doktor d Reviews

Spirits of the Dead (1968)

Cut out the first two segments and you've got a great Fellini film.

[28 February 2003]

'Spirits of the Dead' (1968), a French-Italian production narrated by Vincent Price, features three Edgar Allan Poe stories adapted for the screen and directed by three of Europe's most fascinating filmmakers of the period (choke!).

Vadim's segment (‘Metzengerstein'), starring Jane and Peter Fonda, is a real stinker. Has Vadim ever made a truly good film? Not really, so at least he's being consistent here by turning Poe's tale into a dull, silly mess. Striving hard for art's sake, he misses the mark each time. Q: Who wants to see Jane Fonda falling in love with Peter Fonda? A: Not me.

Malle's segment (‘William Wilson') is solid but not worth repeated screenings. Of note: Brigitte Bardot gets naked, verbally abused and whipped. No comment as to the merits of these actions or her presence; nevertheless, the tale's ending doesn't quite work.

Fellini's 'Toby Dammit' is classic, freakshow Fellini. Terence Stamp stars as a wasted British film star (looking like an effeminate junkie) and gives an awesomely convincing performance. Ultimately, his character gets a bit out of hand and, uh, loses his head. Good stuff that. It's probably fortunate that Fellini's is the longest and last segment; it is easily the film's strength and highlight. Unlike the first two tales, ‘Toby Dammit' was also released theatrically on its own, yet it is not available separately on dvd.

The ‘Spirits of the Dead' dvd first hit the market as an Image release. This is not the version to purchase. Image used a less-than-satisfactory source print, and the transfer looks crummy. Also, the menu is poorly designed and doesn't work quite the way one wants it to. Later, Home Vision released a higher quality version with four additional minutes of footage, using much finer source material. --- david ross smith

Evil Dead Trap (1988)

Ikeda delivers a disturbing, brutal film but falls short of the masters he emulates.

[19 February 2003]

‘Shiryo No Wana' (AKA ‘Evil Dead Trap') is brutal Japanese horror/violence at its most interesting (but not its finest), however derivative of Italian, American and Canadian genre motifs and sensibilities. Of particular influence here are Argento, Fulci and Cronenberg; unfortunately, Ikeda falls short of the masters on most occasions.

With many standard genre elements tossed in, this grab bag is too unfocused and overlong. A tighter edit (by cutting approx. twenty minutes of extended scenes) could result in a potent brew, despite the film's copycat quality. The awkward mix of brutal, somewhat intense death scenes and, at times, rather silly, empty exposition leaves the viewer wanting more -- or much less. After the first hour, the action and imagery get stale and lack payoff. Around 1:20, a new storyline is introduced (the birth of Hidecki), which, despite its extremely bizarre quality, is not entirely welcomed.

But Ikeda's film does have its technical high points, esp. in the field of gruesome special FX. Some of the more interesting and original deaths scenes include (possible spoilers): A woman speared every which way but loose (that's what happens to young girls who have sex in horror movies!); a man stabbed through the back of the head and out the mouth; a girl hacked to the side of the face with a machete; and another girl tortured, then knifed in the eyeball (a la Bunuel/Peckinpah), embellished with an ample amount of oozing goo. And to make it all seem not so empty -- a rather explicit, sweaty sex scene. A disturbing film, not recommended for most. Followed by two sequels. --- david ross smith

Lock, Stock and Two Smoking Barrels (1998)

The essence of late 90's cinema -- hip, highly stylized, VISUAL

[19 February 2003]

Guy Ritchie's hip, highly stylized 'Lock, Stock and Two Smoking Barrels' is a truly remarkable film, not only for its appropriately pyrotechnic camera work, but also for its seemingly flawless, puzzle-perfect script/screenplay. While the picture's main focus is on a group of lads who invest money in a high-stakes, rigged card game and lose, the broader story concerns approximately eight different groups of criminals whose paths cross (more> than once, in some cases) during various illegal pursuits: money, guns, drugs, even revenge. The film is quite violent, both on and off screen, but it's also uniformly humorous throughout. It's important to note that the four central characters (a cook, a card sharp, and a couple of guys who sell "discounted" items) are interested only in acquiring the money to pay off their enormous debt; they kill no one. The same applies to the laid-back college boys who "grow copious amounts of ganja".

The cast is comprised of mostly young, veteran, male actors. In fact, the only female in the film doesn't even speak, though she handles a machine gun fairly well. Sting appears briefly in several scenes as a bar-owning father figure. While his secondary performance is solid, as usual, it is also unmemorable. The soundtrack is first-rate, from the 60's hits of James Brown to the contemporary beats of London's underground. The groovy, pulsating music and lyrics are often succinctly synchronized with the action and dialogue in the film, creating a theatrical rhythm that is fairly uncommon in cinema (from any period).

Critics and audiences over the years have often dismissed stylized camera work as pretentious and unnecessary, stating that it detracts from the story, bogs it down, or pads it; however, the film medium has the luxury of actually "displaying" a story for its audience, unlike the written word alone. It's what the medium is all about -- it's VISUAL. Hence, one of the reasons a filmmaker chooses such visual displays is to "brand" his or her work, in the same way as writers like Cummings, Hemingway or Joyce did with their medium. It's hard to imagine a cinema without Hitchcock, Kubrick, or Scorsese to represent it. To this end, Ritchie has taken his first step in establishing his own brand. His energetic, ultra-contemporary camera work incorporates (through a fresh perspective) such devices as slow motion, fast motion, and freeze-frame coupled with narration. It is at times reminiscent of (and actually expands upon) Martin Scorsese's patented visual stylistics and camera movements, like those found in 'Mean Streets' and 'Goodfellas'. But the similarities with Scorsese's work end there.

Critics' endless comparisons of Ritchie's film with the works of Quentin Tarantino and Danny Boyle's 'Trainspotting' stand mostly unwarranted, as these comparisons take away from the inventiveness and originality of 'Lock, Stock and Two Smoking Barrels'. Ritchie's film is a much more involved, complex, layered work than the aforementioned comparisons. While Tarantino's films are very strong on dialogue, screenplay, and editing, they often lack creative camera work and direction. Boyle's 'Trainspotting' does have a resembling "feel" to 'LS&TSB', but aside from its Great Britain origins, there really is no need for comparison. 'Lock, Stock and Two Smoking Barrels' is essential viewing.

Clockwatchers (1997)

Sprecher's perceptive, sad slice of reality

[19 February 2003]

Inappropriately marketed as a comedy, Clockwatchers is actually a sad, almost disturbing slice-of-life concerning the empty lives of four office temps and the realistic and/or idealized ways they seek to escape their individual predicaments. This low-key, purposefully bland drama, with spare touches of humor from Margaret (Parker Posey), is steeped in realism, making it all the sadder.

Margaret, Paula, and Jane befriend Iris, the central character, at her new temp job. Margaret is loud-mouthed, foul-mouthed, and smart. Paula (Lisa Kudrow) is a young woman with fast-fading beauty, loose morals, and no hope for a future. Jane (Alanna Ubach) is biding her time waiting for her man to marry her and take her away from the temp world. And Iris (Toni Collette) is intelligent but timid. Unlike her new friends, she has the opportunity to score a real job at an interview that her father has lined up for her; however, low self-esteem, shyness, and a new-found friendship with the office girls contribute to her procrastination. Outward, upward mobility seems to scare her.

One day Iris stares blankly at her empty diary. Her temp job affects her so badly that she can find nothing to write about; she's been turned into a mindless zombie. During a moment of introspection, she thinks, `Sometimes it hits you, how quickly the present fades into the past. And you question everything around you. You wonder if anything you'd ever do would matter, or if you could just disappear without a trace.' Jill and Karen Sprecher's script is punctuated with perceptive, thought provoking lines, many of which comment on the individual's insignificance in society. Early in the film, Margaret comments on how `a person can just drift through life like they're not connected to anyone or anything.' Later, Iris admits that `even if a person wanted to break free, they could find out they've got nowhere else to go.'

Ultimately, the Sprechers' four-character quasi-study can be applied to everyone, every day. Some characters move on, thus positively changing their lives forever; others, whether out of preference, procrastination, or lack of education, stay put, forever locked in dead-end jobs. At the film's end, Iris realizes that improving her situation can come only from `never hiding, never sitting silently, and never just waiting -- and waiting -- and watching the world go by.' Clockwatchers may be a `small' film with a soft voice, but at least it has something to say.

Brain Damage (1988)

Juice me up! Henenlotter's most entertaining work

[19 February 2003]

Frank Henenlotter's 'Brain Damage' (1987) is easily the director's best film, esp. when considering the solid performances, technical proficiency and fascinating storyline. Aylmer, a rather large, penis-shaped parasite, gives unsuspecting Brian brain damage by getting him hooked on an hallucinogenic, blue fluid that Aylmer himself produces. Oh, the colors! But the thousand-year-old worm-like parasite demands something in return for the buzz - human brains! Aylmer and his actions seem to be a metaphor for drug use and addiction and convey very graphically how substances foreign to our bodies can alter our own thoughts and actions.

Henenlotter adds context and meaning to the proceedings by creating a history for Aylmer. The parasite was sold and stolen over the centuries, until it finally ended up in the possession of Brian's neighbors. But the neighbors deprived Aylmer of his needs in order to keep him weak, and that's where the story begins. Henenlotter's films are never without heavy doses of sick humor, and the perverse highlight here is a sequence depicting a disco-whore getting her brains screwed out - literally - through her mouth. If that's not enough, the special effects in the restaurant scene, complete with spaghetti and brainballs, are particularly polished and satisfying. Ultimately, the director outplays his hand and is left with nowhere to go. Despite this weak ending, 'Brain Damage' is an odd, effective story and film, a major step up from the director's debut, 'Basket Case', but every bit as twisted. >

Frankenstein 90 (1984)

Frank is curious.

[19 February 2003]

Alain Jessua's French production, 'Frankenstein 90' (1984), is a solid, entertaining, original and odd take on the Frankenstein tale, particularly the Universal film classics 'Frankenstein' and 'Bride of Frankenstein'. Part comedy-spoof, part light drama, this is essential viewing for horror fans and Frankenstein completists.

Imagine Mel Brooks' 'Young Frankenstein' but in color and with a whopping dollop of nudity and graphic, rampaging sexual appetites. In fact, the quest to satisfy the monster's carnal curiosity is the focal point of the film. More than likely, American horror fanatics have never seen anything quite like this. French pop star Eddy Mitchell stars as 'Frank' (the monster), and the film boasts two extremely sexy female leads that do not disappoint. Fiona Gelin (as Elizabeth) is simply stunning. >

The Hitchhiker's Guide to the Galaxy (1981)

Lackluster production is tedious, falls short of laughs

[19 February 2003]

Douglas Adams' 'Hitchhiker's Guide to the Galaxy' presents the galactic/intergalactic misadventures of earthling Arthur Dent and Beetleguese native Ford Prefect. This six-episode, three-hour version of the book doesn't do justice to Adams' stories; in fact, the audiocassette format fares much better than the video, allowing the listener to imagine the goings-on. As it stands, the `film' (actually made for TV) reveals a lackluster production that falls short of laughs, no matter where the heroes travel.

The main problem here is the unappealing character portrayals; the actors just can't seem to make their lines and situations come alive. The two-headed Beeblebrox and his android Marvin are fairly annoying, Arthur and Ford simply aren't funny, and the plot and dialogue suffer from redundancies. On the other hand, the graphics that emanate from the hand-held computer book, `The Hitchhiker's Guide', are superb. They are so detailed, it's a shame the viewer doesn't have time to absorb them entirely. Watch for Dave Prowse (A Clockwork Orange/Star Wars trilogy) and Aubrey Morris (A Clockwork Orange/The Elephant Man) in sequences near the end of the epic.

When searching for something as specific as British sci-fi comedy, one would be better off renting episodes of the hilarious, colorful 'Red Dwarf'. The show features appealing, comical characters in far-out situations and innovative (albeit low budget) effects and gadgetry.

Beyond the Darkness (1979)

D'amato's most accomplished (but still not very good) film -- gore and sexual perversities galore!

[19 February 2003]

Joe D'amato's 'Beyond the Darkness' (AKA 'Buio Omega' and 'Blue Holocaust') is easily his most accomplished film. Is that saying much? No, not really. But the film is a testament to D'amato's DP work (his real strength), and shows that he could actually direct a film that looked professional. Interestingly, D'amato chose to make porno/gore films, and, by mixing the two genres, he helped create one of the most controversial, criticized and abhorred of all film subgenres. Films like 'Beyond the Darkness' were made solely with their niche audience in mind; the extreme gore and pervasive sexual perversities may seem peculiar, but the payoff was, and still is,considerable.

The film's highlights (possible spoilers) include bizarre character motivations/actions and, of course, the rather original and disgusting GORE, which plays out something like this: Frank exhumes his wife, cuts her open, removes her heart, bites it as blood squirts from the ventricles, then -- voila! -- taxidermied wife, ready for exhibition.

Or this: Iris (Frank's motherly maid/lover) chops up a female hitchhiker and chucks the body parts into an acid-bath, turning the bathroom and tub into a charnel house. The resulting black, putrid, fleshy soup ranks as one of the most nauseating images in cinema history, right up there with Jorg Buttgereit's 'Nekromantic' subjects. Or how about this: During foreplay, Frank bites a chunk out of a female jogger's neck, chews and swallows. Yum! She ends up in an oven, and D'amato makes sure we see her body writhing as the flames consume it.

But the most disgusting shots (really!) are the simplest - extreme close-ups of Iris eating her stew, intercut with quick flashbacks to the black, bloody acid-bath carnage. Wasn't the acid-bath enough? No! Do we have to associate the carnage with hunger? Yes! A rather perverse and sick film, not recommended for most. >

The City of the Dead (1960)

Do you dare?

[19 February 2003]

Do you dare succumb to the lure of witchcraft? Do you dare brave the journey to Whitewood? Do you have the balls to stay at the Raven's Inn? Yes? Then, my friend, meet your hostess, Elisabeth Selwyn. She'll show you to your room. Of course, she died 300 years ago.

John Moxey created a minor classic with ‘Horror Hotel' (1960). This dark, overwhelmingly atmospheric British production is easily one of the better films totally immersed in the subject of witchcraft. Set in the dreary, fog-enshrouded New England town of Whitewood, star Christopher Lee sends his ‘best' student there to research her thesis. Thing is, this is a town of 300-year-old witches, and the local inn, run by one Elisabeth Selwyn, is home base for the coven's ritual sacrifices. Oops!

Lensed by cinematographer Desmond Dickinson, the sets, lighting, and shot compositions are first rate; however, the film suffers slightly from a sort of claustrophobic shoot (an indication of the low budget) and lacks dynamics, esp. in the b/w photography. While the production has all of the ingredients for greatness, somewhere just beneath the surface lies an awesome film wanting and waiting to break loose, but it just never happens.

AKA ‘City of the Dead', a more alluring title might have been ‘Bitch of the Raven's Inn'. ‘Horror Hotel' is highly recommended and worth owning on dvd. -- david ross smith

The Bat (1959)

Father of Freddy?

[19 February 2003]

The embezzling banker, come back to life? The scheming, murderous doctor? The inept, old police officer? Could one of these men be ‘The Bat'? Faithfully based on the Rinehart/Hopwood play, ‘The Bat' (1959) is funny, lighthearted fun. Yes, the plot drags at times, and the film suffers a bit from its stiff, stage-like origins. But this is arguably the strongest celluloid rendering of the play, which had been brought to the screen several times earlier in the century. In fact, the 1930 version, ‘The Bat Whispers', is cited as one of Bob Kane's inspirations for ‘Batman'.

Mystery writer Agnes Moorehead rents a banker's mansion for the summer. Unbeknown to her, the banker has stashed a million dollars worth of embezzled securities somewhere in a secret, hidden room. Scheming doctor Vincent Price longs for the stash, but so do others. As more characters become aware of and search for the stolen goods, folks start dying at the hands of an elusive being known only as ‘The Bat'. It's interesting to note that there are a few dramatic murders in the film, which almost seem out of place in (and at odds with) such a light, cornball movie, and that actually brings the whole affair up a notch. You see, ‘The Bat' kills his hapless victims by slashing their throats with his ‘clawed' glove, a precursor to (and inspiration for?) Wes Craven's ‘Freddy' character in the ‘Nightmare on Elm Street' films.

Trivia and possible spoiler: Darla Hood, who played `Darla' in the ‘Little Rascals'/'Our Gang' shorts, has a small role here as a young adult. Her role ends when she meets ‘The Bat'. Not a bad thing. --- david ross smith

She-Wolf of London (1946)

No-Wolf of London

[19 February 2003]

Jean Yarbrough's 'She-Wolf of London' (1946), starring June Lockhart, is dull, dull, dull. In the handsomely photographed but one-note story, Ms. Winthrop desires Phyllis Allenby's inheritance and attempts to trick Allenby (Lockhart) into thinking she's also inherited something else - the family curse - lycanthropy! Marketed as a horror film, Yarbrough's picture is not only devoid of such an element, it's also missing a she-wolf. So, at only 61 minutes, the running time is the best thing about this production, and even that's too long! Not recommended for horror fans; not recommended for anyone except June Lockhart completists. But be warned: June's performance here is less than adequate.

The Ghost of Frankenstein (1942)

Arguably Lugosi's most delicious role

[19 February 2003]

'The Ghost of Frankenstein' (1942), produced by George Waggner and directed by Erle C. Kenton, is a solid entry in Universal's 'Frankenstein' series, marked by fine production values and generally strong performances from a well-known cast. The film, the fourth in the series, is similar in atmosphere, tone and style to Waggner's 'The Wolf Man', filmed a year earlier.

Cedric Hardwicke turns in an appropriately gruff performance as Dr. Ludwig Frankenstein; Lionel Atwill's Dr. Teddy Bohmer has potential but lacks enthusiasm and ample screen time; and Chaney is unremarkable as the monster. The real star here is Bela Lugosi; his portrayal as the revived Ygor (supposedly shot dead at the end of the previous film, 'Son of Frankenstein') is arguably one of his best, most delicious roles. Stubborn and extremely manipulative, Ygor is the catalyst for most of the story's evil deeds. He's also the sole source of humor, albeit dark, in an otherwise serious, gloomy film.

'Ghost' does take a while to get to the crux of its wild story, but when it does it's delightful. You see, Ygor has an ambitious plan: He longs to have his brain put into the monster's body so that he may live forever and reign over all the b*******s he so hates (i.e. everyone)! But before this can happen, the new doc must first juice up the monster with a little lightning in order to rejuvenate him for the upcoming surgery. 'Ghost' is the last solid, worthwhile entry in Universal's 'Frank' series (before things became quite silly) and is recommended viewing, esp. for Lugosi fans.

Werewolf of London (1935)

Cinema's first (but not best) werewolf pic is worth a look

[19 February 2003]

Stuart Walker's ‘Werewolf of London' (1935) is Universal's (and cinema's) first werewolf film. Solid and atmospheric, though not quite on the level of George Waggner's polished, star-studded ‘The Wolf Man' (1941), ‘Werewolf' has a fascinating story at its core. While in remote Tibet searching for a unique and rare flower (`that takes its life from the moon'), botanist Glendon (Henry Hull) is attacked and bitten by a werewolf (Warner Oland). Later, back in London, Glendon comes to the realization that he will transform into a wolf whenever the moon is full and attack those he loves.

Oland hits the mark as the enigmatic Dr. Yogami, the werewolf who passes the curse onto Dr. Glendon. On the other hand, Hull as the title character is credible but leaves something to be desired. Ultimately, these two ‘werewolves of London' must vie for the flower, for it alone yields the antidote for the men's affliction. Though, as Yogami states, `It is not a cure.' Spring Byington (Aunt Ettie Coombes), Ethel Griffies (Mrs. Whack) and Zeffie Tilbury (Mrs. Moncaster) add welcome humor to the otherwise solemn proceedings. Recommended if for no other reason than to see where it all started. --- david ross smith

Son of Dracula (1943)

Atmospheric, moody film is recommended viewing

[10 February 2003]

Curt and Robert Siodmak's ‘Son of Dracula' (1943), starring Lon Chaney, Jr., the B star who never really shined, is a good, moody film enhanced by fine compositions and thick with atmosphere. This time around the Count uses a pseudonym, Alucard, and travels to the states to hook up with southern mystery belle Kay Caldwell (Louise Allbritton). But Kay has a beau, Frank Stanley, and he's not about to let the Count steal his woman!

Chaney, the man who (sadly) never really created a great role, but continually failed to fill the shoes of those who did, is sorely miscast as Count Alucard. In a strange way, though, Chaney's inadequacies lend an ‘unwanted/outcast' quality to Alucard that is rather appropriate for the story. Allbritton is a standout in the lead as the woman drawn to Alucard. She does a commendable job carrying most of the film, assisted by Robert Paige as jealous Frank. Adeline De Walt Reynolds is quite effective as Queen Zimba in her brief scene, which introduces the audience to the handsomely photographed, atmospheric forest where significant action occurs throughout the film.

The third in Universal's ‘Dracula' series (following the inferior 1936 sequel, ‘Dracula's Daughter'), the production boasts impressive camerawork (particularly the moving camera) courtesy of cinematographer George Robinson. Robinson lensed many of Universal's B grade horror films of the period, most notably, ‘Dracula' (1931 – the technically superior Spanish version), ‘Dracula's Daughter' (1936), ‘Son of Frankenstein' (1939), and Siodmak's own ‘Cobra Woman' (1944).

The Siodmak brothers brought a tremendous amount of talent and genre experience to ‘Son'. Director Robert is probably best known for two superb, back-to-back projects, ‘The Spiral Staircase' (1946) and ‘The Killers' (1946). Writer Curt's classics include Waggner's ‘The Wolf Man' (1941) and Tourneur's ‘I Walked with a Zombie' (1943). Even more spectacular, the brothers, along with luminaries Edgar G. Ulmer, Fred Zinneman and Billy Wilder, wrote and directed the fascinating silent German film, ‘Menschen am Sonntag' (1930). --- david ross smith

Dracula's Daughter (1936)

Universal stumbles; they should've bore the 'Son of Dracula' first -- it's a better film.

[10 February 2003]

Advertised as "more exciting than Dracula", 'Dracula's Daughter' (1936) is not. Director Lambert Hillyer, best known for his silent westerns, fashions a disappointing and awkward sequel to Universal's first 'Dracula' project. Much to its discredit, the production cheaply and impotently rehashes several lines from Browning's far superior 1931 film. The film also gets off on the wrong foot by delivering too much levity in the opening scenes. The real story here is that Countess Zaleska (AKA Dracula's daughter) longs to defy the "curse of the Draculas" but just can't seem to quench her thirst for the warm, red stuff. A disbelieving Scotland Yard is slow to pursue.

'Daughter' is a B movie that plays more like a C with poor acting and two unappealing leads. Gloria Holden is visually appropriate as the title character, Zaleska, but her acting falls short of convincing, and her inappropriate delivery lacks confidence. Otto Kruger as Jeffrey Garth, the man Zaleska sees as her salvation, is simply unappealing. Irving Pichel's Sandor (Zaleska's whipping boy) is the film's only really interesting role, and Pichel is quite good; unfortunately, the character has minimal screen time, though he does play a major role in the finale (good shot, Sandor!). Bringing up the rear is Edward Van Sloan who again refuses to emote in his predictable Prof. Van Helsing role.

Overall, 'Daughter' lacks energy, the scenes lack scope, the compositions lack dynamics, and the framing is too tight (indicative of the low budget). Making matters worse, the story is mostly verbose, but limited, exposition until the finale. The subplot, concerning Countess Zaleska posing as a painter and killing the model that Sandor brings to her, is played out in similar fashion in Ulmer's 'Bluebeard' (1944) and Jack Hill's 'Track of the Vampire' (1966). 'Dracula's Daughter' is recommended only to those interested in seeing how poorly Universal fared in following up Browning's timeless classic. --- david ross smith

Cannibals in the Streets (1980)

Gives new meaning to the term "empty stomach"

[7 February 2003]

Antonio Margheriti's ‘Cannibal Apocalypse' (1980), starring B movie staple John Saxon and the appropriately cast Giovanni Lombardo Radice (`John Morghen'), is a unique entry in a subgenre known for its grade Z brand of filmmaking. A rabid POW bites Hopper (Saxon), a U.S. Army captain in Vietnam. Years later, back in America, Hopper dreams about the incident and begins to crave raw meat. As it turns out, his POW buddies have passed along a communicable disease – cannibalism! Margheriti's extreme metaphor is an original, astute comment on the lasting effects of the Vietnam War.

The gore highlight in ‘Apocalypse' occurs in the sewer when Bukowski (Radice) is shot through the stomach. Raw ground beef falls out of his midsection, creating a gaping hole through which the viewer can see more action. An extreme, sick but effective and impressive special effect. The image appeared on the poster ads at the time of the film's release, and the same image fills the cover of the dvd packaging. The hyped scene certainly lives up to the hype and has always been the film's main draw.

Also known by no less than ten other titles, ‘Apocalypse' has been fully restored to its original, gut-munching length on the Image/Studio Canal dvd. The disc includes a one-hour documentary, which features excellent, revealing interviews with Radice, Saxon and Margheriti. Radice speaks of his regrets making Lenzi's sick ‘Cannibal Ferox'; Saxon claims that he's never seen ‘Cannibal Apocalypse'; and Margheriti mentions that, among his own films, ‘Cannibal' is Quentin Tarantino's favorite.

Radice, a Shakespearean/stage actor, comes across as rather appealing. It's interesting to note that he began his film career (circa 1980) making these low budget Italian gore films and, more than twenty years later, scored a wee part in Scorsese's ‘Gangs of New York'. Radice also graces the screen with his grim, sometimes bewildering presence in Fulci's ‘Gates of Hell' and in many of Michele Soavi's films. --- david ross smith

Slave of the Cannibal God (1978)

One viewing is more than enough.

[4 February 2003]

Set in the jungles of New Guinea, Sergio Martino's 'Slave of the Cannibal God' (also marketed on dvd as 'Mountain of the Cannibal God') is a milder, earlier entry in the Italian/cannibal subgenre, and it's actually and easily the best acted of the lot. Starring Stacy Keach and Ursula Andress, 'Slave' has all the nasty, staple ingredients that keep rabid fans thirsting for more: Real animal killings, gore, nudity, hungry cannibals, stupid men and scheming bitches.

The human gore is fun (mainly because it's so fake), but there are a couple of standard (for this type of film), freakish, tribal "ritual" scenes involving real animals. Highlights include: a tribe slice open the belly of a live lizard and gorge upon its innards; a man skins and eats a live snake; a monitor lizard barfs up an undigested, dead python; and a small monkey gets eaten alive by an anaconda. Thing is, once you've seen this sicko garbage once, you never need to see it again. And remember, this is MILD compared to later entries in the genre, like Deodato's 'Cannibal Holocaust' (1979) and Lenzi's 'Cannibal Ferox' (1981), just to name a few.

Interestingly, the scene in which naked Andress is painted by the cannibals in preparation for sacrifice is the obvious influence for a nearly identical scene in John Derek's 'Tarzan, The Ape Man' (1981) in which Bo Derek plays the object of the tribe's interest. Influence or rip-off? It doesn't really matter -- both films stink! Maybe next time around someone will give Linda Evans a shot. --- david ross smith

Marquis de Sade's Justine (1969)

Worth viewing, but it's not the film Franco intended

[4 February 2003]

'Marquis de Sade's 'Justine'' (1968) is easily Jess Franco's most accomplished film, esp. from a technical standpoint, backed by the biggest budget he would ever have. Rich, brilliant colors, skin aplenty, a few perversities, and strange performances from Klaus Kinski, Jack Palance and Mercedes Mccambridge make for an entertaining but relatively tame Franco outing. To boot, Jack Palance's performance ranks as possibly the most bizarre ever seen on film. The dvd includes a revealing 20-minute 'making of' documentary featuring an extensive, contemporary interview with director Franco, and he doesn't hold back. Franco states that Palance was sauced during the entire shoot, drinking red wine all day, each day, starting around 7a.m.

Kinski's role (as de Sade) was originally handed to Orson Welles, but once Welles read the script, he claimed that he simply could not play the part because it included scenes of erotica. In reality, Welles would have had to do a scene with several totally naked women, and this may have made him uncomfortable and nervous. Interestingly, the de Sade character has no lines, and Kinski's scenes are just a bunch of cutaways of him sitting/pacing in a prison cell, mentally tortured, trying to write 'Justine'.

Franco intended to create an explicitly nasty, masochistic film faithful to de Sade's writing; however, according to Franco, he was forced into a watered-down, `Snow-White-lost-in-the-woods' direction because of the producer's decision to cast Tyrone Power's daughter, Romina Power, in the title role. `She was a passenger, wandering around,' Franco scoffed. `She was like a piece of furniture. It was as if I was making Bambi 2'. The role was intended for Rosemary Dexter, who appears in the film in a lesser role.

Franco's version of 'Justine' is not as grim or as depressing as Chris Boger's 'Cruel Passion' (1977), starring Koo Stark, but it's also not as nasty or as perverse. Too bad for Franco fans. --- david ross smith

Häxan (1922)

Atmospheric, nightmarish, and even a bit silly

[4 February 2003]

Directed by Scandinavian filmmaker Benjamin Christensen, ‘Haxan' / ‘Witchcraft Through the Ages' (1922) is a head-trippy silent film depicting black magic, witchcraft, and demonology from the middle ages to the 20th century. Shot and presented in documentary form, the film is more akin to a pseudo-scholarly lecture with moving visual aids. Not as intense or as shocking today as upon its initial release, the film is filled with nightmarish images that are certainly profane and explicit, but also humorous and downright silly.

Yes, sex goes hand-in-hand with Satan, and Christensen's flamboyant portrayal of the aforementioned character, complete with flicking, wanton tongue, drives home the point (well, that and a peppering of nudity). Unique to say the least, ‘Haxan' is a rather weird curio of a film with some incredibly atmospheric, somewhat graphic images, esp. for that era.

The Criterion dvd includes the silent original and the 1968 re-release with an electric jazz-fusion score by Jean Luc Ponty and narration by William S. Burroughs. Burroughs' voice is a treat in itself, and the jazz-fusion score is absolutely frenetic. --- david ross smith

House on Haunted Hill (1959)

Arguably Castle's most consistent, enduring work

[3 February 2003]

William Castle's ‘House on Haunted Hill' (1958) is quite appealing camp, endlessly more fun and enjoyable than the remake forty years later. Who needs CGFX when you've got Vincent Price leading an ensemble cast of eccentrics and misfits?

Price is at his devilish best as a sickeningly wealthy industrialist who, rather curiously, offers $10,000 to each of five strangers if they dare spend the entire night in a supposedly haunted mansion. But Price, his ice cold trophy wife (beautiful Carol Ohmart), and a few of the guests have other goals in mind during this evening's mysterious event. Elisha Cook, Jr. (Kubrick's ‘The Killing') plays, with perfection, the impotent owner of the mansion and one of the five guests. His catalogue-like knowledge of the mansion's many murders provides the background necessary to instill fear in the minds of the guests and the audience.

If you know and like Castle's style, this comedy-drama is worth a look. Strange thing here is the title: There's no `haunted hill', and the `house' looks like a metropolitan library, not your classic haunted house. But this doesn't present a problem. -- david ross smith

Sweet Movie (1974)

more aptly titled "Disgusting Movie"

[24 May 1999]

The satirical Sweet Movie teases the viewer with its well-executed, comical, opening scenes of the Miss Monde Virginity Contest before delivering the main body of the film, what might be more aptly titled "Disgusting Movie". Nearly incomprehensible and pseudo-symbolic, Makavejev's film is comprised mainly of scenes depicting actual urination (seemingly the filmmaker's obsession), defecation, and vomiting, combined with stock footage of the exhumed remains of apparent WWII concentration camp victims.

The film follows the separate adventures of two female characters: Anna Planeta (Anna Prucnal), a mentally ill murderess, and Miss Monde 1984 (Carole Laure), a victimized beauty who slowly succumbs to mental illness. The film's title is ambiguous, referring to the sugar and candy stocked on board Anna's boat, bait which she uses to lure her prey, and to the "sweetness" of Miss Monde's virginity. The title is also ironic in its reference to the bitterness of harsh reality. The potential meaning of the film can be squeezed out of the brief, somewhat disjointed conversation between Anna and the Potemkin mariner (Pierre Clementi) near the film's end: Mariner: "Are you afraid of the past?" Anna: "I brought a lot of sugar, but I can't get rid of the bitter taste." Mariner: "Anyway, it leaves a trace." Anna: "And the witnesses must disappear."

This mostly depressing film does have its moments -- a few comical scenes involving lovely actress Carole Laure. Anna Prucnal's striptease, performed in front of a group of young boys, is equally fascinating but anti-climactic. And John Vernon (Dirty Harry, Outlaw Josey Wales, Animal House), in the role of Mr. Kapital, is particularly memorable. Sweet Movie is certainly interesting and different but falls short of a recommendation.

Alice in Wonderland (1999 TV Movie)

Definitely not a definitive film version of Carroll's stories

[14 March 1999]

Scripted by veteran writer Peter Barnes (`Merlin' and `Noah's Ark' mini-series), Alice in Wonderland (1999) is a boring, tedious, overlong, loosely based version of two of the most imaginative books ever written. This made-for-television version contains dialogue and even whole scenes not found in Carroll's original works (Alice in Wonderland / Through the Looking Glass) while omitting large portions of the real thing.

While Miranda Richardson excels in her role as the Red Queen, many of the performances come across as uninspired and fall flat; this is often the case when `big' stars are assembled to serve as an ensemble cast. The star-studded cast serves the worthy purpose of attracting viewers; however, it simultaneously deprives the story of all potential credibility/believability.

The worst and most glaring problem with the film is its representation of some of the animal characters as human figures bearing no resemblance to animals. In one of the funniest scenes in Carroll's Alice, Alice kicks Bill the lizard out of a chimney, sending him soaring through the air. In the TV movie, not only is the scene devoid of humor, it's also impossible to tell that Bill is a lizard character. The same applies to the Caucus-race sequence. The characters are animals in the book; however, this fact doesn't come across in the film.

Although special effects pervade the proceedings, they aren't especially attractive or appealing and don't always serve their intended purposes. After months of televised hype, Alice in Wonderland fails to deliver. The presentation is certainly original, but it's also unmemorable. While many directors have attempted to translate Carroll's stories to film, both live-action and animated, none have managed to create a definitive version...and this new TV rendition certainly is not it. Read the books.

Phantasm IV: Oblivion (1998)

Incomprehensible mess certainly leaves one oblivious

[14 March 1999]

Appropriately titled, Coscarelli's cut and paste offering, Phantasm: Oblivion, offers little. Easily the weakest entry in the Phantasm series, Oblivion features unused footage from the original 1979 release worked into new material. The result is a mess - incomprehensible - with some contradiction to the plots in the previous films. Even worse, the film ends (and begins) ambiguously, laying the groundwork for yet another sequel.

Coscarelli's first film featuring The Tall Man was original, inventive, and fast-paced. Even on a low budget, he managed to create a unique look and potential style in Phantasm. Unfortunately, he's not been able to successfully nurture those auspicious beginnings.

Each film in the Phantasm series benefits from the presence of Reggie (actor Reggie Bannister). An appealing character responsible for injecting subtle comic relief, Reggie's lust-driven dream sequences highlight the third and fourth installments of the series. The amateur acting of A. Michael Baldwin (Mike) and Bill Thornbury (Jody) fares less successfully. In fact, for some reason these two were absent from the first sequel. Angus Scrimm, as The Tall Man, is still effective in his creepy role, though less so with each passing film. Overall, Phantasm and Phantasm III: Lord of the Dead are recommended; Phantasm II is weak, but Phantasm: Oblivion exists for hardcore fans only - just barely.

Baron Blood (1972)

Brilliant colors, inventive camera work, stylized lighting - but nothing more

[14 March 1999]

Baron Blood

Mario Bava's Baron Blood is a weak entry in his filmography. There are more negatives than positives to describe the film. On the positive side is German-born star Elke Sommer (Eva), who adds life and a bit of spice to the proceedings. Also, the film is rich with brilliant colors, inventive camera work, and stylized lighting – all common elements in Bava's films. On the negative side, the excessive panning and zooming, at times simultaneous, cheapen the quality of the film. These are devices director Lucio Fulci became known for in the late 1970s and ‘80s. Bava also shoots many close-ups of eyes for this project, another technique Fulci employed later in his career, but to greater effect. Co-star Joseph Cotten (The Baron) appears wooden. He delivers his lines very ineffectually and seems disconnected to his role in the film. His heavily painted face (caked-on makeup) gives one the impression that he really needed the added color. The lengthy (and unexciting) chase scene involving Eva and The Baron is overlong, indicating that the insubstantial story, script, and film were in need of some padding. Most of Bava's horror output is livelier and more interesting than Baron Blood.

Wild Things (1998)

Clever script delivers unexpected twists

[13 March 1999]

Wild Things

`People aren't always what they appear to be. Don't forget that.' Ray's (Kevin Bacon) sage words of advice couldn't ring more true about this tale of deception and hidden alliances. Wild Things, set in a bayou college town, is sleazy neo-noir a la Body Heat. The direction and acting are mediocre; however, Stephen Peters script is quite clever, delivering a number of unexpected twists that just don't let up. It's all a bit contrived and unbelievable, but it's very fun. The film isn't quite as sexy or explicit as the hype led viewers to expect, but it delivers enough to keep one interested until the final credit. The menage a trois between Lombardo (Dillon), Suzie (Campbell), and Kelly (Richards) leaves a lot to be desired; it's a bit lifeless, and Dillon's facial expressions are laughable. Bill Murray is solid but miscast as a soft but sleazy lawyer, and Teresa Russell's acting skills regress with each film she makes.

The final credits sequence is interesting. It contains scenes that (fortunately) were not used for the main body of the film; if they had, they would have made some of the calculated twists much too obvious. The very last scene between Campbell and Bill Murray, which rolls after the aforementioned scenes, extends/embellishes the story with one more twist. All the twists seem to work just perfectly like a snug-fitting puzzle. Director John McNaughton is best known for his stylish debut film Henry: Portrait of a Serial Killer. Kevin Bacon served as executive producer. Recommended on a slow evening.