Elwood's Essentials #17 - The Crow

Title: The Crow

Director: Alex Proyas

Released: 1994

Starring: Brandon Lee, Michael Wincott, Ernie Hudson, Rochekke Davis, Bai Ling, David Patrick Kelly, Angel David, Jon Polito, Tony Todd, Sofia Shinas, Michael Massee, Laurence Mason

Plot: One year after being murdered Eric Draven (Lee) is resurrected by the power of The Crow to extract revenge on the gang who killed him and his fiancée Shelly (Shinas)

Review: An iconic cult movie for a number of reasons especially in terms of style and design aswell as the tragic death of leading man Brandon Lee in an event echoing the death of his own father Bruce Lee. More so when this film much like “Enter The Dragon” is frequently seen as the film which would have finally launched Brandon into the mainstream having previously put in memorable turns in “Showdown In Little Tokyo” and “Rapid Fire”. Certainly for myself it was one of those films whose VHS cover drew me in long before I knew anything about the film or it’s tragic and highly problematic production as I discovered it of all places in my local (and long since defunct) record store and since that initial discovery has remained a film I still love to go back and revisit.

Based on the equally cult comic book by James O’Barr who had originally wrote the story as a way of dealing with his own personal grief when his fiancée was killed by a drunk driver, while drawing further inspiration for the story from a newspaper article he'd read about a young couple who were killed in Detroit for a $20 engagement ring. At the same time it should be noted that while the source comic is still an incredible piece of work and certainly raw emotion with its distinctive black and white illustration it’s not a piece which works as a straight adaption. As such instead of following the source material’s path of unflinching violent revenge between bouts of Eric’s emotional torment we get a more traditional revenge movie yet one which still retains the core elements of the source material.

Proyas brings the world certainly to life here as he paints a crime riddled vision of Detroit were it is almost permanently night and raining, only allowing some colour into the world once Eric gets close to completing his quest for revenge. Proyas had though originally wanted to shoot the film completely in black and white and only use colour for the flashback sequences which the studio unsurprisingly wouldn’t get behind especially for what was already a risky concept. Still while perhaps not the vision he had intended this city of almost permanent midnight is still an effective playground for the story to playout in.

While he might not have been the first choice for the role of Eric with O’Barr citing Johnny Depp as his personal choice for the role, while River Phoenix and Christian Slater were also seen as being up for consideration for the part. Brandon Lee though was of course much more of an unknown talent and no doubt better known for being the son of a famous martial artist than his previous films, but watching the film now and seeing how he embodies the role of Eric its hard to see anyone else in the role and even now after numerous sequels it’s still Lee which we see as being the definitive embodiment of the character. What further helps Lee’s portrayal of the character are the moments of humanity he gets throughout rather than just being a vessel for revenge on T-Bird and his gang and while the flashbacks might be a little too smaltzy he does manage with these brief flashes of his former life manage to give us an idea of who he was before he became “The Crow”.

Considering Lee’s background as a martial artist it might seem strange in the fact that he doesn’t in fact get to do much bar a move here or there with the film being much more focused on heroic gunplay. Were it does pay off though is with his body movements and much like the casting of dancers like Michelle Yeoh in Martial Arts movies here it equally pays off as Eric is shown as moving with cat like movements especially as he prowls the city roof tops in search of the gang members on his list. The fact that he is so charismatic and hypnotic in his performance is only an added bonus.

Opening on “Devil’s Night” the night before Halloween were the city gangs cause acts of vandalism and arson throughout the city, which surprisingly was actually a thing in Detroit until the mid 90’s when it was Detroit official's organised “Angel’s Night” were volunteer patrols protect their neighbourhoods from arson attacks. Here though it’s seen as a calling card for the city’s top crime boss Top Dollar (Wincott) a minor character in the comic who here gets a promotion to the film’s big villain which is only added to by the charismatic Michael Wincott which might be his most iconic role to date outside of voicing “Death” in “Darksiders 2” and as such has meant that its always been kind of disappointing to see him frequently not getting to play more of these kinds of roles in the films he’s made since.

Top Dollar is really the perfect sort of villain for this Gothic vision of Detroit as he carries himself with the right amount of theatricality, while his half-sister / lover Myca (Ling) helps to fill in the rules for the crow by adding the subtle element of mysticism without the action getting too fantastical, which really isn’t the easiest thing when your essentially dealing with a supernatural force of vengeance. At the same time the gang responsible for murdering Eric along with his fiancée lead by the Milton quoting arsonist T-Bird (Kelly) are all colourful and unique in their quirks which ultimately become the tools of their demise and really add to this “Sin City” style world which Proyas creates here and which he would carry across to the criminally underrated “Dark City”.

The soundtrack throughout really makes the film a time capsule of it’s release with Proyas compiling a suitably grungy soundtrack featuring the likes of Stone Temple Pilots, Rage Against The Machine and the Rollins band. Nine Inch Nails also fittingly provide a cover of the Joy Division track “Dead Souls” tying the film further to the source material. Proyas also features live performances by both Medicine and My Life With The Kill Thrill Cult the later whose club performance soundtracks the boardroom shoot-out. The only real downside to the soundtrack is the use of “Burn” by the Cure which is not down to the track which itself perfectly matches Eric applying his harlequin styled face paint but rather the issues come with the fact its a choppily edited version which really stands out if your familiar with the track. Unsurprisingly the grunge / goth ascetic of the film combined with the soundtrack which still holds up now saw the film being often sold in record stores, which is certainly how I first came across it were it was displayed amongst the VHS copies of “REM: Road Movie” and “Nirvana Live Sold Out”.

A fantastic film which unfortunately broke the mould so that any of the attempts to expand the mythology through different souls either in the films which followed or the numerous spin off comics / books none came close to matching what Brandon Lee gives us with Eric more often than not characters being left feeling like they were in some way attempting to mimic his performance and or character. As such this remains a beautiful curiosity and one which like any actor who dies when they are just getting noticed if this would have been his breakout film or not. Sadly we will never know but it remains a fitting end note to go out on.

Saint

Title: Saint

Director: Dick Maas

Released: 2010

Starring: Huub Stapel, Egbert Jan Weeber, Caro Lenssen, Bert Luppes

Plot: On Dec 5 1492 the evil former bishop Niklas and his gang where killed by an angry mob of villagers who refused to be be intimidated by the bishop and his gangs reign of terror. Now they return to seek murderous revenge whenever the anniversary of their death coincides with a full moon.

Review: One of the great aspects of the alt. Christmas season is occastionally getting to see how different countries choose to celebrate the festive season with the standout example of this being “Rare Exports” aswell as the more recent interest in Krampus but here its the turn of the Dutch in particular the festival of Sinterklaas which takes place on the 5^th Decemeber the night before Saint Nicolas Day which Christmas Day was derived from. It of course only makes it all the more fitting when you consider the amount of Santa slashers out there that the Sinterklass mythos get a twisted re imagining as well.

Directed by Dick Maas who outside of directing music videos soley for classic rockers “Gold Earring” is no doubt best known for directing “Amsterdamned” and the killer elevator movie “De Lift” aswell as its English language remake “Down” and here he wastes little time setting the scene for the film as we open to slaughter of the a village by Niklas and his Zwarte Piet before they inturn are slaughtered and burned alive on their ship which is used to explain the black face appearance of the Zwarte Piet who at the same time are said to have black faces due to soot though to those not familiar with the mythos it can be kind of jarring to see characters being so enthusiastic about blacking up. From this opening we are quickly thrown into a second slaughter in which a young boy Goert (Luppes) is left the sole survivor who grows up to be a bitter police detective obsessed with getting his revenge.

Our main protagonist here though is teenager Frank (Weeber) who we see being dumped by his girlfriend during the exchanging of gifts being held by his class, which it seems is largely an excuse for the boys to give girls dildo as secret Santa gifts. Frank’s ex meanwhile gives him the gift of giving his stuff back not that he really cares of course seeing how he has secretly been seeing her best friend on the side. Things however take a turn for the worst when he escapes the massacre of his friends by Sinterklaas and his Zwarte Piet though the police not believing that Sinterklaas is anything than a myth are quick to label him the primes suspect in the murders happening around the city.

Shot at a brisk pace there really is very little fat to this movie as it feels like there is always something happening especially with the kill scenes being regularly peppered throughout the film including a jaw dropping chase scene which see’s Sinterklaas riding his horse along the city roof tops while being pursued by the cops.

Despite the largely fun tone of the film, there are actually a few surprisingly shocking moments of gore and splatter as limbs are regularly lopped of blood sprays in hosepipe spurts ensuring that it never gets too heavy. At the same time the make up effects are all fantastic and really add to these scenes especially the design of the zombie Sinterklass which really has a presence on the screen especially when accompanied by his horde of loyal foot soldiers.

The downside of the film comes with its weak ending which lacks any form of conclusion apart from giving us a nice big explosion, which somehow drives Sinterklass away rather than give us any proper kind of showdown which is only made the more disappointing when Goert is seemingly being built up for this climatic showdown which ultimately never comes. Still if you can get past this what we get here though is another fun international horror and one to file alongside the likes of “Rare Exports” and “Troll Hunter”

Final Girl Film Club - Amityville 2: The Possession

Ok so it's Final Girl Film Club time again, were the blogging world comes together, to bitch about one chosen movie, which this week is the turn of "Amityville 2: The Possession", the prequel to the 1979 original, which I only have vague recollections of watching, but I was curious to see if this film would prove to be more memorable than the first. So join me now as I now present you with my two cents on this months film choice.

Title: Amityville II: The Possession

Director: Damiano Damiani

Released: 1982

Staring: James Olson, Burt Young, Rutanya Alda, Jack Magner, Andrew Prine, Patrica Montelli Rating: 3/ 5

Plot: Years before George and Kathy Lutz moved in and were terrorized by the spirits in the Amityville House, a family, The Montellis, lived there before and were terrorized by demoniac spirits and their own son who is ready to kill them

Review: Sequels as I looked at with my last review can often be tricky things to pull off, let alone do well, with the main problems for sequels coming from trying to follow, directly on from were the first film ended. Still despite being one of the less well known of the horror franchises, especially amongst the fair-weather horror fans, who’d probably name “Nightmare on Elm St” & “Friday the 13th” when asked to name a long running horror series, the Amityville films have since the release of the 1979 original “The Amityville horror” spawned an impressive eight sequels, which includes this prequel and the 2005 remake of the same name with this film currently rumoured to be receiving the remake treatment in 2010.
Still with Sequels being such tricky things, it is perhaps because of this reason it was better that director Damiani, choose to make a prequel to the 1979 original, rather than a direct sequel, a choice that was also probably heavily influenced by the real life case of Ronald DeFeo, Jr who in 1974 shot his family, claiming that voices in his head told him to carry out the murders. Still seemingly this wasn’t interesting enough for Hollywood meaning that this film shares many connections to that case, changing the name of the family from DeFeo to Montelli, while at the same time, adding numerous details of its own to the case, using Hans Holzer’s book “Murder in Amityville” for the majority of the films extra plotting, with the most obvious addition of course being the idea of possession.

Opening with the Montelli family, moving into the now infamous house, they seem like a perfectly normal kind of family.....well actually they are pretty messed up to begin with as Anthony Montelli (Young) clearly prefers to rule the family with a domineering attitude, as he spends most of his time shouting at his children, even on several occasions appearing willing to use, physical force to control his children, but then when his kids seem as dysfunctional as they are, it makes you wonder how he hasn’t been driven (more) insane, especially seeing how his wife Delores (Alda) sees to be off in her own perfect little world, which gives the viewer that she is kind of oblivious to what is going on around her, even though she later confesses to her eldest daughter about how her marriage is secretly falling apart. Meanwhile the two youngest children are creepy as hell, with one such memorable scene involving Jan and Mark (played here by real life brother and Sister Erica and Brent Katz) play fighting in the kitchen, only for Jan to pull a plastic bag, over her brothers head while laughing “Ha Ha, Your dead” which to them seems incredibly funny, but to the audience comes across more than slightly creepy, much like the incestuous antics of the older brother and sister Sonny (Magner) and Patricia (Franklin), who even before the haunting’s have started and long before Sonny become possessed, are seen flirting with each other and even after Sonny has become possessed by a demon, (which is pure assumption on my part, seeing how it’s never properly explained) she doesn’t seem to find it weird that her brother is asking to see her naked, let alone the incest scene, which closely follows, with her only real remorse coming during an extremely brief confession to the priest, which here seems to only have been added, for the point of driving home the point that incest is bad (aswell as creepy), as no doubt Damiani didn’t want to obviously be seen, as promoting incest as a good thing.

Possession might be the main theme for this prequel, but we still manage to get a decent amount of ghostly activity despite this, including an extremely haunting sequences, as a paintbrush glides through the air, before drawing a picture, as a warning to the family, which Anthony refuses to believe is anything to do with ghost, much like when the kitchen is pretty much trashed by the spirits, which like the bedroom scene he’d rather blame on his children. Still these early haunting scenes, which begin almost from the start, as we are less than ten minutes into the film, when blood starts pouring from the tap’s, which would be enough of a warning for most people, that something strange is afoot, but seeing how it happens in front of Delores, she quickly writes it off in her own mind, rather than mention it to anyone.
It’s around the same moment that the ghostly haunting start to run out of steam that the film moves onto the main focus of the story, as Sonny becomes possessed, turning the film in more than one way into kind of a cash in on “The Exorcist” (1973) as we witness the battle between good and evil unfolding, as Father Adamsky (Olson) suffers visions of his own, such as holy water being turned into blood, as he attempts to bless the house and as he later attempts to save Sonny’s soul from the demon, which has taken control of him and which lead him to kill his family, during one particularly chilling scene, as a blank faced Sonny moves around the house, rifle in hand killing the members of his family one by one, while not even showing the slightest hint of emotion, in this recreation of the real life murders which the story is built around.
For fans of “The Exorcist” you might be able to detract from this film, for it’s exorcism like scenes, but personally I felt that it manages to bring it’s own spin to the idea, with a notably distinct lack of pea soup and more especially by bringing in the idea of a processed person, being driven to murder their family and how such a case would be seen in court, aswell as some still impressive transformation sequences, during the final confrontation between Sonny and Father Adamsky

The trouble with this film however is that, it never seems to know what sort of film it want to be, starting off as a family drama, as we see the dysfunctional family, trying to portray this image of family wholesomeness, only to then turn into a ghost story once the spooky thrills start, before then turning into a crime drama of sorts as we see Anthony threatening his wife with a rifle and even more so when Sonny kills his family, which in the lead up to those murders, the film is trying to busily turn itself into it’s forth incarnation as a possession movie, it almost had be shouting at the screen “Pick a genre already!”. Still somehow out of this jumbled wreckage of genre swapping, it still manages to be an entertaining film, even if this is your first introduction to the series, it stands well on it’s own or as part of the larger franchise.

Final Girl Film Club - The Beyond

Okay so it's that time once again, for us to all watch a film on mass and share our collective thoughts, an experience better known as "The Final Girl Film Club" which is just a small part of "Final Girl" Stacie Ponder's blog devoted to the slasher flicks of the 70's & 80's which of course is definatly worth a look if you havn't already.
For this latest edition of the film club, it's the turn of the 1981 Lucio Fulci flick "The Beyond"...please enjoy.

Title: The Beyond
Director: Lucio Fulci
Released: 1981
Staring: Catriona MacColl, David Warbeck, Cinzia Monreale, Antoine Saint-John, Veronica Lazar, Anthony Flees
Rating: 4 / 5

Plot: Liza ( MacColl ) inherits a dilapidated hotel from her uncle and decides to restore it unaware of the secrets it hides including the fact that it happens to also be built on one of the seven doorways to hell.

Review: Fulci is a director who I’ve honestly not seen a great deal of his back catalogue of films, though like fellow Italian director Dario Argento, he commands a rabid fan base, who will no doubt be overjoyed by the recent ( if long delayed ) release of “A Cat In the Brain” (1990) and who also tend to get rather upset with anyone wanting to bash their Idol, still until I watched “The Beyond” my only experience with his work had been via “Zombie Flesh Eaters” (1979) which is better known to many fans as “Zombi 2” and remembered not only for its notorious “splinter in the eye” scene but also for being one of the first Zombie movies, to answer that infernal question as to who would win in a fight between a zombie and a shark! With these fond memories in mind I was keen to see what else he had to offer.

Originally released as “Seven Doors of Death” it has since been reborn as “The Beyond” now it’s been restored to its uncut form, after seeing a variety of cuts over the years as censorship restrictions have changed over the years since it’s original release.
Opening in Louisiana back in 1927, were we are forced to bare witness to a lynch mob not only flailing a man accused of witchcraft with a chain, which cause large bloody wounds to appear as the chain tears at his flesh, as they then proceed to crucify him, before covering him with what looks like boiling hot mud and this is all within the first ten minutes of the film! This opening is shot in a monochrome tinge, which did kinda make me think I was watching “Cold Case” if a slightly ultra violent one at that. This shocking opening gives you a good indication of what is to follow, as the film now jumps forward to present day ( or 1981 as the handy title card points out ) and to were the main story is set, as we now follow the new owner of the hotel Liza, as a series of increasingly strange events start to happen around the hotel, including her chance meeting with the blind girl Emily ( Monreale ), who really could have come straight out of “Silent Hill” especially seeing how every line of dialogue seems to have a real spooky tinge to it, often cranking up the tension in the scenes she appears and it’s this attention that Fulci plays with throughout, often finding a reason to boost it slightly in the few occasional moments he lets up on the pressure, often aided by Fabio Frizzi’s score, which switches from Jeff Wayne electro style to nails dragging down glass moments of scratchiness, none more effective than during the spider sequence, in which we are forced to watch the tide of spiders slowly making their way towards an unconscious Larry.

The plot is confusing at the best of times, with the audience left the majority of the time to figure out what is going on, stringing together the few pieces of information that we get, from the mythology that Emily frequently spouts, making this hardly a film that you can watch half heartily, as it commands your full attention, just so you might have some clue of what is happening, which at times did have me wondering if anyone knew where this film was going, especially when you are suddenly thrown into the zombie rampage finale, which was supposedly added at the insistence of the German distributors, who at the time were in the midst of a Zombie craze, though honestly any excuse for a Zombie rampage will always be welcome viewing. In it’s most stripped down form, the plot could also be viewed purely as a way of linking one gory set piece to the next, which fair enough is one of the main selling points of Fulci’s work, especially seeing how he portrays each gory set piece with an almost voyeuristic delight, happily showing flesh being torn and bodily fluids flowing readily. He also manages to keep the death scenes inventive to say the least, even if he does seem to take great delight in having his death sequences involve the victims eyes in some way, often exaggerating an overused means of death by the simple act of including a damaged eyeball, whether being chewed on by spiders or poked out on a spike rammed through the back of one victims skull, Fulci seems to find a way to include it. Despite being heavily in the gore department, Fulci does manage a few decent shocks without the gore with the Bathtub sequence being particularly memorable, even if these brief moments usually lead to something alittle gorier. Another point worth noting while on the subject of gore though, is how true to its poster which really is, something of a rarity for films which feature a painted poster (often the tell tale sign of a bad movie), but “The Beyond” pays off on each of the posters promises, no doubt much to the delight of the gore hounds, no doubt disappointed in the past by similar promises given by the posters for similar horror flicks.

“The Beyond” is a real throwback to the glory days of horror films, before they became their current watered down state, especially with the insistence of using CGI over old school effects. It’s also worth noting how frequently looked down upon this film is by certain established critic which I discovered while doing the background research fro this review with Leonard Maltin giving it a two star rating, while Roger Ebert giving it even less with a half a star rating critising it for many of it Schlocky moments, when he has openly praised the work of Russ Meyer, whose work could easily be categorised in the same grindhouse genre that Fulci’s films belong, but while these critics might have once carried weight with their words, in these days were E-Critics are in such abundance, these opinions come across as nothing more than silver spooned opinions to those who still care enough to listen and we shouldn’t expect critics of this kind to appreciate a film like “The Beyond” without nitpicking it to death, when it should be appreciated for the dreamlike journey that it is. True you might not fully understand were your going, but the ride more than makes up for it.

The Bermuda Depths

Title: The Bermuda Depths

Director: Shusei Kotani

Released: 1978

Staring: Leigh McCloskey, Carl Weathers, Connie Sellecca, Burl Ives

Rating: 5 / 5

Plot: As a kid growing up in Bermuda, Magnus (McCloskey) has a pretty rough time of things, first when his childhood friend Jenny is carried out to sea by a turtle and when later that night his scientist father is killed by a cave in while working in his underground lab. Years later Magnus returns to Bermuda to find out more about the mysterious circumstances surrounding his father’s death, were he finds Eric (Weathers) and Dr. Paulis (Ives) continuing his fathers research into Gigantism, as they try to track down The giant sea turtle referred to by the locals as “The Devil”. Meanwhile Magnus is reunited once again with Jenny (Sellecca) who may also be linked to the “The Devil”.

Review: I shud start by pointing out that, I originally stumbled across this film by accident, while looking up “Orca” (1977) which was one of many cash ins upon the release of “Jaws” (1975) and to be honest when I saw this film being mentioned on the IMDB boards I was expecting pretty much the same as Orca in that it would be just another giant animal of some description feeding off the local population, which of course is the complete opposite of what this films turned out to be, with it being more of a supernatural love story, which is what I discovered when I finally sat down to watch it, which in turn is thanks largely to Youtube, as right now outside of grainy VHS to DVD transfers your going to have a hard time finding this film anywhere else.
Opening with B movie style opening music as the title shakes onto screen, this music is suddenly replaced by the haunting theme music “Jennie” by Claude Carmichael, as the camera moves through the sea bed, giving the audience that any moment your going to catch a glimpse of the giant sea turtle, or see some expendable extra being killed off suddenly which off course you don’t, instead we get opening of Young Magnus playing with Jenny on the beach, as they find a turtle egg, which they then proceed to raise, into a full grown turtle as Magnus falls for his childhood friend, even carving their initials into the shell of the turtle, which I’m guessing the turtle kinda objected to seeing how in the next scene, its taking Jennie out to sea, as Young Magnus can only stand on the shore and watch. With the young Magnus now without a friend in the world which is rough enough, if not for the next scene being that of his father being killed as the roof of his underground lab collapses, so with all these happy moments from his childhood witnessed we now skip forward to present day were Magnus has now grown up, having spent the last few years wandering the globe and shock horror hanging out in hippie communes (this was no doubt scarier back in the 70's, judging by Eric's wifes reaction) trying to find himself, before returning to his childhood home. From this moment onwards we are thrown straight into the pursuit of the giant turtle, as we are teased with several moments, in which we think that we will see something only to be denied being shown everything, bar torn nets, which it seems, is the great plan that the scientific genius that is Dr. Paulis has come up with for capturing the giant turtle, which makes me wonder why in these kinds of films, when it comes down to capturing giant creatures that the plan for capturing the creature is always kinda ropey, I mean seriously what exactly made them think that a flimsy net will be able to stop a giant turtle? Still figuring that they just need a stronger net, rather than perhaps a better plan they call it a day.

Now the story could just stick with the capturing the turtle angle, but instead we now get reintroduced to the now full grown Jennie, whose name it seems much like the turtle is surrounded with much myth which one of the locals explains to Magnus, as we are shown a flashback to Jenny offering her life to The devil ( The turtle that is not the red guy with hooves ) long ago in the past when the ship she was travelling on was threatened with being sunk….but could this Jennie and the one from Magnus’s childhood be the same person??? Well no doubt you’ve already figured that part out for yourself, as the story turns into a supernatural romance, which the devil becomes more background element, until towards the end when Eric now suffering from Ahab syndrome is obsessed with capturing the devil, setting out with Magnus on a do or die mission to capture the creature, which is when the story starts baring a lot of similarities to the ending of Jaws, but manages at the end to at least give us an ending that is unexpected and in many ways kind of shocking and sad.
Carl Weathers is great in this movie; especially the more obsessed his character Eric becomes with capturing the turtle and it’s good to see one of his older roles before he started playing his action hero past for laughs. It is also worth noting the incredibly gay wardrobe that Eric wears throughout and which Weathers manages somehow to make seem completely straight, even while wearing probably one of the smallest pair of shorts ever captured on film!
The effects through out are mainly on the budget side of things, with some ropey miniature works, which is made all the more apparent in the scene, in which the Helicopter crashes into the devil, coming off slightly more humorous than what was no doubt originally intended. The giant turtle effects though are satisfying even if it sounds like a humpback whale as well as the glowing eyes feel slightly unneeded and were no doubt added to give the creature a supernatural edge to it.

True it might seem a bit of a cheat to give the audience this idea of seeing a giant turtle, only for it to appear briefly at the end, but despite this I never felt cheated by instead being given a love story of sorts between Jenny and Magnus, with Jenny being torn between her duty to serve the devil and her feelings for Magnus.

For a film that was originally released as a made for TV feature, it has over years gained a large following, taking it beyond what was no doubt it’s originally lifespan and is defiantly worth giving it a look, while we continue to wait for that ever illusive DVD edition, as the song “Jenny” continues to haunt your dreams long after the film has finished.