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
Thursday 2 May 2019
Sunday 17 March 2019
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.
Sunday 3 March 2019
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.
Wednesday 20 February 2019
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.
Tuesday 15 January 2019
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.
Saturday 5 January 2019
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.
Friday 23 November 2018
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.
kit
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.
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