End of Book One...

Hey folks and welcome to end or more precisely this chapter of the "From The Depths of DVD Hell" saga as while Blogger has been it's home for the last eleven years, the time has come to close the book and move onto greener pastures to continue this journey.

For far too long I have been unhappy with the look of the blog and the generally unweildy tools the platform provides only resisiting the urge to move due to the connections I had made with you my dear readership and the good friends I have made since I started out expecting to be writing for a year and then move onto somthing else only to continue finding great pleasure in hunting down films, while expanding into podcasting which has only added to the journey.

This blog will not be going anywere as while I could transfer the content across I would rather keep it here so that it can continue to be enjoyed by anyone who still wishes to read them and start on the new page afresh.

So don't fear this is far from the end as the journey continues HERE

Leviathan

Title: Leviathan

Director: George P. Cosmatos

Released: 1989

Starring: Peter Weller, Richard Crenna, Amanda Pays, Daniel Stern, Ernie Hudson, Michael Carmine, Lisa Eilbacher, Hector Elizondo

Plot: A group of deepsea miners discover a Soviet shipwreck, Leviathan only to bring back with their salvage an entity which soon begins working its way through the crew. 

Review: One of a slew of Underwater Sci-fi horror released in the wake of The Abyss alongside Deep Star Six a film which proved as tricky to get hold of. Unlike Deep Star Six this one actually proved to be worth the effort as it plays like a more horror focused version of The Abyss with a dash of John Carpenter’s The Thing thrown in for good measure.

Directed by George P. Cosmatos whoat this point was coming into the film hot after directing both Rambo: First Blood 2 and Cobra; here though he calms things back alittle as he introduces a crew of blue collar deep sea miners headed up by geologist Steve Beck (Weller) who like the rest of the crew is looking forward to the shift change in 4 days. However the chance discovery of the scuttled Soviet ship soon brings with it all kinds of problems when the experiment which was being tested on the unknowing crew is soon wreaking havoc on the mining team.

Despite the B-movie roots of the film each of the crew are given enough depth to help them standout more than disposable monster chow, though at the same time most of the crew for the first quarter are overshadowed by the pervert antics of Six Pack played here by Daniel Stern who spends most of his time in the film trying to hit on or just straight up sexually harass the two female crew members which is the kind of thing that you could never get away with now, especially with his boob mug and the centrefolds he plasters across his bunk. The crew in general though are a likeable bunch with Ernie Hudson getting a few great lines while Weller is enjoyable as the lead his performance remains as diversive as ever especially in the first quarter were he seems to actually be confused about what he’s supposed to be going while his payoff line of “Open wide Motherfucker!!” comes off a little more amusing than I think it was originally planned.

Shot on sound stages in Rome the layout of the Miner’s “Shack” is actually very similar to the Deep Core research station of The Abyss in that everything is raw steel and exposed pipes but at the same time we see throughout this station subtle details such as the screens playing footage of landscapes and sunlamps to strive away the effects of being underwater for long periods. Such a functional setup of course only works the better during the final were the high pressure of the surrounding ocean slowly crushes the station causing the internal structure to collapse and spectacularly implode. At the same time the lack of sterile work areas and clunky diving suits designed to deal with the high pressure really give the film a presence and memorable look which complements this crew of blue collar workers, striving off the boredom and cablin fever of their surroundings till the next shift change.

While the monster action is alittle slower than expected to start as what initially starts out seemingly as an infection after two of the miners consume vodka they fund amongst their salvage from the ship and because seemingly no one told this pair about why you don’t drink things you find on sunk ships the film soon mutates into body horror before the film just turns into a full blown monster on the loose movie. Much like as in Alien though the crew also have to deal with the shady plots of the company higher ups here represented by an almost otherworldly Meg Foster who communicates with Beck via the station video monitor, though it’s soon becomes clear that they might be working their own agenda as always seems to be the case in these movies.

With Stan Winston handling the creature effects they still look impressive if never going as crazy as Rob Bottin’s effects for The Thing. However watching the film now it doesn’t really matter as with these kind of movies now just being the preferred output of the Asylum and the SYFY channel to actually have a half decent film with practical effects leaves you feeling kind spoiled to not be subjected to subpar CGI. At the same time the monster does have a few unique quirks of it’s own as we see crew members absorbed into it’s skin adding a nice moral quandry for those attempting to fight it as they are faced with the prospect of having to kill their friends in order to kill the monster.
A fun throw back which serves as a reminder as to how far this sub-genre has fallen and while it might not reach the same heights as The Abyss it’s a notable step up from Deep Star Six and perhaps if the tension was built upon more it might be more fondly remembered. Regardless there is still plenty for genre fans to enjoy here.

The Cult of Chucky

Title: Cult of Chucky

Director: Don Mancini

Released: 2017

Starring: Fiona Dourif, Michael Therriault, Adam Hurtig, Alex Vincent, Jennifer Tilly, Brad Douriff

Plot: Four years on from the events of Curse of Chucky Nica (Fiona Dourif) has been confined to a mental institution after being framed for the murder of her family by Chucky (Brad Douriff). Now transferred to a medium security unit, only to soon find herself tormented once more by the killer doll.

Review: The Seventh instalment in the Chucky franchise its actually quite staggering that there is still any life left in this series and while the other icons at this point were heading to space, crossing over to other franchises or in the case of Pinhead just constantly feel like has just wandered into the wrong movie. Chucky on the other hand has just become a more grotesque visage over the course of the films to the point were he has just been now reduced to a heavily mutated head being kept in the wall safe of series mainstay Andy (Alex Vincent) or has he?

Certainly it’s clear from the start that Mancini much George Romero with his zombie saga that he making these films for the fans rather any kind of critical audience but despite this it’s fun seeing him trying to sew the series together by giving Andy more of a cameo as he’s opens the film on a date which quickly turns sour when his date discovers his troubled past of being tormented by the killer doll with mention of his babysitters murder giving us a flashback to her demise in the first film. Sadly we don’t get to see any more of these classic even though Andy does mention them in the same scene.

Focusing once more on Nia as we pick up her story four years on from Curse of Chucky were she has been confined to a mental institution and now left questioning if Chucky was even real. However being moved to a medium security unit it’s not long before Chucky is up to his usual antics helped largely by the fact that somehow these good guy dolls keep showing up at the facility. Initially as a therapy tool if one which is soon being passed around the residents as Mancini somehow manages to play the long game in dragging out the inevitable reveal that Chucky is very much alive. Considering how we are so deep in the series the fact that he is able to still pull off such mind games with this character really is a credit to Mancini as he really builds the tension by having the usual methods of having Chucky reveal himself such as burning the dolls hand all fail.

The location itself is suitably isolated to make such a small cast effective while the sterile whiles and snow covered landscapes make nice change for the series even if we are denied a rewarding show of blood sprayed across snow. Equally considering that the majority of the potential victims are all paitents helping with the early mind games as a early murder is written off as suicide.

Curse of Chucky had felt in many ways like a reboot for the series and a chance to rework its formula  with the more obvious slasher shocks being traded out for genuine tension so it feels like something of a step back in many ways to see the film slipping back into old habits even though the revel of what the cult of the title is certainly an interesting move for the series. Of course with the upcoming remake it did leave me wondering if we’d ever get to see this angle come to fruition especially ending on the cliffhanger of sorts it does. Seeing Andy though potentially being setup as the franchise’s Dr. Loomis is an exciting prospect which sadly doesn’t come to fruition thanks largely to Andy kind of failing in the hero department.

Thankfully the character of Chucky still feels as fresh as ever with Dourif seemingly showing no kind of acting fatigue from playing the character for so long there is certainly fun to be had, more so when he’s as creative a lil psycho as ever giving us an incredible kill sequence involving a skylight and a compressed air cylinder finally delivering the payoff that was sorely missing from the greenhouse kill in The Hand That Rocks the Cradle . The main issue here is that Chucky is clearly here a character being crushed under the weight of his own mythology which is certainly not helped by Mancini’s determination to make everything tie together rather than starting the journey afresh as the previous film had seemingly set things up to be this especially coming to a head when Jennifer Tily’s Tiffany has to confirm that she’s not actually Jennifer Tilly, which is infact a throwback to Seed of Chucky than the kind of baffling logic seen in Oceans Twelve were Julia Roberts imitated Julia Roberts! Regardless it was only after I looked it up on IMDB that this plot element became clear, while certainly not helped by Seed being the forgettable mess that it is.

While Cult is far from the worst entry in the series it’s unquestionably a step down from the previous film and with remake on the Horizon it’s unclear if Mancini’s vision for the franchise will ever materialise despite claims of more film and a TV series to follow whether this will happen or not remains to be seen.

The Bullet Vanishes

Title: The Bullet Vanishes

Director: Lo Chi-leung

Released: 2012

Starring: Nicholas Tse, Sean Lau, Yang Mi, Boran Jing, Wu Gang, Liu Kai-chi, Jiang Yiyan

Plot: Song Donglu (Lau) an eccentric detective and expert in criminology is teamed up with Guo Zhui (Tse) who has a reputation for being “the fastest gunman in Tiancheng”. The pair soon finding themselves trying to solve a series of mysterious shootings at a bullet factory were no bullets can be found.

Review: I’m not sure what it is about Asian cinema but it’s not only proven to be a surprising source of great Westerns such as The Good, The Bad and The Weird and Miike Takashi’s Sukiyaki Western Django especially for someone like myself who never cared for the Western genre. The other surprise has being these Sherlock Holmes style mysteries which we saw so memorably reworked in Detective Dee and the Phantom Flame and now here with this film which takes place in a sumptious vision of 1930’s China.

While our lead might not own a deer stalker hat or even smoke a pipe, there is an unquestionable Holmes like air to Detective Donglu who is introduced testing out one of his theories by hanging himself so that he can compare his own injuries to that of the victim. We also get to see him trying to understand how Fu Yuan (Yiyan) a woman convicted of killing her husband pulled off the murder as he demonstrates as keen a mind for criminology and the criminal mind as he does for detection.

His partner Guo Zhui on the other hand is on first appearances more of the muscle of the pairing and while he certainly gets to demonstrate some impressive shooting skills, he also comes with an indepth knowledge of firearms and balistics which certainly come in handy in this case especially in figuring out how the owner of the bullet factory was able to win a round of Russian roulette refered to here as “Fate of the Heavens” and makes up one of several mysteries that the film presents over the course of it’s runtime including a locked room mystery. At the same time director Lo Chi-leung even brings his gunslinger knowledge to the action scenes as memorable seen during a shootout were he must work out the range of the badguy during a tense stand off.

Of course when it comes to these kinds of mysteries there is the tendency to provide far fetched explanations to solve the mysteries being presented and thankfully Lo Chi-leung never resorts to such thing as every mystery has for the most part a logical explanation. That being said if the solution for the Phantom bullets actually would work or not if unclear but certainly it atleast seems plausible. Still it’s an intoxicating blend of mystery and action that we get here and which works only the better due to the skills set of the films two detectives.

Heading up the villain quota for the film is Liu Kai-chi as the factory owner Boss Ding a truly odious cigar smoking villain who is more than happy to send his thugs to impose his will on not only his workers but anyone who opposes him and certainly Lo Chi-leung wastes little time in establishing just how ruthless he is as the film opens to him forcing a female worker he has accused of stealing bullets to play him in a game of Russian roulette or “Fate of the Heavens” as he refers to it as and what will be seen as the catalysis for the phantom bullet murders which start befalling his men. Even with such an obvious lead villain the film still manages to work in numerous other twists as it soon become clear that this is a mystery that goes a lot deeper than Boss Ding’s questionable business practices.

Sadly while we do get a lot of strong male characters, here the female cast are rarely given as much to do, other than to pop in and out of the story to provide a clue or uncover a piece of evidence to keep the story running. That being said Yang Mi is great as the fortune teller Little Lark. Sadly used to lesser effect is Yumiko Cheng as the coroner who for some reason also keeps an Ostrich in her lab, the reasons for frustratingly never being revealed.

A gorgeous looking mystery if one which will no doubt draw comparisons to Guy Richie’s take on Sherlock Holmes, despite the film constantly proving that it’s able to stand on it’s own merits even if it does choose to break up the pair just when I was looking forward to hopefully getting a series of adventures with them which is sadly dashed in what very much felt like was a tacked on epilogue to the story as Lo Chi-leung opts for one last twist instead of ending the film at it’s logical end point. Despite this what remains is a fun mystery complimented by action scenes which are as often as inventive as the detection methods.

Pacific Rim: Uprising

Title: Pacific Rim Uprising

Director: Steven S. DeKnight

Released: 2018

Starring: John Boyega, Scott Eastwood, Jing Tian, Cailee Spaeny, Rinko Kikuchi, Burn Gorman, Adria Arjona, Zhang Jin, Charlie Day

Plot: Ten years after the events of the first film, society has begun to rebuild itself believing that the Kaiju threat has long been defeated. Jake (Boyega) the son of the now legendary Stacker Pentecost and now a disgraced former Jaeger pilot makes a living selling Jaeger parts on the black market only for a chance encounter with Jaeger enthusiast Amara (Spaeny) to see them both being drafted into the PPDC as the threat of the Precursors and their Kaiju creations threatens the world once more.

Review: Pacific Rim Uprising was unquestionably a film I was looking forward to, even if my general lack of desire to pay for overpriced cinema tickets has meant that it's taken me until now to actually watch it. Needless to say with Del Toro not returning for this sequel there was certainly an element of doubt if it could love up to his original love letter to the Kaiju genre and for the most part I feel that Steven S. DeKnight's follow up continues to build upon the world Del Toro had established. In the years which have passed the Pan Pacific Defence Corps have once more become recognised as the key defence and as such no longer the rag tag band of pilots scrabbling for resources through black market deals for Kaiju parts.

At the same time it should be noted that this is a much more busy and louder film as DeKnight revels in the chaos and destruction compared to the Del Toro pacifist approach which focused more on the battle between giant robot and monster than potential collateral damage. Now while both movies certainly provided the same buzz and excitement from these scenes I wanted as a life long Kaiju fan there is an unquestionable feeling that the DeKnight's is lacking something.

Plotwise there is a real mish-mash of ideas at play and while seeing the PPDC turned into a heavily funded war machine is a welcome evolution for the series even if one potentially set to be made obsolete by a new drone program. At the same time Jake the son of rousing speech maker and leader Stacker take on the hero duties this time as he finds himself drawn back into the fold as the Precursors launch their latest offensive which sees the film working more of the enemy within angle which ties it nicely to the original film aswell leading to a more meaty role for one of the few characters who make their return when their betrayal is inevitably revealed. The rest of the film though is this weird mix of Kaiju fun with an undeniable and unneeded and not mention unwanted Top Gun vibe as Jake and his former co-pilot Nate (Eastwood) play out a Maverick / Ice Man dick swinging contest which would have honestly worked better if they were rival pilots ultimately forced to team up than co-pilots from the start. Throw into the mix an unresolved love triangle and it just feels like it's padding out the run time.

One of my initial concerns regarded how both Jaegers and Kaiju were shown in the trailers, which honestly left things looking like a reskinned Transformers movie, here the camera work is just as impressive as the first film even if the action is alot more hectic than the lumbering intense battles of the first film. It's just a shame that the film suffers from some truly horrible sound design which only serves to cheapen and detract from the film as radio mics crackle and weapons would sound more impressive if you just made your won Pew Pew sounds. Thankfully the action sequences are still fun to look at with plenty of Jaeger tech being showcased here and sure while no one might be using a cargo ship as a makeshift bat the new set of Jaegers all come with their own fun toys to battle not only the Kaiju monsters this time but also the new drones which perhaps might feel alittle too close to the aforementioned transformers, but thankfully it’s given enough of a spin to work.

While Del Toro's absence is certainly noticeable here, it's still a fun (if flawed) experience that I enjoyed my time with, while DeKnight's own additions to the series like the mini Jaeger "Scrapper" and the rival Shao Corporation only help to make this a fuller and more exciting world which I hope that they continue to explore with further films.

Rollercoaster

Title: Rollercoaster

Director: James Goldstone

Released: 1977

Starring: George Segal, Richard Widmark, Timothy Bottoms, Henry Fonda, Harry Guardino, Susan Strasberg, Helen Hunt

Plot: When a bomber (Bottoms) plants a device on the tracks of a rollercoaster causing it to derail, it soon becomes a deadly game of cat and mouse as Safety Inspector Harry (Segal) attempts to stop him before he strikes again.

Review: A film probably best known for its rather spectacular opening roller coaster crash than the film the footage was taken from this would be one of the few feature films that director James Goldstone directed spending most of his career directing TV Pilots for Ironside and the original Star Trek were his work was not only noted for its momentum but also the “fifteen-minute cliffhangers” he brought to them. A film equally noteworthy for being one of the four films which Universal presented in “Sensurround” were selected theatres were low-frequency bass speakers were used to create vibrations at key moments, which ultimately proved to be so successful that it cracked the plaster of some of the theatres which choose to use it.

Despite the impressive opening crash this is surprisingly a much more subtle film than I was expecting as Goldstone instead here chooses to craft a tense thriller with the rest of the film plays off the tension of not knowing were the bomber has hidden his next device let alone the mind games between Timothy Bottoms unnamed bomber and George Segal’s Safety inspector Harry. Bottoms however was criticised for being too boring as a villain in reviews for the film when it was originally released but here he gives a performance reminisant of Kevin Spacey’s John Doe in Seven which here really works for the film, especially when he is spending the majority of the film taunting Harry over the phone or a walkie talkie, all the time knowing that he holds the power in this situation with Harry left to play the unwilling puppet in the proceedings.

Segal meanwhile is an engaging leading man as the frustrated safety inspector he works in humorous subtle digs at his incompitant bosses while also having to work with the local police chief and Richard Widmark’s tough FBI agent. While it might seem that his talents are perhaps alittle wasted here seeing how he spends most of the film talking to the Bomber over the walkie talkie while moving through a variety of amusement rides which for theme park fans provides its own enjoyment with the film being shot on location at Ocean View Park, Kings Dominion and Six Flags.

The Cinematography throughout is extremely impressive especially with the rollercoaster footage were large portions are shot from the front of the carriage creating that simulator feel of being on the ride which is a nice touch especially when Goldstone isn’t planning on giving the audience any more crashes. The fact that they are shot from so many angles including some impressive profile shots is really add to the excitement, especially during the finale were the cat and mouse games are played out on the opening of the six flags Revolution the world’s first coaster to use a clothoid-shaped vertical loop and more fun against the backdrop of a Sparks concert a gig which had rumoured to had been offered to both the Bay City Rollers and KISS the later turning it down in favour of doing KISS Meet The Phantom of the Park. Sparks would later recall doing the film as one of the worst things they have ever done which I had to wonder if this was before or after they did their 2006’s album Hello Young Lovers. Despite what they feel about it, the high energy performance here really play well against the tension of this final game between the bomber and police.

While it might initially be a little disappointing to see what seems to be setup as another disaster movie dissolve into a thriller it ultimately proves to be the right move here, especially with Segal’s performance certainly able to carry the film so that such shocks are never required even though the film had originally been planned to be a lot more gruesome with both the opening crash and how the bomber ultimately meets his demise, a plaque for which can still be found on the rollercoaster at Six Flags. While perhaps not a film that rewards repeat viewing it’s one still worth checking out especially for the opening crash as you wonder just how they pulled it off.

The Midnight Meat Train

Title: The Midnight Meat Train

Director: Ryuhei Kitamura

Released: 2008

Starring: Bradley Cooper, Leslie Bibb, Brooke Shields, Roger Bart, Ted Raimi Vinnie Jones

Plot: Leon (Cooper) is a photographer with an obsession with the darker side of the city, however when challenged by gallery owner Susan Hoff (Shields) to find darker subject matter he by chance discovers a serial killer (Jones) using the midnight subway system as an abattoir.

Review: Another film to be adapted from Clive Barker’s “Books of Blood” short story collection this film also marked the English language debut from director Ryuhei Kitamura who much like Barker is equally no stranger to blending genres. My main reason for checking this one out those was the memory of Vinnie Jones’ role as the sharply dressed serial killer who rides the midnight subway trains being compared to that of Arnold Schwarzenegger in “The Terminator” and its certainly a performance he nails here with him imposing form and ice cold demenor.

Bradley Cooper’s role as the photographer Leon meanwhile is kind of confusing as here he plays a photographer obsessed with exposing the seedier side of the city which we are lead to believe is for artistic purposes while at the same time he shows no qualms about putting himself in harms way when he chooses to photo graph a gang on the subway. Frustratingly the background or reasons for Leon pursuing this work is never made clear so why he’s willing to take such risks much less become so obsessed with tracking down this suspected killer.

Of course seeing how this is a film being based off a short story there is of course the requirement to pad out the story which here questionably adds Leon’s girlfriend who really doesn’t add a huge amount to the film in terms of plot and really only served to bring an element of melodrama to the final act. What is confusing though is how Kitamura manages to craft a film which is clearly in need of some trimming as while the additional elements certainly don’t detract from the story the film still felt like it overstayed it welcome especially when it passed the point I felt like we should be getting some kind of resolution.

Unsurprisingly for Kitamura and the fact this is based on a Clive Barker text the film is gratuitously bloody which can in some scenes work such as one potential victim attempting to craw across the blood drenched floor while other seem like bad 3D effects which made me wonder if this film has ever been scheduled for any kind of 3D release. Still there is still some inventive violence on show here as skulls are clubbed with a meat hammer and crimson sprays across the carriages. The highlight being when we get to see the nights quota of victims strung up like a human abattoir.

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Outside of the gore which is the arguably the obvious draw here Kitamura also brings his underrated eye for detail in his settings as he bring a real feeling of sleaze to the subways, while a cat and mouse style chase through an abattoir bringing a real menace to Jones character as he stares down a corridor of carcasses. All of which rises it about the predicted disposable horror that the film is sold as, something also not helped by its throwaway distribution by the studio.

A frustrating film at time as it diverges from being an effective thriller to tedium but when it works it is an effective film but far from what fans of Kitamura have come to expect from the director who here feels at times like he's had his wings clipped.

Urotsukidoji: Legend of the Overfiend

Title:Urotsukidoji: Legend of the Overfiend

Director:Hideki Takayama

Released:1989

Review: Reknown as one of the landmark titles of adult animation, this notorious anime adapted from Toshio Maeda’s manga has continued to shock each new generation of anime fan who no doubt were directed to it by the previous generation. Of course when it was released in 1989 it served in many ways to taint the impression the general public had about anime while the hysteria lead by newspapers such as The Daily Mail began leading a public outcry to “Ban this sick filth”.

Of course looking at the film its easy to understand why audience were so shocked when this title was released especially when there was nothing else really like anime with the genre’s seemingly carefree attitude its gratuitous sex and violence with the closest we had come to such material in the west being the sporadic adult animated title such as Heavy Metal or the films of Ralph Bakshi. Infact so uneducated were audiences at the time especially with there being no internet to refer to, anime was often refered to as Japanimation or Manga which was certainly the case in the UK thanks to majority of titles being put out by Manga entertainment.

Because of Urotsukidoji’s notorious legacy for myself it was always a title I avoided much like many of the demon based titles, largely due to the feeling of watching something you really shouldn’t especially with popular titles of the era such as Violence Jack, Wicked City and Genocyber which seemed to relish the levels of sex and violence with thie popularity of these titles in many ways influenced the titles being available when I started getting into Anime in the late 90’s were the focus was often on more adventure, sci-fi and horror based titles than the staggering range that anime fans now have available to them. At the same time with most anime being only accessible via VHS releases / tape trading it limited further what you could watch with the cost of these tapes often making you more cautious about not wanting to be lumped with a tape you couldn’t pass on. Still with the aim of trying to cross off the list those anime titles for one reason or another I’d missed I finally decided to bite the bullet and watch it.

Originally released as a series of three OVA’s (Original Video Animation) which were edited down into this theatrical version for western audiences at the same time cutting around 40 mins of gratuitous sex and violence, something that many fans / anime sweaties are often quick to gripe about despite there still being plenty of nudity, gratuitous violence and demons befiling humans left in the film and taking a look at the cuts list its nothing that I personally can’t live without but of course if your the sort of anime fan who wants to see such things and have the extra bucks to pay trader prices you can hunt down the uncut version released in the Perfect collection via Anime 18.

The film meanwhile see’s the Earth realm as one of three interconnected dimensions alongside the demon dimension of the Makai and the more ethereal realm of the beast people known as the Jujinkai which our antihero Amano and his sister Megumi belong to. The pair have spent the last 300 years looking for the Chojin (or Overfiend) who according to legend rises every 3000 years to bring the three realms together in harmony. However despite the seemingly straightforward plot this is a film heavy in random sub-plots and schemes being carried out by various members of the demon realm whose encounters with humans usually end in splatter heavy violence and more worryingly rape, something the film certainly takes a shockingly lax approach to compared to the west.

Amano and Megumi’s mission soon leads them to encounter the shy clutz and occasional peeping Tom, Negumo who has fallen for the popular cheerleader Akemi and following a series of situations which unquestionably make for awkward viewing the pair end up forming an unlikely couple which is of course only complicated further when Negumo is revealed to be the Chojin that Amano and Meguimi have been hunting for. A reveal which in one of the more memorable moments sees him taking on his gigantic demon form in a transformation sequence which sees a trio of penis tentacles tearing through a hospital. The plot at times can feel confusing and distracted which many fans blame on the cuts while for myself it was mainly because of its desire to constantly work in those graphic moments which see the film diverting off course to add another thrill but when it works its still an interesting plot with some fun twists along the way, especially as the prophecy might play out the way that Amano expects.

Much like it’s creator the film’s influence on erotic anime and especially the Hentai genre can be seen throughout the film as its hard to ignore the scenes of graphic sex and roaming tentacles which when combined with the explict violence makes it far from the most accessible anime even though there are titles which followed in its wake which certainly pushed the boundaries of taste further including Toshio Maeda’s own L.A. Blue Girl. Needless to say that despite its importance within the history of anime, this is not going to suit all tastes however if you can stomach the more explict aspects to the film it is still an enjoyable…if that’s the right way to phrase such an experience that this film certainly is.

Andre The Giant

Title: Andre The Giant

Director: Jason Hehir

Released: 2018

Plot: Documentary charting the career and life of wrestling legend Andre Rene Roussimoff better known as Andre the Giant.

Review: If we are to believe everything about Andre we would be lead to believe he had three rows of teeth and could drink 107 beers in a single sitting. But standing at 7ft 4 in Andre was as big as his legend not to mention one of the most recognisable faces in professional wrestling even to non wrestling fans and it’s this legend that director Jason Hehir attempts to find the truth behind as he features extensive interview footage with his family, his fellow wrestlers and “Princess Bride” cast members to craft a portrait of this iconic figure. This is a film certanly not afraid to showcase his life from the triumphant highs to the crushing lows which lead to his premature demise.

Charting his rise to fame in the first half it’s clear that Hehir is as fascinated with Andre’s status as a real life giant as everyone who saw him while he charts the making of his legend as he starts his rise through the wrestling ranks becoming a headline attraction back when wrestling was still broken up into territories defined by local television coverage. Soon ending up as one of the biggest stars of Vince McMahon’s “World Wrestling Federation” now better known as the “WWE” as he helped McMahon essentially bring the end to the territories as the company rode the introducion of cable TV.

One of the strengths of the documentary really is in how Hehir manages to make a film which is as appealing to the establish fan as it is to the newcommer as while there might be extensive talk of the wrestling territories and backstage politics here memorably highlighted by Andre chasing off his minder while he’s trying to play cards. Hehir manages to explain the mechanics of the wrestling industry to the newcomer without slowing down the pace of the documentary. To this extent it can be alittle jarring to have Hulk Hogan seemingly hijacking the documentary to talk about his own career but thankfully he’s on refreshingly modest form and its inclusion is more to build up the showdown between himself and Andre and their iconic match at Wrestlemania 3.

As a wrestling fan the film more than delivers especially with the wealth of archive footage which is included, especially for the lesser seen early portions of Andre’s career. The documentary also does not shy away from the brutal backstage politics of wrestling with many of the wrestlers interviewed openly discussing Andre intentionally roughing up wrestlers who either annoyed him or he perceived as threatening his spot and its refreshing that the documentary doesn’t shy away from the more negative aspects of Andre which only adds to the build up to his match with Hogan were going into the match Hogan had no idea if Andre was going to go along with his match plan or not.

While a large portion of the film is unsurprisingly devoted to his wrestling career Hehir does touch briefly on the making of “The Princess Bride” were he memorably appeared as the giant Fezzik a role which William Goldman had written with him in mind. Perhaps disappointingly to fans of the film this section is one of the briefest but it does feature some fond memories by his co-stars Cary Elwes and Billy Crystal aswell as Director Rob Reiner reminiscing of dealing with a drunk Andre suspended on wires so they could film a horse riding sequence.

Unquestionably this is both touching tribute to the legendary wrestler which wrestling fans will certainly enjoy but at the same time accessable enough that the uninitiated will still find much to enjoy here.

Island Claws

Title: Island Claws

Director: Hernan Cardenas

Released: 1980

Starring: Robert Lansing, Steve Hanks, Nita Talbot, Jo McDonnell, Martina Deignan, Barry Nelson, Tony Rigo, Raymond Forchion, Dick Callinan, Dolores Sandoz, Frank Schuller, Mal Jones

Plot: When a leak at a Florida power plant dumps several thousand tons of toxic waste into the ocean it causes the local crab population to suddenly start growing to monsterious size and start moving in on the local population of a nearby fishing village.

Review: The sole film from director Hernan Cardenas while also written by Ricou Browning and Jack Cowden who also created “Flipper” making their move into writing a movie about killer giant crabs a perfectly logical one. This late entry in the animals run amok genre doesn’t exactly bring anything new to the genre outside of the fact that its about giant crabs which compared to the numerous shark movies out there is certainly one of the lesser seen creatures of terror. I mean even ants to my knowledge have clocked up more movies than our crustacean pals have but stumbling across this on Amazon Prime who recently have become almost shameless with the kind of movies they choose to stock their on demand library with I thought it was an interesting enough concept to check it out.

Opening to a research lab were they are conducting experiments in increasing the size of crabs using warm water and growth hormones as a warm to help increase the world’s food supplies, especially when they discover that the local crab population near the power plant have been growing bigger which of course is nothing to do with the fact that a few tons of toxic waste have been dumped in their part of the ocean which anyone up to speed on their movie logic will know already that movie radiation equals giant monsters compared to real life were it sadly this is never the case. It’s here though that we are introduced to journalist Jan (McDonnell) who is writing a story on the lab only to soon also get involved with scientist Pete (Hanks).

Elsewhere bar owner Moody attempts to keep the small town together by acting as their unofficial head as he keeps the peace amongst the locals usually by keeping them boozed up in his bar while he also acts as Pete’s adopted father after his parents were killed in a drink driving accident caused by Jan’s father who also runs the power station responsible for all the giant crabs. There is a small part which hints at bad blood between the two fathers but is as dropped as quickly as its introduced like so many of the sub-plots in the film which includes a group of Haitian refugees who wash up on the outskirts of town and hide out in the mangroves and whose sole reason for their inclusion seems to be so that Cardenas could work in an angry mob who thanks to some old school racist tendency believe that the Hiatians are to blame for all the strange happenings in town which they equate to voodoo reminding us once more that there are few things as dangerous as a group of drunks with an idea.

The crab attack are sadly pretty sparse here and for the most part involve actors working with a swarm of real crabs which are actually used pretty effectivly especially during one of the scenes highlights when they swarm the school bus which one of the locals Amos lives in with his attempts to battle the invading crabs showing us that the banjo is as little use as a weapon as it is an actual instrument.

The climax of the film though see’s the towns folk battling an 8 foot crab which somehow has managed to remain hidden until it suddenly destroys Moody’s house. Created by Glen Robinson who’d previously worked on effects for “King Kong” (1976) and “Flash Gordon which far exceeds the expectations of the films low budget especially when he built a complete crab and not just the front portion which you’d expect. While still an impressive looking design it sadly lacks any real movement meaning the actors are forced to run around a lot shooting at it with shotguns and generally trying to sell it as being more of a threat than it really is and perhaps Cardenas might have been better just sticking with his initial crab swarm.

The downside to the film other than the occasionally plodding plot threads certainly comes from the lack of lighting during the night sequences which really make it hard to see what exactly is supposed to be happening half the time, which one of the attack scenes is for the most part impossible to make out meaning that it lost much of its effect.

On the whole its not a bad film just not the sort of film that your likely to watch more than once and even then its throwaway entertainment at best especially if your a fan of the genre.

American Ninja

Title: American Ninja

Director: Sam Firstenberg

Released: 1985

Starring: Michael Dudikoff, Steve James, Judie Aronson, Guich Koock, John Fujioka, Don Stewart, John LaMotta, Tadashi Yamashita, Phil Brock, David Vlok

Plot: Joe Armstrong (Dudikoff) a drifter conscripted into the U.S. Army to avoid going to prison finds himself drawing on his ninjutsu training when his unit are caught up in a plot to steal weapons from the army being carried out by the Black Star Order of Ninjas.

Review: A standout title for Cannon films which would inturn spawn a further four sequels as here they once more attempt to cash in on the Ninja trend which itself was less focused on any kind of historical accuracy and instead more focused on the look of the Ninja outfit and general excuse to wheel out all kinds of fun gadgets and weapons.

Here Michael Dudikoff plays Joe a loner who has been trained in the ways of Ninjutsu from birth which certainly comes in handy when he’s required to pulls out these skills throughout the film and despite not being a trained martial artist tapped into the James Dean vibe that Cannon films wanted after audiences struggled to get on board with the idea of a female ninja in the equally cult “Ninja 3: The Domination”. Certainly Dudikoff nails that James Dean persona of the loner with a chip on their shoulder but then here Dudikoff is far from the most expressive of actors and for some reason seems to have the same expression throughout. Even at the end were he is the hero surveying the smouldering remains of the battlefield does he not crack a smile and instead maintains the same gruff expression.

Thankfully what he might lack in expressions he does make up for in terms of his abilities as an action star even though he didn’t have any martial arts skills at the time of filming unlike his co-star Steve James which turned into something of an issue between the two with Dudikoff not wanting to be shown up with James requesting that his fight scenes be filmed on the opposite side of the compound to Dudikoff to avoid further problems. The pair would eventually squash their issues halfway through the production but watching the film you could easily believe that Dudikoff was a trained martial artist especially when you look at scenes like the sparing session between Dudikoff and James. James though makes for a great co-star and much more than a sidekick which is character had originally been written as and thanks to James changing a lot of the dialogue which was one of the main conditions of him agreeing to do the film and certainly it makes him much more of his own heroic character especially during the final showdown were he gets to fight his own battle.

The action throughout while perhaps lacking in any kind of logic especially when you get multicoloured ninja’s but it still manages to be enjoyable as a popcorn action flick and with it’s high bodycount and especially during the finale which features a ninja vs ninja showdown between Dudikoff and the head ninja played by Tadashi Yamashita in a fight which is a mixture of the pair trading Ninja gadgets (which include wrist lasers!!) while simultaneously engaging in an obstacle course. Needless to say this film more than delivers in mindless fun.

Perhaps having some kind of expectation going into this film, seeing how its an American Ninja movie perhaps made me view this in a more forgiving light, but when approached with the view point of just having fun with the movie it certainly delivers while the tight runtime which dedicates a large portion to action scenes equally helps and really makes me keen to see what else the series has to offer.

Pedicab Driver

Title: Pedicab Driver

Director: Sammo Hung

Released: 1989

Starring: Sammo Hung, Max Mok, Nina Li Chi, Fennie Yuen, Suen Yuet, John Sham, Billy Chow, Lau Kar-Leung, Sun Yueh

Plot: Lo Tung (Hung) and his friend Malted Candy (Mok) are pedicab drivers working in 1930’s Macao while hoping to win the hearts of their respective love interests which soon leads them into unwanted attention from the local gangster Master 5 (Sham)

Review: When I cast my mind back to the early titles which first got me into Martial Arts cinema there are the obvious classics like Jackie Chan’s “Police Story” and Bruce Lee’s “Enter The Dragon” but it was this film which first introduced me to the unlikely superstar Sammo Hung who despite being on first appearances looking like a parody of the traditional kung fu hero with his portly physique but as he proves throughout this film (not to mention his extensive career) he is more than capable of putting together some jaw dropping action scenes which is perhaps one of the reasons this film is held in such high regard by fans of Martial Arts cinema.

Blending comedic slapstick with hard hitting action scenes right from the start as Lo Tung and his friends engage in a tea house brawl with a group of rival pedicab drivers which includes light tubes being branded like lightsabers, while the number of people involved in this opening brawl is quite staggering when you look at how well choreographed the sequence is and only added to further by the brief appearance by Eric Tsang as the cleaver welding restaurant owner.

While the film certainly has it’s comedic elements largely provided by Hung as he battles the lecherous old baker Fang (Yueh) for the affections of Ping (Chi) who works for his aunts bakery. This plot line is perhaps played with alittle too much Benny Hill style humour which does make Ping suddenly falling for Lo Tung more than a little surprising especially when she doesn’t seem to really care for him. The darker elements however come with Malted Candy’s pursuit of Hsiao-Tsui (Yuen) who he doesn’t realise is also a prostitute owned by the gangster Master 5.

Considering how light hearted the film is in the first half its actually quite a shocking switch in tone that the film suddenly takes when it comes to Malted Candy’s romance, which at one point see’s him and his friends throwing drinks at her and generally treating her as being below them, even though she only became a prostitute to pay her sick father’s medical bills and now is trying to buy out her contract. Certainly on the first watch its a jaring shift in tone which does take you out of the film, especially considering how until this point the film has been playing things in a comedic slant.

As problematic as the plotting for the film might be the real draw is the action sequences which unquestionably more than deliver here. For those of you have never seen a Sammo Hung movie this more than showcases his talent with not one but three standout fight sequences for him as the first see’s him battling with poles the head of a gambling house played by another legend Lau Kar-leung who despite being setup for a return in the finale bizarrely never returns. We also get to see him battling Master 5 and his knife welding goons in the finale which also shows him demonstrating his usual surprisingly limber move set which is still jaw dropping to watch and worth watching the film for alone.

For some bizarre reason this film is notoriously difficult to find and only further argues the point for hanging onto so many of my VHS tapes, though why this film has not been given a better release is really quite baffling, especially when so many fans proclaim it as a high point in his career. True it might suffer from some sudden shifts in tone and questionable plotting but the action scenes alone make this one worth taking the effort to hunt down.

Island of Death

Title: Island of Death
Director: Nico Mastorakis
Released: 1977
Staring: Robert Behling, Jane Lyle, Jessica Dublin, Gerald Gonalons, Jannice McConnell, Nikos Tsachiridis

Plot: Christopher (Behling) and Celia (Lyle) are enjoying a break on a small Greek island, while pursuing their favourite pastimes, which unfortunately for the locals are sex and violence, meanwhile Inspector Foster (Gonalons) is hot on their heels.

Review: Probably the least well known of the video nasty list, yet arguably the most notorious seeing how it only got taken off the list here in the UK last year, still good things come to those who wait which this film might be anything but, but still I think it’s easy to say that this is possibly one of the most explicit movies to have made the list, especially as it is essentially a constant stream of soft core porn, nudity and violence, with only the most paper thin of plots to string the scenes together, which is hardly surprising when Director Mastorakis seemingly had two goals when he set out to make the movie and that was to first make himself as much money as possible, while the second was to make the most violent and perverse film possible after after being inspired by “The Texas Chainsaw Massacre”, well more specifically he was inspired when he found out just how much money Tobe Hooper was making from it.

Opening with Christopher buried up to his waist in what will later be revealed to be a pit of lime while Celia watches and laughs mockingly we get our first taste of Christopher’s travel documentary esq voice over which continues to appear randomly through the film as the film now cuts back to a few days earlier as Christopher and Celia arrive on the unnamed small Greek island looking like any normal happy couple. Needless to say we are just about fifteen minutes before they are having sex in a phone box while he phones their mother…..yes that’s right they are also brother and sister (though confusingly at times she is also referred to as being his cousin) and really don’t seem to care much about the incestuous nature of their relationship. So after that surprising opening, you would think that Mastorakis might have blown his load early, until Christopher having had his attempts at getting some morning fun rejected instead relives his frustration with a passing goat before graphically killing it in what is unsurprisingly the most talked about moment in the film.

This murderous duo are almost polar opposites to each other when it comes to thier motives, with Christopher murderous tendencies being drawn from his own twisted religious beliefs, making him prone to ranting about his role as the angel of purification and how his victims have sinned as he kills, while these zealot esq beliefs of course makes the residents of the island prime targets for his campaign to purify them of their sins, especially when everyone is prone to spontaneous nudity and so sexually open. Celia meanwhile plays things like his trusted accomplice though seemingly minus Christopher’s religious rants, as she sets up the majority of the murders, as Christopher voyeuristically enjoys watching her having sex and frantically photographing her in action, which seemingly seems to be the only cure for his own impotence, especially when each of the murders are usually followed by frantic sex between him and Celia and more frantic photography of their handiwork.

There is barely a moment wasted here which is not being filled with death, gore or sex or some amalgamation of the three, with the sound of a camera shutter between each scene, creating almost an unintentional feeling that each scene is like a little violent and nasty short, a feeling only further reinforced by the beyond minimal plotting on offer here, which is pretty much abandoned by the final quarter as we lead up to the moments were we first joined the murderous duo, though don’t expect anything to be any clearer by the time we get to were we first started the film, as Mastorakis instead leaps even further into the randomness void of pure cinematic insanity which has Celia making the nasty (literally in this case) with a inbred looking famer, after he beats up and farts (yes you read that right) on Christopher which is around the same point that you realise that Mastorakis really doesn’t care anymore, let alone has any idea how to end the movie.

The death scenes are all explicit and filmed with an almost voyeuristic glee, as Mastorakis unleashes a variety of interesting deaths from the traditional stalk and slash, to the slightly more creative such as a bulldozer blade and memorably using an aeroplane wing to hang one of their victims during flight. Still none of these are shot with any sense of fun are largely just gratuitous violence and gore, which frequently makes for uncomfortable viewing.

“Island of Death” is another key example of a film which made the Video nasty list and which no doubt otherwise would have long since been forgotten like so many of the titles on the list and furthering the belief that the list did more harm than anything regarding protecting the movie going public from these kinds of movies, instead providing exploitation fans and gore hounds with a shopping list of titles to hunt down. Needless to say you can go through life having not seen this film and be all the better, especially as you won’t have wasted an hour and half of your life on this film, which left me with the same feeling I had after watching “The Human Centipede” an equally ghastly experience, which equally was all shocks over substance and like this film also soon realised that it has nowhere to go and no matter how low you sink the moral standard it still doesn’t make up for the serious lack of plotting and as such, I would recommend this only for video nasty completists and celluloid curiosity seekers only.

Brawl In Cell Block 99

Title: Brawl In Cell Block 99

Director: S. Craig Zahler

Released: 2017

Starring: Vince Vaughn, Jennifer Carpenter, Don Johnson, Udo Kier, Marc Blucas, Tom Guiry

Plot: Bradley Thomas (Vaughn) a former boxer and drug mule finds himself drawn back into his old life when he is laid off from his job at an auto-repair company. However when a pick up gets botched he finds himself imprisioned and with a debt to repay to his former employer Eleazer (Mucciacito) who has now kidnapped Bradley’s wife Lauren (Carpenter). Now Bradley has to assassinate a fellow inmate being held in a maximum security facility.

Review: Perhaps if Tarantino had not been on his own kick to revitalise the Western genre with “Django Unchained” and “The Hateful Eight” we would perhaps see director S. Craig Zahler in much more of a mainstream light especially with his own take on the Western with “Bone Tomahawk” memorably bringing cannibals to the wild west while somehow managing to combine intelligent plotting with jaw dropping violence and now with this film he attempts to do the same for the prison drama.

Continuing the recent move into more serious fare for Vince Vaughn following his memorable turn on the largely forgettable second season of “True Detective”. Here Vaughn is very much the velvet glove inside the steel fist as he plays the hard hitting Bradley who thinks little of the brutal damage he inflicts on those who stand in his way and this is after we’ve seen him dismantle his wife’s car with his bare hands after he discovers that she has been cheating on him. At the same time he’s not just some mindless psychotic thug with his soft spoken and straight to the point attitude while frequently insisting he’s called Bradley and not Brad which makes him a very much a different sort of character than you would expect, especially considering the journey that we follow him on as he has to get from his initial imprisonment at a medium security facility to the maximum security facility of Redleaf by essentially beating the living hell out of anyone he can.

On equally strong form are the supporting cast which see’s Udo Kier as the go between from Bradley’s former employee and whose dark threats regarding the fate of Bradley’s wife in perticular the fate of their unborn child which hints at the violence to come. Don Johnson is on equally great form as Warden Tuggs who also uses the threat of violence and the generally dire conditions of his prison and much like Bradley plays against type as he constantly retains an air of cool, even when the situation around him is getting increasingly out of control never giving us the balistic meltdown we expect him to be building towards.

Despite the premise this is far from he all out action fest that you might expect. Yes there is certainly a lot of action here with some incredibly shot and wide framed brawls really making the most of Vaughn’s boxing training he undertook for the role but much like with “Bone Tomahawk” Zahler teases out these moments, spending the first hour establishing his characters and the botched drug deal which leads to Bradley being incarcerated but its never boring especially with Zahler showing the same kind of flair for dialogue as he has for violence

Shot with an intentional grindhouse eye for violence here it’s most jarringly cartoonist in how its approached with arms being broken and noses blooded it only gets worse when Bradley finally reaches the titular cell block 99 located in the depths of Redleaf and were order is maintained through the use of shock belts and less than humane treatment of the inmates considered problematic to be sent down there. Unquestionably these moments are cringe inducing and even slightly nauseating in places thanks to the fantastic sound design which really makes you feel the full impact of these moment. However compared to the superhero style of action and quick cuts its almost refreshing to see how Zahler holds back and just shoots the action almost from the view point of the onlooker. Yes Bradley might be overpowered in the damage he’s able to inflict with no real explanation as to how he’s able to achieve some of these almost superhuman acts of violence.

As of now Zahler might be one of the few directors alongside Richard Kelly, The Soska Sisters or Quentin Tarantino who I’m excited to see what they do next which at the time of writing is the equally evocatively titled “Dragged Across the Concrete” which will see him taking on the police procedural which after seeing his first team films has me only the more excited to see what other dark delights are yet to come.

My Wife Is A Gangster

Title: My Wife Is A Gangster

Director: Jo Jin-Kyu

Released: 2001

Starring: Eun-Kyung Shin, Ahn Jae-mo, Park Sang-myn, Kim In-kwon, Jang Se-jin, Yeon Jung-hoon, Lee Eung-kyung, Kim In-mun, Gye-nam Myseong, Shin Shin-Ae

Plot: Eun-jin is a high ranking gangster in the Korean Mafia who suddenly finds herself being forced to find a husband to forfill the wishes of her dying sister who much like Eun-jin’s new husband has no idea of her ties to the criminal underworld.

Review: The first film in a trilogy, this action comedy is something of a double edged sword as here we get solid action sequences alongside the comedic attempts of Eun-jin to play both a wife and continue her role as a crime boss. Now this is not exactly the most original of plots especially as there have been a slew of comedies based around one party trying to hide their actions from their significant other, much less ones based around a character having to act against their general personality.

Opening to a rain drenched fight between two rival gangster clans we are introduced to Eun-jin or more her legend as Mantis who easily dispatches her gangster foes using her preferred weapon of choice can be best described as a pair of scissor blades.  Of course even without her unleashing bladed death Eun-Kyung Shin has just as much of an intimidating presence when she’s just drinking tea and reading the newspaper with Director Jo Jin-kyu thankfully playing things largely subtle as he prefers instead to play up her tough and largely cold persona which needless to say makes her attempts at finding her softer side only the more amusing.

Predictably a lot of the humor is derived from Eun-jinn attempting to play the dating game and find her softer side, initially though some interesting advice from the make up artist that her henchmen find to help her find a more feminine side to her look.  It’s a chance encounter though that she meets future Kang Soo-il (Park Sang-myn) who is astonishingly clueless about his wife’s criminal activities not to mention extremely accepting of her cold demeanor as any attempts her make to romance her usually end with him being kicked comedically across the room.

Adding to the comedic element are her loyal henchmen who are drawn into the attempts to find her a husband while at the same time mainly relying on the resources open to them as seen by them filling up the church with hostesses from their karaoke bars and fellow mobsters. Thrown into the mix is the cousin of her henchman, who fresh from the country has big ideas about being a mobster but zero clue of how he’s supposed to conduct himself let alone the fact that his preferred weapon of choice is a the shin bone from a horse really speaks volumes about him while at the same time largely being played for laughs.

Were the comedy tends to fail or perhaps just gets lost in translation are usually with the scenes between Eun-jin and Kang Soo-il with him trying to undress her while she is asleep or her suddenly being tasked with having a baby taking to essentially raping him as she forces him to continually have sex with her in her attempts to get pregnant. Thankfully the comedy and action of other scenes make up for these awkward moments which make it easier to stomach.

In a Jackie Chan vein the action sequences blend perfectly alongside the comedic moments with Eun-Kyung Shin showcasing some incredible fighting ability, while the variety of these set pieces choreographed by Kim Won-jin  which include a knife fight in a field being shot almost like a showdown between two samurai and a warehouse gang fight really giving the kind of action I wasn’t expecting from such a largely comedic film.

An entertaining watch if for a few tricky comedic moments, the blending of styles works perfectly here while ending on a sequence which had me eager to check out the sequel.