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Cinema, horror, Reviews

ARROW VIDEO – GOOD , BAD AND WEIRD FILM REVIEWS!

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ARROW VIDEO FILM REVIEWS!

In keeping with my theme of branching out and watching different subscribers, last month I paid around £4.99 extra for the ARROW VIDEO CHANNEL via AMAZON PRIME. This gave me access to a whole host of good, bad and very weird films. There are some newish films on there, but mainly the channel contains vintage horror, arthouse and cult movies. This was a good old trip down memory lane for me as it meant I re-watched loads of films which were considered part of the 1980’s “video nasties” era. I also watched a number of films I had never seen before.

If you didn’t know ARROW FILMS is a leading independent entertainment distribution company. Established in 1991, it is dedicated to supporting upcoming and established filmmakers of dynamic new cinema and developing a slate of fantastic films from all around the globe. Moreover, they are also a leading restorer of classic and cult films and enjoy releasing anniversary celebrations of landmark titles. You’ll find some films of both incredible and dubious quality. Safe to say though, such releases are never boring. Lastly, ARROW are never frightened to distribute films previously banned, unreleased or heavily censored. They are true pioneers in the world of cinema. Check out their website here!

***MAY CONTAIN SPOILERS***

THE HORROR! THE HORROR!

If, like me, you love horror films then an Arrow subscription is essential. But before I get onto those, they also have a decent roster of world cinema films. Directors such as Krzysztof Kieślowski, Alejandro Jodorowsky, Susanne Bier, Thomas Vinterberg, Marjane Satrapi, Vittorio De Sica, David O. Russell, Hirokazu Koreeda, Richard Kelly, Bruce Robinson, Rainer Werner Fassbinder and Nagisha Oshima have many of their works distributed by Arrow online and via DVD or BLU-RAY. Indeed, I recently watched and loved Kieslowski’s BLIND CHANCE (1987) and Oshima’s MERRY CHRISTMAS MR LAWRENCE (1983). on the Arrow channel.

Yet, it was mainly the horror and cult movies I concentrated on during my month’s sojourn into Arrow’s back catalogue. Thus, here are some mini-reviews and marks out of eleven for the numerous films I watched.

THE BEYOND (1981)

Insane, surreal and with some incredibly gory deaths, this is perhaps Lucio Fulci’s most illogical, but brilliant film. The imagery and music collude to both sicken and chill in equal measures. It also has one of the most haunting final scenes in horror cinema. Mark: 8 out of 11

THE BLACK CAT (1981)

A truly dreadful adaptation of Edgar Allan Poe’s story which is contemporised badly by Lucio Fulci and his scriptwriters. I dislike cats generally and this revenge story does nothing to appease such negativity. Mark: 2.5 out of 11

THE BURNING (1981)

Pretty decent gore-fest which, while written before FRIDAY THE 13TH (1980), suffers mildly in comparison to that murdered-teenagers-at-camp classic. Famous for being produced by the Weinstein’s and early acting appearances from Jason Alexander, Fisher Stevens and Holly Hunter. Mark: 7.5 out of 11

CONTAMINATION (1980)

Truly terrible, but actually “so-bad-it’s-entertaining” mash-up of ALIEN (1979) and the 007 Bond franchise. Dodgy effects, acting and dubbing make this Italian B-movie laughably enjoyable. Mark: 5.5 out of 11

The Beyond (1981)

DON’T TORTURE A DUCKLING (1972)

An earlier Lucio Fulci film which actually has a decent plot and some disturbing, but compelling scenes and themes. Centred amidst a rural Italian setting, a murderer is running amok killing the village children. A reporter sets out to uncover the murderer as villagers begin to suspect the kids died at the hands of witchcraft. Mark: 7.5 out of 11

THE EXTERMINATOR (1980)

I used to revel in this nasty B-movie revenge film as a teenager. The school yard would have hives of thirteen-year olds chattering about the Doberman attack scene, pimps set on fire and the gangster killed in a meat grinder. Watching it back now, it truly is a terrible piece of filmmaking and an extremely lurid viewing experience. For all its derivative faults, I still loved it! Mark: 7 out of 11

HELLRAISER (1987)

Clive Barker’s cult horror classic is not so much about narrative coherence, but an assault on the senses. That damned mysterious and devilish “Rubik’s cube” is opened, giving way to a whole host of demonic monsters breaking Earth’s dimensions and threatening an Anglo-American family. Powerful visuals, incredibly effective prosthetics and brilliant nemeses in Frank and Pinhead, make HELLRAISER (1987) an extremely memorable low-budget horror cult classic. Mark: 8 out of 11

HELLRAISER II: HELLBOUND (1988)

A direct sequel to the original, but without Clive Barker directing this time unfortunately. HELLBOUND (1988) has some wonderful gore and monstrous moments as Kenneth Cranham’s mad doctor opens up the hellish gates to the beyond. But the surreal storytelling is so deranged and ridiculous I was just laughing by the end. Mark: 5.5 out of 11

Hellraiser (1987)

MANIAC COP (1988)

I love a lot of Larry Cohen’s work, but this is arguably only a minor B-movie script from him. The clue is in the title really as a vengeful cop goes on a kill crazy rampage in the dark recesses of the city. Notable for Bruce Campbell’s turn as a bemused cop suspected of the crimes, plus the impactful silent giant of a killer. Mark: 6 out of 11

THE NEW YORK RIPPER (1982)

While I do not agree with censorship as a rule, I can see why this Lucio Fulci United States shocker was banned in Britain for many years. It is disgustingly violent and misogynistic, verging on pornography in many scenes. The biggest crime is it’s so badly made from a capable filmmaker. Avoid at all costs! Mark: 1 out of 11

RAWHEAD REX (1986)

A gigantic phallic cock-monster called ‘Rawhead’ is woken near an Irish village and kills anyone who gets in his way. Another Clive Barker short story gets a film adaptation and this is awful in every way! Barker hated it and that led to him taking more control of HELLRAISER (1987). Lacking narrative context and even basic filmmaking skills, we are in the “so bad it’s hilarious” camp here. Mark: 3 out of 11

RED EYE (2005)

A rare diversion away from the horror genre finds Wes Craven directing Cillian Murphy, Rachel McAdams and Brian Cox in this fast-paced airplane-set thriller. I had never seen this film before as McAdams and Murphy provide committed performances while possessing excellent on-screen chemistry. Extremely suspenseful for the most part until it gives way to huge explosions and shootouts at the end. Great fun overall! Mark: 7.5 out of 11

Rawhead Rex (1986)

TENEBRAE (1982)

I have to admit that I am not a big fan of Dario Argento’s films generally. I find them imaginative, but mostly loud and nonsensical. Moreover, they have little in the way of suspense or actual scares. TENEBRAE (1982) is another empty Argento exercise in misogyny and style-over-substance as an American writer finds himself pitted against a vicious killer copying murders from his novels. There are some decent horror moments, but the twist is too self-knowing and ridiculous to not find laughable. Mark: 6 out of 11

THE WITCH THAT CAME FROM THE SEA (1976)

Now, this is a weird film. Part-revenge-part-feminist-part-porn-part-horror story that was also banned in Britain as a video-nasty. Millie Perkins gives a haunting performance as a psychologically damaged individual, who is so disturbed by a childhood trauma she kills when in sexual congress. It’s almost a really good film because the characterisation and motivation is well conceived. However, it’s also rather eccentrically acted and directed in places, so approach with great caution. Mark: 6 out of 11

ZOMBIE FLESH EATERS (1979)

This classic zombie exploitation from Lucio Fulci is one I’ve seen many times. While not quite as good as the Romero classics in terms of story and theme, it has so many unforgettably bloody scenes. The moment when a zombie attacks a shark is a horror set-piece you will never forget. As Fulci rips off Romero he spins the undead genre into a frenzy with relentless dirt, maggots, sinew, bone and guts on screen, all the while accompanied by a creepy score by Giorgio Tucci. Mark: 8 out of 11

ZOMBIE FOR SALE (2019)

The most contemporary film I watched from Arrow Video is a riotously funny and moving rom-zom-com from Korea. A rural family find a way of making money out of a zombie who has escaped a science laboratory, however, their get-rich-quick-scheme backfires with bloody hilarious results. While it is overlong, it benefits from a clever script and excellent acting, although it over-does the slow motion scenes and jarring narrative tonal switches. Mark: 8 out of 11

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Cinema, New Releases, Reviews

AMERICAN HUSTLE (2013) – Paul Laight’s Film Review

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AMERICAN HUSTLE (2013) – Film Review

I was looking forward to seeing American Hustle for a number of reasons:

1)  The brilliant ensemble cast featuring Christian Bale, Amy Adams, Bradley Cooper, Jeremy Renner, Jennifer Lawrence, Louis C.K. etc. excited me greatly.

2) I love David O. Russell’s film-works such as Flirting With Disaster (1996), The Fighter (2010), Three Kings (1999) and Silver Linings Playbook (2012). I even liked I Heart Huckabees (2004), I think.

3) I love ‘con’ movies; the twisty-turny-step-sister of the crime thriller genre.  My favourites include:  The Sting (1973), Matchstick Men (2003), House Of Games (1987), The Grifters (1990) and my all-time favoritest the Argentinian con-film Nine Queens (2000).

So in short I really really wanted to enjoy American Hustle and must say I did greatly.

The plot in a nutshell finds 1970s confidence-tricksters Irving Rosenfeld (Bale) and Sydney Prosser (Adams) ripping off small businessmen behaving like a High Street Bank for lowlifes.  Their behaviour mirrors the sub-prime market of the Noughties; robbing the skint to fund an extravagant and hedonsitic lifestyle.  In short they are scum; in Prosser/Adam’s case very sexy scum.

Eventually, like the greedy-bastard banks Rosenfeld and Prosser go bust when they are nicked by Bradley Cooper’s hyper-permed-FBI agent, Richie DiMaso.  In order to avoid jail they agree to become ‘bait’ to help capture some bigger fish including Jeremy Renner’s family and community driven politician, Mayor Carmine Polito. That’s where the fun really begins as all manner of cons, sleight-of-hand, bribes, palm-offs, seductions, stake-raising twists and turns begin as each character tries to outwit the other with crazy scheme piled upon crazy scheme.

The film opens with a hilarious set-piece as Christian Bale’s Rosenfeld goes to work by applying his rather extravagant stunt-hair. In fact, the wig work in this film is a joy and while it’s cheap and easy pickings at the expense of stupid 70s hair and clothes I loved it. Bale is very theatrical in this movie and I would describe his performance as a masterclass in over-the-top restraint.  The application of the wig and display of his paunch are his equivalent of Laurence Olivier’s hunchy Richard III:  “An Oscar! Oscar! My dignity and six-pack for an Oscar!”

Indeed, like O. Russell’s other movies this is a real actor-fest.  He just winds them up and lets them go in one entertaining scene after another.  Amy Adams is a real vulnerable-hot-like-fire-cold-bitch while Jennifer Lawrence steals the show with her ditzy-loose-cannon-flick-hair-nut-job portrayal of Rosenfeld’s wife.  Bradley Cooper follows up his great work in Silver Linings Playbook with a fine comic turn as the delusional and over-ambitious DiMaso.  While the most naturalistic and believable character and in turn empathetic portrayal is Renner’s politician. There’s some great support too especially from Louis C.K and Jack Huston.

One would probably argue that this is more of a comedy than a drama as the film retains a sense of fun throughout with some great physical performances and a sparkling script littered with zinging one-liners.  But there is some meaty drama and a serious subtext to the movie, and like O. Russell’s Three Kings which mixed humour with war, American Hustle has a message. Admittedly it is quite well hidden amongst the wigs and funny accents but that message is America is built on the con and that while everyone is trying to out-do each other perhaps they should just work together.   The law, the gangsters, the politicians and the business folk of the United States are all on the take and the American dream is simply a pyramid scheme built on sand.  That’s what I got from it anyway.

David O. Russell takes genre movies and applies a wonderful sense of chaos to the order allowing his actors free reign to express themselves.  His films are like watching Barcelona play football inasmuch as you’re really enjoying the pretty patterns being made by the players and then bang – the ball’s in the net! This is indeed Champions League movie-making with O. Russell’s wonderful style of direction giving all the cast their moment in the sun to shine with wonderful over-the-top characterisations, wigs, costumes and performances.

American Hustle is an entertaining movie which had the audience I watched it with laughing throughout. It works best as a crime-comedy with a bit of suspense; as well as being a mildly damning indictment the American dream. Ultimately, this film shoots, hits the mark and scores!