HK and Cult Film News's Fan Box

Tuesday, February 14, 2023

DEXTER: THE COMPLETE SIXTH SEASON -- DVD review by porfle



 

Originally posted on 7/31/12

 

If you've read my reviews of seasons three and five of the Showtime series "Dexter", you already know that it's one of my favorite TV shows of all time.  So it's no surprise that, for me, watching the 4-disc DVD set DEXTER: THE COMPLETE SIXTH SEASON is akin to opening the biggest, ribboniest package under the Christmas tree.

While Santa didn't sprinkle quite as much magic happy dust on this present as he usually does, the further adventures of everyone's favorite serial killer still generate a kind of hypnotic watchability that compels me to consume the entire season in one marathon viewing session.  As usual, the main story arc concerns Miami's Finest trying to track down the latest high-profile serial killer to terrorize the city while several side stories allow us to watch Dexter mete out final justice to other deserving killers who have somehow managed to escape formal punishment. 

Chief among these is Ronny Cox (ROBOCOP, TOTAL RECALL) as a crotchety old retiree named Walt whom Dexter (Michael C. Hall) discovers to be his first real role model, a multiple murderer from Oregon who was never caught but, while irritably doddering through his golden years in Miami, may have begun trying to recapture past glories in his chosen field.  Cox seems to be having a ball as the unrepentent old perv while he and Hall play off each other in some of the season's most darkly amusing moments. 

Another interesting side trip for Dex finds him attending his high school reunion to stalk the one-time star football player, suspected of killing his wife--one of the few people who were nice to geeky Dexter back in the old days--and making it look like a suicide.  Here, his always wryly amusing and insightful voiceover observations include this gem: "High school--a small world unto itself, combining all the warmest elements of a federal work camp with those of a third-world poultry farm.  It's a miracle I graduated without killing anyone."


Dexter is shocked to find that his improved looks, cool job (blood-splatter analyst for the Miami PD), and strong sympathy factor (his wife Rita having been murdered by season four's bad guy, John Lithgow) have finally made him popular, which hinders his murderous intentions to a deliciously comical degree.  In fact, some of his misadventures here, including trying to get a blood sample during a touch football game, are about as laugh-out-loud funny as this show gets.

While Dexter's difficult evolution as a human being has been mostly about him simply feeling anything resembling an emotion, he's now developing a strong fatherly affection for his toddler son Harrison while getting even closer to his stepsister Deb (Hall's real-life wife Jennifer Carpenter), a detective on the force.  Season six finds him finally exploring his spiritual side, or lack of one, as he questions the existence of God and the sincerity of one-time killer Brother Sam (Mos Def in a fine performance) who claims to have turned his life around.  The cynical Dexter's relationship with Brother Sam not only proves enlightening but also affords him the opportunity to punish yet another killer who has eluded his just reward. 

All of this serves as a backdrop for the season's main storyline, this time concerning the extremely bizarre murders committed by former college professor Dr. Gellar (Edward James Olmos) and his reluctant acolyte, Travis (Colin Hanks), who believe that their ritualistic acts of murder will set into motion God's final apocalyptic destruction of the human race.  While their characters are pretty interesting and their heinous deeds--in which their victims are used to create gruesome tableaux that will shock and horrify a sinful world--are suitably nightmarish, the "religious fanatic" angle seems a tad tired and overused by now. 

It's as though the show was stuck for a motive this season and simply went back to that old standy, the Book of Revelations, which has always been an endless source of material for writers to fall back on.  Not only that, but Gellar and Travis lurk around in an actual "theme" lair like Batman villains, with a creepy abandoned church serving as their convenient hideout.  Most of their strident rantings on sin and doomsday are the same old familiar stuff, written by writers whose main knowledge of religion seems to consist mainly of what they've seen in other movies about homicidal religious fanatics. 

Still, the storyline is involving enough and it gives the show an excuse for some wildly flamboyant visuals in addition to a chilling mid-season twist that had me doing a doubletake.  Dexter, of course, gets personally involved with the killers and finds himself secretly racing against his co-workers to capture them himself, thus satisfying his urge to kill within the strictures of late stepfather Harry's "rules" (former cop Harry, as played by James Remar, being the one to first recognize young Dexter's true nature and channel it in a more "constructive" direction). 

This places not only Dexter but those he's learning to love in grave danger before it's all over, resulting in some contrived but suspenseful situations (including the now-traditional "capturing of Dexter by the bad guy") that seem straight out of the old Saturday afternoon serials.

As always, Dexter's adventures are the main course but the series is laced with a variety of subplots, each of which holds its own.  The big dramatic threads this time include callow detective Deb being promoted to Lieutenant over Sgt. Angel Battista (David Zayas) as a result of political gamesmanship between former Lieutenant and now Captain Maria LaGuerta (Lauren Vélez) and a Deputy Chief whom she blackmailed to get her promotion. 

In addition to ongoing friction between Deb and LaGuerta, LaGuerta and Battista, LaGuerta and the Deputy Chief, Deb and live-in lover Detective Quinn (Desmond Harrington), and Quinn and partner Battista (scorecards available in the lobby), there's also a subplot in which Deb suspects she's falling in love with Dex--surely one of the show's creepiest developments yet. 

The four-disc, 12-episode DVD set from Showtime, CBS DVD, and Paramount Home Media is in 16:9 widescreen with Dolby Digital sound (English 5.1 surround plus English, Spanish, and French 2.0 stereo) and closed-captions.  Extras include cast interviews and biographies, a photo gallery, and two sample episodes of the Showtime series "House of Lies."  (You can also "unlock additional bonus features on your PC via E-Bridge Technology", whatever the hell that is.) 

Additional note: all four discs begin with the same annoying Showtime promo, which can't be skipped or fast-forwarded through.  This would be bad enough, but the promo contains a HUGE spoiler for the season's shocking surprise ending.  So if you don't want to know about it in advance, avert your eyes!

DEXTER: THE COMPLETE SIXTH SEASON finds our contemplative serial killer wondering what he's going to pass onto his son as he grows older and more aware that Dad isn't quite normal.  I'm anxious to see how Dexter's spiritual and emotional evolution progresses in the next season, just as I am to see more deserving human monsters get what's coming to them at his hands.  But most of all, I can't wait to see what happens right after the blackout of this season's very last episode, one of those abrupt cliffhanger endings that's both awesome and incredibly frustrating. 




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Monday, February 13, 2023

DEXTER: THE FIFTH SEASON -- DVD review by porfle


 

Originally posted on 7/29/11

 

As I may have mentioned before, I'm one of those neanderthals who not only don't have cable-TV, but don't get TV of any kind.  So I've missed out on seasons 1, 2, and 4 of one of my favorite shows, "Dexter."  While other fans argue the comparative merits of each season, I can only say that I thought the season three DVD set was pretty awesome, and now that I've watched DEXTER: THE FIFTH SEASON (which I scarfed down in a single day) I like it even more.

Apparently I missed some big events in Dexter's personal life during the previous season, chief among them being a drastic change in his marital status.  Now our favorite well-meaning serial killer is struggling with the problems of being a single dad dealing with stepkids Astor and Cody and baby Harrison (whom he fears may turn out like him) while trying to maintain his secret lifestyle. 

Twelve-year-old Astor (Christina Robinson) deeply resents him for not being there for his new family when they needed him, and their relationship undergoes some interesting changes.  Likewise with Harrison's kindly new nanny Sonya (Maria Doyle Kennedy), whose saintly demeanor helps to spark Dexter's capacity for fatherly love.



As always, Dexter only kills people who deserve it, thus quenching his dark impulses in a positive way as taught to him by his stepdad Harry (James Remar), a former cop who recognized the potential monster within him and sought to control it.  Michael C. Hall manages to attract and repel at the same time as Dexter, whose victims are such scum that it's hard not to feel the same satisfaction he gets when stalking and killing them. 

This time his job as a blood splatter analyst for the Miami police force (where he works alongside his sister Debra, a homicide detective) involves him in the case of a group of sexual deviants who have kidnapped, tortured, and murdered a dozen women over the years.  While eliminating one of them in his usual ritualistic manner, Dexter stumbles across the thirteenth victim still alive and desperate for revenge.

Julia Stiles gives a moving performance as the physically and emotionally scarred Lumen, who becomes Dexter's new partner in crime.  As the season progresses they form a fascinating bond which both empowers her and gives Dexter his first truly sympathetic soulmate.  Their ongoing story gains increasing momentum as the two race to track down and eliminate each of the killers before Dexter's coworkers beat them to it. 

The chief suspect, a popular self-help guru named Jordan Chase, is played with sinister smarm by British actor Jonny Lee Miller (DEAD MAN'S WALK, PRIME SUSPECT).  Harvey Keitel-lookalike Chris Vance ("Mental") plays his bodyguard Cole, another suspect in the heinous crimes, and fan fave Angela Bettis (MAY, CARRIE) turns up along the way as a mousy woman who may be the secret link between all of the culprits.



There's character conflict galore back at the station as the fiery on-again off-again romance between Dexter's sister Debra (Hall's real-life wife Jennifer Carpenter) and her partner Quinn (Desmond Harrington, WRONG TURN) is further complicated when Quinn begins to suspect Dexter and hires crusty ex-cop Liddy (Peter Weller, aging into a terrific character actor) to spy on him. 

Meanwhile, the marriage of their boss Lt. Maria LaGuerta (Lauren Vélez) and Sgt. Angel Batista (David Zayas) gets pretty rocky when they lock horns over her questionable handling of some current cases.  Sexy Latina actress April Hernandez Castillo (who looks fetish-tastic in uniform) stirs up trouble of her own as an ambitious young policewoman who helps solve a gruesome murder case and ends up trying to squeeze Debra out of her job. 

The four-disc, 12-episode DVD set from Showtime and CBS DVD is in 16:9 widescreen with Dolby Digital sound (English 5.1 surround, English and French 2.0 stereo, Spanish mono) and closed-captions.  Extras include cast biographies, a photo gallery, and sample episodes of other Showtime series.

DEXTER: THE FIFTH SEASON finds the strangely-heroic Dexter searching for his soul as he tries, like so many characters before him, to learn how to become human.  But more than ever, having to juggle the various elements of his persona--family man, respected co-worker, bloodthirsty creature of the night--keeps him up to his neck in precarious, suspenseful, and highly entertaining predicaments in which, lucky for us, everything seems to go wrong.




Third Season Review

Sixth Season Review

Pilot Episode Review



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Sunday, February 12, 2023

DEXTER: THE THIRD SEASON -- DVD review by porfle

 

Originally posted on 8/4/09

 

At first, I was less than captivated by the concept of a TV show whose main character was a serial killer we were supposed to root for. The pictures of star Michael C. Hall as a sweetly-smiling Dexter with a blood-splattered face didn't help. So I wasn't too excited about watching DEXTER: THE THIRD SEASON, a four-disc set containing 12 episodes, up until about halfway through the first episode when it eventually occurred to me that this is one of the most wickedly brilliant and thoroughly entertaining TV shows I've ever seen.

Based on the main character of author Jeff Lindsay's novel "Darkly Dreaming Dexter", Dexter Morgan (Hall) is a blood-splatter analyst for the Miami police department, working closely alongside a group of homicide detectives that includes his own stepsister Debra (Hall's real-life wife Jennifer Carpenter). His own mother having been brutally murdered by a serial killer before his eyes, three-year-old Dexter was adopted by the first cop on the scene, Harry Morgan (James Remar), who recognized the boy's murderous tendencies early on and channeled them into more constructive purposes by teaching him "The Code of Harry." This set of rules allows Dexter to indulge his addiction to killing while choosing as his victims only those who are themselves killers who have eluded justice.

And yes, we do root for him. In season three, Dexter tracks down several scum-of-the-earth killers who have evaded the law, carefully researching their cases to make sure they're deserving of punishment. Then he usually overpowers them with a hypo before treating them to a night in his plastic-draped kill room, where he shows them pictures of their victims before plunging a knife into their chests. I figure if Dexter is driven to do this, then it might as well be hit men, murderous Aryan supremists, other serial killers, etc., right?

Thankfully, though, the show isn't just a kill-of-the-week thing. The twelve episodes in this set comprise a story arc that kept me watching one after another until I'd gone through them all in no time. One of the main storylines is Dexter's potentially doomed attempt to become a more "normal" person, at least outwardly, by marrying his girlfriend Rita (Julie Benz) and being a stepdad to her two kids. Rita's pregnant, giving Dexter a lot to ponder as his impending fatherhood grows nearer. And his increasing commitment to her means less privacy and less time to take care of his personal business, which may become a problem.


Other interesting subplots include stepsister Debra's attempts to earn her detective shield while dealing with an enigmatic new partner, Quinn (Desmond Harrington), who's being investigated by Internal Affairs, and an unexpected attraction to one of their confidential informants, a jazz musician named Anton (David Ramsey), which leads to an ill-advised affair. Likable lug Detective Batista (David Zayas) bites off more than he can chew when he seeks the services of a prostitute out of loneliness and she turns out to be an undercover cop. Oops! Although the series has a rich vein of dry gallows humor running through it (Dexter's mental voiceovers are often hilarious), a more standard "comedy relief" is provided by nerdy Asian lab tech Vince Masuka (C.S. Lee), who will finally start to rebel against his status as the butt of everyone's jokes.

All of which is great, but is nothing compared to the subplot that becomes the driving force of this entire season. Jimmy Smits guest-stars as assistant district attorney Miguel Prado, an old romantic flame of Dexter's commanding officer Lt. Maria LaGuerta (Lauren Vélez) and a passionate crusader for justice who is currently intent on finding the man who murdered his brother Oscar. All signs point to a missing drug dealer named Freebo, but what Prado doesn't know is that Dexter himself killed Oscar in self-defense. Also seeking Freebo for other reasons is a brutal serial killer known as "The Skinner" because he partially skins his victims. (He'll eventually set his sights on Dexter.)

When Miguel Prado and Dexter begin to form an unlikely friendship based on mutual convictions, Dexter's secret is eventually revealed. What happens after that is some of the most riveting television I've ever seen, as the highly volatile Prado takes Dexter's crusade way beyond "The Code of Harry" and into even more dangerous territory which includes settling personal scores and eliminating anyone who stands in his way. We know a confrontation between Dexter and Prado is imminent, and it doesn't disappoint. As Miguel Prado, Jimmy Smits does a brilliant job--it's definitely some of the best work he's ever done and he has a field day in the role.

The writing on this show is consistently scintillating and the direction by the likes of John Dahl (RED ROCK WEST, THE LAST SEDUCTION) and Keith Gordon is spot-on, with no Shaky-Cam or other distracting tricks for added "realism." There's little or no filler, so each subplot is intriguing enough to maintain our interest as we switch from one to the other. One thing I really like about this set is that it doesn't have one of those abrupt, annoying end-of-season cliffhangers--while the future is still uncertain for Dexter and the other characters, most of season three's individual storylines are resolved in a satisfying manner.

The four discs come in two slimline cases with a cardboard box cover. Image is 16.9 and audio is English 5.1 and 2.0 Dolby Digital surround with Spanish subtitles and closed-captioning. Bonus features include the first two episodes of Showtime's "The United States of Tara" starring Toni Collette, "Dexter" cast and crew biographies, and a photo gallery. We're also invited to "unlock additional bonus features on your PC via Ebridge technology" in order to enjoy cast interviews, the first two episodes of "The Tudors: Season 3", "Dexter By Design" book excerpts, and more.

DEXTER: THE THIRD SEASON is one of those fortunate cases in which I had little or no initial interest in watching a show and ended up not only extremely impressed, but also a devoted fan. I don't know if the first two seasons were better, as some say (I hope to judge that for myself as soon as possible), but in any case this is just downright great television.


Fifth Season Review

Sixth Season Review

Pilot Episode Review

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Saturday, February 11, 2023

CHILLERAMA -- DVD review by porfle


Originally posted on 12/11/11

 

When a group of monster-fan filmmakers get together and make an anthology flick that they say is inspired by their love of such things as Forry Ackerman's "Famous Monsters of Filmland" magazine and movies like TALES FROM THE CRYPT, it instantly gets my inner Monster Kid's attention.  But when the result is as uneven as CHILLERAMA (2011), the Kid has to give it one thumb up and one thumb sorta wavering between three and six o'clock.

Directors Adam Rifkin (LOOK, DETROIT ROCK CITY), Tim Sullivan (2001 MANIACS), Joe Lynch (WRONG TURN 2: DEAD END), and Adam Green (HATCHET) certainly show their love for the horror genre and "B" pictures of the 50s and 60s in particular with this parade of comedy carnage that's a send-up of the stuff we used to watch at the local drive-in.  The wraparound segments even take place at one--the Kaufman (as in Troma's Lloyd Kaufman, one of the film's many in-jokes), which is putting on one last all-night marathon of ultra-rare horror films before being torn down by Blumpco Industries. 

The boys do a good job of capturing the flavor of an old-fashioned night at the drive-in, with giddy film fans snuggling in their cozy cars in front of the big screen (which shows vintage trailers and refreshment bumpers) or hiking to the festive concession stand to stock up on junk food.  Familiar character actor Richard Riehle plays owner Cecil B. Kaufman, who spends the evening in the projection room pining over old times while toying with the idea of blowing his brains out.  Among the audience are good-natured hunk Miller (Ward Roberts), who has a crush on cute concession stand girl Desi (Laura Ortiz), and teens Tobe and Mayna (Corey Jones, Kaili Thorne), who have a crush on each other.



So far, so good, and the first movie on the menu is the best--Adam Rifkin's deliriously whacky "Wadzilla", the story of nebbishy business exec Miles Munson (Rifkin) seeking medical help for his fertility problem.  It seems that instead of producing lots of sperm cells, Miles can only manage one, so Dr. Weems (Ray Wise, "Twin Peaks") suggests a new, untested drug called Spermupermine.  Unfortunately, the drug only increases the size of Miles' one sperm cell which, after he's forced to "eject" it during a blind date with sexy Louise (Sarah Mutch), grows to monstrous proportions and begins to terrorize the city. 

Rifkin is surprisingly hilarious as Miles and displays a real talent for physical comedy while grappling wildly with the slippery creature during its early development.  Its rampage through the city streets, reminiscent of THE BEAST FROM 20,000 FATHOMS and similar giant monster flicks (including Woody Allen's EVERYTHING YOU ALWAYS WANTED TO KNOW ABOUT SEX) is rendered with intentionally cheesy SPFX by the Chiodo brothers, including lots of stop-motion and puppetry, and comes to a climax (yes, yes, that was intentional) when the humongous sperm meets the one woman big enough to handle it--the Statue of Liberty.  Eric freakin' Roberts makes a welcome appearance as the frantic General Bukkake, who gives the order to commence "Operation Money Shot" before the sticky finish.

The bad thing about "Wadzilla" is that when it's over, CHILLERAMA has pretty much shot its wad and most of what comes after it suffers in comparison.  Tim Sullivan's "I Was a Teenage Werebear" tries really hard but this gay-themed spoof of troubled teen dramas, beach party flicks, and GREASE-type musicals never comes together as crisply as this sort of thing needs to in order to be effective.  The story of sexually-confused high schooler Ricky (controversial gay-porn star Sean Paul Lockhart) being seduced to the "dark side" by bad boy Talon (Anton Troy) and his werebear gang ("bears", incidentally, are big, hairy, leather-clad gay guys) is colorful and frenetic, yet most of the frat-level gay humor falls flat and the musical numbers are amateurish.



Sullivan, who is gay himself, does a nice turn as Ricky's burly gym coach, while Lin Shaye of KINGPIN and THERE'S SOMETHING ABOUT MARY isn't up to her usual standards in a take-off of the Maleva character from the Universal "Wolf Man" films.  The segment ends with the werebears attacking a beach concert and causing some HORROR OF PARTY BEACH-type chaos while Ricky, who has succumbed to the werebear curse himself, pleads for peace and understanding between the gays and straights.  While well-meaning and energetic, with a couple of funny scenes here and there, "I Was a Teenage Werebear" never really clicks.

Adam Green is up next with what is clearly the most eye-opening title, "The Diary of Anne Frankenstein."  Here, we discover that the Franks, a Jewish family hiding from the Nazis in a cramped attic in World War II (which, of course, really happened), are actually the Frankensteins and that young Anne possesses the diary of her grandfather, Dr. Frankenstein (which, I'm assuming, is made up).  Suddenly, Hitler himself and some Nazi goons bust the door down and, after a few comedy antics, gun down the Franks and steal the diary, with which Hitler and his sexy girlfriend Eva then create a hulking patchwork creature (out of "work camp parts") who resembles a cross between the Frankenstein Monster, Popeye, and a Hasidic Jew.

Whew.  Well, needless to say, this is some pretty wild and potentially offensive material, but Green attacks it with enthusiasm and creativity and so does his cast.  Shot entirely in subtitled German and in 30s-style black and white with a faux-ravaged look, this richly-photographed film is positively inexorable in forcing us to accept its comedy premise and laughing along with a crazed, screaming Hitler as manically played by Joel David Moore (AVATAR, HATCHET) in full mad doctor mode.

There's so much unrelenting wackiness going on here that much of it really is pretty funny if you let your defenses down, especially when Kane Hodder's one-of-a-kind monster comes to life--he's wonderful in the role, subtly expressive through a ton of incredible monster makeup and proving himself a talented comedian as he reacts dubiously to Hitler's insane rantings.  Eventually realizing his origins, he turns on his creator in an orgy of Jewish-revenge-porn violence (making this sort of a companion piece to INGLORIOUS BASTERDS) that's filled with chocolate-sauce blood, god-awful gore effects, and fourth-wall breaking.  And as if that weren't enough, Kane Hodder even gets to dance. 



A fourth film called "Deathication" begins to unwind upon the screen before its non-stop barrage of extreme scat jokes and visuals is mercifully cut short when CHILLERAMA's actual final segment, "Zom-B-Movie" (directed by Joe Lynch), takes over.  As seen in the film's prologue, drive-in employee Floyd (Miles Dougal of Rifkin's LOOK film and TV series) has become infected with a zombie virus after some graveyard necrophilia with his dead wife goes wrong, and he somehow spreads it to the theater patrons via an open can of popcorn butter. 

Thus, our heroes Miller, Tobe, and Mayna, along with the redoubtable Mr. Kaufman, find themselves in the middle of an undead sex-and-cannibalism orgy that invites comparison to better films such as Peter Jackson's DEAD ALIVE and Sam Raimi's EVIL DEAD trilogy and is packed with endless references to other flicks as well.  Stuffed with as much action, gore, and zombie makeups as the budget would allow, the sequence is fun but not particularly inspired, and becomes somewhat tiresome before it's done. 

The DVD from Image Entertainment is in 1.78:1 widescreen with Dolby 5.1 surround sound and subtitles in English and Spanish.  Bonus stuff includes a commentary with all four directors, "Wadzilla" deleted scenes and trailer, "The Making of 'The Diary of Anne Frankenstein'", "I Was a Teenage Werebear" extras (making-of, deleted scenes, and trailer), "Zom-B-Movie" deleted scenes, director interviews, and the film's trailers.  The marathon closing credits crawl also features a lot of extra footage including a kickass music video for Young Beautiful In a Hurry's "I Don't Want to Die a Virgin" by Brendan McCreary.

Despite the fact that it isn't as perfect as I wanted it to be, CHILLERAMA gets goodwill points just for being what it is--a love letter to the Monster Kid in all of us.  It's worth watching for its good parts (especially "Wadzilla") and the overall atmosphere of nostagia it evokes for a time when going to the drive-in to watch a few cheap horror flicks was just about one of the most fun things you could imagine doing.



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Saturday, February 4, 2023

PAGAN LOVE SONG -- Movie Review by Porfle



Originally posted on 2/20/16

 

Like an exotic postcard from Tahiti come to life, PAGAN LOVE SONG (1950) is a Technicolor fantasia with Esther Williams looking gorgeous in brown body makeup and two-piece outfits as the half-Tahitian Mimi.

Bass-voiced Howard Keel is "Hap" Endicott, a teacher from the USA who just inherited some land with a bamboo shack on it and wants to kick back and become a native. Even though Mimi has plans to move to the States just as Hap is settling in, we know that they'll get together somehow.

This is easily one of Esther's prettiest yet dumbest films. Keel plays Hap like a big, grinning oaf who belts out some of the worst songs ever written (subjects include his singing bamboo house and how much fun it is to sing in the sun on a bicycle) while blundering his way around the island like a newborn giraffe.


He gets along great with the natives (one of whom is played by a very young Rita Moreno), since they're all portrayed as a bunch of addle-brained children themselves. It's enough to make one yearn for the cultural authenticity of an Elvis Presley comedy.

Keel works overtime trying to force some feeling into the nonsensical songs that are shoehorned into the slim plot but he has little to work with--he was much more at home in robust musicals such as ANNIE GET YOUR GUN and SEVEN BRIDES FOR SEVEN BROTHERS. Plus, incredible as it may seem, he and Esther have about as much romantic chemistry as a couple of cocoanuts.

After the movie has toodled along with nothing much going on until almost the end, an awkward and overly melodramatic plot twist is dropped right in the middle of it like an anvil in order to remind us that there's supposed to be a story.


The only things PAGAN LOVE SONG has going for it--besides one of those cool SPFX water fantasies that glorifies Esther Williams as a sort of aquatic goddess--are the lush scenery, a really cool Tahitian dance sequence, and the fact that the star looks so good at times that it's almost unreal. (Amazingly, a look at the musical outtakes reveals that the film's best songs aren't even in it!)

If you can turn off your critical faculties for an hour and a half and watch PAGAN LOVE SONG purely on a superficial level, you might enjoy it. Otherwise, this movie is so stupefyingly slight that it makes DONOVAN'S REEF look like a James Michener epic.

Read our review of TCM SPOTLIGHT: ESTHER WILLIAMS VOL.2




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Friday, February 3, 2023

PARLIAMENT FUNKADELIC: THE MOTHERSHIP CONNECTION LIVE 1976 -- DVD review by porfle

 

Originally posted on 12/3/08

 

I enjoyed black music a lot more back in the 60s and 70s, in the era of soul, rhythm and blues, Motown--all that cool stuff that sounded so great coming out of my cheap speakers. And I miss funk. I never really bought that many funk albums but it was nice having it around. That's why I'm glad Shout! Factory has released PARLIAMENT FUNKADELIC: THE MOTHERSHIP CONNECTION LIVE 1976, because it's a reminder of just how much giddy fun this kind of stuff was.

Recorded at the Summit in Houston, Texas on Halloween night, this concert lasts about eighty minutes and consists of fourteen songs, all driven by that throbbing beat like one solid, ever-changing slab of funk. "Cosmic Slop" starts things off with some exquisite acid-rock lead guitar by Michael Hampton and is my favorite part of the concert because of it. This guy is really good. So is diaper-wearing rhythm guitar player Garry Shider, whose silky vocals are nicely reminiscent of Curtis Mayfield. 
 
"Do That Stuff" and "Gamin' On Ya!" introduce the wild man himself, George Clinton, in the first of a series of freaky costumes and characters. We also meet his beautiful back-up singers Jeannette Washington and Debbie Wright, who add much to the show's already stunning visual appeal, and a solid horn section with Maceo Parker on sax and Rick Gardner on trumpet. Clarence "Fuzzy" Haskins takes James Brown-style lead vocals while wearing a bug-eyed mask on the rousing "Standing On the Verge of Gettin' It On", and Clinton keeps the groove going with "Undisco Kidd." 
 
After the acapella interlude of "Children of Productions", singer-guitarist Glenn Goins takes over on "Mothership Connection (Star Child)" and "Swing Down Sweet Chariot." My favorite singer of the bunch, his soulful vocals manage to bring down the Mothership itself, a light-flashing, smoke-spewing spaceship that's as elaborate as the tour's budget would allow. Out steps Clinton as super-pimp "Dr. Funkenstein" and the show kicks into high gear with "Comin' Round the Mountain", "P-Funk (Wants to Get Funked Up)", and "Give Up The Funk (Tear the Roof Off the Sucker)." The finale, "Night of the Thumpasorus Peoples", brings opening acts Bootsy Collins' Rubber Band and Sly and the Family Stone (minus Sly, who was who-knows-where at the time) back onstage for the grand send-off of the Mothership. "Funkin' For Fun" serves as an encore. 
 
This is music made for pure fun, combining soul, Hendrix-style acid rock, a little disco, and touches of James Brown and Curtis Mayfield all mixed together into one cosmic stew with George Clinton as its spaced-out ringmaster. The musicianship is first-rate but the mood is mostly playful, with party-time lyrics that sometimes predate Andrew "Dice" Clay--
 
"Little Miss Muffet sat on her tuffet
Snortin' some THC
Along came a spider, slid in beside her
Said, 'What's in the bag, bi**h?'"

--which are beautifully counterpointed at times by the soul stylings of Goins and Shider and the straight-ahead funk of Haskins. 
 
The only drawback to this DVD, which is presented in full-screen with 5.1 sound, is the source material. The lighting is too dark, the camera meanders around looking for action instead of anticipating it (we miss a lot), and the unseen audience can barely be heard, which detracts from what should be an exhilarating communal experience. 
 
Still, it's too late to go back and re-record the event so it's nice to have this record of it despite its flaws. At any rate, this DVD is well worth checking out for anyone in need of a dose of that P-Funk. 
 
 

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Wednesday, February 1, 2023

PROJECT MOONBASE (1953) -- Movie Review by Porfle

 


Originally posted on 5/29/21

 

Currently watching: PROJECT MOONBASE (1953). This is one of those lower-tier 1950s space thrillers that's fascinating to watch in order to see how various filmmakers envisioned humankind's impending forays into outer space.

While some, such as CAT-WOMEN OF THE MOON and FIRE MAIDENS FROM OUTER SPACE, are just pure goofball cheese, this one at least attempts to be a sober, imaginative forecast of a future in which a huge space station orbits the Earth and serves as both a receptacle for shuttle rockets from Earth and a launch pad for LEM-like vehicles to carry astronauts on to the moon and back.

Legendary sci-fi author Robert Heinlein still seems to be cutting his literary teeth here, co-writing the story and screenplay with a callow earnestness that, while fun and somewhat intriguing at times, lacks any hint of his later brilliance.


 

 
The story involves a plot by foreign agents to put an impostor aboard a moon mission sponsored by space agency "Spacom". After the expedition has scouted a suitable landing place for a future mission, the spy will then cause the ship to crash into the space station upon its return, destroying both along with all inhabitants.

Special effects are mildly impressive considering what must've been a pretty low budget, while still retaining ample cheesiness to satisfy "so bad it's good" addicts such as myself who just can't stop watching these hokey space yarns.

Besides the spy, the moon mission crew consists of able female pilot Colonel Briteis (Donna Martell) and Ross Ford as Major Moore, her hardy second-in-command. ("I Dream Of Jeannie" regular Hayden Rourke plays their Earthbound superior, General Greene.) 

 


The fact that Major Moore is also Colonel Briteis' former lover and they broke up under less than amicable circumstances leads to the expected space-friction between the two, which we also expect will be resolved in suitably romantic fashion before the fadeout.

Space station scenes are fun, with the combination of zero gravity plus handy grip shoes making it possible for everyone to walk around on both the floors and ceilings. (Numerous signs remind them: "Please Do Not Walk On Walls.")

Rocketship and moon lander models and effects are basic but adequate, as are the rocky, mountainous moon exteriors with a brilliant starfield suspended over them. 

 



The spacecraft interiors are the usual familiar 1950s-type designs, but somewhat less slapdash and rinky-dink than most.  

G-force accelerations are accompanied, as one might guess, by those silly shots of astronauts lying immobile in their reclining seats as their faces are stretched into ludicrious fixed grimaces.

The crew's flight uniforms consist of light, form-fitting T-shirts and shorts, which, I must say, make Donna Martell one of the film's most pleasing visuals. Others will have to assess their aesthetic effect on the remaining crewmembers.

 

 


I've been eating up these goofball 1950s space thrillers like ice cream for the last few months or so, reliving childhood memories and finally catching up with ones I've missed all these years.

As one of the latter, PROJECT MOONBASE comes through as a prime example of its delightfully odd genre, making it satisfying entertainment for those who savor this kind of fare.

 

 


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Tuesday, January 31, 2023

SANTA FE STAMPEDE -- Movie Review by Porfle

 


Originally posted on 4/14/21

 

Currently watching: SANTA FE STAMPEDE (1938), starring John Wayne, Max Terhune, and Ray "Crash" Corrigan as "The 3 Mesquiteers."

This horse opera is no better or worse than a lot of Duke's "B" westerns from the 30s, which means it's mildly enjoyable while also being wholly unremarkable.  

(I won't mention the fact that there aren't even any cattle in the movie, and thus no titular "stampede.")

 


The plot is the usual stuff about a town bigwig with a sinister plot to make a bundle of easy money at the expense of innocent townsfolk, with Duke getting wrongly accused of murder in the bargain.

The thing that sets it apart is that something happens midway through that's so shocking, and such a horrific downer, that it casts a pall of tragedy over the rest of the film from which it never recovers.

It's so bad, in fact, that seeing the main villain get punched unconscious by our hero at the end doesn't even begin to give us the vengeance we crave.

 


Nor does the traditional weak bit of comedy relief at the fadeout seem in any way appropriate for characters who should still be in a state of profound grief and outrage.

Probably the most noteworthy thing about it is that only a scant year later, John Wayne would finally become a major Hollywood star in John Ford's classic STAGECOACH.

But just as the horrific passenger plane crash in DIE HARD 2 lingered over that film's attempts at a feelgood ending, SANTA FE STAMPEDE's mid-film shocker plunges a hot branding iron through its modest enjoyment value.



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Sunday, January 29, 2023

AFTER.LIFE -- DVD review by porfle


 

Originally posted on 8/10/10

 

After a promising start, AFTER.LIFE (2009) gradually starts to resemble its protagonist--you're never really sure if it's alive or dead.

Christina Ricci is ideally cast as a grade school teacher named Anna Taylor, whose unhappy past makes it hard for her to love or accept love from others.  This gums up her relationship with fiance' wannabe Paul (Justin Long), and after a senseless argument Anna drives off into the rain and has a bad crack-up.  But instead of waking up in a hospital, Anna finds herself lying on a slab in a funeral home, whose creepy director, Eliot Deacon (Liam Neeson) tells her she's dead and that he will now guide her into the afterlife.

This is director Agnieszka Wojtowicz-Vosloo's feature debut, and her film is beautifully photographed.  There's a formal composition in some shots that reminded me of Kubrick, and she creates a strong Gothic atmosphere inside that gloomy, spacious funeral home.  She also makes the most visually of her leading lady (whose "Wednesday Addams" vibe remains undiminished), framing and posing her with an artist's eye as the camera lingers over her fascinating face and often-nude form.


But what could've been a deliriously dark chiller along the lines of PHANTASM, with a dollop of DEAD AND BURIED's autumnal morbidness thrown in, never really establishes a compelling mood or manages the kind of scares that it tries so hard to deliver.  The mystery of whether or not Anna is really dead loses steam when the film begins to drag about halfway through and can't decide if her predicament is supernatural or merely part of the deranged Deacon's bizarre fantasy world.
 

Some of the curiously ineffective horror scenes end with a character waking up as though it were all a nightmare, while other unexplained occurrences, such as a bobble-head doll whose gaze seems to follow Paul and other inanimate objects behaving strangely, appear to be real.  In some films, depending on how it's handled, such ambiguity might actually be effective, but here, it feels indecisive and misleading. 

Ricci does her best to sell it all as no one else could and is both convincing and fun to watch.  (Seeing her naked for about a third of the film definitely doesn't hurt.)  Neeson is a bland boogeyman and is pretty much the same throughout the film, never developing into the figure of fright that he might have--in other words, he's no Angus Scrimm.  As the haunted boyfriend Paul, who's convinced that Anna's still alive although nobody believes him, Justin Long is just bland.  I like him in films such as GALAXY QUEST and LIVE FREE OR DIE HARD, but here he seems miscast.


The DVD from Anchor Bay is in 2.40:1 anamorphic widescreen with Dolby Digital 5.1 surround.  Subtitles are in English and Spanish.  Extras include a director's commentary, a making-of featurette, and a trailer.  One curious thing about director Wojtowicz-Vosloo's comments on the film is her mention of various visual "clues" a la THE SIXTH SENSE, which is odd since the two films are nothing alike.  The latter has a clearly-defined game plan for the viewer to play by, while this one's pretty much all over the place.

Probably the most disturbing thing about AFTER.LIFE is Deacon's wall filled with Polaroids of the people he's ushered into the next world.  All are lying in coffins, but while some are clearly dead, others are wide-eyed, immobile, and aware.  Being buried alive is a potent fear for horror films to exploit, but this one doesn't seem real enough to make us feel as though it's actually happening.  By the time we've hashed over all the inconsistencies of the story and have sorta decided whether or not it's all just somebody's nightmare, it's too late to feel much about it.



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Wednesday, January 25, 2023

INNERSPACE -- Blu-ray Review by Porfle



 

Originally posted on 7/30/15

 

If you've ever seen FANTASTIC VOYAGE (1966), you know that piloting a tiny miniaturized submarine around inside a human body is serious business. Surprisingly, though, there can be a funny side to the whole thing as well, which director Joe Dante (GREMLINS, THE HOWLING) explores in his frenetic 1987 sci-fi comedy INNERSPACE.

It's not a raucous laugh riot exactly, and I only guffawed out loud a few times, but darn if it isn't just a lot of fun to watch. This is mainly because of a well-balanced blend of sci-fi action and excitement with the wild, improvisatory comedy stylings of funnyman Martin Short, he of the classic run of "SCTV" episodes on NBC-TV and Cinemax back in the 80s. (Two of his fellow SCTV alums, Joe Flaherty and Andrea Martin, have a welcome cameo in one early scene.)

The story begins with military burn-out Lt. Tuck Pendleton (Dennis Quaid) messing up his relationships with both Uncle Sam and girlfriend Lydia (Meg Ryan during an especially cute phase in her life) in two fell swoops. Quaid is like a burn-out version of his cocky test pilot character in THE RIGHT STUFF, down on his luck and needing something drastic--like volunteering for a highly dangerous experimental project--to un-wreck his military career.


The project turns out to involve shrinking him and his tiny one-man sub to microscopic size and injecting him into the bloodstream a live rabbit, which seems entirely reasonable to Tuck until--following a cool shrinking sequence--the experiment is interrupted by a gang of industrial thieves which include sexy mean lady Fiona Lewis (DEAD KIDS, THE FURY) and Vernon Wells, the guy who played "Wez" in THE ROAD WARRIOR and is here a nattily-dressed hit man with a robot gun-hand (literally) and a sweet tooth for killin' folks.

Long story short, microscopic Tuck gets injected not into the rabbit but into the left butt cheek of neurotic Safeway checkout clerk Jack Putter (Martin Short), who's already so nervous that he's under doctor's orders to take a long, unexciting vacation. Suddenly, however, he's got a tiny guy named Tuck zipping around in his bloodstream and some very bad and violent people coming after him at every turn.

The result, as you might guess, is a succession of suspenseful chases, furious fights, and other close calls, with Tuck serving as Jack's "inner voice" and directing his actions while at the same time having his own difficulties navigating through Jack's overstimulated circulatory system and, in one scene, dangling precipitously over an ocean of roiling stomach acids.


Of course we all know that during the course of this high-spirited adventure Tuck will perform valiantly and get his old "mojo" back, and that Short's nerdly character will come through it all a hero as well and maybe even win over his fellow Safeway employee Wendy (Wendy Schaal) for whom he has the unrequited hots. And also that Tuck will get back together with Lydia after she helps him and Jack defeat the bad guys.

Unless, that is, you think there's a chance that they'll all get killed and the bad guys will win, and that INNERSPACE will have one of those horrible downer endings like THE PARALLAX VIEW or EDEN LAKE or something, in which case I guess it will be even more suspenseful for you because you really won't know what's going to happen next, so I guess that's okay.

At any rate, there are two levels of action here--what's going on with Quaid in "innerspace", and how nebbishy Short is handling his sudden plunge into danger and intrigue in the regular-sized world. Both are exciting enough while maintaining the right amount of comedy, especially with Short's seemingly limitless skills in that area. This is true even though he's downplaying much of his usual manic intensity here in order to keep his "normal guy" character on a semi-believable level. (Although he does get to do something resembling his celebrated "Ed Grimley" dance.)


Short, as many of us know, ushered in SCTV's greatest era as a comedy troup with his awesome (and woefully underappreciated) talents, and probably did much the same for SNL except I had stopped watching the show by that time. (The one-two punch of Joe Piscopo and Billy Crystal sorta killed it for me.) Given a good opportunity to do his magic, Short is a brilliant comic performer and proves it here yet again.

Visually, INNERSPACE is a wonderfully nostalgic look at how SPFX artists used to handle stuff like this before they could simply whip it all up digitally. Which means, for me, that all the shots of Quaid's craft zipping through Short's internal organs and circulatory system look way more interesting than they would if this were a CGI fest. Credit for this belongs, for the most part, to such familiar names as Dennis Muren, Rob Bottin, and the gang at Industrial Light and Magic.

Further nostalgia comes from a wonderful cast filled with B-movie greats, cult stars, and other recognizable faces that may have some viewers agog the whole time. Kenneth Tobey has a funny line during a men's room scene with Short. Rance Howard and Looney Tunes superstar Chuck Jones are in the periphery during a tense scene in Safeway between Short and the legendary Kathleen Freeman. Dick Miller, William Schallert, Orson Bean, Henry Gibson, Kevin Hooks, and Archie Hahn also turn up here and there.


In more substantial roles are Robert Picardo (THE HOWLING, "Star Trek: Voyager") as international stolen goods dealer "The Cowboy" and beloved INVASION OF THE BODY SNATCHERS star Kevin McCarthy in a hilarious turn as Victor Eugene Scrimshaw, the eccentric millionaire who wants the secret of the shrinking machine for himself.

The Blu-ray from Warner Home Video is in 16x9 widescreen with Dolby 5.1 English audio and 2.0 French and Spanish audio. Subtitles are in English, French, and Spanish. Extras consist of a trailer and an entertaining commentary track with director Joe Dante, producer Michael Finnell, costars Kevin McCarthy and Robert Picardo and visual FX supervisor Dennis Muren.

INNERSPACE is that rare sci-fi comedy where both the comedy and the sci-fi are well-served. It's also the ultimate "buddy" flick. But mainly, it's a case of director Joe Dante and his marvelous cast seemingly having a ball making a movie, and it's infectious.

Buy it at the WBShop.com
Street date: Aug. 4, 2015
Stills used are not taken from Blu-ray


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Sunday, January 22, 2023

SO SWEET...SO PERVERSE -- Blu-ray Review by Porfle




 Originally posted on 7/22/20

 

(SO SWEET...SO PERVERSE is part of the "Lenzi/Baker 4-Volume Blu-ray Collection" which also includes ORGASMO, A QUIET PLACE TO KILL, and KNIFE OF ICE.)


Another sumptuous entry in the late 60s 4-film collaboration between Italian director Umberto Lenzi (EATEN ALIVE) and exalted Hollywood actress Carroll Baker, SO SWEET, SO PERVERSE (Severin Films, 1969) takes us to Paris for a giallo tale of dangerous romance and deadly revenge that lives up to its title.

The first half of the story is standard romantic intrigue of the kind that gives the rich and famous something exciting to occupy their time. Wealthy businessman Jean (Jean-Louis Trintignant) is a man's man but endures a loveless marriage with cold fish Danielle (Erika Blanc) until he's driven into the arms of the beautiful but haunted Nicole (Carroll Baker), who just moved into the penthouse suite above their Victorian apartment building.


It's the stuff of naughty pulp romance fiction, as unhappily-married Jean's dalliance with alluring Nicole plays out amidst lavish playgrounds of the wealthy even as her constant fear of violent stalker Klaus (Horst Frank) remains forever between them.

The plot kicks into gear when Jean discovers that Klaus has actually been hired to kill him by person(s) unknown, with Nicole as the unwilling bait in the trap.

Now it's a matter of Jean and Nicole working together to foil the murder plot while finding out who's behind it. Is it Danielle, or is it someone we've yet to meet or suspect?


It all sounds rather predictable, but director Lenzi isn't done yet because there are better and more shocking plot twists to come. This makes the film increasingly involving and suspenseful as it strings us along, not knowing what's going on or who to trust, and at times even unsure who's dead and who's alive.

Dynamic direction and editing create a pleasing visual flow that makes Lenzi's films easy to watch.  As with his previous Baker starrer ORGASMO, production values are fairly lavish and there are some great found locations including that beautiful old apartment building with its cast-iron elevator and winding stairs. Other locations such as the sun-blanched French seaside and the bustling Parisian cityscapes are eye-pleasing.

Jean-Louis Trintignant (THE GREAT SILENCE) makes a likable hero as Jean, while the redoubtable Carroll Baker as Nicole can't help but captivate even in a role that doesn't really stretch her considerable talents all that much.


Needless to say, she attracts attention every moment she's on the screen, especially during her brief nude scenes. Horst Frank as the vile Klaus and Erika Blanc as pathetic Danielle also acquit themselves well.

The 2-disc Blu-ray from Severin Films features a fine-looking print that's fully restored in a new 2k scan from the original negative. Audio is in both Italian and English mono, with English subtitles.

The 2nd disc is a CD containing the musical scores of this and another Lenzi film, A QUIET PLACE TO KILL, as well as the main theme for another of his giallo films KNIFE OF ICE. The usual generous bonus menu contains extras listed below.

More of a dark romantic thriller than the typical bloody, knife-edged giallo (only one stabbing and it's off-camera), SO SWEET...SO PERVERSE keeps us interested thanks to a fine cast and engaging plot that pulls a few nasty but nice surprises on us. And as always, any chance to watch the divine Carroll Baker in action is its own reward.



Disc Specs for So Sweet… So Perverse:

    Aspect ratio: 2.35:1
    Audio: Italian mono DTS, English mono DTS
    Subtitles: Subtitles for Italian audio / SDH for English audio
    Region FREE


Special Features for So Sweet… So Perverse:

    Audio Commentary with Kat Ellinger, Author of ‘All The Colors Of Sergio Martino’
    Lenzi’s Lenses: Backstage Chat with the Director at The 1999 Nocturno Film Festival
    Equilateral Triangle: Screenwriter Ernesto Gastaldi on Lenzi
    Trailers
    Alternate Credit Sequence
    BONUS CD: So Sweet… So Perverse & A Quiet Place To Kill Remastered Soundtracks Plus Bonus Track: Knife Of Ice (Main Title Theme)





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Saturday, January 21, 2023

A QUIET PLACE TO KILL -- Blu-ray Review by Porfle




Originally posted on 7/23/20

 

(A QUIET PLACE TO KILL is part of Severin's "Lenzi/Baker 4-Volume Blu-ray Collection" which also includes ORGASMO, SO SWEET...SO PERVERSE, and KNIFE OF ICE.)

You know you've hitched a ride on a fun movie when A QUIET PLACE TO KILL, aka "Paranoia" (Severin Films, 1970) opens with a scene as cool as Hollywood legend Carroll Baker (BABY DOLL, THE CARPETBAGGERS, HARLOW) casually donning a crash helmet and hopping into her souped-up racecar for a few high octane laps around the track.

Director Umberto Lenzi, who also directed Carroll in ORGASMO, SO SWEET...SO PERVERSE, and KNIFE OF ICE, seems to be having fun himself at the helm of this light, colorful giallo that breezes through some of the most outlandish plot twists that a decadent cast of wealthy sophisticates could get themselves into on the scenic seacoast of Spain.


The divine Miss Baker plays Helen, whose unfortunate racecar crack-up lands her in the hospital. There, she gets an invitation to convalesce at her ex-husband Maurice's oceanfront villa.

Despite the fact that she tried to kill the handsome but difficult young cad before their divorce, Helen motors her way there only to discover that Maurice has since gotten remarried to Constance, who was, in fact, the one who sent Helen the invitation.

Why, you may ask, would the current wife of Helen's ex-husband extend such an invitation to a woman for whom he most likely still harbors feelings of love, or, at least, lust?

Well--and this is the only big surprise I'm giving away because it happens fairly early and because I have to have something to talk about--it's because Constance wants to pay the cash-strapped Helen to help her murder Maurice.


While that would be enough story material for most movies to pad out till the fadeout, A QUIET PLACE TO KILL is just bursting out of the gate with this giddy revelation.

What follows is a veritable funhouse of plot twists, double-crosses, and other surprises, all involving Maurice and Constance's inquisitive friends as well as Constance's suspicious young stepdaughter, Susan, who returns home from school at the most inopportune time.

The film's original title, "Paranoia", is especially apt when the web of suspicion begins to weave itself inexorably around the guilty parties.

Lenzi's talent for setting such intrigue against beautiful and opulent backdrops is on full display here as watching the film feels a bit like a vicarious vacation in Spain.


It's a sharp contrast to the deadly events portrayed, although as a giallo this is still much less visceral than we would see in the coming decade.

The script offers some sharp, scintillating dialogue and situations--I love the scene where Helen sits between Maurice and Constance at dinner and they're both playing footsie with her--as well as vivid performances and a suspenseful story whose abrupt twists and turns are exhilarating.

The fact that the beautiful Carroll Baker spends much of her screen time in various states of undress doesn't hurt at all, nor do the fine performances from her and the rest of the cast, especially Jean Sorel (BELLE DU JOUR, A LIZARD IN A WOMAN’S SKIN) as Maurice, Anna Proclemer (ILLUSTRIOUS CORPSES) as Constance, and Marina Coffa (Joe Namath's THE LAST REBEL) as wild card Susan.


The Blu-ray from Severin Films is scanned from the original camera negative for the first time in America. Sound is Italian and English mono with English subtitles. The bonus menu, whose contents are listed below, provides added fun (don't forget to hunt for the Easter egg).

While guessing which characters are secretly in cahoots with each other, which ones aren't at all what they seem to be, and who's trying to kill who, it's best to just hang on to A QUIET PLACE TO KILL and go along for the ride. Fans of Umberto Lenzi, early giallo, and the great Carroll Baker should find it a trip worth taking.




Disc Specs for A Quiet Place to Kill:

    Aspect ratio: 2.35:1
    Audio: Italian mono DTS, English mono DTS
    Subtitles: Subtitles for Italian audio / SDH for English audio
    Region FREE


Special Features for A Quiet Place to Kill:

    Audio Commentary with Author & Critic Samm Deighan
    Sex and Conspiracy: Interview with Director Umberto Lenzi
    Alternate Credit Sequence
    Alternate Clothed Scene
    Short Deleted Scene




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Friday, January 20, 2023

KNIFE OF ICE -- Blu-ray Review by Porfle




Originally posted on 7/24/20

 

(KNIFE OF ICE is part of the "Lenzi/Baker 4-Volume Blu-ray Collection which also includes ORGASMO, SO SWEET, SO PERVERSE, and A QUIET PLACE TO KILL.)


The final entry in the four-movie collaboration between director Umberto Lenzi and Hollywood superstar Carroll Baker, KNIFE OF ICE (Severin Films, 1972), moves into territory which, perhaps more than the previous three tales, typifies the popular image of the Italian "giallo" film genre during the 70s.

Rather than being an edgy but picturesque erotic/romantic thriller with minimal horror elements, this tense and sometimes shocking murder mystery is replete with foggy streets, a dark, shadowy mansion next to a cemetery, murder victims with faces frozen in wide-eyed terror, and a black-gloved homicidal maniac stalking a beautiful woman while the police are baffled by multiple suspects, some much more obvious than others.


There's also a possible supernatural element this time, since the murders seem tied to a local Satanic cult whose followers tend to have alarmingly grotesque eyes and hostile dispositions.

We'll see a lot of the main suspect, cult member Mason (Mario Pardo), a feral type who's seen emerging out of the dense fog (which this small Spanish village seems to have piped in from London) or peering from the bushes at a victim's funeral when not actually creeping around the leading lady's villa at night.

The lady in question, of course, is the divine Carroll Baker as Martha Caldwell, who lives with her uncle and his servants and has been mute ever since witnessing the death of her parents in a horrific train crash. 


Baker is fascinating to watch as always, and even more so here as she must emote using only body movements and facial expressions. Even without dialogue, she manages to create a sympathetic character we can care for.

Director Lenzi switches with easy aplomb from the opulent world of wealthy jet-setters to the more simple setting of rural Spain with its lush countryside and Old World architecture as well as simpler folk whose quiet lives are turned upside-down by the brutal murders suddenly taking place in their midst.

Poor Martha seems to be the epicenter of it all, suffering the tragic loss of friends and loved ones before becoming the killer's main target herself. Naturally, just about everyone she knows and trusts becomes a suspect, as an abundance of possible clues and red herrings present themselves to us.


The capable supporting cast includes Evelyn Stewart (THE SWEET BODY OF DEBORAH) as Martha's visiting cousin Jenny, Alan Scott as trusted friend Dr. Laurent, Eduardo Fajardo (NIGHTMARE CITY) as strangely secretive family chauffeur Marcos, George Rigaud (HORROR EXPRESS, EYEBALL) as Uncle Ralph, and Silvia Monelli (YESTERDAY, TODAY & TOMORROW) as stern housekeeper Mrs. Britton, whose possible love affair with Dr. Laurent may have something to do with the murders.

The Blu-ray from Severin Films is scanned in 2K from the original negative and looks great. Sound is in both Italian and English mono, with English subtitles. The bonus menu consists of an interview with Umberto Lenzi himself, an interview with author Stephen Thrower ("Nightmare USA") entitled "Carroll and Umberto’s Final Stab", the film's trailer, and an alternate credit sequence.

Lenzi himself states in the bonus interview that he had tired of making films about the glamorous lives of the rich and wanted to do something more down-to-earth in his final giallo with Carroll Baker. With KNIFE OF ICE he succeeded in creating just the kind of old-fashioned woman-in-peril murder mystery he set out to do, ending his collaboration with the "incredible" (Lenzi's word) Miss Baker with an immensely satisfying twist ending you'll not soon forget.



Disc Specs for Knife of Ice:

    Aspect ratio: 2.35:1
    Audio: Italian mono DTS, English mono DTS
    Subtitles: Subtitles for Italian audio / SDH for English audio
    Region A


Special Features for Knife of Ice:

    Carroll and Umberto’s Final Stab: Interview with Stephen Thrower, Author of ‘Nightmare USA’
    Until the Silence Screams: Interview with Director Umberto Lenzi
    Trailer
    Alternate Credit Sequence





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