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Cinema, New Releases, Reviews

CINEMA REVIEW: NIGHTMARE ALLEY (2021)

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CINEMA REVIEW: NIGHTMARE ALLEY (2021)

Directed by: Guillermo del Toro

Screenplay by: Guillermo del Toro, Kim Morgan

Based on: Nightmare Alley by William Lindsay Gresham

Produced by: J. Miles Dale, Guillermo del Toro, Bradley Cooper

Cast: Bradley Cooper, Cate Blanchett, Toni Collette, Willem Dafoe, Richard Jenkins, Rooney Mara, Ron Perlman, Mary Steenburgen, David Strathairn, etc.

Cinematography: Dan Laustsen

*** MAY CONTAIN SPOILERS ***

Guillermo Del Toro could probably have had his pick of film stories to choose from after the monumental box office and critical success of the majestic alternative love story, The Shape of Water (2017). But rather than build on the message of love and hope in that creature feature he has chosen to adapt the noir novel, Nightmare Alley by William Lindsay Gresham. In the process Del Toro has also remade the classic 1947 film of the same name, starring Tyrone Power.

Essentially a $60 million dollar B-movie, the film is one of the most opulently dark and beautifully designed films I have witnessed in some time. Light, shadow, wood, gold, blood, fire, sweat, skin, snow, and night all collide and collude in a stunningly presented palette from Del Toro and lead production designer, Tamara Deverell. This film is a moving painting with inspiration from geniuses such as Picasso, Dali, Matisse and Edward Hopper. While the look of the Nightmare Alley (2021) and cast are a constant wonder, I had a nagging thought while watching the film which made me question who the audience was for this film. Also, there were many story elements which did not gel for me.

Nightmare Alley (2021) opens with fire and death. Drifter Stanton Carlisle (Bradley Cooper) then finds himself drawn to the carnival arena. It is full of shadowy characters, oddballs and tricksters, portrayed with dirty glamour by the likes of Toni Collette, Willem Dafoe, David Strathairn, plus the more innocent, Rooney Mara. Stanton fits right in and is soon making a name for himself as a mentalist, fooling audiences with carefully rehearsed cues and memory tricks. The first half of the film is its narrative strength. Only after Stanton’s story leaves the carnival his journey twists into something more sinister, but less satisfying.

I enjoyed Del Toro’s stunning visual magic employed in Nightmare Alley (2021). However, while Bradley Cooper has terrific star quality I did not care for his anti-heroic Stanton Carlisle. Cate Blanchett is also alluring as the latter second act enchanter, but ultimately the film lacks real depth. Themes relating to masculinity in crisis, war, psychoanalysis, crime, grief, the afterlife and what it means to be a freak or outsider are there, but only skimmed. I mean the plot has some decent twists, but I did not entirely commit to the downward trajectory of Carlisle’s tale. Overall, as a morality tale Nightmare Alley (2021) is not as frighteningly tragic as it could have been. Carlisle gets what he deserves, and I felt little pity or horror for his end. Unlike another classic noir from some years back, Angel Heart (1987).

Mark: 8 out of 11

Amazon Prime, Cult Cinema, Films That Got Away, horror

CULT MOVIE REVIEW: XTRO (1982)

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CULT MOVIE REVIEW: XTRO (1982)

Directed by: Harry Bromley Davenport

Screenplay by: Harry Bromley Davenport, Michel Perry, Iain Cassie, Robert Smith

Story by: Harry Bromley Davenport, Michel Perry

Produced by: Mark Forstater

Cast: Bernice Stegers, Philip Sayer, Simon Nash, Maryam d’Abo, Danny Brainin etc.

Cinematography: John Metcalfe

*** MAY CONTAIN SPOILERS ***

Being a fan of the horror genre never fails to spring surprises, especially if you also love trashy-B-movie-exploitation-video-nasties too. Because what often occurs is a hidden or buried or previously banned film will reanimate and be located on one of the many streaming platforms we have today. I am both surprised and even more joyous if I find I have never even seen the said film. This is certainly the case with low-budget alien monster film, XTRO (1982).

There I was pressing play via Amazon Prime, thinking it was another schlocky American indie I had missed from yesteryear, only to discover Xtro (1982) is actually a bizarre British film which twists and riffs on the box office hit that was ET: Extra Terrestrial (1982). Xtro (1982), directed by Harry Bromley Davenport, is not a comforting family science fiction drama like its more famous counterpart though. Instead, it is a gory sci-fi shocker with many outrageously violent set-pieces and a budget lower than E.T.’s lunch bill.

Critically damned at the time, Xtro (1982), when released on home video in 1983, was subject to a prosecution case in relation to British obscenity laws and labelled a “video-nasty”. Watching it now I have to admit it is quite shocking still, but the practical effects are so gloriously over-the-top they are more humorous than sickening. Having said that there are some memorably gruesome moments involving alien births, crazy clowns, a live “Action Man” doll, weird space eggs, and transformative man-into-monster effects.

The film doesn’t hang about establishing character but propels, from the opening scene of a father playing in the garden with his son, straight into the disappearing parent plot. The father (Philip Sayers) vanishes without a trace and three years later his wife (Bernice Stegers) and son are attempting to repair their lives. Yet, the boy is suffering horrific nightmares when suddenly his father reappears attempting to reconcile. The familial drama within the script itself could have been further developed to some emotional impact. However, while Bernice Stegers gives a decent dramatic performance, the film soon descends into a mix of surreal and insane set-pieces, combined with the father’s metamorphosis into something from another world.

There’s much to like and much to loathe about, Xtro (1982), notably the gratuitous nudity sprinkled throughout. Yet, if you are drawn to exploitational B-movies there is much sick entertainment to be found in the blend of impressive practical effects and creature moments. Philip Sayer and Bernice Stegers keep the shlocky elements of the plot in check with sane acting performances and despite some eccentric writing throughout Harry Bromley Davenport and his team have delivered an out-of-this-world bona fide B-movie cult classic.

Cinema, New Releases, Reviews

CINEMA REVIEW: TITANE (2021)

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CINEMA REVIEW: TITANE (2021)

Directed by Julia Ducournau

Written by Julia Ducournau

Produced by Jean-Christophe Reymond

Cast: Agathe Rousselle, Vincent Lindon, Garance Marillier, Laïs Salameh, etc.

Cinematography: Ruben Impens

*** THE WHOLE FILM IS A SPOILER ***

The difficult second album syndrome applies with Julie Decournau’s incredibly horrific, illogical and over-rated, Titane (2021). How the film won the Palm D’or at the Cannes Festival is beyond me. Maybe the jury were on the same acid as the ultra-talented writer-director when she created the script. Or, maybe the jury were belatedly rewarding her for the amazing contemporary horror film, Raw (2016).

Raw (2016) works on so many distinct levels with themes covered including: veganism, peer pressure, initiation, fitting in, animal cruelty, sexuality. lesbianism, same-sex attraction, animalism, sisterhood, hedonism, nature versus nurture, cannibalism, family, etc.  It crosses genres effortlessly and has one of the greatest and disgusting scenes I have had the pleasure to see for some time. Raw (2016) is a shocking, intelligent and astounding modern-day masterpiece. Titane (2021) unfortunately is not.

Before I say why I did not enjoy Titane (2021), I must say that I constantly seek out challenging cinema that pushes boundaries. I love horror and want to be shocked, but also emotionally involved with the characters at the same time. Moreover, I am well prepared to commit to dream logic and surreal narratives, however, the filmmaker must also try not to over-indulge their artistic excesses, and respect the audience too. Of course, this is just my opinion, but I don’t feel Julie Decournau had a clear story path and rather went hell bent into delivering a variety of different ideas, none of which created a fulfilling emotional journey for the main protagonist, Alexia (Agatha Rouselle).

Rouselle, as the malevolent and tragic conduit of Ducournau’s twisted vision, does give a spectacularly brave performance. But her character is given so many complex set-ups at the beginning, I quickly gave up caring what happened to her. As a child she is badly injured in a car crash. This gives her a titanium plate in the skull. Alexia grows up and is an exotic dancer who either dreams of, or actually fucks cars. Oh, she is also a serial killer who violently kills for no apparent reason. Several gruesome set-pieces result in the goriest deaths ever seen in a Palm D’or winner. Indeed, by the time Alexia goes on the run and smashes her face into a sink to alter her features I was numbed by it all.

Titane (2021) at the midpoint then delivers one of the most dumb and insulting plot shifts I have seen in recent years. Yes-yes it’s an arthouse film and an expression of Julie Decournau’s vision of humanity, but I DID NOT CARE!! Not only did we get Alexia’s horrific behaviour, we are then introduced to another plot turn when she hides out with a bereaved and emotionally scarred firefighter, Vincent (Vincent Lindon). By this time I was actually laughing at certain scenes, finding it all tiresome and frankly embarrassing. I got the symbolism of human beings as machines and exploitation of females and that family represents death and blah-blah-blah! Yet, and I’m likely to be in the minority, Titane (2021) is one of the most narratively, emotionally and visually exhausting films I have seen in some time. Watch at your peril!

Mark: 5 out of 11

Amazon Prime, Cinema, Netflix, Reviews

THE CINEMA FIX PRESENTS: 10 FAVOURITE FILMS OF 2021!

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THE CINEMA FIX PRESENTS: 10 FAVOURITE FILMS OF 2021!

Following on from the extremely tricky global issues of 2020, the cinema saw further transitions amidst lockdowns and the rise of even more streaming platforms. Traditional timetables for film releases remain all over the place due to the effects of the pandemic on our culture. Plus, big budget productions are now going straight to the living room more often than not. Especially if the proposed cinema release date is postponed on several occasions. What studios lose in terms of cinema release profits, they are now looking to claw back with reduced marketing budgets and subscriptions to their own respective channels.

In the past my favourite film of the year lists were all films I saw at the cinema. Now they are a mixture of cinema and online releases. There is some overlap too in the given year when I watched such films due to the scheduling changes. I’m really not a fan of this as I don’t like change to routine as a rule. But if it means I still get to see my favourite films online or at the cinema then it’s hardly a trial or major issue to adjust.

List Notes

  1. There are LOADS of films I have NOT SEEN! Please comment below MUST-SEE films not on the list.
  2. The Bond film is not on here. It was fantastic entertainment, but NOT a good Bond movie.
  3. There are no MARVEL/DC films on the list as I have not watched them all. Plus, I have superhero film formula fatigue.
  4. Nomadland (2020), while good, was completely over-rated.
  5. White Tiger (2021) would be on this list, but I only watched it yesterday. So, it qualifies for assessment in 2022.

For comparison here is my list of favourite films in 2020. A starter if you will, before the main cinematic course.

Happy New Year – have a great 2022!

TWELVE FAVOURITE FILMS of 2020!

1917 (2019)
DARK WATERS (2019)
DA 5 BLOODS (2020)
I’M THINKING OF ENDING THINGS (2020)
THE INVISIBLE MAN (2020)
MANGROVE (2020)
PARASITE (2019)
PORTRAIT OF A LADY ON FIRE (2019)
SAINT MAUD (2019)
TENET (2020)
THE TRIAL OF THE CHICAGO SEVEN (2020)
UNCUT GEMS (2019)

TEN FAVOURITE FILMS of 2021!

ANOTHER ROUND (2020)

“… with Thomas Vinterberg’s expert direction, evocative natural cinematography, and Mads Mikkelsen giving yet another acting masterclass, the humorous narrative soon leaves the laughs behind to become a bittersweet, yet still uplifting, work of Nordic cinema.”

THE GREEN KNIGHT (2021)

“… David Lowery is an original thinking talent, and someone I categorise as an alternative genre filmmaker… The Green Knight (2021) certainly has scale and magic and astounding cinematic power.”

LAST NIGHT IN SOHO (2021)

“… Edgar Wright has delivered one of the most thrilling and spectacularly energetic films of the year. The nostalgic and heavenly soundtrack is to die for, with so many songs I recall growing up listening to. Likewise, the cinematography and lighting design sparkle in hues of black, fluorescence, shadow and neon.”

MA RAINEY’S BLACK BOTTOM (2020)

“… Levee Green does not see the bigger picture and is sucked in by the promise of money, women and fame. He is blinded by the bright city lights and the closer he gets to them the easier it is for the record producers to pick his pocket. In such a tragic character August Wilson has created a memorably complex persona, perfectly rendered by the acting genius, Chadwick Boseman. R.I.P.”

MINARI (2020)

“… the scenes where David antagonises his unconventional grandmother are hilarious. Youn Yuh-jung as the elderly matriarch is fantastic, deservedly winning a best supporting actress role at the Oscars. Moreover, Lee Isaac Chung gets a miraculous performance from child actor, Alan Kim.”

PIECES OF A WOMAN (2020)

“… The loss of a child is never going to be an easy experience and it is something an individual will never get over. As I followed Martha’s journey intensely the smallest incremental shift in her personality is felt massively. Vanessa Kirby, in particular, is stunning as a woman cut-off from the world by this devastating grief.”

THE POWER OF THE DOG (2021)

“… I’m not always a fan of poetic cinema, especially within a narrative presented as a quasi-Western. Mostly I like to be punched in the gut, not branded slowly from the inside out. Yet Jane Campion’s expert adaptation of Thomas Savage’s novel, The Power of the Dog (2021), contains some bite. You just don’t see when and how it happens.” 

THE RENTAL (2020)

“… I’ve seen some so-so reviews for The Rental (2020), but it’s the kind of tightly plotted suspense thriller I really thrive on. What starts as an idyllic getaway for two relatively wealthy couples is carefully unravelled by Dave Franco’s well-paced direction, complimented by Brie and Steven’s committed performances, has wonderful locations and a seriously proper killer ending.”

SOUND OF METAL (2019)

“… Sound of Metal (2019) beats along steadily but with incredible purpose and rhythm. It teaches us that losing a major sense need not be the end of one’s life, but rather the beginning of an altogether different one.”

WEST SIDE STORY (2021)

“… Everything about the film screams colour, energy and movement. The dancing and editing and swinging beats take you on a breathless journey through the romance and street war. West Side Story (2021) keeps all the memorably catchy songs… and if there is a better directed, choreographed and edited set-piece all year in the Gee, Officer Krupke number then I haven’t seen it.“

Cinema, horror, New Releases, Reviews

CINEMA REVIEW: LAST NIGHT IN SOHO (2021)

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CINEMA REVIEW: LAST NIGHT IN SOHO (2021)

Directed by Edgar Wright

Screenplay by: Edgar Wright and Krysty Wilson-Cairns

Produced by: Nira Park, Tim Bevan, Eric Fellner and Edgar Wright

Cast: Thomasin McKenzie, Anya Taylor-Joy, Matt Smith, Michael Ajao, Terence Stamp, Diana Rigg, Rita Tushingham, etc.

Cinematography: Chung-hoon Chung

*** MAY CONTAIN SPOILERS ***

Edgar Wright is one of my favourite directors working today. His films possess an endless series of cinematic techniques such: long takes, quick cuts, swooping camera moves, canted frames, Steadicam, camera holds, frame switches, pans, scans, tilts, low-angles, metronomic editing, blurred dissolves, point-of-view and god’s-eye view shots. Moreover, Wright’s use of humour, music, colour, casting choices, and cross-genre collisions are spectacularly imaginative and entertaining. His latest film Last Night in Soho (2021) is no different. I was enthralled and excited throughout this ripping big-budget exploitation film, which juxtaposes influences such as Stephen King, Brian DePalma and Doctor Who, with a suggestion of Dario Argento and giallo cinema.

Last Night in Soho (2021) is both a love and hate letter to the Soho area of central London in the 1960’s and the now. If hate is too strong a word then at the very least the myriad of storylines collide to create a cautionary tale of one young person’s move from Cornwall to London to study fashion at the University of Arts. Major acting talent Thomasin Mackenzie is Ellie Turner, a passionate young woman who loves the sixties music and style, but also mourns the loss of her mother at an early age. Leaving her comfortable home she shares with her Grandmother (Rita Tushingham), Ellie experiences London and student life with initially mixed results. Finding it difficult to connect with her obnoxious room-mate, Jocasta, she moves into an antiquated bedsit, with imperious Diana Rigg as her landlady no less. All of a sudden her incredible journey into the glamorous and seedy past of Soho begins.

As with many of his films Wright establishes several storylines simultaneously. He brilliantly crosses rites-of-passage with period drama, romance, musical, detective and finally the horror genre. Ellie finds her feet at University, gets a job in a bar, receives praise for her initial designs and starts a budding romance with fellow student, John (Michael Ajao). At the same time her life becomes entwined in a surreal twist with that of Sandie (Anya Taylor-Joy), an engaging character desiring showbiz stardom who happens to live in Soho, but in the 1960’s. Ellie’s psychic link with Sandie brings her vivid dreams, but a striking empathic connection.

While Ellie is nervous and insecure within her London experiences, Sandie is the opposite. The theme of duality in their polar characters is both emotionally and visually breathtaking as their twin journey brings positive change and developing confidence in Ellie’s character. Yet, when Sandie’s career desires are exploited for nefarious gain by a local face called Jack (Matt Smith), both woman head for darker spaces in the shadows and smoke of the capital. Here the issue of mental health is intriguingly explored too. As Ellie is drawn further into Sandie’s nightmarish existence, she struggles to hold on to reality and the present.

Despite some minor wrinkles in the narrative and geographical London liberties taken, Edgar Wright has delivered one of the most thrilling and spectacularly energetic films of the year. The nostalgic and heavenly soundtrack is to die for, with so many songs I recall growing up listening to. Likewise, the cinematography and lighting design sparkle in hues of black, fluorescence, shadow and neon. Sure, Edgar Wright has his cake and eats it with mild virtue signalling relating to the “Me Too” movement. The male gaze eats up Anya Taylor Joy’s stunning charisma on screen, making us complicit in her downfall. Nonetheless, with issues relating to grief, mental health, sexual exploitation, identity, doppelgängers, urban breakdown and many more all enveloped into a craftily structured plot, you won’t find a more breathless cinematic experience all year.

Mark: 9 out of 11

Amazon Prime, Cinema, Cult Cinema, Films That Got Away, horror, Reviews

HORROR OBSCURA FILM REVIEWS – HALLOWEEN 2021 SPECIAL!

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HORROR OBSCURA FILM REVIEWS

Halloween is slowly creeping out of the fog and shadows. It’s a time of the year where horror films come to the fore. Personally, I watch horror all the year round, but it’s always fun when the genre pulls focus on the cultural calendar.

Rather than concentrate on current horror film releases, I thought it would be interesting to seek out chillers that are a tad less known. So, I had a scan through Amazon and Shudder screening platforms and unearthed several cult horror gems worth catching.

Some of these films come from the 1980’s period which encompassed the “video-nasty” era in the United Kingdom. With the advent of home video technology, the government suddenly got frightened about bloody and exploitational films and desired control. Censoring seventy-two titles and banning a flurry of films actually made people want to watch them more. This caused the government’s policy to backfire as people clamoured to watch “pirate” video versions of such films. In fact, it was in the living room watching forbidden films and the old Universal black-and-white classics where my true love of horror cinema began.

The following films may not have been banned at the time, but I was intrigued by how many of the titles I missed seeing on first release. Aside from Ben (1972), When A Stranger Calls (1979) and Phantasm (1979), I hadn’t seen the other titles. Therefore, if you’re looking for obscure horror films to watch then delve deep into the Amazon library. They have a fine feast of 1970’s and 1980’s fear inducing fare, many of them which were on the infamous “video-nasty” list. Dare you watch them!?

THE CAT OF NINE TAILS (1971)

An early Dario Argento giallo finds a blind puzzle-maker (Karl Malden) and dogged reporter (James Franciscus) investigating murders at a genetics lab. Aside from a couple of scary set-pieces, notably in a graveyard, it neither works as a detective nor horror story. It is however beautifully filmed with a vibrant restoration. (Mark: 6 out of 11)

CHUD (1984)

As the Nuclear Regulatory Commission track down missing toxic waste the New York homeless population are becoming victims to something monstrous in the sewers. An energetic sci-fi-horror hybrid combining a schlocky plot with socio-environmental themes. It’s not bad and actually quite funny, with early roles for John Heard and Daniel Stern whose acting raises the overall quality. (Mark: 6 out of 11)

CLASS OF 1984 (1982)

I remember school kids raving about this film when I was twelve. I really wanted to see it, but could never find it in the video shop or from the “pirate” video guy. The plot merges The Blackboard Jungle (1955) with Death Wish (1974), as Perry King’s music teacher attempts to soothe the savage beast of a gang of nasty punk students. He fails and the final act revenge-driven rampage is fantastically inventive and gory. Latterly famous director, a young Tim Van Patten, portrays the psychotic, Peter Stegman, with vicious zeal. A true exploitational classic. (Mark: 8 out of 11).

HELL NIGHT (1981)

This is one of those films I had never even heard of. With a sizeable budget of $1.4 million dollars for a slasher film, it concerns four college students, including a grown-up Linda Blair, spending the night in a creepy house as part of an initiation ritual. Unfortunately, there’s a psychotic killer about hellbent on hunting them down. We’ve seen it all before, but it was nicely filmed and had decent humour. Overlong but way better than I thought it would be. (Mark: 7 out of 11)

PHANTASM II (1988)

I reviewed the remastered version of Don Coscarelli’s low-budget masterpiece here, but only just got round to watching the sequel. Phantasm II (1988) had a bigger budget and suffers from some stodgy plotting. The re-casting of Mike with James Le Gros in the role throws you. Yet, once Mike and Reggie fight with the Tall Man (inimitable Angus Scrimm), the razor-sharp spheres and the hooded monsters, the film finds real pace. Coscarelli blows-up a lot of stuff and ramps up the weaponry, but the sequel lacks the twisted magic of the original must-watch horror fantasy, Phantasm (1979). (Mark: 6.5 out of 11)

TERROR TRAIN (1980)

Another unknown mini-gem I found on Amazon. This Canadian slasher film is, you guessed it, set on a train and finds, yes you guessed it again, college students getting picked off one-by-one by a vengeful psycho. Notable for a really good plot which gives the killer empathy and understandable motivation, it also stars everyone’s favourite final girl, Jamie Lee Curtis. With disguise and magic prevalent in the themes, David Copperfield also appears in a neat role. Highly entertaining with a killer twist. (Mark: 8 out of 11)

WHEN A STRANGER CALLS (1979)

Inspired by a famous urban legend, Fred Walton’s chilling suspense thriller has one of the most nail-biting opening twenty minutes in horror cinema. Carol Kane is the babysitter terrorized by a series of tense phone calls from a mystery ringer. From that terrifying start the story falters slightly as it focusses on Charles Durning’s obsessive search for the unhinged man. Only when Kane rejoins the film some years later does the horror rise up again in a truly frightening denouement. (Mark: 8.5 out of 11)

WILLARD (1971) / BEN (1972)

This was an odd one because I knew and seen the sequel Ben (1972) when I was a younger. Little did I realise the original Willard (1971) had been released the year before and became a sleeper box-office hit. Bruce Davison is excellent as the introvert, Willard, who is bullied at work by his aggressive boss, Ernest Borgnine. Only when, and take a deep breath here, Willard trains an army of rats does he gain confidence to take on the world. It’s a weird film that actually works because of Willard’s fascinating character arc and Davison’s nuanced performance. (Mark: 8 out of 11)

The follow-up Ben (1972) focusses on Willard’s alpha rat, Ben, and his friendship with lonely kid, Danny. The sequel really raises the rat count and there appears to be thousands of them in their dirty lair. Danny is a likeable kid who suffers from a serious illness that prevents him from going out. Why he would make friends with a killer rat though is still frankly nuts! A lack of thrills and goofy premise make it difficult to recommend, and is more famous for the classic Michael Jackson hit called, surprisingly enough, Ben. (Mark: 6 out of 11)

Cinema, Six of the Best

SIX OF THE BEST #33 – MEMORABLE FILM DEATHS! ***Contains spoilers and graphic violence***

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SIX OF THE BEST #33 – MEMORABLE FILM DEATHS!

Who doesn’t like a great movie death? Well, people who abhor violence and gore on the screen. But I am not one of those people. Thus, if done right in terms of combining emotional context and cinematic imagination, there’s nothing I like more than revelling or lamenting a character’s end in fine bloody fashion. Lastly, I hear you ask why no Zahler, Scorsese, Cronenberg, Miike, Peckinpah, Jackson, Fulci, Roth, Romero, Argento etc. on this list? So much death and only six make it, so please suggest any of the thousands I have missed off in the comments.

*** CONTAINS SPOILERS ***

ALIEN (1979) – “Do these eggs taste off?”

I think it may have been something Kane (John Hurt) ate or maybe something that ate him? Anyway, one of the most spectacularly surprising scenes ever still holds amazing power to this very day.

THE FURY (1978) – Separated at death!

This under-rated tele-kinetic thriller is a spiritual sequel to Carrie (1976). Adding a spy conspiracy plot to Amy Irving’s rites of passage character arc, it has a whip-cracking-pace and classic DePalma set-pieces. None more so than the explosive end of the baddie-in-black.

PSYCHO (1960) – Take a bath next time!

What more can be written about one of the most shockingly original scenes in cinema history? Not only did Hitchcock break all narrative rules killing off the main protagonist halfway through, he did it with one of the most ingenious uses of montage, music and murder ever.

PULP FICTION (1994) – The original “face-off!”

Marvin never saw it coming. But let’s face it – none of us did!

ROBOCOP (1987) – Toxic Wasted!

Whoever designed this action scene, no doubt Paul Verhoeven had much to say, delivered one of the most excessive demises in 1980’s cinema. The vehicle crash, the toxic waste, the melting bad guy, the steam coming off his body and the final disintegration are just cinematic perfection.

WILD AT HEART (1990) – Bobby Peru loses his mind!

David Lynch’s vibrant adaptation of Barry Gifford’s romantic thriller contains many colourful characters. Willem Dafoe’s Bobby Peru is a particularly nasty piece of work and he gets his comeuppance in an incredibly visceral and disturbing way!

Reviews, Star Trek, Television

TO BOLDLY REVIEW #12 – STAR TREK: NEXT GENERATION: SEASON 7 (1993 – 1994)

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TO BOLDLY REVIEW #12 – STAR TREK: NEXT GENERATION – SEASON 7 (1993 – 1994)

Based on Star Trek & Created by: Gene Roddenberry

Season 7 writers (selected): Joe Menosky, Jeri Taylor, Ronald D. Moore, Brannon Braga, René Echevarria, Michael Piller, Naren Shankar, Jean Louise Matthias, James E. Brooks, Michael A. Medlock, Christopher Hatton, Nick Sagan, Spike Steingasser, Dan Koeppel, etc.

Season 7 directors (selected): Les Landau, Cliff Bole, Winrich Kolbe, Alexander Singer, Robert Weimer, Robert Scheerer, Adam Nimoy, Patrick Stewart, Jonathan Frakes, Gabrielle Beaumont, James L. Conway, LeVar Burton, Gates McFadden, etc.

Cast: Patrick Stewart, Jonathan Frakes, LeVar Burton, Whoopi Goldberg, Colm Meaney, Michael Dorn, Marina Sirtis, Brent Spiner, Gates McFadden, Michelle Forbes, Majel Barrett, Rosalind Chao, John De Lancie, Wil Wheaton, Kirsten Dunst, Paul Sorvino, Dwight Schultz, etc.

Music/Composers: Alexander Courage, Jerry Goldsmith, Dennis McCarthy, Ron Jones, Jay Chattaway

Production Company(s): Paramount Television, CBS Television

**** CONTAINS SPOILERS ****

Full Details On Star Trek: The Next Generation Season 7 & 'All Good Things' Blu-rays – TrekMovie.com

My Star Trek journey started when I was a kid many moons ago. I used to watch the original series on my portable telly in the kitchen while eating dinner. I loved the adventures of Kirk, Spock, Bones, Uhuru and the rest of these bold space heroes. Thus, it was surprising that the whole of the Next Generation era of shows, including DS9 and Voyager, passed me by. Nonetheless, I have, since writing and producing two Star Trek fan films, been on a dedicated mission to watch every episode and film of the franchise that has been released.

This escapade began with the original series and my first blog review can be read here:

TO BOLDLY REVIEW #1 – STAR TREK: THE ORIGINAL SERIES (SEASON 1)

Subsequently, and three engrossing years later, I have finally completed watching the last season of The Next Generation. I have to be honest that this marathon viewing project is certainly a big cultural task. Furthermore, I still cannot work out how the hell they managed to produce so many episodes per season for TNG. It truly beggars belief the amount of high quality TV that was produced. I mean, I was exhausted watching it, so how those making it felt I do not know. I guess the fan’s respect and money and joy of being part of the Star Trek legacy was more than compensation.

Season 7 was again a mammoth twenty-six episode tranche. One might think there would be a drop in quality and there was some element of this in certain episodes. However, that was more to do with attempting to crowbar in a satisfactory ending for certain characters, notably Wil Wheaton’s anaemic, Wesley Crusher. Family ties and dramas linked many of season 7’s narratives, yet there was also the usual high concepts and socio-political themes explored throughout. Thus, dearest Next Generation, I thank you for taking me on a bold ride to the final frontier of journey’s end. Here are six of my favourite episodes of season seven!

ATTACHED – EPISODE 9

One of the great pleasures of watching The Next Generation is that the show always gave us mature romantic relationships. The “will they-won’t they” romance of Dr Crusher and Captain Picard is directly addressed in Attached, as the two find themselves shackled physically and telepathically by a paranoid alien race. As they attempt to survive and escape capture the two explore their hidden feelings in a moving episode of some power.

Doux Reviews: Star Trek The Next Generation: Attached

THE PEGASUS – EPISODE 12

Commander Riker (Jonathan Frakes) is portrayed as a dynamic action hero of strength and skill, so it is always interesting when his character is tested. In The Pegasus he is faced with both the sins of the “father” and of his own past. The surrogate father is this case is Captain Erik Pressman, portrayed brilliantly by Terry O’Quinn. Pressman is determined to track down the lost ship, ‘The Pegasus’ before the Romulans get to it. He places pressure on Riker to keep confidential the secrets the missing vessel has as the episode contains great drama and conflict.

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HOMEWARD – EPISODE 13

When shows have been going for many seasons they often have to introduce previously unknown siblings, parents or love interests to manufacture storylines. I totally get this and often it creates fantastic episodes. In Inheritance we get to meet Data’s “mother”, but an even better episode is Homeward where Worf’s foster brother, Nikola (Paul Sorvino) rebels against the ‘Prime Directive’ to save the Boraalan people. It’s a great episode full of twists and some excellent scenes between Paul Sorvino (not playing a gangster for once) and the ever-excellent, Michael Dorn. The use of the holodeck as an integral part of the narrative is highly inventive too.

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LOWER DECKS – EPISODE 15

Most episodes of Star Trek will focus on the core characters with a leaning to one or two of the main cast. But Lower Decks turns that around with the fantastic premise of profiling some of the younger crew members. It’s a well written narrative which focusses attention on a Starfleet promotion with Ensigns Sito Jaxa, Sam Lavelle and Taurik in “friendly” competition to achieve the goal. We immediately warm to their personalities as the witty dialogue adds much fizz, but the drama of the piece is heightened when Bajoran, Sito Jaxa, is sent on a dangerous mission, leading to a powerfully emotional denouement.

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GENESIS – EPISODE 19

I loved this episode because it contained a fantastic melding of sci-fi and horror genres with some monstrous creatures on show. With Gates McFadden directing her only episode, the story finds the Enterprise crew falling ill and regressing to various animal states. Worf has reverted into an aggressive predator attempting to mate with Troi; Riker an Australopithecine (Caveman); Troi an amphibian; and Barclay a spider. Even Spot the cat has become an iguana. While it may sound weird and a bit silly I loved the imaginative animal transformations as the cast shed both their human skin and inhibitions.

Star Trek: The Next Generation" Genesis (TV Episode 1994) - IMDb

ALL GOOD THINGS – EPISODES 25/26

As they say all good things come to an end. So, after boldly going for many seasons, The Next Generation finally concluded with a moving and inventive two-parter. I must admit that while it was clever to call back to the first episode, Encounter at Farpoint, I was never a massive fan of the character, Q. Even though John De Lancie’s performance always brought great energy to every episode, I just felt that this character with uber-God-like powers could always resolve the drama with a Deus ex Machina click of the fingers. Nonetheless, the idea that he was always testing humanity was a great theme, and once again in All Good Things, he puts Jean Luc Picard through a trio of trials in the past, present and future. It’s a superbly written, acted and directed finale and possibly one of the best final episodes of a long-running TV show of all time! The last scene with Picard finally joining his crew at the poker table is truly logical! Make it so – Number One!

10 Things You Should Know About "All Good Things..."
Cinema, Cult Cinema, Films That Got Away

FILMS THAT GOT AWAY #14 – BASKET CASE (1982)

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FILMS THAT GOT AWAY #14 – BASKET CASE (1982)

Directed by: Frank Henenlotter

Screenplay by: Frank Henenlotter

Produced by: Arnold H. Bruck, Edgar Ievins, Tom Kaye

Cast: Kevin Van Hentenryck, Terri Susan Smith, Beverly Bonner

Cinematography: Bruce Torbet

Edited by: Frank Henenlotter

*** REVIEW CONTAINS SPOILERS ***

Being a massive fan of horror and cult movies, it is quite incredible that I had never seen Frank Henenlotter’s low-budget exploitation film, Basket Case (1982). So, when I saw it available via my Shudder subscription I dived straight into the basket, and found the insane premise, bad acting, zero-cash lighting style, lo-fi stop motion and monster effects, all combining to deliriously horrific and hilarious effect. Because, what it lacks in polished performances and filming style, it makes up for in riotous bad taste and shocking entertainment.

Henenlotter’s debut film was shot on grainy 16mm film and for a budget of around $35,000. The story finds the enthusiastic Duane (Kevin Van Hentenryck), visiting New York and staying at the low-rent fleapit called the Hotel Broslin. What makes Kevin so intriguing is he carries around a basket. What’s in the basket I hear you ask? Well, you soon find out that it is something quite disgusting and despicable. A grotesque freak which, when you learn it and Duane’s backstory, takes on a bizarre kind of empathy. As Duane begins to make friends, both with a prostitute neighbour and Doctor’s receptionist, his grisly telepathic and physical connection with the monster pushes him to the brink of insanity. Because the demon is driving Duane to assist him on a vengeful journey of bloodlust and murder.

While the story is certainly nuts and much of the acting is woeful, Kevin Van Hentenryck’s energetic performance makes Duane a likeable protagonist. You really root for him when he begins to fall in love, but the monster becomes jealous, wreaking havoc on Duane’s romance. Further, Henenlotter deserves so much credit for making the insanity on the screen work. I think he does this because he gives us a tragic lead character, moves the story along at a whip-crack pace, has a fantastic monster and devises many memorably gruesome deaths. All throughout I was both laughing and feeling sick at the same time. Lastly, I also just love that Henenlotter made up many of the names in the credits because only a handful of people were in the crew. Indeed, Basket Case (1982) is a true independently made gonzo-horror classic, which makes the most of the dirty-porno-sleazy New York streets it is set on. Dare YOU open the basket?

Mark 8.5 out of 11

Cinema, Cult Cinema, horror

CULT FILM REVIEW: DEATHLINE (1972)

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DEATHLINE (1972)

Directed (and story by) by: Gary Sherman

Screenplay by: Ceri Jones

Produced by: Paul Maslansky

Cast: Donald Pleasence, Norman Rossington, David Ladd, Sharon Gurney, Hugh Armstrong, Christopher Lee etc.

Cinematography: Alex Thomson

***CONTAINS MILD SPOILERS***

In my last review I wrote with nostalgia about trips to the video shop. Yes, an actual shop where you could hire films existed! Imagine that. Now, I further lament the splintered streaming marketplace where you have to pay a subscription to watch a film when I used to be able to see it on telly for free. Plus, there are TOO MANY platforms. Those £5.99 and £4.99 and £7.99 per month fees soon stack up. I used to love turning on Channel Four or BBC2 or latterly Film Four and there would be a cult horror film, classic film noir, World cinema, art film or early directorial release from a now famous director on there late at night – FOR FREE! Thankfully, aside from all the streaming stems I have to manage, a channel on digital TV called Talking Pictures does show some genuinely great movies that time and humanity may have forgotten. One such is Deathline (1972).

Deathline (1972) – (AKA Raw Meat in the U.S.) is a genuine cult classic horror film which is gruesome, darkly witty and incredibly moving in equal measures. In this era of constant remakes I am surprised no filmmaker has decided to transfer this grimy and quintessentially British movie into the modern day. In many ways I am glad they haven’t as it, despite some glaring flaws in characterisation of two main protagonists, borders on being a bona fide under-rated classic. The premise involves a series of missing persons who are disappearing around the area of Russell Square underground station. The sarcastic Inspector Calhoun (inimitable Donald Pleasence) is tasked with cracking the case. He does so with gallows humour and gallons of cups of tea.

Pleasence is not the only person who gives a memorable acting performance in Deathline (1972). Because the screenplay and direction spends a lot of the grisly running time creating a thematic and visual mythology around the antagonist. Indeed, while the killer, described in the credits as the ‘Man’ (Hugh Armstrong), commits several brutal slayings and abductions, the ghastly backstory given and Armstrong’s emotionally charged portrayal really make you empathise with his situation. The combination of pustular make-up effects, the rat-infested underground lair he inhabits, plus the tragic circumstances surrounding the ‘Man’s’ plight ensure he one of cinema’s most empathetic monsters since Karloff in Frankenstein (1931).

It’s a shame therefore that more wasn’t done to develop the leading couple in the film, students Alex Campbell (David Ladd) and Patricia Wilson (Sharon Gurney). While she is at least sympathetic, he is completely unlikeable and mostly unheroic. So much so I was rooting more for the plague-pocked ‘Man’ at the end rather than him. But hey I’m watching this for the gore and deaths aren’t I? Well, there’s plenty of that in between Inspector Calhoun’s chirpy working-class snipes and demands for cups of tea. Plus, director Gary Sherman gives us a tremendous, long take which establishes the cavernous setting for the murder and horror, utilising the dank London underground tunnel system to maximum impact. While Christopher Lee is given poster billing, he’s only in one scene as a privileged MI5 agent. Finally, did you know Marlon Brando was originally cast as the ‘Man’. Well, I’m kind of glad that was an offer he did refuse. Because Armstrong’s tragic human monster lives on long in the mind, even after the film’s haunting final echoes have faded.