one of the greatest -- perhaps the greatest -- adventure films ever made.



Read our review of the 2005 Peter Jackson remake

Read our review of SON OF KONG


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Wednesday, January 8, 2025

SON OF KONG -- Movie Review by Porfle



Originally posted on 10/25/15

(Caution: the last couple of paragraphs contain spoilers.)

 

I watched SON OF KONG (1933) again last night, and this toned-down sequel affected me just the same as ever. Most of the ingredients of KING KONG are there, but mixed together in such a different way as to explore whole new areas of cinematic enchantment.

The opening titles are reminiscent of KONG at first, but then they go into a cast montage and the music shifts dramatically to the jaunty but melancholy "Runaway Blues", and darned if that alone doesn't make me start to get misty-eyed. 

The stop-motion creatures are great as usual (although with little participation from special effects wizard Willis O'Brien, who was disillusioned with the project), and there's an exciting climax which anyone who saw this as a kid should vividly recall.


After the disaster of Kong's opening night in New York, showman Carl Denham (Robert Armstrong) is forced to flee lawsuits and creditors by going into the shipping business with Captain Englehorn (Frank Reicher) in the South Seas. 

Along the way he meets a sweet young down-on-her-luck woman named Hilda (Helen Mack), loses his ship to mutineers, and ends up back on Skull Island, where he and the rest encounter a baby Kong who protects them from danger as they search for a fabled island treasure. 

There's considerably less tension in this laidback sequel--the nightmare of KONG is over, and despite the hardships it caused this seems to have been cathartic for Denham as a person. He's no longer so manic and driven, content now to be Englehorn's business partner, and can enjoy little things in life like a two-bit tent show with dancing monkeys and an adorable young girl (Hilda) playing the ukelele.


The romance between Denham and Helen Mack's plucky, lovable Hilda is low-key and very sweet, more so because of the recurring "Runaway Blues" theme. The trip to the island and their adventures on it aren't dark and heavy as in the previous film, but KONG had already been done. Rather than trying to do it over again or continue its nightmarish tone, SON OF KONG gives us a fairytale ending.

It's not as much a sequel as it is a prolonged denouement--a long sigh of relief after the horrors that ended when Kong hit the pavement. All the sexual tension and Freudian complexities of KING KONG have been resolved, leaving Denham free to lead a simpler life with Hilda and, we assume, a happy ending. 

And then, of course there's little Kong (known by many as "Kiko") himself.  Some viewers fault the film for being too comedic, and indeed, this 12-foot albino ape is quite the clown.  Still, his interactions with Denham and Hilda are fascinating to watch, as are several furious battles between him and a variety of giant island creatures.  While rushed into production the same year as its predecessor, SON OF KONG still boasts some amazing special effects.


The grand finale is a terrifying earthquake which threatens to destroy the island, with Denham, Hilda, and Englehorn scrambling to escape in a rickety rowboat.  In the film's most heartbreaking moment, little Kong's foot is caught in a crevice as the island begins to sink beneath the waves, and as he wails in distress you can clearly make out the words: "Mom-my!  Mom-my!" 

Seeing Denham and Hilda at the rail of a rescue ship in their robes, as it begins to sink in that they're really in love and "Runaway Blues" creeps in one last time, still plucks the old heartstrings.  (It's here that Denham the "no funny business" mug finally cracks up and goes sappy.)  More than anything, SON OF KONG is, to me, a lovely fairytale adventure that gets a little more magical every time I see it.

Read our review of KING KONG

"The Runaway Blues" -- instrumental





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Saturday, January 4, 2025

THE STEAM ENGINES OF OZ -- Blu-ray/DVD Review by Porfle



Originally posted on 5/31/18

 

THE STEAM ENGINES OF OZ (Cinedigm, 2018) is one of those dystopian Oz tales in which L. Frank Baum's wonderful fairytale land has gone to pot and needs someone to restore the magic.

And much like writer-director Sean Patrick O'Reilly's HOWARD LOVECRAFT AND THE FROZEN KINGDOM, it's also one of those modestly-rendered digital cartoons that will probably look decidedly low-tech to someone who's more used to lush, polished Disney and Pixar product.  (Although, ironically, it would've looked amazingly cutting-edge back in the "dawn of CGI" days of the 80s.)

As such, the character/background design and execution are of uneven quality throughout, with the underground and city sequences looking the best and the forest/battle scenes often having a somewhat unfinished look.  Not surprisingly, the film's steampunk angle is one of its most appealing elements.


The story begins in the vast subterranean world beneath the Emerald City, where a plucky young "Mary Sue" type named Victoria, whose job it is to help keep the city's massive steam engines running, is chosen by good witch Locasta and her flying monkeys to help defeat the city's tyrannical ruler and restore order to Oz.

Surprisingly, this dreaded tyrant is none other than the Tin Man, who rules with an iron fist (so to speak) in his quest to abolish magic and spread his steam-engine technology throughout the land to the detriment of the environment (giving the story an ecological slant).

A flashback in black-and-white motion-comic form--one of the film's best-looking sequences--explains Tin Man's motives (he's doing it all for love) but that doesn't lessen the image of him as a snarling metal monster (more of a sinister, hulking Doctor Doom than the benevolent little tin fellow we're used to) trying his best to chop the good-guy characters to pieces with his massive axe during the big battle sequence that occurs about halfway through the story. 


The film doesn't hold back on such imagery, portraying Tin Man's armies as goose-stepping fascists wielding lethal weapons (indeed, in one scene a likable main character is melodramatically shot to death with a lightning-bolt rifle).

Leading up to all of this, Victoria emerges "topside" for the first time in her life so that she can escape the Emerald City and seek out the help of the Munchkins as well as that of the fabled Wizard of Oz (here voiced by none other than William Shatner). 

Accompanied by her friends Mr. Digg and a comical Munchkin named Gromit, whom she freed from their dungeon cells as "honored guests" of the Tin Man, Victoria enlists the aid of Magnus, son of the Cowardly Lion, and the rest of his pack in what will eventually lead to the aforementioned battle with Tin Man's forces as THE STEAM ENGINES OF OZ becomes a bonafide war movie.


During all this we'll recognize obvious callbacks to various other action movies such as THE MATRIX, 300, and KILL BILL.  At one point, one of the Munchkin leaders exhorts his troops with the phrase, "Let's go, Munchspendables!"

Later, Victoria and company return to the Emerald City, entering Tin Man's dreaded steam engine chamber in search of the imprisoned Scarecrow and resuming the film's "quest" theme, which will eventually be resolved in a "love conquers all" ending.

I'm not sure how little kids will respond to THE STEAM ENGINES OF OZ, since it seems aimed mainly at those who read the graphic novel and/or prefer their Oz stories with a hefty dose of adult grit and grime.  I spent most of its running time reacting to it rather than actually enjoying it, my assessment varying as wildly as the gauges on one of Tin Man's smoldering steam engines. 


CAST
Ron Perlman ("Sons of Anarchy," Hellboy)
William Shatner ("Star Trek," Miss Congeniality)
Julianne Hough ("Dancing with the Stars," Footloose)


PROGRAM INFORMATION
Format: BD+DVD / Digital (iTunes, Amazon, Vudu and more)
SRP: BD+DVD:$19.97
Running Time: 75 mins.
Genre: Animation/Family
Audio: Dolby 5.1
Aspect Ratio: 16x9 (1.78:1)

Subtitles: English
Extras: none
Street Date: June 5, 2018








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