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Showing posts with label post-apocalyptic. Show all posts
Showing posts with label post-apocalyptic. 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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Thursday, April 11, 2024

MOLLY -- Blu-ray Review by Porfle




Originally posted on 9/22/18

 

One thing zombie flicks and post-apocalyptic dystopia movies have in common is that, thanks to templates such as NIGHT OF THE LIVING DEAD and MAD MAX, there's very little need for exposition. We're just suddenly there in these established worlds, and all that's required is to learn the specifics of the individual storyline being presented for us to follow.

This is true for the post-apocalyptic dystopia action-thriller MOLLY (Artsploitation Films, 2017), which comes to us by way of the Netherlands and brashly shoulders its way into the ranks of the best, or at least most brashly entertaining, films of that genre. 

An earlier trailer might've gone like this: "In a world...where society has been replaced by anarchy...and the innocent are injected with a drug that turns them into savage beasts pit-fighting to the death as gamblers cheer them on...one girl...with special powers and a fierce will to survive...fights to bring down an evil dictator while protecting an orphaned child she found alone in the wasteland...etc...etc..."


The girl with "special powers" (which I won't spoil here) is Molly (Julia Batelaan), who's like a cross between a myopic valley girl and Velma from "Scooby-Doo" (complete with glasses).  She looks like a normal teenaged nerd-girl all weighed down by a huge backpack and other gear, but circumstances have forced her to become a wandering warrior who must keep her guard up 24/7 against those who wish to either rob, kill, or capture her.

Local big-wig Deacon (Joost Bolt) wields the aforementioned drug and runs the pit fights, turning captives into vicious drug-fueled maniacs called "supplicants" and staging death battles during which he cleans up on the gambling front (with bullets as the main currency).  With Molly having become something of a legend in those parts, he orders his warriors to hunt her down and capture her for his fighting pit.

It took a while for me to settle in and "get" this movie.  At first, it looks like it's just going to be another mildly entertaining genre offering at best, albeit one with an intriguing main character.  The fight choreography seems a bit off at times, and the story seems a bit lean.


Gradually, however, the imagination and skill behind this above-average effort began make themselves more and more apparent until, by the second half, I was getting swept up in what was fast becoming a dazzling feat of modestly-budgeted filmmaking.

As soon as Molly befriends the little orphan girl Bailey (Emma de Paauw), who is then kidnapped as bait to lure Molly into the clutches of Deacon and his band of rough boys, our heroine's rescue mission in the bad guys' rusted-metal offshore lair becomes a dizzying non-stop assault of blazing action and breathtaking filmmaking.

Earlier fight scenes had a choppily edited shaky-cam look to them in order to convey Molly's fear and disorientation during sudden surprise attacks that came out of nowhere.  But during the extended finale, which takes place on several levels of iron walkways in a harsh industrial setting, the direction and cinematography suddenly shift into sort of a cinematic overdrive that had me goggle-eyed with amazement.


Fights still lack finesse, but this gives them the dirty, messy, awkward feel of real life-or-death battle. And when this mass of sweaty humanity starts plunging into fierce conflict in close quarters, directors Colinda Bongers and Thijs Meuwese shoot it all in amazing long takes with disguised edits that give the illusion of one unbroken action scene lasting a good 20-30 minutes or so.

(Molly's set-to with Deacon's main assassin Kimmy, played by Annelies Appelhof, is a real highlight, as is her final showdown with the Deacon himself.)

It's especially impressive in that the filmmakers don't have quick edits and jerky camerawork to use as a visual crutch.  The sequence boasts beautiful photography and camera moves (no shaky-cam, lens flares, etc.) and precision choreography that must've required both exhaustive practice and multiple retakes.

This is, to be honest, some of the best action filmmaking I've ever seen.  I was constantly reminded of a previous fave, HARD REVENGE MILLY, which this actually surpasses in my estimation.  Which, for me, is no small thing.  The hallway fight scene from OLDBOY also comes to mind.


Through it all, the character of freckled, bespectacled Molly is enigmatic but likable, and human enough to panic when she loses her glasses during a fight.  Where the heck did she come from, we wonder, and how did she become this fabled bow-wielding warrior who defeats opponents twice her size and ferociousness, with nothing more than a sort of frantically puckish resolve to survive? (Plus those special powers, of course, but I won't go into that.)

The Blu-ray from Artsploitation Films is in 1.78:1 widescreen with English 5.1 surround sound and optional English subtitles.  Bonus features consist of a directors' commentary, a half-hour "making of" featurette, and a trailer. 

I had a great time watching MOLLY, especially since so many films of this genre have been both blatantly derivative and inescapably dull.  Okay, this movie is sorta blatantly derivative too--but dull it ain't.  Following the satisfying resolution, there's an epilogue which promises a possible sequel, and, for once, I'm actually looking forward to it.




Artsploitation.com


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Saturday, July 20, 2019

Hideous Radiation Monster From "Day The World Ended" (Roger Corman, 1955) (video)




Roger Corman's low-budget sci-fi shocker begins with devastating nuclear war...

...and a group of survivors in a mountain hideaway owned by Paul Birch.

Unfortunately, the house is surrounded by radiation mutants...
...of varying degrees of horribleness...

...but the worst is this hideous Paul Blaisdell creation.

It naturally takes an interest in Lori Nelson and Adele Jergens.

While Richard Denning and Mike "Touch" Connors handle the "good guy/bad guy" stuff...
...the wretched beast makes off with lovely Miss Nelson.

Blaisdell wears his own distinctively designed monster suit.
It may not look that great, but it's definitely memorable.


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



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Monday, April 1, 2019

Saban Films Acquires Casey Affleck’s Post-Apocalyptic "LIGHT OF MY LIFE"




SABAN FILMS ACQUIRES CASEY AFFLECK’S POST-APOCALYPTIC “LIGHT OF MY LIFE”

Survival Drama Made Its World Premiere at the Berlin International Film Festival


LOS ANGELES (MARCH 29, 2019) – Saban Films has acquired U.S. rights to Academy Award® Winner Casey Affleck’s narrative feature debut, Light of My Life.  Written, directed by and starring Affleck (Manchester by the Sea, Interstellar), the dystopian survival drama also stars breakout star Anna Pniowsky (“PEN15”) and Golden Globe® Winner Elisabeth Moss (“The Handmaid’s Tale,” “Mad Men”).  Light of My Life made its World Premiere at the Berlin International Film Festival in the Panorama section.

Light of My Life follows a father (Affleck) and child (Pniowsky) who journey through the outskirts of society a decade after a pandemic has wiped out half the world’s population. As a father struggles to protect his child at all costs, their bond, and the character of humanity, is tested.

“This has been a passion-driven project for the filmmakers, who have crafted a beautiful and sophisticated film, grounded with superb performances,” said Saban Films’ Bill Bromiley. “We couldn’t be more honored to be part of such a dedicated team. Our audiences will fall in love with the intensity and sincerity of this character-based survival drama, focusing on a strong father-daughter bond.”

The film, fully financed by Black Bear Pictures, was produced by Black Bear’s Teddy Schwarzman and Affleck on behalf of Sea Change Media. John Powers Middleton also produced.  Executive producers are Black Bear’s Michael Heimler and Ben Stillman, and Sea Change’s Whitaker Lader.

“On behalf of everyone involved in the making of Light of My Life, I’d like to thank Saban Films for their passion, commitment and support,” said Schwarzman. “Light of My Life has been a labor of love for the entire cast and crew, and we look forward to working with Saban to bring Light of My Life to audiences across America.”

Bill Bromiley and Jonathan Saba negotiated the deal for Saban Films, with Endeavor Content on behalf of the filmmakers. Sierra / Affinity is handling international rights.

Saban Films most recently announced their partnership with Kevin Smith’s highly-anticipated Jay and Silent Bob Reboot, coming on board from script stage for the sequel to the 2001 comedy Jay and Silent Bob Strike Back.  The company remains active in the acquisition and distribution space, with upcoming titles including: Richard Bates Jr.’s horror thriller Tone-Deaf, which just made its World Premiere at SXSW and stars Robert Patrick and Amanda Crew; Danny A. Abeckaser’s Mob Town starring David Arquette; The Haunting of Sharon Tate starring Hilary Duff; Derrick Borte’s American Dreamer starring Jim Gaffigan; The Professor, the Wayne Roberts-directed drama starring Johnny Depp; and Sarah Daggar-Nickson’s A Vigilante starring Olivia Wilde. 

Saban Films continues to grow its presence in the industry, with successes that have run the gamut from critically acclaimed theatrical films such as The Homesman starring Hilary Swank, to one of the biggest Fathom events in 2016 with Rob Zombie’s horror thriller 31.  Recent titles include James Marsh’s King of Thieves starring Michael Caine, Jim Broadbent, Tom Courtenay and Michael Gambon; the anthology Berlin, I Love You with Helen Mirren, Keira Knightley and Jim Sturgess; the Gerard Butler starrer The Vanishing; Alexandre Moors’ The Yellow Birds starring Tye Sheridan, Alden Ehrenreich, Toni Collette, Jason Patric, Jack Huston and Jennifer Aniston; Eshom and Ian Nelms’ lauded feature Small Town Crime starring John Hawkes and Octavia Spencer; and Ivan Kavanagh’s Never Grow Old starring John Cusack and Emile Hirsch.

About Saban Films

Saban Films, an affiliate of Saban Capital Group (“SCG”), is a film acquisition and distribution company which acquires high-quality, feature films to distribute in North America.  Focusing on commercial, talent driven films, the company looks at projects in all stages of production for release across multiple platforms, including a day and date theatrical/VOD release strategy. Based in Los Angeles, Saban Films was established by Haim Saban, SCG Chairman and Chief Executive Officer, and is led by Bill Bromiley who serves as President, Shanan Becker, Chief Financial Officer and Ness Saban, Vice President of Business Development.



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