PATRICK (1978) -- Blu-ray/DVD review by porfle

 Originally posted on 3/22/14

 

I don't know about you, but my initial introduction to the Australian film boom of the late 70s-early 80s came mainly from the pay-cable channel Cinemax, a redheaded stepchild to HBO which, in those days, was kind of like having your own private small-screen drive-in.  It was there that I first saw (and taped for repeated viewings) such entertaining genre flicks from "dan-unda" as MAD MAX, ROAD GAMES,  and DEAD KIDS (aka STRANGE BEHAVIOR).

One which I considered the lesser of the bunch at the time was a strange little tale called, simply, PATRICK (1978).  Maybe I just watched it wrong, or didn't really pay proper attention to its rather stately-paced story.  Maybe it was the cheap dubbing with American voices that the U.S. distributors insisted on, or perhaps it was the murky pan-and-scan print.  Anyway,  I wasn't very impressed.

Now,  however, thanks to Severin Films' current release of several of these old faves on Blu-ray, I've had a chance to rewatch, reappraise, and, finally, newly appreciate PATRICK for what it is--a solid, engrossing horror/suspense thriller that really sticks to your ribs. 

Not the least of the reasons why it's so good is that it was directed by Hitchcock aficionado Richard Franklin, who would go on to make the aforementioned ROAD GAMES and, true to his devotion to the master of suspense, the belated Hitchcock sequel PSYCHO II. 

PATRICK definitely looks like it was made by someone who studied a lot of Hitchcock films, especially PSYCHO (even the hospital in the story resembles that spooky old house behind the Bates Motel).  Brian May's typically lush and powerful musical score, while sounding distinctly May-esque, follows suit by paying tribute to Bernard Herrmann in several key moments. (Note: If you listen to the Italian language track you can hear the alternate musical score by Goblin!)

And just as Norman Bates murdered his mother and her lover before the action in that film begins, here we see a pre-titles sequence in which a troubled young Patrick (Robert Thompson, THIRST), ambulatory for the only time in the movie, surprises his mother and a soapy suitor by tossing an electric heater into their bathtub.  When next we see him three years later, he's comatose in a hospital bed,  stiff as a plank, his eyes perpetually open wide. 

Jittery,  excitable Dr. Roget (renowned actor and ballet dancer Robert Helpmann of CHITTY CHITTY BANG BANG and THE RED SHOES) has trouble finding nurses to tend the creepy patient so orders his reluctant head nurse to hire Kathy Jacquard (Susan Penhaligon, THE LAND THAT TIME FORGOT) on the spot when she applies for the job after separating from her husband.

It's during Kathy's private quality time with Patrick that she begins to suspect he's conscious and aware, a suspicion borne out when she discovers that he can use his mental powers to communicate with her via the typewriter she uses for hospital clerical work.  Patrick's telekinetic powers become more pronounced and more deadly when his burgeoning love for her turns to violent jealousy against her ex-husband Ed (Rod Mullinar, THIRST, BREAKER MORANT) and would-be lover Dr. Brian Wright (Bruce Barry). 

He also strikes back in a big way against Dr. Roget when the doc starts experimenting on him secretly, and Matron Cassidy (Julia Blake, X-MEN ORIGINS: WOLVERINE), the head nurse who thinks Patrick should be euthanized.  Patrick's clashes with these two medical authority figures who hold his fate in their hands provide the film with some of its most gripping passages. 

Also keeping us on the edge of our seats are Patrick's homicidal thought crimes directed at the increasingly hapless men in Kathy's life.  Some signs of his growing power are as subtle as the water in Brian's swimming pool rippling as he and Kathy get romantic.  Elsewhere, an opening elevator door (which we know should be out-of-order) beckons Ed inside for what will prove to be a lengthy detour on his way upstairs to visit Kathy at the hospital. 

Strangely enough, there isn't a whole lot of violence in PATRICK,  at least nowhere near as much as you might expect.  I don't even think it ever shows any of his victims actually dying on camera.  (We do see a frog death that animal lovers will find disturbing despite a disclaimer that the frogs in the film were killed under some kind of official zoological supervision.) 

Susan Penhaligon is a likable heroine, while Helpmann overacts wonderfully as the sort of doctor who's a little too fond of weird research.  As the title character, Robert Thompson doesn't do much besides lie there the whole time, but he certainly has the perfect look for Patrick--you take one gander at that tensed, malevolent face and bulging eyes and you know something diabolical is going on in that supposedly dead brain.

Best of all, perhaps, is Julia Blake as Matron Cassidy.  Hers is a performance that can really be savored and admired.  There's a terrific scene in which her character is chewing out Kathy for getting too "close" to Patrick, and for five minutes or so her expert delivery makes the film absolutely riveting.  Later, she's at the center of one of the more suspenseful and Hitchcock-like sequences as she creeps surreptitiously through the darkened hospital with the aim of finally pulling the plug on Patrick once and for all.

The story takes its own sweet time getting started, so some modern viewers may be bored stiff wondering when the non-stop bloody thrills and gore are going to start flying at them.  This is the kind of film you settle into and allow it to weave its leisurely but increasingly compelling story--sort of like curling up with a good book instead of playing a fast-paced video game.  If you're not in a big hurry to be thrilled, it's well worth sitting back and letting it go about building up to some creepy and sometimes shocking situations.

The Blu-ray/DVD combo from Severin Films is in 1.77:1/16x9 anamorphic widescreen with English, Spanish, French, and Italian Dolby 2.0 sound.  No subtitles.  Extras include an informative Richard Franklin commentary track, original trailer and TV spots, an hour's worth of entertaining cast and crew interviews from the documentary "Not Quite Hollywood", a vintage TV interview with Franklin, and two fun Easter eggs--one is a trailer for the lurid Italian sequel, and the other a TV spot that should be a treat for fans of "The CBS Late Movie."  The film's original cut was 140 minutes, the USA cut 96 minutes--this print runs for about 112.

PATRICK is a good example of the distinctive Richard Franklin style, a bit like early Argento or Cronenberg in that it sometimes hints of that kind of vibe. There's a sure hand at work here although you don't really see any "style" until it's needed, and never for its own sake.   Neither a rollercoaster ride nor a cold blast of horror from out of an abattoir, this is simply a solid, involving, and satisfying old-school horror tale that you don't have to be brain-dead to appreciate.

Buy the Blu-Ray/DVD combo at Amazon.com

PATRICK (1978) -- Blu-ray/DVD review by porfle

FELICITY -- Blu-ray Review by Porfle

 Originally posted on 3/24/16

 

Having already been introduced to the ins and outs of sex "dan unda" by his documentaries THE ABC OF LOVE AND SEX: AUSTRALIA STYLE and AUSTRALIA AFTER DARK (in addition to his lurid slasher-horror NIGHTMARES), I was interested to see Ozploitation director John D. Lamond's entry in the "Emmanuelle" school of softcore sex dramas, 1978's FELICITY. 

This story of a young schoolgirl's growing sexual awareness is a deft mix of crass and class that plays like a humid back-pocket novel.  Within minutes it's already offering up plentiful amounts of nudity as young Felicity and her fellow convent school mates splash in the shower (Felicity marvels at the tingling in her "special place") and go skinny dipping at a nearby pond as neighboring boys look on from the bushes, which excites her.

Felicity isn't just curious about sex--she's obsessed, thinking about it every waking minute and talking about it at length in the diary-like narration.  Her school day consists of gazing at the other girls, contemplating her own body's budding wonders, and making those awkward first lesbian advances toward her best friend Jenny while fantasizing about losing her virginity to an actual boy. 

The film continues in this hazy pastoral vein until Felicity gets an invitation from her sister Christine (Marilyn Rodgers, PATRICK, "Prisoner: Cell Block H") to vacation at her home in Hong Kong, which we predict will be like setting wild dogs loose in a butcher shop. 

Not surprisingly, Felicity witnesses a couple having sex on the plane and pleasures herself in lieu of finishing her dog-eared copy of "Emmanuelle."  Arriving amidst the hustle and bustle of Hong Kong, she soon ends up peeping at Christine and her cutie-pie hubby Stephen doing the nasty as well, and chomping at the bit to try it herself.

At this point it's pretty much just a matter of waiting to see what kind of sexual exploits will come Felicity's way next, and with whom.  Our first sight of a dashing older guy with a porn 'stache is a dead giveaway, as is Felicity's meeting with Christine's pretty friend Me Ling (Penthouse Pet Joni Flynn). 

These two adventurous babes go out on the town for the day, allowing Lamond to indulge in plenty of nicely exotic travelogue stuff until it's time to retire to a bath house for some steamy (literally) interplay with a couple of lady sex workers.

Our sensuous heroine wanders in and out of a few more brief encounters until she finally finds love with the proper stranger (Christopher Milne, THIRST), whereupon she discovers that there's more to life than simple hedonism. 

I won't give away the final outcome, since this story has precious few surprises to offer as it is before the rather abrupt ending.  Suffice it to say I was pleased that it didn't take the sort of darker turn that I was anticipating. 

Not exactly the most plot-heavy movie you'll ever see, FELICITY saunters along at a lazy pace and is quite enjoyable if one gears down enough to sit still for it.

The sex scenes are artistically rendered--hazy lighting, soft focus, subtlety--with enough simulated hoo-hah to count as softcore porn without ever coming close to raunch.

Director Lamond has enough finesse to make a visually pleasing film with a low budget and get adequate-to-good performances from his cast.  Glory Annen (SUPERGIRL, THE LONELY LADY), who was actually about 26 at the time, is fresh-faced and girlish enough to be convincing as the young Felicity without creeping us out.  The Hong Kong backdrop adds immeasurably to the film's appeal.

The Blu-ray from Severin Films is widescreen HD with Dolby 2.0 sound.  No subtitles.  Incredibly, the bonus menu includes both of the aforementioned full-length sex documentaries from John D. Lamond, THE ABC OF LOVE AND SEX: AUSTRALIA STYLE and AUSTRALIA AFTER DARK, in their entirety, including the original commentary tracks.

We also get lengthy interviews with Lamond and an older "Felicity" herself, Glory Annen, as well as a commentary track for FELICITY featuring the two.  Trailers for Lamond's films round out the selection. 

I'm past the point of finding this kind of stuff all that titillating these days, but back in 1978 this was pretty hot stuff for those not yet jaded by Cinemax After Dark or The Playboy Channel.  Now, FELICITY has a pleasant kind of novelty value and, with a little honest-to-goodness romance thrown in, it makes for a very nice couples flick.

Buy it at Amazon.com:
Blu-ray
DVD

Release date: March 29, 2016
Stills shown are not taken from the Blu-ray

FELICITY -- Blu-ray Review by Porfle

AMERICAN ROMANCE -- Movie Review by Porfle

 Originally posted on 10/20/16

 

It isn't every day that I can describe a bloody, violent serial-killer movie as a "feelgood flick", but I just got through watching AMERICAN ROMANCE (2016) and darned if that isn't just what it is. 

Okay, it isn't THE SOUND OF MUSIC, but it isn't THE TEXAS CHAIN SAW MASSACRE or HENRY: PORTRAIT OF A SERIAL KILLER either.  It isn't even NATURAL BORN KILLERS (despite the clear similarities) because it lacks both that film's sardonic pessimism and indulgence in cinematic artifice. 

After one of those cool SE7EN-style main titles sequences that gives the movie a lot to live up to, we meet troubled ex-sheriff Ricky Stern (Barlow Jacobs, GREAT WORLD OF SOUND, THE MASTER, THAT EVENING SUN), who's sort of a shut-in due to something bad that happened to him during a case which was known as "The Diorama Killings" since the victims were always arranged in such a way as to preach a message against sin (another similarity to SE7EN). 

When a writer (Elana Krausz) comes by to interview him about it, his tortured recollections set off a series of flashbacks that carry us back to the story of young newlyweds Jeff Madison (Nolan Gerard Funk, DEADGIRL, BEREAVEMENT) and his wife Krissy (Daveigh Chase, SPIRITED AWAY, THE RING, DONNIE DARKO), who have just had a flat tire in the middle of rural nowhere.

They walk to the nearest house, where a weird, jittery old man named Emery (John Savage, THE DEER HUNTER, DOOR INTO SILENCE) is in the process of putting a gun in his mouth.  He grudgingly calls a tow truck, but during their wait (in which Emery's behavior becomes increasingly odd), Krissy happens to look through the bathroom window and sees a naked dead body in the bathtub, splattered with blood. 

Have they stumbled into the very lair of "The Diorama Killer"?  Or is there more here than meets the eye?  What seems at first to be a fairly straightforward story will just get more and more deliriously strange as the viewer is kept off-balance the whole time.

Trouble is, this is one of those movies where the more I tell you about it, the less you'll be able to experience it the way I did.  Even the trailer reveals just a little too much even though it does try not to spill ALL the beans. 

Anyway, the less said about things like Emery's paraplegic wife Brenda (Diane Farr, ABOUT CHERRY) who is bound and gagged in her wheelchair, or horny tow-truck driver Hank (Mark Boone Junior, SE7EN, MEMENTO, BATMAN BEGINS), or anything else that happens when all the stabbing and shooting and screaming starts, the better.

I can say that the performances are top-notch, with John Savage being his usual weird, creepy self--he's always been an expert at seeming not quite right in the head.  Daveigh Chase (who was the voice of "Chihiro" in the Disney dub of Miyazaki's SPIRITED AWAY) is a sexy backwoods delight as she does her best Juliette Lewis, while Funk reminds me of a young Nick Chinlund.  Both invest their roles with just the right touch of humor. 

Mei Melançon (X-MEN: THE LAST STAND, LOADED) appears as an investigator helping Sheriff Stern, while familiar face James Duval (INDEPENDENCE DAY, VENICE UNDERGROUND, THE BLACK WATERS OF ECHO'S POND) shows up in a mostly non-speaking role as the body in the bathtub.

Director Zackary Adler (THE RISE OF THE KRAYS, CASUAL ENCOUNTERS) has crafted a bloody thriller that's a pleasure to look at, with a story good enough to avoid having to rely on mere shock value and violence for its own sake. 

And maybe I'm just weird, but, like I said, AMERICAN ROMANCE left me feeling lighthearted and uplifted when it was over.  It's the bloodiest feelgood flick of the year! 


Amazon Video
iTunes
Trailer

AMERICAN ROMANCE -- Movie Review by Porfle

ELVIS: THE ED SULLIVAN SHOW--THE CLASSIC PERFORMANCES -- DVD review by porfle

Originally posted on 8/6/09

 

Of all the various stages that Elvis Presley went through during his staggering career as a worldwide cultural phenomenon, the one I still prefer most is the fresh-faced supernova that we see in ELVIS: THE ED SULLIVAN SHOW--THE CLASSIC PERFORMANCES. Intense idolatry and fame are still new to this young, vibrant, almost naive Elvis, and we can see him having fun with the experience before it sours and begins to isolate him from the rest of humanity.

"The Ed Sullivan Show", for those who have never seen it, was a live hour-long variety show that ran seemingly forever and was hosted by a stiff, dour-looking guy known mainly as a renowned entertainment journalist. Ed brought to his vast television audience a wide array of acts that ranged from ballet to Broadway, from Shakespeare to Shecky Greene, and finally, unwillingly, began to encompass the burgeoning world of rock and roll. Ed was hesitant to feature this strange new hip-waggling rocker on his show, but when an appearance by Elvis on Steve Allen's show garnered astronomical ratings, Ed figured it was time to get some of those millions of rabid teen fans tuning in to his own show before the fad had faded. 

 

This DVD is a record of Elvis' three major appearances on "The Ed Sullivan Show." The September 9, 1956 episode is minus Ed Sullivan himself, who had been injured in a head-on collision and would rely on a series of guest hosts until his return several weeks later. After being introduced to the screaming audience by a not-ready-for-primetime Charles Laughton, Elvis makes his way onto the stage and humbly thanks everyone for what he calls "probably the greatest honor I've ever had in my life" before launching into "Don't Be Cruel." The other songs he performs on this show are "Love Me Tender", "Ready Teddy", and "Hound Dog." After that last number Charles Laughton asks the audience in classic old-fogey style, "Well, what did somebody say, uh...music hath charms to soothe the savage breast?" 

 

The young Elvis proves to be a fun-loving cutup who rarely takes himself seriously. He loves to make faces during songs to provoke laughter and screams from the audience. Referring to "Love Me Tender" as his "latest RCA Victor escape...uh, release", Elvis doesn't even spare this solemn, sappy tune his constant clowning. Later, he holds up a finger and says with mock seriousness, "Friends, as a great philosopher once said..." before launching into "Hound Dog" with as much awareness as anyone else that it's a supremely silly song. 

 

On the October 28, 1956 show, a vibrant Elvis greets the returning Ed Sullivan by laughing his way through "Don't Be Cruel" and then having to slog through "Love Me Tender" again like a kid being forced to eat his spinach. He still manages to have fun with it, though--the playfulness of his mood that night just couldn't be contained. Surrounded by his ever-present backup vocalists the Jordanaires, he then croons the turgid ballad "Love Me" while relishing its doo-wop mawkishness for all it's worth. 

 

Strapping on his guitar, Elvis offers an elaborately solemn introduction to his final song of the night:

"Ladies and gentlemen, uh, could I have your attention, please. I'd like to tell you that we're gonna do a...sad song for you. This song is one of the saddest songs we've ever heard. It really tells a story, friends. Beautiful lyrics. It goes something like this..." 

 

The song, of course, is "Hound Dog", and Elvis finally cuts loose and becomes the hip-shaking rock and roller that we all envision him to be. Rarely does an entertainer seem to be having this much fun (much of it at his own expense) as he shares in the joyful mood of the audience. 

 

Not only that, but old-fashioned Ed himself, once reticent to book Elvis on his show, clearly loves the guy. At one point he even drops his usual stern countenance and jokes, "I can't figure this thing out, you know he just does this [shakes his hips] and everybody yells!" Elvis humbly ends his appearance by telling the audience, "Until we meet ya again, may God bless ya as He's blessed me. Thank ya very much." 

 

 

The January 6, 1957 show begins with a medley of "Hound Dog", "Love Me Tender", and "Heartbreak Hotel", but something seems a little odd. That's because this is the famous show in which, due to complaints from more conservative viewers about The Pelvis' lewd bodily motions, Elvis is never seen from the waist down. 

 

The segue from "Hound Dog" into "Love Me Tender" couldn't be more extreme, and Elvis' goofy facial expression conveys his weariness of singing it. He breaks loose again with lively versions of "Don't Be Cruel", "Too Much", and "When My Blue Moon Turns To Gold Again" before ending with a heartfelt spiritual, "Peace in the Valley." Ed Sullivan, who has obviously had a ball during his experience with Elvis, doesn't let him get away without offering this endorsement of the controversial rocker: "I wanted to say to Elvis and the country, that this is a real decent, fine boy." 

 

The 1.33:1 full-screen image and Dolby Digital sound (5.1 surround and original 2.0 mono) are as good as the original kinescope elements permit. A wealth of interesting bonus material includes: 

 

--Why Ed Didn't Host Elvis' First Appearance

--Elvis and Ed: Intros and Promos

--Special Elvis Moments

--Caught on Celluloid: The First Moving Pictures of Elvis

--Jerry Schilling's Home Movies

--Remembering Ed and Elvis (interviews) 

 

Totally belying his image as an inarticulate yokel, the engaging performer that we see here is a shimmering entity brimming with intriguing paradoxes. Retaining a respectful humility that ingratiated him to the older crowd, he was also effortlessly cool, cocky, and irreverent just by being himself. He could be heart-on-his-sleeve sincere even as he mischievously poked fun at the superficial nature of his image, as playfully self-mocking and self-aware as anyone with such immense, intense popularity could be. Most of all, as ELVIS: THE ED SULLIVAN SHOW--THE CLASSIC PERFORMANCES reminds us, he was a beautiful, almost mystical creature who burned brightly long before he began to burn out. Buy it at Amazon.com:

 

Elvis Presley: The Ed Sullivan Shows: The Performances 

 

ELVIS: THE ED SULLIVAN SHOW--THE CLASSIC PERFORMANCES -- DVD review by porfle

EPIDEMIC -- DVD Review by Porfle

 Originally posted on 9/16/18

 

The press release describes this film as "a tender, female-centric coming of age drama."  Fortunately, that's just someone having their little joke, because EPIDEMIC (2018) is actually pretty much what the title implies--a horror thriller about some nasty little bugs that get loose and make people violently ill before doing all sorts of horrible biological nightmare stuff to them.

Dana (Amanda K. Morales) is all tense because it's her 30th birthday and she's invited her estranged, alcoholic dad Rufus (Andrew Hunsicker) to the party.  She and husband Mike (Joe Walz) have also invited another couple, Troy (Marquis Valdez) and Mandi (Gina Destra), along with a nerdy loner to the festivities.  But Dad is so distraught over the impending reunion that he pulls into a parking lot on the way and gets drunk in his car.

Which is just as well, because Mandi, who earlier discovered a secret room in her basement containing a deadly, incredibly contagious virus (which she immediately uncontains), infects her fellow party-goers with the most vomitous, facial-disfiguring insta-plague of all time.  Everyone exposed to it monsters out and, either immediately or over time, goes slap drooling nuts.

While these rampagin' contagion flicks often strive for disaster movie proportions, EPIDEMIC keeps things focused pretty much on our main group of characters, especially Mandi and her tortured dad who yearns to make amends with her but can't overcome his life-destroying alcohol addiction.

Shelley Brietling enters the dramatic fray later on as Mandi's frantic stepmother Claudia, and between them and the rest of the cast, this movie is brimming with good performances.

I like co-writer (with Adam Romanchik) and director Stephen Michael Giglio's low-key approach, which allows him to make a modest but nifty-looking shocker within a very limited budget.  A smaller scale means both a much more intimate story (which pretty much evolves into classic tragedy) and the ability to concentrate on just a few really cool makeup effects.

Gorehounds may be disappointed, since this isn't a slasher/meatgrinder fest and there's more emphasis on story than sheer visceral horror.  But those disease victims in the advanced stages of infection sport a pleasing array of shocking visages while taking part in some nice jump scares and various creepy hallucinatory images along the way.

The DVD from Breaking Glass Pictures is in 1.78:1 widescreen with English stereo sound. No subtitles.  Bonus features consist of a director's commentary, trailers for this and other Breaking Glass releases, an interview with Andrew Hunsicker (Rufus), and some outtakes.

Short, terse, and effective, EPIDEMIC wastes little time drawing us into the slimy, nervewracking bio-horror while still managing to let us get to know and feel for the characters.  I was infected by its low-key charm and am still recovering from the after-effects. 

DVD/VOD RELEASE: September 4, 2018

EPIDEMIC -- DVD Review by Porfle

THE BELIEVERS -- DVD Review by Porfle

 Originally posted on 6/7/2019

 

It seems like there were a lot of horror flicks about the Caribbean voodoo cult of Santeria for awhile there back in the late 1900s or so, and one of the main ones was definitely John Schlesinger's frantic potboiler THE BELIEVERS (Olive Films, 1987), which, for those in the mood for such bleak goings-on, delivers the goods and then some.

Martin Sheen (APOCALYPSE NOW, THE DEAD ZONE) is Cal Jamison, a police psychotherapist who tragically loses his wife in the film's shocking (pun intended) opening, leaving him to raise their son Chris (Harley Cross, THE FLY II) by himself.

When the city is struck by a series of ritual child murders so gruesome that even hardboiled cops like Lt. Sean McTaggart (Robert Loggia, INDEPENDENCE DAY, SCARFACE) are appalled, Cal is called in to help a cop (Jimmy Smits) whose undercover work on the case has driven him insane.

Cal is then drawn into a maelstrom of organized evil that threatens his own son, who may have been marked as the next ritual sacrifice victim.

Schlesinger (MIDNIGHT COWBOY, MARATHON MAN) starts things out slow and steady but keeps them gradually building until, before we know it, the film has kicked into high gear and everything we see is filled with a dark, pervasive feeling of dread. 

There's also an abundance of seriously creepy-crawly stuff at every turn, especially in connection with those horrific rituals whose victims keep popping up here and there. One victim's autopsy, for example, yields a number of live snakes, which I found quite sufficient for a shiver or two.

The film's approach here is a prime example of that hamhanded, wonderfully unsubtle horror style that had us glued to the screen back in the 80s--hokey as heck, but surprisingly effective in the long run. 

This is displayed not only in the director's aggressive style but also in the punchy script (co-written by Mark Frost of "Twin Peaks" fame), replete with whiplash-inducing plot twists, and some wonderfully unrestrained performances.

Sheen, knowing the material calls for an indelicate approach, emotes accordingly.  Two great character actors, Loggia and fellow SCARFACE alumnus Harris Yulin (as business tycoon Robert Calder, who may or may not be behind it all) add their considerable talents, while Helen Shaver does her best to add depth to the underwritten character of Jessica, Cal's new romantic interest. Richard Masur plays Cal's lawyer friend Marty.

The capable supporting cast also includes Malick Bowens as Palo, a frightening figure of great power within the Santeria cult. Bowens knows how to look scary when he wants to, and lends the film some of its most spine-chilling moments, especially when he crashes a posh fundraiser held by Calder and lapses into a furious trancelike state complete with all-white eyeballs. 

Naturally, as was the custom of the time (and still is in many cases), we get one of those annoying "gotcha!" endings that really get on my nerves. But I wouldn't expect it to end any other way, since, as James Whale once said, "it's all part of the ritual." Until then, THE BELIEVERS slowly but surely develops into a real barnburner of an edge-of-your-seat horror thriller.


Buy it from Olive Films

Rated : R
Video : 1.85:1 Aspect Ratio, Color
Runtime : 114 minutes
Year : 1987
Languages : English (with available captions)
Extras: Trailer

THE BELIEVERS -- DVD Review by Porfle

HICKOK -- Movie Review by Porfle

  Originally posted on 6/26/17

 

HICKOK (Cinedigm, 2017) is one of a current breed of modestly produced, low-key, but solid westerns that are just as entertaining as anything if you set your expectations accordingly. 

I've grown quite fond of their simplicity, their often beautiful photography, their museum-quality Old West settings (things look brand new, but back then, for a while anyway, they were), and their earnest effort to give fans of the traditional western what the big studios rarely offer these days.  

What's more, this easy-to-take saga of "Wild Bill" Hickok's younger days as outlaw-turned-lawman delivers the goods in a most satisfying way whenever it's time to clear leather and start blasting.

 

Luke Hemsworth (THE ANOMALY, "Westworld") stars as the young Civil War veteran making his way through the post-war west, as valor on the battlefield translates into a knack for survival in peacetime.  This often necessitates straddling the line of the law and sometimes ending up on the wrong side of it.

Bill is cocky and arrogant but only kills when he has to, a quality that helps land him a job as marshall of a lawless town when the mayor (Kris Kristofferson, nowadays ably portraying wise old souls) sees the good in him. 

This doesn't stop Bill from extorting protection money from the quietly dangerous saloon owner Phil Poe (Trace Adkins), whose wife Mattie (Cameron Richardson, OPEN WATER 2: ADRIFT) turns out to be an old and way-too-close acquaintance.  (Which, unsurprisingly, will end up causing some very unfortunate complications.) 

 

While engaging enough on their own, HICKOK's plot development and dialogue are frequently punctuated by welcome bursts of lead-slinging action that are excitingly staged and pack just the right kind of wallop.

What triggers the main conflict here is Hickok's decision to install one of those highly unpopular bans on guns within city limits, driving customers away from Poe's saloon and hotel. 

Relations between the two deteriorate to the point where coldblooded killer John Wesley Hardin (Kaiwi Lyman-Mersereau, TRADED) is enlisted to eliminate the problem, resulting in one of the film's most surprising and suspenseful twists.

Hemsworth plays the lead role lightly at first--his "Wild Bill" has a mischievous streak and isn't nearly as full of himself as many western heroes tend to be--yet his character gains increasing gravitas as the story progresses.  Physically, he's just right as someone who can take care of himself in a situation requiring fists and/or guns as well as wits.

 

His softer side is demonstrated during a heartfelt scene in which he relates a tall tale of his own derring-do for Mattie's son after he's been shot in the leg, while the Doc (the venerable Bruce Dern adding his considerable presence to the proceedings) digs the bullet out.  Scenes such as this contribute to Hickok's evolution into a serious, thoughtful man with a sincere desire to set things right.

As his nemesis Poe, Trace Adkins (TRADED, STAGECOACH: THE TEXAS JACK STORY, DEEPWATER HORIZON) once again proves an imposing presence well-suited for this sort of robust, old-fashioned western.  Tall, brawny, and possessing a voice like the lower registers of a pipe organ, Adkins ably conveys his character's dark, slowburn anger that will eventually erupt into violence.

Playing fast and loose with the facts--but in the most fun ways--HICKOK harkens back to a time when westerns were populated by actors who actually looked like, and often were, the kind of real men they were portraying.  And when it's time for them to stop talking and start shooting, you can almost smell the gunsmoke.


Opens Theatrically July 7 in Top Markets Including Los Angeles, Chicago and Dallas
Also Available On Demand & Digital HD

Read our original coverage

Watch the Trailer:

HICKOK -- Movie Review by Porfle

STAGECOACH (1986) -- DVD Review by Porfle

 Originally posted on 6/16/2016

 

First things first: John Ford's 1939 production of STAGECOACH is a timeless classic that will likely never be surpassed, and any remake pales in comparison.

That said, I'd also like to add that the 1986 made-for-TV version of STAGECOACH (Olive Films, Blu-ray and DVD) is, despite my initial misgivings and skepticism, a terrific albeit modest Western in its own right.

The story of a disparate group of people traveling by stage through dangerous Apache country is basically the same, but done differently enough to reward our interest.  Not only are the individual stories of these characters engaging, but the ever-present threat of attack by Geronimo and his warriors builds up to an exciting action sequence in the film's latter half that pays off really well, leading then to the climactic shootout in Lordsburg.

One source of skepticism on my part was the overt stunt casting.  Country-western singers abound, especially those of the "outlaw" variety--Willie Nelson, Kris Kristofferson, Johnny and June Carter Cash, and Waylon Jennings play major roles, while Billy Swan, David Allan Coe, and Jesse Colter can also be seen here and there.  What's surprising is that they're all such naturally good actors.  I mean, really good.

A taciturn Kristofferson stands in for John Wayne as the Ringo Kid, a wrongly-convicted prison escapee on his way to Lordsburg to confront the men who murdered his brother. Johnny Cash is Marshal Curly Wilcox, out to capture both men. 

Jennings is gentleman gambler Hatfield, gruff but smooth, who assumes a protective role regarding the pregnant wife (Mary Crosby as Mrs. Mallory) of a cavalry officer stationed near Lordsburg.  Each is not only fully convincing in his role, but, in fact, outstanding.

One interesting difference from the original film is that the character of Doc Josiah Boone, played in 1939 by Thomas Mitchell, has been replaced by none other than Doc Holliday himself.  Willie Nelson fits comfortably into the role, with nary a hint of "novelty" value in his casting.  This inclusion of Holliday as one of the passengers is inspired.

Elsewhere in the cast, "Dukes of Hazzard" co-star John Schneider actually manages to look grizzled as coach driver Buck.  Tony Franciosa (TENEBRE, A FACE IN THE CROWD) does his nervous act as Gatewood, the embezzing banker on the lam, and celebrated oddball Anthony Newley puts in a brief but marvelous appearance as tipsy whiskey salesman Trevor Peacock. 

As fallen woman Dallas who will eventually warm up to Ringo, Elizabeth Ashley puts her broad acting skills to good use.  Merritt Butrick (STAR TREK II: THE WRATH OF KHAN) and Western legend Lash La Rue are also on hand.

While dazzled by such an eclectic yet effective cast, I also found the screenplay by James Lee Barrett (who also wrote the screenplays for THE GREEN BERETS, SMOKEY AND THE BANDIT, and THE GREATEST STORY EVER TOLD) to be consistenty engaging from start to finish, with plenty of sharp dialogue.

Production values are above-average for a TV movie.  In fact, I often felt as though I was watching a feature film despite the occasional fadeout for a commercial. Direction is capably handled by old pro Ted Post, who also helmed such memorable films as MAGNUM FORCE, HANG 'EM HIGH, BENEATH THE PLANET OF THE APES, and THE BABY.

The DVD from Olive Films is in the original 1.33:1 full screen with stereo sound.  Subtitles are in English.  No extras.   

If one lowers expectations just enough to accept a remake of a John Ford classic on its own terms, then this version of STAGECOACH should easily rise to meet them.  As an avid Western fan, it's the kind of Western I love to make an acquaintance with and then get to know better with each repeat viewing.

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Release date: June 21, 2016

STAGECOACH (1986) -- DVD Review by Porfle

THE ISLAND OF DR. MOREAU (1977) -- DVD Review by Porfle

 Originally posted on 8/27/2017

 

I like it when a movie I was totally unimpressed with on first viewing turns out to be much better upon later reappraisal.  If that second viewing comes forty years later, all the better.

I saw THE ISLAND OF DR. MOREAU (Olive Films) when it was released in 1977 and found it rather pedestrian and even sub-par.  Now it seems almost classic in stature somehow--the adaptation seems good although I've not read the original H.G. Wells novel in several decades, the performances, production values, and makeup are fine, and the direction by Don Taylor, a prolific TV director whose screen credits include RIDE THE WILD SURF, EVERYTHING'S DUCKY, and ESCAPE FROM THE PLANET OF THE APES, is nowhere near as artless as I first believed.  (The lighting in the interiors is exquisite.)

In fact, Taylor establishes a strong mood from the first moments shipwrecked sailor Braddock (Michael York) finds himself on the secluded island of Dr. Moreau (Burt Lancaster).  Moreau's compound, including a plantation house that seemed to have been dropped right in the middle of the jungle, is like an oasis of strained civility surrounded by a beast-filled jungle that could be a manifestation of his own dark id.

Braddock becomes enchanted by the beautiful Maria (Barbara Carrera), an exotic woman Moreau's gruff foreman Montgomery (Nigel Davenport) describes as belonging to the doctor although she shows a marked interest in young Braddock.  But it's the doctor's strange experiments that Braddock soon comes to dread--a twisted perversion of scientific endeavor involving the artificial evolution of wild animals into horrific animal/human hybrids, or "humanimals."

These creatures are what place the film into classic "monster movie" territory, a menagerie of fascinating beasts courtesy of 70s makeup masters John Chambers and Tom Burman.  They include the great Richard Basehart as "The Lawgiver", who keeps Moreau's strict commandments against killing or eating flesh but becomes confused when he sees Moreau himself break them, which leads to the film's fiery animal vs. humans revolt.

Lancaster plays Moreau with quiet authority, sans the usual villainy, resulting in an interestingly conflicted character. York gets to emote to his heart's content and is especially good when Moreau makes him the unwilling subject in an experiment on human-to-animal regression.  Nigel Davenport is fine as the gruff foreman who may be on Braddock's side, as is Barbara Carrera in a role seemingly tailor-made for her.  

The DVD from Olive Films is in 1.85:1 widescreen with mono sound and optional English subtitles.  Extras include a commentary by paranormal author Jeff Belanger and horror host Dr. Dreck, a trailer, and an essay by Gorman Beauchamp entitled "The Island of Dr. Moreau as Theological Grotesque."  (This can also be found in the disc's illustrated booklet.)

I can't compare this with the Charles Laughton original since I haven't seen it for many years, but on its own, 1977's THE ISLAND OF DR. MOREAU is a terrific monster flick that mixes interesting philosophical ideas with some perversely delightful elements of the grotesque.



Buy it at Olive Films

THE ISLAND OF DR. MOREAU (1977) -- DVD Review by Porfle

WHITE COMANCHE -- movie review by porfle

Originally posted on 11/2/09
 

In 1966, William Shatner starred as Captain James T. Kirk in episode #5 of "Star Trek:The Original Series", entitled "The Enemy Within", in which a transporter malfunction split him into two people--the good Kirk and the evil Kirk. Two years later, this wealth of Shatners continued when he traveled to Spain during a series hiatus and portrayed twin half-breed brothers in a low-budget, badly-directed and photographed Western called WHITE COMANCHE (1968). Once again, it was a face-off between good and evil Shatners, and a chance for him to lavish us with a double-dose of that eccentric acting style we all know and love.

How bad is this movie? The opening seconds give a good indication since it looks like we're about to see one of those home-movie-quality documentaries about Bigfoot that used to play in smalltown drive-ins. But instead of a big, hairy monster, we see Shatner as Johnny Moon, dressed in denim cowboy duds and riding a horse through the wilderness, while one of the worst movie scores ever written begins to massacre our brain cells. Suddenly he is set upon by a group of men who put a noose around his neck because they think he's his twin brother Notah Moon, who goes around with his band of renegade Comanches and kills the "pale eyes" for fun. Johnny gets away and rides to Notah's camp to await his return, because he's had it up to here with getting blamed for his brother's murderous shenanigans and is itching for a showdown.

Meanwhile, Notah and his motley crew of cut-ups have just attacked a stagecoach and shot all the drivers and passengers except for a beautiful young saloon babe named Kelly (the way-hot Argentinian actress Rosanna Yani), whom Notah gleefully rapes after slapping her around for awhile. It's weird seeing Bad Shatner here, looking like someone dressed in a half-assed Indian costume for Halloween, yelping "Hi-yi-yi!" and wearing that same goofy expression Captain Kirk used to have whenever he was a little too happy for some reason. He would again appear in a similar outfit later that year in the "Star Trek" episode "The Paradise Syndrome", in which the amnesia-stricken Kirk lives among a tribe of space Indians who believe him to be a god named "Kirok."


Anyway, Notah and his men eventually wander back to camp, which looks more like a dumpy commune full of hostile hippies than an Indian encampment. His wife, White Fawn (Perla Cristal, another Argentinian), who appears as though she might be more at home hanging around a bowling alley in the Bronx, has his peyote ready for him. With it, Notah sees glorious visions of his people conquering the pale eyes, and his stirring exhortations of this impending victory, usually delivered while standing on a big rock, keep his followers all jazzed up and ready for action.

But Johnny steps on Notah's buzz by not only criticizing his copious drug use ("Eat the peyote, drug of the Devil...dream your dreams of hate"), but also by challenging him to a showdown in the nearby town of Rio Hondo in four days. After they diss each other for awhile, both enunciating in that rich, familiar Shatner cadence flavored with pseudo-Indian inflections--

"Notah is well-named...his liver is white, like his Yankee father...his heart burns blacker than the skin of his Comanche mother. He's white-bellied, like his name...'The Snake.'"

"Notah's brother talks like the white man he thinks he is. He's afraid...to be Comanche."

--Notah accepts the challenge. In four days, it'll be Shatner vs. Shatner on the streets of Rio Hondo.

On his way to town, Johnny comes upon a group of men getting ready to hang a guy, which seems to be the main source of entertainment in these parts. He outdraws a couple of goons and rescues the corpulent fellow, who explains that the men work for his boss' competitor, and the two big-shot land barons are getting ever closer to all-out war. Later in town, one of the land barons offers Johnny a job, but their negotiations are interrupted when the saloon babe, Kelly, grabs a gun and starts shooting at Johnny because she thinks he's Notah. Then he gets into a big barroom brawl with one of the guys who was about to hang the fat guy earlier, and they demolish every stick of breakaway furniture in the whole place.

Shatner seems to be doing his own stunts here, flying through bannisters and crashing through tables, which is interesting. He's also fighting in that odd, stylized way that Kirk used to do on Star Trek, which looks rather strange at times. After he whups the tar out of his opponent, Johnny finally convinces Kelly that he isn't Notah, because his eyes are a different color (Johnny's are brown, Notah's are black--like his eee-vil soul). Needless to say, they begin to fall in love.

Trying to keep the two warring factions from each other's throats while keeping a suspicious eye on Johnny is Sheriff Logan, played by top-billed Joseph Cotten. A veteran of such classics as CITIZEN KANE, THE MAGNIFICENT AMBERSONS, and GASLIGHT, as well as scores of lesser films and TV appearances, Cotten gives the closest thing to a good performance in WHITE COMANCHE, although that's not saying much considering the competition. I don't know how in blue blazes he ended up in this--maybe he just felt like a vacation in Spain, or maybe the producer was holding his family hostage. At any rate, I doubt if he considered this one of the high points of his career.


As Johnny waits for Notah's imminent arrival, the tension between the two land barons and their men finally explodes into a big, sloppily-staged gun battle in the middle of town, with lot of guys getting shot between the eyes (it seems like anyone who gets shot in this movie gets shot right between the eyes) and falling over balconies and off of roofs and stuff. I never could figure out why getting shot always caused guys to fly forward off of balconies and roofs--it must be some weird Western law of physics that they don't teach us about in school for some reason.

When the dust settles, a whole bunch of guys are dead and the local undertaker will soon be able to afford that summer home in Miami Beach. Johnny is aces with Sheriff Logan now for helping out, and Kelly is ready to settle down with him and start pumping out a bunch of little Johnnies. But all isn't peachy-keen just yet, because here comes Notah, all hopped up on peyote and ready to take Johnny on in a fight to the death. ("You are as the wild duck that sits on the pond," Johnny tells Notah as he draws a bead on him from a bell tower.) Johnny shucks off his white-guy duds and straps on an official Indian headband so that we can't tell the two brothers apart during the exciting battle, stretching our already-frazzled nerves to the breaking point. (Or something like that.) Shouting "Hi-yi-yi!", the two warring Shatners ride toward each other on horseback, guns blazing, and...

...you'll just have to see for yourself how it turns out, which I'm sure you'll be aching to do as soon as possible after reading this. Whether you're a bad movie fan, a member of The First Church Of Shatnerology, or simply a masochist, WHITE COMANCHE is one Western you'll be wanting to get your grubby little hands on. This mind-warping tale of dueling Shatners is the perfect movie to stick into the old DVD player next time you want to get the guys together for a little do-it-yourself MST3K action.

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WHITE COMANCHE -- movie review by porfle

THE VAMPIRE BAT (1933) -- Blu-ray Review by Porfle

 Originally posted on 4/1/2017

 

Who'd have thought, back when we were watching dark, battered prints of this on public domain DVDs, that one day we'd get to see it on Blu-ray in (almost) tip-top shape and in all its original glory? 

Thanks to a new HD restoration by The Film Detective (in conjunction with UCLA Film & Television Archive) that day is today, and the golden-age horror classic THE VAMPIRE BAT (1933) hasn't looked this good in ages.

Sure, there are still imperfections--this thing is ancient, after all, and has been in the public domain for a very long time--but heck, I love for a film to have SOME imperfections, if only for nostalgic value.

For the most part, however, this cinematic treasure is bright, sharp, and clear, and oh, does that glorious black-and-white photography ever look gorgeous.  Especially when the equally gorgeous leading lady Fay Wray is gracing the screen.

Sharing the cast list with Fay is the exquisitely evil Lionel Atwill as Dr. Otto von Niemann, a scientist--a very mad one, as it turns out--conducting some rather unsavory experiments in the laboratory of his castle in a small German village. 

Fay is his unsuspecting lab assistant Ruth, whose boyfriend, police inspector Karl Brettschneider (Melvyn Douglas) is stymied by a rash of murders in which the victims are found dead in their beds, drained of blood, with two puncture wounds on their throats.

In a reversal of the Van Helsing character in DRACULA two years earlier, Karl is the only man in town who DOESN'T believe the deaths are the work of a vampire.  Everyone else suspects Herman, a half-wit who loves bats (of which the village seems to have an inordinate amount fluttering about and hanging from trees).  

Herman is played wonderfully by the great Dwight Frye, in a performance both disturbing and sympathetic.  Dwight deftly blends elements from some of his other characters such as FRANKENSTEIN's hunchbacked assistant Fritz and the cackling madman Renfield from DRACULA.

Here, however, he's simply a pathetic outsider whom the townspeople regard as a pariah and eventually hunt down as members of the usual torch-bearing mob (with the torches beautifully hand-tinted in color as in the original release prints).

Meanwhile, the vampire murders continue to terrorize the countryside as Atwill's supremely sinister Dr. Niemann carries on his unholy experiments.  As in DR. X. and MYSTERY OF THE WAX MUSEUM before it, THE VAMPIRE BAT features yet another climactic encounter between Atwill and seminal scream queen Fay, while Niemann's assistant Emil (played by Robert Frazer of 1932's WHITE ZOMBIE), under Niemann's hypnotic spell, is ordered to kill Karl in his sleep. 

Scripted by Edward T. Lowe (HOUSE OF FRANKENSTEIN, HOUSE OF DRACULA), this independent production has hints of the Universal Pictures style along with some of their familiar players such as Dwight Frye, Lionel Belmore, and Melvyn Douglas (of James Whale's THE OLD DARK HOUSE).

Director Frank R. Strayer (THE MONSTER WALKS, CONDEMNED TO LIVE) has a restrained yet fluid style during the more frenetic scenes, and a pleasingly stagelike handling of the longer dialogue exchanges. 

While nowhere near as stylish as Whale, Strayer does share that director's fondness for comedy relief in the form of Maude Eburne as Ruth's hypochondriac Aunt Gussie. If you enjoy the comedy stylings of Whale favorite Una O'Connor--I do, many don't--chances are you'll find Eburne a welcome relief from the grim proceedings surrounding her character.

Strayer uses lots of wide shots but then rewards us with some frame-able closeups of the lovely Fay and the not-so-lovely Atwill and Frye.  Production design is well-done and highly atmospheric. Some of the laboratory scenes are rather morbid in this pre-Code era.  There's no musical score save for brief snippets of library music during the opening and closing, but this only adds to the somber mood.

The Blu-ray for this special restored edition is in the original 1.33:1 aspect ratio with Dolby Digital sound. It is, in the words of the press release, "restored from a 35mm composite acetate fine grain master and a 35mm nitrate print."  Extras consist of a charming featurette by Film Detective featuring Melvyn Douglas' son, and a wall-to-wall audio commentary by film historian Sam Sherman which is scholarly and informative. 

It's nice to see this neglected gem reintroduced to the public in this form after languishing in the public domain for so long.  For lovers of vintage black-and-white films, golden age horror, Fay Wray, and classic film in general, watching this version of THE VAMPIRE BAT is like viewing fine art or savoring a vintage wine.  That is, if you drink...wine.

http://www.thefilmdetective.com/

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Release date: April 25, 2017

THE VAMPIRE BAT (1933) -- Blu-ray Review by Porfle