WILLY’S WONDERLAND: CAGE STYLE FUN

 

 

There are some movies out there that defy definition. They combine various genres into one completely different movie offering something unique and different. Nicolas Cage has made a career out of starring in these kind of films. Cage has been an actor with a tremendous talent but who’s had his career rise and fall. Taxes cut his rise short and he was forced into taking movies beneath him. The thing is he never treated them as such. He always gave his best effort.

Recent years have seen Cage taking on numerous action flicks while most actors his age sit back with something less strenuous. But he’s also taken on roles in movies that stunned viewers. Films like MANDY and COLOR OUT OF SPACE have shown he can take a genre film and turn it on its head. He does the same here with WILLY’S WONDERLAND, a movie that seems to combine humor, horror, action and the classic western format all into one film.

Cage stars as “The Janitor”. Driving down the highway he runs over a spike strip the local police lost not long ago. The two truck driver picks him and his car up telling him he’ll have it ready by morning but it will cost $1,000. Knowing he doesn’t have the money, the driver sets him up with a friend named Ted Macadoo (Ric Reitz) to help him earn the fee. All he has to do is clean up the restaurant the man owns, a place called Willy’s Wonderland.

Willy’s is no doubt influenced by Chuck E. Cheese. A family style place with games and oversized animatronic animals that at one time performed songs for the kids. The place is fairly well wrecked now and needs a good cleaning. Graffiti stains the walls, trash is on the floors and dust covers nearly everything. Macadoo shows him the cleaning closet filled with supplies and even a stack of Willy’s Wonderland T-shirts he can wear while working. He also reminds him to make sure and take frequent breaks.

Macadoo locks him in the building commenting to his friend the truck driver that they need to leave before they begin to hear screams. Cage changes, stocks the fridge with his bag of soda and gets to work. It isn’t long before one of the animatronic creatures reveals its true nature and attacks Cage with the intent to kill. Instead Cage take it out before heading out for his first break in the night.

While this is playing out young Liv (Emily Tosta) and her friends sneak out with the intent of burning down Willy’s. The daughter of local Sheriff Lund (Beth Grant) she knows the history of the place. It’s not good and it’s not safe to be caught in Willy’s. Everyone knows that. But knowing why is a whole other story. Breaking into the place before torching it to save this stranger locked in finds Liv and her friends trapped there as well. Now they look for his help between his cleaning duties and dutiful breaks.

Imagine if you will a movie that combines WALKING TALL with KILLER KLOWNS FROM OUTER SPACE with HIGH PLAINS DRIFTER and you will know what to expect. The silent hero who comes into town and finds himself having to fix things and re-establish justice and the weird bad guys who look like children’s friends all work together to make a film that is interesting and fairly funny throughout.

Cage’s performance here is muted. I mean that literally. I don’t think he has more than a page of dialogue from start to finish here. He does have a nice scowl and no nonsense attitude towards the creatures that attack him throughout the night. We don’t know where his survival skills come from but they come in handy. He also does a great job of cleaning in the process.

Newcomer Tosta is convincing in her role as wronged individual seeking retribution for past injustice. What that is becomes revealed as the movie unfolds. The rest of the cast is more or less fodder for the animatronic monsters and less notable than these two.

The movie isn’t made to provide a platform for political speeches, it isn’t about grand ideas, it is nothing more than a fun time. This is the kind of movie that was made decades ago for the drive-in circuit, a fun movie that doesn’t require in depth analysis or explanation. It’s just made for laughs and that’s a good thing in today’s world. We have enough troubles in our lives. Better to let Cage handle his problems here and let us take a gander as he does so.

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THE RECKONING: COERCION AS PROOF

 

 

There have been plenty of movies made about witches over the years, everything from comedies like HOCUS POCUS to THE CRAFT to SUSPIRIA and more. But few of these films have dealt with the historical aspects of the witch finders, those men placed in charge of seeking out witches among the population during the plague years. THE WITCHFINDER GENERAL with Vincent Price in 1968 was the last movie I can recall on the topic. That all changes with Neil Marshall’s THE RECKONING.

The year is 1655 and the black plague has left a vast number of dead in its wake across the land. As bodies are loaded onto carts and houses tagged as plague infested take place simply people do their best to survive. Among those is Joseph (Joe Anderson) and his wife Grace (Charlotte Kirk). Along with their newborn child they do their best. Then Joseph comes down with the plague and in an attempt to spare his wife and child he hangs himself. Grace buries him and attempts to continue on.

But landlord squire Pendleton (Steven Warrington) shows at Grace’s door one day demanding that the rent be paid. Grace offers him the wedding bands she and Joseph had in return for 6 month’s rent. He counters with an offer of another way, having sex with him. The two fight and Grace burns him with a hot poker chasing him from the house.

Rather than admit he was turned away Pendleton scours to the nearby tavern and begins rousing the patrons with the idea that Grace and her child only survived because she is a witch. The group gather together and capture Grace and child, burning down her house in the process of arresting her. Pendleton tries to force her to admit being a witch but she refuses. So he proceeds to taker a stronger approach.

Pendleton has summoned Judge Moorcroft (Sean Pertwee), the cruelest and notorious witch finder in the land. He is accompanied by his assistant Ursula (Suzanne Magowan), a woman he once burned as a witch who was saved only when the rains put out the fire that left her terribly scarred. The pair bring with them the tools of his trade, a series of torture devices each one more horrible than the next.

Not only will they use these devices to force Grace into confessing they employ methods like sleep deprivation as well. This leads to Grace having hallucinations of her husband talking to her as well as the Devil himself appearing to attempt to gain her soul. But Grace remains steadfast in her determination not to admit to something she is not. It’s not just that she is innocent but she also saw her own mother burned at the stake by the same Moorcroft in spite of her innocence.

A battle of wills and physical harm follows as the pair battle to see who will win. Townspeople take sides and argue. Grace’s best friend is one of the few taking her side and pays the price when her husband beats her. Pendleton is not looking for condemnation of Grace but a confession as a way of removing any stain from his name. Not everyone will be happy with what happens to them by the end of the film.

While watching the film I was caught up in the drama that was taking place. Marshall is a skilled director and knows how to create suspense and guide the viewer to where he wants them to go. His previous films prove that. But this one seemed a tad long and could have used a bit of trimming. It doesn’t make it a bad movie but less 10-15 minutes and it would have been better.

There is little doubt that the scenes of torture while muted somewhat will be most disturbing to viewers. Explanations of what select devices do will leave the squeamish looking for the remote. But Marshall is simply displaying history and holds back unlike movies of the past that felt gore was needed.

Beneath the movie on the surface is a tale reminiscent of the days we are living in now. The plague can be viewed as the pandemic, although the movie was written before it took place. The witch hunt of the roused crowds is comparable to the Twitter/Facebook crowds that attempt to destroy those who disagree with them. And the birth of a woman capable of holding her own in a world of men is on display which will no doubt draw comparisons to loutish men who continue to abuse women.

The movie is one that will hold your interest for the most part and make you think at the same time. That’s a good thing to find in a film these days, especially when it’s done with a subtle touch rather than the sledge hammer method many film makers feel is necessary. It would be nice if more film makers followed Marshall’s lead and showed a little more restraint when it comes to including topical ideas.

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HE CAME FROM THE SWAMP: IT CAME FROM FLORIDA

 

 

One of the joys of movies being released on disc, especially now since newer titles are few and far between due to the pandemic, is discovering older titles or people in films you never knew of or at least knew little of. Arrow Video has been particularly good about releasing films like this beginning with their package of films by famed drive-in gorehound Herschell Gordon Lewis. Now they’ve packaged another tribute to a director from the glorious days of the drive-in: William Grefé.

You’ve never heard of Grefé? The odds are slim that most have. But I’m certain you’ve heard of some of his films. They were staples at the drive-ins years ago in its big years of the 60s and 70s. Movies like THE CURSE OF TARTU. Maybe STING OF DEATH. Or how about MAKO: THE JAWS OF DEATH? Grefe was responsible for these and many other films. But that’s not the most interesting thing about him.

What is fascinating is that he made these films on shoestring budgets and made them in Florida rather than Hollywood. He lived there and was able to write, direct and find financing to put together these films that have found their way into the hearts of fans around the world. None of them are Oscar worthy but they are entertaining in their own unique way. Now Arrow has gathered together seven of those films as well as a documentary on Grefé.

Sting of Death (1966) is the story of a marine biologist studying the evolution of sea life. A group of students come to visit him and his assistants including his daughter. But none of them are safe when a half man/half jellyfish creature attacks them. Just what is behind this creature and where did it come from.

Death Curse of Tartu (1966) is perhaps Grefé’s third most recognized film. With a name like that how could it not be? Once again we have researchers, this time archeologists, searching for answers in the Florida swamps. They end up disturbing the grave of an ancient witch doctor said to protect these lands. With the ability to change into animals like a snake or alligator their chances seem slim.

The Hooked Generation (1968) tackles the issue of drug runners in the Florida waterways. Led by Daisey his team has no problem killing the drug runners who imported the combination of heroin and marijuana as well as the Coast Guard members who try and take him down. These losers kidnap a couple and hold them hostage.

The Psychedelic Priest (1971) is one of the strangest films in the mix. A young priest leaves his parish to travel across country, picks up a hitchhiker who falls in love with him and then leaves her behind to go back to his parish.

The Naked Zoo (1971) at least had a star name involved. Rita Hayworth is an older Miami housewife who has an affair with a younger man. Her paraplegic husband responds violently.

Mako: Jaws of Death (1976) is one of the most well-known films Grefé did. Richard Jaeckel, another name actor, is a marine salvager that discovers he can communicate with sharks telepathically. Feeling that the sharks are our friends, he sets out to stop anyone who attacks the sharks. The film was a way to ride the wave of popularity of the film JAWS released the year before.

Whiskey Mountain (1977) has a group of treasure hunting young people looking in the hills of Whiskey Mountain finding themselves being attacked by a group of redneck drug runners. Here again Grefé was able to use a star name in Christopher George.

These are the films in the set along with the documentary They Came from the Swamp: The Films of William Grefé. It’s an interesting film that includes footage from the films, backstage footage and interviews with Grefé and others who were in the films.

As I said these movies were not meant to be Oscar winners but they were entertaining. They were exploitation films that were made for the masses attending drive-ins across the country whose main interest wasn’t always what was happening on the screen but who found enjoyment in them anyway. The fact is that you might as well. Or you could just pop some corn and pretend you’re at the drive-in while watching them. Thankfully the folks at Arrow Video made the choice to save these films for posterity and offer them in pristine 4k condition along with a ton of extras. Bravo for them doing so.

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BUCK ROGERS IN THE 25TH CENTURY THE COMPLETE SERIES: SPACE HEROICS

 

 

In August of 1928 in the magazine “Amazing Stories” author Phillip Nolan created a fictional character that lasted in numerous media sources. It featured his novella “Armageddon 2419 AD”. The following year a comic strip featured the character. In 1932 a film serial starring Buster Crabbe appeared. That same year he had his own radio program. Then in 1950 the character made his way to television. But that didn’t take off nearly as well as it did in 1979. The character was Buck Rogers and the series BUCK ROGERS IN THE 25^TH CENTURY was a hit with fans.

With the success of STAR WARS everything science fiction was being made. In 1978 ABC aired BATTLESTAR GALACTICA and NBC needed its own space series to compete. Producer Glen Larson came up with Buck Rogers and they were off and running. Before airing the show they did something different. They released the pilot film to theaters where it did reasonably well. That same pilot kicked off the series on TV.

The series opened with NASA pilot Captain William "Buck" Rogers (Gil Gerard) blasting off into space in 1987. Passing through some mysterious gasses he’s put into a state of suspended animation. When he wakes he finds himself 504 years in the future, the 25^th century. While frozen the Earth had one final war and the survivors united as one global group. Now the Earth Defense Directorate protects the planet from any dangers that might rise.

One such dangers is the planet Draconia and their space army. It was this group that found Rogers and at the behest of Princess Ardala (Pamela Hensley) Roger’s life was spared. They were concerned that he was a spy and intended to use him as an attempt to attack Earth. Better yet they plant a tracker on his ship to help discover a weakness in the Earth’s defenses.

But those on Earth are not as trusting as they hope they would be, especially Starfighter pilot Colonel Wilma Deering (Erin Gray). She tells Dr. Elias Huer (Tim O’Connor), head of Earth Defense Directorate, that Rogers is not to be given free rein. Of course she will eventually fall for the hero as the series progresses. Of course Rogers saves the day in the pilot and from there he joins the Directorate and helps save the planet as best he can while adjusting to the time slip.

Aiding Rogers throughout the series is perhaps the most memorable character to fans of the series. This was a small cute robot named Twiki played by Felix Silla and voiced by Mel Blanc, famous for voicing Bugs Bunny among others. Around Twiki’s neck is Dr. Theopolis (voiced by Eric Server), a sentient computer that helps Buck as he adjust to the new world around him.

The series was popular enough but only lasted for two seasons. What happened? There was an actor’s strike in 1980 and when the series returned it took on a different storyline. Ratings dropped and eventually the series ended. But for those who loved the character, the actors portraying them and who had fond childhood memories of the show they clamored for it to be released on disc. It happened but only the series and not the pilot appeared and never on blu-ray. Until now.

Kino Lorber has done a wonderful job of releasing the complete series AND the pilot film together in a boxed set with plenty of extras on hand. Fans of the series should be overjoyed with this set. That pilot along with all 32 episodes are here to be enjoyed once more. The extras include new audio commentaries for 11 selected episodes by film/TV historian Patrick Jankiewicz the author of BUCK ROGERS IN THE 25^TH CENTURY: A TV COMPANION, a new audio commentary by film historians Steve Mitchell and Nathanial Thompson, a new interview with co-star Erin Gray, a new interview with actor Thom Christopher who played Hawk in the second season, a 9 minute special theatrical preview, the theatrical trailer and two radio spots for the theatrical feature.

For some the series will seem quaint now compared to movies and series being produced today. But it captures what was popular at the time. Young people had more innocence then with less awareness of the world around them. The series sparked the imagination, something young people today seem to have less of with the myriad of games and online items available to them. Perhaps they might get a kick out of watching this series. And those who were kids when it aired will certainly love seeing it once more, especially in this Kino Lorber version. They’ve taken the time and effort to clean it up and make it look spectacular. Kudos to them for doing so. So pick up a copy and enjoy it once more.

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MAD MAX: NEW LIFE TO A CLASSIC

 

 

I can remember the first time I saw MAD MAX. I was lucky enough to see it at a drive in, the perfect venue for a movie like this. A huge screen outside with tons of action taking place on the open road. The highway nearby with cars roaring past the same as they were on the screen. It was indeed the perfect location.

Years later I’d see it on both tape and disc. The movie still packed a punch. Its youthful lead actor would go on to high acclaim and later undeserved infamy. Two sequels and a remake would take place. Director George Miller would helm them all as well as films like THE WITCHES OF EASTWICK, HAPPY FEET and LORENZO’S OIL. But that movie held the honor of being where those involved launched into successful careers and deservedly so. It also kicked off a wave of futuristic films all taking place in a vast wasteland but never comparable to this one.

If you’ve never seen the film you’re in for an action packed treat. The near future in Australia sees disrespect at an all-time high for the police. The film opens with biker and gang member Crawford "Nightrider" Montazano killing a rookie member of the Main Force Patrol (MFP). This highway patrol group takes it personal and sets out to capture the killer. He eludes them all with the exception of their best officer Max Rockatansky (Mel Gibson) and dies in a fiery crash.

Max finishes his day by telling his boss he wants to retire. Before he lets him do so he shows them a new car they’ve made just for him in the hopes of his changing his mind: a supercharged V8 black Pursuit Special (call it foreshadowing, you know it will come into play later). It’s not enough to keep him as he has a wife (Joanne Samuel) and child he knows need his attention more. This will be his last week.

The gang Nightrider belonged to are set on revenge for the death of their fellow member. Led by psychotic leader Toecutter (Hugh Keays-Burn) they run rampant over the town, kidnap and rape a young couple and avoid capture with the exception of young Johnny (Tim Burns). Caught by Max and his best friend Goose (Steve Bisley) they take him to jail to await trial. But when no one shows as witnesses in the trial he is set free.

The gang gets their revenge by taking out Goose’s car not long after. As he sits trapped in the car, Toecutter orders Johnny to set fire to the wreck, burning Goose in the process. When Max find his friend clinging to life but burned to a crisp he immediately resigns and sets out to regain his sanity on a vacation with his wife and child. But the gang has other plans for Max.

The story is a simple revenge tale but it is the visual artistry of Miller that captures the action in ways not used prior to this film. Select scenes make you feel like you’re there in the car, there driving along the pavement and involved in the action taking place. The acting, especially by Gibson, is some of the best for a film like this. It gives Gibson a chance to show his skills and led to others discovering him as well.

The film is finally being released in 4K with some wonderful extras from Kino Lorber. Not only is there a 4K version of the film a blu-ray version is included as well and at an affordable price. The extras included are “Road Rage” a new interview with director Miller, interviews with Mel Gibson and Joanne Samuel and cinematographer David Eggby, an audio commentary track with art director Jon Dowding, Eggby, special effects artist Chris Murray and moderated by filmmaker Tim Ridge, “Mel Gibson-Birth of a Superstar”, “Mad Max: The Film Phenomenon”, the theatrical trailer, TV spots, “Trailers from Hell with Josh Olson and radio spots for the film.

While watching this I was reminded of what an amazing and fantastic film it actually was. I’d forgotten the great story telling abilities of Miller and his vision here. The movie, made in 1979, has held up after all these years. It still is one of the best action films ever made. This version of the movie is not one to just watch all over again, it’s one worth adding to your collection. No matter what you’ve heard or seen before, make a point of picking this one up.

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TOURIST TRAP: HORROR BECOMES COLLECTIBLE

 

 

Horror films came and went in waves at one time. A few would be hits and they would soon fade out of favor with viewing audiences. That all changed in 1978 with the release of HALLOWEEN. It became apparent to studios that there was a market for horror films and soon more were coming out. On the heels of HALLOWEEN a small independent movie was released that didn’t do big figures but has become a cult favorite among horror films. And now Full Moon is releasing TOURIST TRAP with the attention it deserves.

Eileen (Robin Sherwood) and Woody (Keith McDermott) are traveling the backroads when they have a flat tire. Woody head out to find a gas station in hopes of a quick repair. The first one he reaches seems deserted but when he looks around he finds a room filled with mannequins. Some supernatural power brings them to life and he is impaled by a pipe.

Meanwhile there friends Molly (Jocelyn Jones), Jerry (Jon Van Ness), and Becky (Tanya Roberts) show up at the car since they were driving separately. They pick up Eileen and head out to find Woody. They find it and realize it’s also a tourist trap of sorts. Their care mysteriously breaks down and while Jerry tries to fix it the girls go off skinny dipping. While swimming the owner of the tourist trap Mr. Slausen (Chuck Connors) shows up, shotgun in hand. The girls apologize for trespassing and he invites them up to the tourist trap.

Mr. Slausen tells Jerry he’ll help him with his car and that the girls can wait inside his the tourist trap. Inside they find a number of odd assorted items including animated figures. Slausen tells the girls to make sure they don’t go up to the house but it isn’t long after he leaves with Jerry that Eileen heads there to find a phone. What she finds instead is the strange supernatural source attacking her as it did Woody and she’s soon done for.

Slausen returns to his stand and tells the girls that Jerry was able to get the truck running and drove into town. They tell him that Eileen went to the house to find a phone and he goes off to find her. What he discovers is Eileen now transformed into a mannequin. He tells the girls he’ll continue looking for her and heads out. Not wanting to wait the girls separate and go searching themselves. It isn’t long before Becky is attacked by a masked killer and captured. Will she escape? Will Molly? And what about Jerry? And just who is the masked figure with telekinetic powers? Does Slausen know him?

Made on a shoestring budget the film makes the most of its money putting on several truly frightening sequences and telling a great story at the same time. We’ve all seen places like this location along the highway, most of them having seen better days before interstates came around. It makes a fantastic place for a fright film to take place. Director David Schmoeller, who went on to direct several more films for Charles Band’s different companies (Band served as one of the producers on this film), shows he can handle the material well.

The film was late in the career of Connors but he plays the role of Slausen with ease and makes a formidable figure of fright here. For Tanya Roberts this was one of the first films she actually had a speaking role in. Of the other actors only Van Ness became a recognizable face and continued working for year.

Released in the past what makes this new edition so collectible? Well first off you get the uncut complete version of the film. Secondly they’ve packaged the disc in a VHS style collectible box for those who remember seeing the film the first time in those mom and pop video stores. The movie has been digitally remastered for the best look the film has ever had on disc. Not only is there a commentary track with director Schmoeller there is an interview with him. There are rare trailers included. And last but not least the box also contains a blister packed retro style action figure of Mr. Slausen. Yes Mr. Slausen can sit with you and watch the movie!

My first viewing of this film knocked me off my feet. Like most people I find mannequins to be kind of creepy looking. This movie takes that to a whole new level. It’s a great story, effectively frightening and is sure to become a movie that will haunt your dreams at night. If you’ve never seen it before you need to check it out. And this version will be the best that you can find and worth the money.

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THE OTHER SIDE OF MADNESS: TIMELY EXPLOITATION AT THE TIME

 

 

To enjoy and relate to exploitation films you have to have an understanding of what they are exactly. This genre of film as the name says exploits something. More often than not most exploitation films exploited nudity at a time when it wasn’t so prevalent in films. These days you see it within 10 minutes of every made for HBO/Showtime series you find. But that wasn’t always the case.

 

But exploitation films were also movies that were almost always made on a low budget with a tight time constraint and focused on whatever was hot at the moment. Thus we had racing films, biker films, horror films and more that were rushed into theaters to capitalize on current trends. And on occasion these films focused on major headlines. Like the film THE OTHER SIDE OF MADNESS.

 

THE OTHER SIDE OF MADNESS was the first film to capitalize on the Manson murders. A number followed like HELTER SKELTER and recently Tarantino’s ONCE UPON A TIME IN HOLLYWOOD. But this movie was the first. And unlike those this one chose not to use name actors and the format most films used. It was its own creation.

 

The film is almost like a documentary using actual new items at the time of the trial to tell the story, not using a narrative structure but combining bits and pieces of past and present at the time. It was made while the Tate/LaBianca trial was going on. The names of various people involve were left out to avoid litigation for the film’s director and producer. The film moves back and forth from visits in the court room where the trial is taking place to the actions involved, using the court room scenes to set up what is to come.

 

Shot in black and white the film never offers the extreme gore than many exploitation films of the time did but does project and uneasy amount of violence in the brutal killing sequences. Like many horror films the actual penetrations of weapons are not displayed but can still be imagined in the useful camera techniques that are employed. The use of no name actors in the cast helps preserve that sense of dread rather than watching a well-known star in each role.

 

All in all the film isn’t the most entertaining film to sit and watch but it does capture a moment in time when the world was fearful of the unknown, of that “hippie generation” that seemed too different for most. Being made at a time when mistrust and fear was high the film did good money at the box-office and played in grindhouses and drive-ins across the country.

 

This version of the film is being released by The Film Detective and they’ve done a great job of it here. To being with the film is offered for the first time in a 4k transfer from the original camera negative. They’ve also compiled a number of extras that make this one worth ordering if you’re a fan of true crime or Manson films. These include a narration from producer Wade Williams, an original documentary THE OTHER SIDE OF MADNESS: WITH PRODUCER WADE WILLIAMS, a featurette entitled MECHANICAL MAN: WADE WILLIAMS MEETS MANSON, a 12 page collector’s booklet with commentary from award-winning film director Alexander Tushinski, the original theatrical for both films the movie was released as (THE OTHER SIDE OF MADNESS and THE HELTER SKELTER MURDERS) and in the first releasing of this title are selections from the LP the Manson recorded including the songs “Mechanical Man” and “Garbage Dump”.

 

As a curiosity piece this is one worth picking up. For fans of the genre it is worth picking up. For fans of exploitation it is worth picking up. And for those who remember the fear of that summer when it all took place, you might want to give this one a watch.

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MEAN MAN: THE STORY OF CHRIS HOLMES - STILL ROCKIN’

 

One lesson you would think most musical performers would know by now is not to trust your management in the world of contracts. The list of management that has taken money from the artists they represent is long and wide and goes back to the early days of rock and roll if not before. Unfortunately those lessons were not learned by the heavy metal rockers of the 70s and 80s. Among those taken advantage of was Chris Holmes, lead guitarist for W.A.S.P.

Now Holmes is on the road again promoting a new band and telling his story in the documentary MEAN MAN: THE STORY OF CHRIS HOLMES. What many documentaries like this do is combine long ago footage in a linear format to tell the story of the person being discussed using the timeline to show their ups and downs. This one is different in that it starts at the end with Holmes in the middle of touring and promoting his new band, Mean Man.

This band provides Holmes with the chance to not only be the lead guitarist but the lead singer as well. With a past history of lead vocalists who feel the attention should always be directed their way, Holmes has learned the lesson that it’s best if he just does it himself. Truth be told he does a good job of it.

So we start with this look at what’s taking place now. Holmes on tour in a car, far removed from the days of busses and roadies looking after everything. He’s now managed by his wife Catherine-Sarah, the woman he says is responsible for his being alive today. But you can’t only focus on the here and now. Holmes long history gets looked at as well.

As a rail thin young man Holmes only wanted to be a rock star. After playing in several small bands he got a chance at something big. Called by Blackie Lawless the pair untied to form W.A.S.P. The band not only had a classic heavy metal sound they had a dynamic stage presence as well with the over the top antics of Lawless and the showmanship of Holmes. Their popularity only increased when they became notorious for songs that included profanities and album covers that featured things like a codpiece with a buzz saw blade coming out of it.

Watching the movie you realize that this is going to be one side of the story. Even so while observing Holmes and hearing people who knew him and were part of the band back then you get the impression that this side is factual on all levels. As their popularity grew Lawless wanted the focus to be on him and none of the other band members. While the rest were happy to talk to fans and sign autographs, Lawless made himself unavailable and then chastised Holmes for catering to the fans.

Towards the end Lawless did his best to cut Holmes out of everything. Holmes notoriously did a piece in the film THE DECLINE OF WESTERN CIVILIZATION: THE METAL YEARS that was controversial and is talked about to this day. But Lawless didn’t approve and was angered by it. The buildup and frustrations felt by Holmes led to his departing the band. What he learned the hard way was that he’d signed over all the publishing rights to all of his songs. To this day he doesn’t get a penny for any of them.

Now rather than just assume this is someone with a grudge the director brings in more people to back up the claim. Other band members. A roadie who worked and toured with the band. Other bands that saw firsthand what was going on. It doesn’t paint a pretty picture 

Holmes went on to other bands but none of them shone as brightly as W.A.S.P. Eventually he became an alcoholic until a reunion of the band set him straight. That was short lived as old habits of credit where it wasn’t due kicked in once more. He worked construction and other jobs but eventually found his love of performing return. Now he’s back.

ority of the film focuses on a tour Holmes and his band Mean Man took in Europe. No arena dates but plenty of clubs that feature heavy metal bands are on that tour. Holmes is now sober and glad that he’s still able to walk. More than that he’s still able to play and sounds great. This documentary is his story. It’s one that needs to be told. And with any luck it will teach future performers to take care of business off stage as well as one.

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MAX CLOUD: 80S GAMERS

 

 

Kids who grew up in the 80s and 90s when video games were just taking off have a lot of fond memories of those games. The graphics weren’t as realistic, the kills even less so and the adventures not near as complicated. And yet those kids had a blast. So much so that movies came out about gamers like THE WIZARD and TRON. But those days are gone. Unless you take a look at the new release MAX CLOUD.

Sarah (Isabelle Allen) is a huge game lover, so much so that her father Tony (Sam Hazeldine) eventually bans her from her game and takes away her controller. This is especially disconcerting to her since she just found an Easter egg in the game, a hidden extra item for players where she finds Space Witch (Jason Maza). As her dad leaves the house Sarah wishes that she could play games all the time. No sooner does she make the wish than the witch in the Easter egg grants it and she’s transported to the world of Max Cloud.

The big difference is that here she is ship’s cook Jake (Elliot James Langridge) and their spaceship has crash landed. Now she must adapt to this world as well as the hero of the game. Max Cloud (Scott Adkins) is an egotistical hero with an unmatched fighting ability always spouting heroic yet useless items while facing off against various adversaries. Things like “Kick *** first, ask questions if there are survivors” pop out frequently as he literally does so. While the game images on the outside world are 2 dimensional scrolling games in here the blood flows more freely.

As Sarah tries to figure out what to do her friend Cowboy (Franz Drameh) shows up. She talks to him from the screen telling him not to turn off the game or reboot it but to start playing and help her out. He does so still not quite believing what is happening. As he leads her through the game they come across another crew member, Rexy (Sally Collett) the games British heroine. Later they team up with famed game bounty hunter Brock Donnelly (Tommy Flanagan) who may or may not be trustworthy.

Of course we have to have a bad guy who’s behind everything, an end boss that you’d find in any game. Here that boss is Revengor (John Hannah) who along with his number two, Shee (Lashana Lynch), wants nothing more than to defeat Max and his crew and return to Earth. Does this mean the game Earth of the real Earth? Who knows until the end of the game should he win?

All Sarah/Jake wants is to get out of the game. But with Revengor trying to finish the game and take over everything that’s not going to be easy. With the help of Cowboy, Rexy, Brock Donnelly and yes even the misogynistic hyper violent Max Cloud the odds are against them. It’s time to put her gaming skills to work.

I’m surprised at the number of people who have chosen to slam this film online. It was actually a lot of fun and a great throwback to those classic movies made at the time. The low budget doesn’t hurt here since the sets are supposed to be interpretations of the game itself. In fact I thought they helped. The acting isn’t Oscar worthy but why would you expect it to be? It fits in nicely with the films it is paying homage to.

Adkins has been making a name for himself in smaller roles in major productions like THE EXPENDABLES and done a number of movies in the direct to disc market. He’s actually a better actor than many give him credit for. And his skills as a martial artist are some of the best you will find these days. Here he gets to display both as his character is hysterically funny at times and he plays it with a seriousness that makes it so. And his fight sequences match any he’s done before.

The movie is a lot of fun that the whole family can enjoy. The only thing that might be a problem is the use of a few minor swear words and the fake blood that’s on screen but it matches the setting of a game and doesn’t come off as real. THE WALKING DEAD is far worse when it comes to bloodletting and kids are watching that all over the country. This film is a good starting point to talk to your kids about both gaming, gaming too much and those movies you grew up with. For me it’s one I’ll hold onto and check again from time to time. Just to see how Max Cloud is doing.

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GIANT FROM THE UNKNOWN: REANIMATED CONQUISTADOR!

 

One of the joys of DVD has been the resurgence of classic movies that aren’t quite, well, classic. Most will associate that term with films like GONE WITH THE WIND and CITIZEN KANE. But the history of film is filled with little known or seen movies that kept studios alive and provided them funding for movies like that. They also drive-ins packed when they began showing double features to younger audiences who could care less about those types of films. These movies rarely got special treatment from major studios when home video took off and then changed to disc. That’s all changing and a great example of that is GIANT FROM THE UNKNOWN.

Geologist Wayne Brooks (Ed Kemmer) is in Pine Ridge, CA, when a series of animal mutilations begin taking place. When a local is found killed in the same way the townsfolk are concerned about these events. Sheriff Parker (Bob Steele) orders them to steer clear of the area but suspects that Brooks is somehow involved.

As he begins to question Brooks they are interrupted when Dr. Cleveland (Morris Ankrum) and his daughter Janet (Sally Fraser) arrive. They’ve arrived to do some archeological research in the area. It turns out that Brooks was once a student of Cleveland’s and he agrees to help them out. Before moving on Sheriff Parker warns Cleveland about the local problem.

The next day the group begins exploring. Cleveland was drawn to this location due to some superstitious talk about an area known as the Devil's Crag. Artifacts have been gathered there before and he has some of them on hand. When they begin searching they come across items that lead Cleveland to believe that a Spanish expedition came through this area 500 years earlier known as the Diablo Brigade. The group was led by a bloodthirsty man called Vargas, known as Diablo Giant because of his size.

Going through the items that night Brooks and Janet discover a small lizard inside one of the rocks they found. The lizard seems to be in a state of suspended animation. Combining the two fields of study Brooks theorizes later that a recent electrical storm disturbed the area. It isn’t long before we witness Diablo Giant rise from his own case of suspended animation to terrorize the locals.

The movie is more entertaining that one would expect from a low budget film like this that was definitely made for the drive-in circuit. One of the things that these films made an attempt to do was present science fiction as science fact with dialogue and performances selling the information they were providing. It didn’t matter that it was pure speculation of the wildest kind, they made you believe it was real and did a convincing job of it.

The story offers plenty to chew on here from the romance that develops between Brooks and Janet to the suspicious Sheriff and the archeology theme. All items wrap around each other nicely with a few extra items tossed in for good measure like a brother and sister who seem enthuses by Brook’s research. The death of the sister at the hands of the giant only pull the suspicious Sheriff in even more.

The acting here is better than one would expect in a low budget film. While most would think movies like this would have terrible actors the reality is that many unknowns or lesser known actors almost always came from local theater groups and did an amazing job. Everyone involved here makes their characters seem real and as knowledgeable as they are supposed to be.

In a world of CGI monsters the giant here would more likely than not evoke laughs from young people viewing it today. But when you place yourself in the timeline of when the film was released one has to imagine it gave just enough chills to young ladies at the time that they drew nearer to their dates. It’s one of the reasons horror films permeated those drive-in double features. The giant’s make-up was done by none other than Jack Pierce, the same Jack Pierce known for the jobs he did on the classic Universal monsters like Frankenstein and the Wolf Man. It may not seem as spooky as those did but it is effective.

Film Detective is releasing this film for the first time in blu-ray format and it looks marvelous. Not only have they brought the movie to life again they’re including a number of extras that make it worth picking up for your collection if you’re a fan. Those include an audio commentary track with author/historian Tom Weaver and a guest audio commentary by co-star Gary Crutcher, “You’re a B-Movie Star, Charlie Brown” an all new interview with actor/screenwriter Crutcher, “The Man With a Badge: Bob Steele in the 1950’s” an all new interview with author/film historian C. Courtney Joyner, a collector’s booklet with still gallery and liner notes by Tom Weaver and the original trailer.

Let’s face it, this is not a movie that was ever intended to be consider for an Oscar but it is fun well-made entertainment. It’s the kind of movie not to be taken too serious and just have a laugh at. My guess is given the chance you’ll find it that way too. Congrats to Film Detective for a job well done.

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THE EL DUCE TAPES: PERVERSION OR GENIUS?

 

 

Having never been exposed to the music of the band The Mentors or their lead singer/drummer El Duce I didn’t know what to expect from this movie. I’d read that the group was famous, notorious, memorable, offensive and one of the bands used by the PMRC during their Senate hearings. With all of that to absorb I popped in the disc and found something that is definitely normal viewing for most people.

El Duce is the name used by Eldon Hoke, one of the founders of the band and their front man. The film is a composite of footage shot by Ryan Sexton, a part time actor on GENERAL HOSPITAL and documentarian. Taking the footage he had he presents the story of the band and their leader in particular.

The band is definitely not for all tastes. They began as a jazz fusion group but unable to find places to perform that way they decided to do the simplest form of music possible (their description not mine), punk rock. The discordant style and outrageous lyrical content of the genre gave them free rein to do whatever they wanted and what they wanted was attention. El Duce called his form of rock “rape rock” with lyrics that matched that concept. Songs ranged from rape to golden showers to anal sex. And it got attention. Wearing black executioner hoods they took the stage where ever they played and made it theirs.

Footage of the band and El Duce in particular on shows like Jerry Springer and Wally George, both shockmeisters themselves, is part of this film. The confrontational attitudes of both interviewer and interviewee might make for high octane programming but the reality is it just boosted the success of the band. It also put on display the dark humor of El Duce himself. Dark humor is a fine line to walk and more than once he falls across the line.

Interviews with band members as well as Duce himself reveal their thoughts and opinions on their music. They felt disdain for hair metal bands they considered packaged music, which in truth many were. They claimed that the music they were making was art, though I’d have a hard time agreeing with that. But the fact is that they are legendary for their antics and songs and will be remembered more than a number of other bands in the shock rock genre.

As the movie begins as a viewer I felt slightly outraged, disgusted by the performances, lyrics and discourse given by Duce. But as the movie progresses you get a more in depth look at where this all came from. Abused as a child, driven to alcoholism, seeking fame and fortune and only finding fame the odds of Duce’s life ending in tragedy was no doubt going to happen.

It did so when he died after having been hit by a train going 60 mph. His death was called a suicide or an accidental death. Conspiracists claimed he was murdered because in an interview just days before for the film KURT & COURTNEY he claimed that Courtney Love had asked him to kill husband Kurt Cobain. The fact is he was by this time down on his luck and what luck he had ran out. All in all it’s quite a sad tale.

The film is being released by Arrow Video and of course that means that it will include numerous extras that make this owning for fans of The Mentors and El Duce. Shot on video the film has been cleaned up as best as possible. Included in the extras are “The Ryan Sexton Tapes” a 34 minute illustrated audio conversation between Sexton and producer Tim Kirk about the shooting of the original VHS footage, “The Nilbog Tapes” a video of the band recording the original score for the film, “More El Duce Tapes” a free-standing alternate assembly of unused material considered a semi-sequel, “Tape 2: Hollywood Reservoir” a piece of raw tape providing a behind the scenes look of the process of shooting the footage and a candid document of the rapport between El Duce and Sexton, “El Duce Stories” a humorous cut-up of a few of El Duce’s famously long and aimless stories into one completely incomprehensible and endless word salad, “Return to Rape Rock Mountain” a brand new interview with Steve Broy aka Dr. Heathen Scum of the Mentors, “Reality Check presents the all-female El Duce tribute band the Womentors, a reversible sleeve featuring newly commissioned artwork by John Pearson and reverse art by Benjamin Marra and for the first pressing only an illustrated collector’s booklet featuring new writing by Manish Agarwal.

Trust me when I say this disc is not for everyone. Some will find it funny, some will find it outrageously offensive. The reality is that it lays smack dab in the middle of both. It is definitely not for children at all. It does capture a piece of history though. And it displays a man falling in freefall and heading down a path of self-destruction. That makes for a tragic tale that some might learn from. Interesting, worth watching but only one to buy by fans of the group and its leader.

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VERSUS: ZOMBIE YAKUZA? YES!

 

 

I had the chance to rent the movie VERSUS a few years back. I’d heard it was worth giving a watch and had no idea what to expect. The end result was that I loved the movie. It was one of those off the wall adventures that you had no idea what to expect next. So when I heard that Arrow Video was going to release the movie I was excited all the more.

The movie opens in the past with a Japanese swordsman facing off against a wizard and his henchmen. His goal is to prevent this wizard from opening one of the 666 portals to hell and gaining immortality by sacrificing the blood of an innocent. He succeeds and we move forward to the present.

Two escaped prisoners one of which is Prisoner KSC3-303 (Tak Sakaguchi) are wandering around a forest near where they escaped. The other prisoner is part of a gang that is supposed to meet them there to pick them up. The gang shows and there is little trust between them and KSC3.

Tensions only grow when they bring out a woman they’ve kidnapped (Chieko Misaka). The leader of this group lets the prisoners know that he intends to kill off their boss and take over the gang. It isn’t long before trouble kicks in, people are killed and things begin to get weird. Weird as in the dead begin to rise only to be killed again.

This is when the gang begins to wonder about this location and why their boss chose it. KSC2 and the girl are taken to a nearby spot of land these gangsters use to dispose of bodies. Not the best idea because they soon realize the forest is special ground and the dead are rising. Including all of those bodies they killed before.

More assassins arrive to help the gang, KSC3 and the girl escape trying to make their way out of the woods and eventually the big boss shows and lets them all know who is in charge. All of this ties into the film’s opening sequence and we realize the boss is the wizard and KSC3 is the warrior he faced long ago.

Deep down the story here is fairly simple and not as complicated as it could have been. It sets up the good guys versus the bad and wraps it in plenty of gore and special effects as well as some decent martial arts action. The characters are all surface, almost comic book characters and that works to the advantage of the film. This is not social commentary, this is just plain fun. It’s pure escapism of the best kind with tons of action, enough story to satisfy and a lot to enjoy.

Knowing how good the movie is, knowing that Arrow is releasing their version only makes it better beginning with a brand  new 2K restoration from original film elements by Arrow Films, approved by director Ryûhei Kitamura. Not only that there are both versions of the film: the original 2000 cut and 2004’s Ultimate Versus, featuring over 10 minutes of new and revised footage. But this is Arrow Video. Surely there are a ton of extras. Of course!

Those include an audio commentary by Kitamura and producer Keishiro Shin, an audio commentary by Kitamura and the cast and crews, a new visual essay on the career of Kitamura by Japanese cinema expert Jasper Sharp, BEHIND VERSUS a 2 part behind the scenes documentary about the film’s production, FIRST CONTACT: VERSUS EVOLUTION a featurette exploring the film’s origin, TAK SAKAGUCHI’S ONE-MAN JOURNEY an archival featurette about the actor’s visit to the 2001 Japan Film Festival in Hamburg, film festival screening footage, TEAM VERSUS a brief look inside the Napalm Films office, DEEP IN THE WOODS an archival featurette featuring interviews with Kitamura, cast and crew, THE ENCOUNTER an archival interview with editor Shûichi Kakesu, deleted scenes with audio commentary by Kitamura, cast and crew, NERVOUS and NERVOUS 2 two side story mini-movies featuring characters from the main feature, a featurette on the making of NERVOUS 2, VERSUS FF VERSION a condensed 20-minute recut of the film, trailers, an image gallery, SAKIGAGE! OTOKO!  VERUS JUKU a featurette on the newly shot material for Ultimate Versus, reversible sleeve with original and newly created artwork by Chris Malbon and for the first pressing only an illustrated collector’s booklet featuring new writing on the film and a reprinted interview with Kitamura by Tom Mes and notes on the making of the film by Kitamura.

If you love the movie this is the version you need in your collection. If you’ve never seen it now is the time to watch it. Arrow Video has once more outdone themselves.

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SILENT RUNNING: ENVIROMENTAL SCIENCE FICTION

 

 

I could be wrong but I think SILENT RUNNING was the first environmental science fiction film made. Done at the beginning of the environmental activist times this movie left an impression on viewers and those made aware of the film at the time of its release. I can remember seeing the ads and wanting to see the film but wasn’t old enough to drive yet. I was glad I did see it later on though.

The story involves several ships with geodesic domed platforms in space. These platforms contain all that is left of the environment from Earth. Each has several self-contained units holding what is left of plant life and animals. The planet is a wasteland now and these have been saved for posterity with the hope of one day being brought back.

The ships are manned by a four man crew. In the case of our selected ship, the Valley Forge, one man takes care of the space bound Garden of Eden, Freeman Lowell (Bruce Dern). Lowell tenderly cares for the plants and animals while the rest of the crew is more focused on killing time and wanting to get back home. They tool around in ATVs haphazardly, sometimes running through the vegetation, while Lowell focuses on nurturing what is in his care. Aiding him are three tiny droids that many will recall from the ads for the film.

Eventually the order is given for the ships to jettison and destroy the domed platforms and return the ships to earth to be used for commercial service. While his crewmates are overjoyed at the prospect Lowell is horrified. He kills the rest of the crew and tells the other ships he has a malfunction on board. His goal is to save these domes at any price possible.

Lowell names the three droids Huey, Dewey and Louie and begins teaching them how to care for the animals and vegetation onboard. He attempts to teach them how to play poked to help him pass the time. And while they can’t talk, he develops a bond with these droids that seems deeper than the one he had with his fellow crew members.

But the situation changes as Lowell must learn to help the dome continue to exist and be fruitful. And he must hurry to do so when one of the other ships returns to “save” him. What will happen with this last dome? And what will happen with Lowell?

Watching the film after all these years the beliefs behind it all seem far too simplistic. But the bad guys, the bureaucrats on Earth, seem more believable than ever. One can truly see and uncaring and uninformed group in DC making decisions like that since they seem to do so every day right now. But the extremist environmentalist as depicted by the character of Lowell, even having the first name Freeman, comes off as a bit much today.

Still the technological aspects of the film are amazing, even more so when you realize this film was made between the effects wizardry of the films 2001 and STAR WARS. Director Douglas Trumbull had done the effects works on that previous film. Now he was directing his own sci fi space film and he does an amazing job with it on that level. Dern has one of the first leading roles I can remember him in and does a great job here.

The story is a bit oversimplified and that might do it some damage with new viewers but the film still looks beautiful. And the message of trying to save the planet we have before it reaches this level remains a good one. I don’t see us reaching the point that this film projects but one never knows.

Arrow Video is releasing the film and need it be said that they once again have done an amazing job? To begin with they start with a new 2K restoration from the original camera negative, approved by director Douglas Trumbull and produced by Arrow Video exclusively for this release. Then they pack in a ton of extras to be enjoyed. These include a new audio commentary track with critics Kim Newman and Barry Forshaw, an original commentary track with Trumbull and Dern, an isolated music and effects track, “No Turning Back” a new interview with film music historian Jeff Bon on the film’s score, “First Run” a visual essay by writer and filmmaker Jon Spira about the evolution of the film’s screenplay, a 1972 on-set documentary about the making of the film, two archival interviews with the film’s director Trumbull, “A Conversation with Bruce Dern” an archival interview with the star, the theatrical trailer, extensive behind-the-scenes gallery of images, a reversible sleeve with original and newly commissioned artwork by Arik Roper and for the first pressing only an illustrated collector’s booklet with new writing on the film by Barry Forshaw and Peter Tonguette.

If you have fond memories of this film it’s one that you must add to your collection. The same goes for fans of science fiction. Even if you don’t want to add it to your collection, this is a classic that deserves to be seen. And with all things Arrow, you couldn’t hope for a better version.

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WONDER WOMAN 1984: TOO MUCH OF A GOOD THING?

 

 

The comic books wars crossed over from the four color page to the silver screen a while back. DC, owned by Warner Brothers, fired the first shots and were successful with their films involving Batman, even the bad ones. Marvel at first fell on its face until they took back the rights to their comics and made IRON MAN. That led to the most successful comic books based series of films ever made. DC? They fell on their face, opting to a darker look for characters that weren’t dark. And then came WONDER WOMAN. 

WONDER WOMAN didn’t fall into that dark and terrifying world associated with Batman. It was bright and colorful and featured a heroine that was, well, heroic. The movie was a huge success and the character helped JUSTICE LEAGUE as well. It didn’t take long before a sequel was announced. So how is it?

The film opens with a look at Wonder Woman aka Diana Prince as a young girl competing in an event on Themyscira among the Amazons. She doesn’t win but she does learn an important lesson. The film jumps forward from there. Where the first film took place during WWI, this time we find her in 1984. Immortal she hasn’t aged a bit and her heroic exploits continue. Her secret identity has her working in antiquities at the Smithsonian Institute.  

On her first day working Barbara Ann Minerva (Kristin Wiig) arrives, a somewhat clumsy always overlooked individual who immediately makes friends with Diana. The FBI brings in a stone they came across during a heist that was stopped by Wonder Woman and both women recognize it as the Dreamstone, an object said to bring about one wish for those around it. Unknowingly Diana wishes her long lost love Steve Trevor (Chris Pine) were still alive. Minerva wishes she were more like Diana.

Before the two can get a closer look at the stone Maxwell “Max” Lord (Pedro Pascal) arrives. A failing businessman whose financial world is about to crumble he begins flirting with Minerva in an effort to steal the stone which he does. Using the power of the stone his wish is to become the stone itself giving himself immense power and numerous wishes. But with all the wishes comes a cost that is not apparent.

Diana’s wish came true and Steve returns to her. His fish out of water sequences are amusing. But the cost to Diana is more than she knows. The same is true for Minerva who in gaining attention, looks and powers gave up a part of her humanity. And Max could potentially lose so much more than he bargained for. All will have to find a way to deal with their own problems as well as the conflict that rises between them 

Let me start by saying the movie looks great. The images are clear, the effects are mind boggling and the cinematography is among the best you’ll find in movies like this. The character of Wonder Woman is once more skillfully played by Gadot who has shown she can carry a movie of this magnitude. But the movie lacks something that was there in the first film. Restraint.

When a movie succeeds Hollywood is ready to go with a sequel almost immediately. If they can get the same director on board it’s even better. The problem is that second time directors given free rein tend to overdo what they did previously. A bigger budget, more time and a bit of a touch of ego makes them think “now I can do all the things I wanted to in the first film”. The problem is that they then think they need to do ALL of the things they wanted rather than hold back a bit.

Such is the case here. Director Patty Jenkins (who also directed MONSTER) did an amazing job on the first film. But this one runs far too long. AT 2 and a half hours it could easily have shaved off 30 minutes and been a much better film. Sequences of special effects and story plots that weren’t necessary pad out the film to that length and make the film drag in spots and it isn’t long before you know you’ve been watching far too long.

This is not to say the film is terrible. I enjoy these movies based on comics. And this one even with its faults far exceeds the darker films of the DC Universe like BIRDS OF PREY which tossed aside many of the original characters from the comics or altered them into something completely different just to provide a film for the popular Harley Quinn character and actress Margot Robbie. This one is entertaining and if you realize how long it is going in you should be okay. One can only wait with anticipation to see what comes next. 

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TENET: A JOURNEY THROUGH SPACE AND TIME

 

 

Christopher Nolan is one of the most fascinating directors alive today. When you watch one of his movies you walk away dazzled and in some cases discussing with yourself what it was he was trying to say in each film. That’s the genius of his work. I remember the first time I saw his second feature MEMENTO how much I loved the film and wanted to go back and watch it again. His BATMAN trilogy is perhaps the best telling of that story to date. INCEPTION was a mind bender. DUNKIRK was stellar. And now he presents TENET.

TENET takes place in a science fiction world where we are introduced to a CIA agent known as the Protagonist (John David Washington). The opening segment involves an attack on an opera house where he leads a team trying to take out a team of terrorist who have taken it over and the people inside as hostages. During the battle a mysterious soldier “un-fires” a bullet intended for him leaving him spellbound. Captured by mercenaries he is taken in for an interrogation, swallows a cyanide pill and wakes to discover he has passed a test.

He is now part of a top secret group known as Tenet. This organization has a group of scientists working to discover where a new weapon has come from, a bullet with an inverted entropy that allows it to travel back through time itself. Their belief is that the bullets are being made in the future and sent back in time. They want him to find out where they are coming from.

Aided by another agent named Neil (Robert Pattinson), the pair track down a shipment of the bullets to Priya Singh (Dimple Kapadia). It turns out she too is part of Tenet and she purchased the bullets from a Russian arms dealer named Sator (Kenneth Branaugh). Learning that Sator is keeping his wife Kat (Elizabeth Debicki) on hand via blackmail, the Protagonist approaches her to help him gain access to Sator.

She does so and he takes on a job for Sator. But crosses and double crosses pop in and out of the mix here and it isn’t long before the Protagonist isn’t quite sure who he can and can’t trust. The further down the spiral he goes the more he learns about the whole ability to travel in time. Locations that provide the means to do so, rules in place that must be followed and more find him going from place to place, time to time, to try and defeat the bad guy and his hoped for end result, the destruction of the world itself.

As with INCEPTION Nolan has created an alternate world in which our characters are allowed to play. This is not some location that an innocent bystander will accidentally step into. It is a world where agents of both sides are trying to work towards a goal, one negative and one positive, and are willing to do anything to see that their side wins. That Nolan could take a story filled with so much to understand and have explained to us and get us involved in that tale is a work of art.

There is a ton of action that unfolds here. As I watched the film it made me think of the classic Bond films we all grew up with. Perhaps updated to a different time with the whole concept of time travel included. But that level of action and set design here are comparable and it works well.

This is the first film I have seen Washington in and he does a great job here both in his acting and action skills. While many talked of Idris Elba taking on the role of James Bond, Washington feels like he’s already done that with this film. Perhaps minus the romancing of an appropriately named femme fatale. Branaugh comes prepared here turning in yet another solid performance. Debicki turns in a nice performance as well and deserves credit for it. And Pattinson proves he has more to offer than being a vampire for the rest of his life. He does a good job in his part here.

Some will find it difficult to follow this film and fortunately that works well with it on disc. It allows you to pause the movie to discuss with the rest of those watching with you exactly what is going on. Or you can back it up and decipher it. In any event the movie is entertaining and thought provoking at the same time. For me that makes this one worth watching more than once.

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MONSTER HUNTER: MORE GAMES ON SCREEN

 

 

To say that MONSTER HUNTER is simply a game turned into more of a science fiction/fantasy film is not enough. First and foremost this movie is an action film. So much so that the first 25 minutes are nothing but non-stop action. Action on two different worlds even! But I’m getting ahead of myself.

The movie opens in the New World, a land covered in sand with rock formations throughout. A ship is sailing across the sand when it is attacked by a Diablos, a gigantic scale covered creature that seems part lizard part insect. Tossed about during the attack the Hunter (Tony Jaa) is tossed overboard and separated from his ship.

The real world present. A UN military team led by Army Captain Natalie Artemis (Mila Jovovich) is looking for a missing team that went to a dessert area ahead of them. Along the road they see stone markers with runes on them. With nothing but a recording of what took place, they see a mysterious dark storm filled with lightening heading their way, the same storm the recording mentions. As they try and escape the storm they see the stone markers light up and suddenly both vehicles are lifted in the air.

The storm has taken this group to the New World but they aren’t aware of that. Regrouping and righting their vehicles they head out only to be attacked by the Diablo. Impervious to their bullets they try to get away but not everyone will make it. Seeking cover they duck into a cave for safety only to find themselves surrounded by more creatures, this time a combination of lizard and giant spider. Artemis is left for dead and the others try to escape. When she wakes, she finds most of her team killed.

Artemis escapes the Nerscyllas (the name of the lizard/spider combo) and runs into the Hunter who helped them earlier. Neither trusting the other they face off and fight for a while before finally coming to terms. They determine they have a common enemy and their only chance for survival is to unite to take out the creatures of this world. Learning that there is a tower from which the lightning emanates, Artemis determines her only chance for survival, and to return home, is to head that direction and find out what is behind it all.

Based on the Capcom game of the same name the movie provides gamers and movie fans of the genre exactly what they’re looking for. Tons of action, giant creatures and a puzzle to solve. But also like the games these movies are based on the depth of plot is surprisingly sparse. Little to know background on any of the characters is provided and that which is given is so small that you’re not quite sure what you’ve learned.

Jovovich does what she does best which is look attractive in spite of being covered in dirt and taking on all comers in this world. While turning in some solid performances in various dramas it is in action films that she’s made a name for herself, most notably the RESIDENT EVIL films. Having made six films in that series it appears that she and husband Paul W.S. Anderson are going to attempt the same success with this film. Yes, the end of the movie does leave room open for a sequel. Director Anderson has plenty of experience in the game to film genre. His second major directorial effort was MORTAL KOMBAT and he directed 4 of the RESIDENT EVIL films.

On the plus side the film offers a ton of action and an easy enough plot to follow and not get lost on. On the bad side that plot is thin but then that’s never been a concern of fans of the genre. The other negative is perhaps a pet peeve of mine and that’s the overuse of CGI. Yes, I understand that a movie like this featuring these sort of creatures must use CGI (Computer Graphic Images) to accomplish making these creatures seem real, but Hollywood in recent years has chosen to litter nearly every film, and in particular the action genre, with far too much of it. So much so that you begin to wonder how soon they’ll just make movies with actors at all. Some are already being made by the same people responsible for the graphics in video games.

All in all the film was fun and with the exception of perhaps a few words acceptable for most families to watch together. A few scenes are creepy enough that young children might have some problems but an attentive parent can always cover eyes when moments like that pop up. While I enjoyed the movie I’m not likely to add it to my collection. It was fun but not one I’d likely watch repeatedly.

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