Film: I have read several articles about quantitive pedants claiming to cringe when they hear athletes claim that they ‘went out there and gave 110%’. I’ve actually read so many articles about it that I even stole the phrase ‘quantitive pedants’ from one of them, but I have to say, that as a percentage, I am 1,000,000% a zombie movie fan.
Let me tell you too, I don’t care what kind of zombies they are either! Fast, slow, virusy, no-more-room-in-hellish, metaphysical, green, grey, intelligent, stupid, whatever; I’ll take ‘em!
Another thing I love is Steven King movies! Not his books, mind, but his movies. I’m a huge fan of King’s ideas, but not his writing, which is something if you are a regular reader of this my reviews, will ready know as it is no secret.
Taking this into account, imagine my excitement when I discovered there was a zombie film based on a Stephen King novel! The only other zombie story I know of that King wrote was one published in the John Skipp and Craig Spektor edited anthology book The Book of the Dead which I liked so I had to give this one a go!
NB. There’s probably others but not being a reader of King’s work, I’m unaware of them.
Anyway, Cell starts with us being introduced to artist Clay Riddell (John Cusack), in an airport on the phone to his estranged wife, Sharon (Clark Sarullo) and son, Johnny (Ethan Andrew Casto) when the phone begins to drop out. Unfortunately for Clay, everyone in the airport is having trouble with their phones in the form of a signal which cause madness and sees them attacking each other without any regard for their own well-being.
Clay manages to escape the airport via the train station beneath, where he meets train driver Tom McCourt (Samuel L. Jackson) and the pair retreat to Clay’s apartment to decide on what their next move should be. They meet with another lost person there in the form of Alice (Isabelle Fuhrman) and the three decide to travel together to help Clay find Sharon and Johnny, along the way meeting many others in a similar people in a similar situation.
There is a another mystery though, in the form of an entity in a red hoodie who visits everyone in their dreams, but bizarrely has been visiting Clay for a while, and manifested in the form of a character he created… but what is it’s connection to the mobile phone call that causes people to turn into violent zombies?
There’s a lot of problems with this film. A lot. The first is its boring. There are a few moments of action in the form of the zombie attacks, but in between those scenes are just banal.
The next problem is with the creation of the characters. Cusack and Jackson play the exact same characters in every other film they’ve done since 1999 (I’m sure Cusack even has the same costume on that he’s worn for the past 20 years!). All the other characters come and go so quick you just don’t care about them, even to the point when one of them has a drawn out dying sequence you just want it over with quickly, and it’s a shame because there is such an interesting mix of cast members in it… even Stacy Keach! I did like Lloyd Kaufman’s special appearance though.
Thirdly are some of the special effects are just terrible. The make-up effects are fine, if not generic, but there are several CGI fire effects that look like they came from an episode of Home and Away.
To summarise, boring, wasted actors and crappy effects make for a big waste of my time. Avoid.
Extras: No extras for YOU!
This review was done with the Australian Bluray release.
Film: I was born in the late 60s, which of course means two things: I’m very very old and I was an impressionable teen during the 80s, which means, I am of the boobs ‘n’ blood generation! A time where ‘banned in Queensland’ was a badge of honour!
This film, Creepshow 2, came from that era and has a special place in my heart as it was one of the first VHS films I actually owned! I honestly cannot remember if it was a sell through video I got from Kmart of somewhere like that, or if it were an ex-rental that a video shop gave me (I worked in one and they gave me tapes now and again) but it got watched over and over again.
Creepshow 1 and 2 were both written by Steven King and directed by George Romero and have their foundations in the joy the two found in reading EC Comics as kids. The short version of that company’s story is that EC Comics made pretty violent comics and caused the creation of the Comics Code Authority, which featured on the covers of many comics for years, and also resulted in Mad becoming a ‘magazine’ rather than a comic (in format) because magazines weren’t subject to it and it’s restrictions.
Basically, Google ‘Frederick Wertham’ or ‘William Gaines’ for the full story.
Anyways, Creepshow 2 is an anthology film, and the three stories contained within are bookended by the tale of a young man waiting for something he ordered from the advertisements within the pages of his favourite comic, Creepshow, and as an issue of the comic flicks through the pages it reveals our tales. This section is mainly animated, but has a pretty awesome love action piece at first and the delivery man who delivers the comics is actually a fantastic mask, worn by horror make-up legend Tom Savini!
The first tale is titled ‘Old Chief Woodenhead’ and tells of a kindly old couple, the Spruces played by George Kennedy and Dorothy Lamour, who have a general store in a town which is on its last legs. There are heavy supporters of the local indigenous community, and are entrusted by their leader Ben Whitemoon (Frank Salsedo) to take care of their tribes greatest treasures, but unfortunately, the ne’er-do-well of the tribe, Sam (Holt McCallany) knows the Spruces have these treasures and has decided that perhaps he’d like them for himself…
The second story, The Raft, sees four friends (played by Paul Satterfield, Jeremy Green, Daniel Beer and Page Hannah) go to a secluded lake, late in autumn, to go swimming as the raft is still there until winter. What they don’t realise though is that there is something in the water… something hungry…
The final story, The Hitchhiker, tells of Annie Lansing (Lois Chiles) who has been cheating on her husband, but tonight has lost track of time and needs to race to get home from her lover’s place before her husband gets home. Unfortunately, she hits a hitchhiker (Tom Wright) on the way home, and leaves him by the side of the road, but his spirit pursues her with the sole purpose to punish her…
As is typical of these Tales of the Crypt/ Twilight Zone styled stories, the objective is to show a supernatural punishment of some sort paid out to those who have transgressed some kind of moral code… and it still works!! Of the three, I think I like The Raft the best as it is nice and concise
I do have to admit that a lot of my love of this is purely nostalgic, and realistically the first film is certainly the better film, but I still enjoy every watch of it. The stories are in no way as impactful as the first film, but it is still lots of fun, and well made in every way.
Extras: Crikey, does this little disc from Arrow Video have some extras on it:
Screenplay for a Sequel is an interview with Romero, where he talks about his love of comics, and how they influenced his career.
Tales from the Creep is an interview with make-up legend and actor Tom Savini about his work in the Creepshow films.
Poncho’s Last Ride is an interview with Daniel Beer, who played Randy in the episode ‘The Raft’, as he tells his anecdotes on his casting and the filming.
The Road to Dover talks to Tom Wright about his experiences as the ill-fated hitchhiker in the episode of the same name.
Nightmares in Foam Ruber (sic) sees us sitting down with Howard Berger and Greg Nicotero, the special effects team, and have them discuss their experiences of the production of the film.
My Friend Rick continues with Berger discussing his fandom of special effects legend Rick Baker, and with an accompanying personal anecdote.
Behind the Scenes is just some footage of the actual filming of the production with some nice behind the scenes bits.
Trailers and Tv Spots is the two theatrical trailers and one TV spot.
There is also an Audio Commentary with director Michael Gornick, which has some interesting information about the film within it.
WISIA: Creepshow 2 is a horror classic and I’ve already watched it hundreds of times!
Film: The whole ‘a day gets repeated over and over again’ is a trope that horror, sci-fi and comedy love. Personally, I think it’s for the opportunity of cheap laughs, showing the protagonist get injured/ die/ kill people over and over again without repercussions. Thankfully it would seem that most filmmakers KNOW it’s a trope that is quite derivative, and that gives them an opportunity to mix up the story a little, like with slasher film Happy Death Day and it’s sequel.
Boss Level is a surprising beast. Directed by Joe Carnahan, who co-wrote the screenplay with Eddie and Chris Borey, Boss Level should be a low budget piece of trash that pushes a ‘new’ action movie stars with a bunch of nobodies… but this stars Frank Grillo from the Marvel movies, and includes Mel Gibson, Maggie Q and Naomi Watts, and is as entertaining as dumb violent action gets.
Boss Level tells of ex-special forces muscle-bound himbo Roy Pulver (Grillo) who wakes up every single day to find a bunch of assassins trying to kill him. Pam (Meadow Williams) tries to shoot him, the German Twins (Rashad Evans and Rampage Jackson) try to blow him up, Kaboom (Aaron Beelner ) also tries to blow him up (but with explosives, whereas the German Twins use bazookas), Smiley (Michael Tourek) tries to spear him, Guan Yin (Selina Lo) tries to cut him up… you get the idea: there’s a lot of people out to get him!
Roy’s problem is, every single one of them have succeeded in killing him, but the second he dies, he wakes up back at the beginning of the day, with all the knowledge that he had been killed over and over again, and no matter how many times he tries to survive.
He does continue to try though (but only after a few depression episodes where he just allows himself to be murdered), and eventually starts to work out that he is very deliberately stuck in this time loop, but what does it have to do with his ex-wife Jemma (Watts) and her boss, Colonel Clive Ventor (Gibson)…
This film, like all these types of films, as I stated earlier, exist to show the funny side to how ridiculous the concept is, and the torture of the lead character is completely for our own amusement, especially when you think he’s achieved something that gets him away from one baddie, only to fall to some other fatal mishap. Let me tell you as well, these are some bloody and violent mishaps too! Roy even talks in a voiceover about how he’d prefer to be shot rather than stabbed because stabbing hurts more!
The mix of actors in this film is great too. Grillo’ s performance is hilarious, action-packed and even tender at times. Watts (who I have a crush on for years) is still a solid support and Gibson’s magical villain is spectacular. The wonderful array of assassins is fun and funny, and they even cop some of the deaths just as bad as Grillo does. Selina Lo’s Guan Yin is a particular highlight and her beauty combined with violent swordsmanship is a grand juxtaposition, and her exclamation whenever she kills is fantastic too.
Honestly there’s not much to NOT like about this film, but it’s essentially like a Fast and the Furious film: you see it for the spectacle rather than an intelligent story. I will say though that it’s sudden sci-fi U-turn is both expected and surprising.
WISIA: It was dumb fun, so it’s definitely getting watched again!
This review was done with the Australian 2021 Bluray release.
Film: I picked up the new Blumhouse film, The Unholy, on a whim. I had wandered into my local movie retailer to pick up a couple of different films, and in a classic case of ‘while you’re down there’, I grabbed this as well.
One thing I didn’t realise until the end of the film is that this film is based on a book, The Shrine, by one of my favourite horror authors, James Herbert, who also wrote The Rats trilogy, and Sepulchre.
This film version of that book, was written and directed by Evan Spiliotopoulos, who wrote the live action version of Beauty and the Beast from Disney.
The film starts on February 31st, 1845 – we, the viewer, get to witness the burning of a witch from the POV of the victim, as her soul or spirit (or whatever) is cast into the body of a doll.
… and yes, that date is correct…
Flash forward to now, or yesterday, or tomorrow, and we meet scumbag washed-up alcoholic photographer Gerry Fenn (Jeffrey Dean Morgan) who now works for a National Enquirer, Alien Elvis Stole My Sister- styled website who has been sent to the small town of Banfield to photograph a mutilated cow, only to find the ‘mutilation’ was actually a graffitied Metallica ‘M’ on the cow’s hindquarters.
Whilst with the farmer, Fenn notices an object shining under a dead tree and after a bit of digging, finds a small doll, which the farmer suggested may have been a ‘Kern Baby’, a doll that farmers used to bury in their fields to get good crops. Fenn smashes the idol and takes a few photos to try to salvage his journey to the small town and prepares to leave.
On the trip out he crashes his car after swerving to miss a girl standing in the middle of the road. He climbs out of the vehicle and follows her, only to find her return to the dead tree he was at earlier.
We quickly learn her name is Alice (Cricket Brown) and that she is the deaf-mute niece of the local priest, Father Hagen (William Sadler), but the very next day, both her hearing and voice return to her, and she claims to have been visited by the Holy Mother, Mary.
In addition, she discovers she is also able to heal the sick, bringing a paraplegic boy to his feet, and healing her uncle’s lung cancer… but Fenn is getting his OWN visions, and think perhaps that something more unholy might be behind the healings…
Herbert’s book was an absolute corker that took me about a day to read, which, if I’m honest, is how I find all his books. This film is disappointing in comparison. Of course, the idea is interesting, but Spiliotopoulos’ modernisation and translation of it has several tropes that are overused in this religious type of film. It’s not all bad though.
Even though Morgan feels like he’s sleepwalking at times, and Cary Else’s’ performance is occasionally ostentatious and William Sadler is… well, William Sadler, the winner of the acting department was Cricket Brown, who plays both the victim and the bold promoter of our evil, is consistently on-point. She plays every scene with the confidence the role required. I’ll point out that even though what I said of the actors sounds like an insult to each of them, it actually somehow meshed really well.
Some of the special effects were a little off, especially the fire effects, but the make up of the actual baddie was absolutely terrifying, and a credit to the make up department. It was actually difficult to look at and surprising when it’s finally exposed.
Unfortunately this film was one that was hit by Covid-19 during its filming, and one of the stipulations made when they returned to filming was that the cast had to be reduced to 10 only on set. This was something I did actually notice, particularly with a red headed cast member who stood out, so when they were reused, it was a little obvious. I wrote it off as being the same character just in a different part of town.
I wanted to like this, and I think if I really dig deep within me, maybe I do a little, but it was just to generic, and a little boring, for it to be really successful as a good film.
WISIA: There is actually something about this film that would tempt me to watch it again, even if I can’t put my finger on it.
This review was done using the Australian 2020 Bluray release.
Film: In general I find it strange when they ‘reboot’ a movie series. I’m a firm believer that if a series reaches the end of its live span with the movie-going public, it should be allowed to rest. When I first heard about this film, it was called ‘Wrong Turn: The Foundation’ and I must have glossed over the idea of a ‘reboot’ and was more than happy that I’d see more of Three Finger’s cackling and his family’s murderous ways.
What I found though upon purchasing this Bluray… yep, physical media lives… is the abandonment of ‘The Foundation’ part of the name and a film that completely abandons the entire concept of the ‘first’ bunch of films, and basically just kept the concept of a weird-arse family living in the woods, and more traps than you could shake a noose at.
This film adds much more to the mix, and at the risk of burying the lead, does it quite well. The reason for that might be because the writer of the original film, Alan McElroy, is back at the writing desk for this one.
The film starts with Scott (Matthew Modine), in backwater Virginia searching for his missing daughter, Jen (Charlotte Vega). He files a missing person report with the town sheriff, who comments on her ‘black fella’ boyfriend (a foreboding of the townships attitudes, indeed) and shows her picture to several locals, none of whom claim to have seen her, but all of whom are as weird as hell.
Before we enter too far into his story, we flash back to over a month previously where we see Jen, her boyfriend Darius ( Adain Bradley) and their friends Adam (Dylan McTee), Luis (Adrian Favela), Milla (Emma Dumont) and Gary (Vardaan Arora) in the same small town ready to hike along the Appalachian trail… when unfortunately, they make a… you guessed it… WRONG TURN!!!
Very quickly, one of the party of friends is killed by a falling log which panics the others and causes them to run off the trail, making them lost even deeper in the woods. They camp overnight and in the morning, Adam finds that his girlfriend Milla has disappeared, and is caught by some weird forest dwellers in a trap. The rest of the friends confront the strangers, who don’t seem to understand them, and after Adam is untied, he kills one of them with a makeshift club, furnished from a dropped branch.
The death of one of their own upsets the other member of the forest family, and very quickly, they are pursued by their associates, whom the friends find out are part of something called The Foundation, a group who live hidden in the mountains, patiently waiting for the fall of America.
I think the biggest problem with this film is the use of the title Wrong Turn! It seems to have suffered a bit on many of the online reviews but I imagine that was due to the fact that this is in NO WAY a sequel. A better way to have sold this film would have been to have promoted it as ‘from the mind of the writer of Wrong Turn’ with the simple title of ‘The Foundation’. Franchise fans would have been extraordinarily pissed of, I imagine, when they found this to be not even slightly associated.
I, however, found this film to be a breath of fresh air, and for some reason was reminded of Jordan Peele’s films. Thematically they are different, and I can’t explain why it reminded me of them… maybe in the way it was filmed, I’m not sure, but I also was reminded of 2014’s Welp aka Cub from Jonas Govaerts, due to its environment and its constant feeling of moisture and claustrophobia.
The direction is great and the ‘hero’ group feel far more like real people than franchise victims. The bad guys are suitably scary, and their actions justified rather than just moustache twirling evil-for-evil-sakes types. The main villain, Venable, played by Bill Sage, has an oppressive presence, though for me I’m afraid that someone who is a wood dwelling priest-like character, his hair was far too well-groomed, and that’s possible my only criticism.
This film is less a horror movie, and more the cinema version of a Far Cry movie… and I don’t mean the god awful Uwe Boll one staring Til Schweiger and Udo Kier! It travels along a quite the clip, and is full of surprises. I can’t recommend it enough.
Film: Mary Millington is best known for being the UK’s best know striptease artist, and, along with Fiona Richmond, was labelled ‘the two hottest sex stars of the seventies. Millington started her career as a glamour model and eventually graduated to sex films and reels. In her life she was contacted pursued by the police, which eventually resulted in her committing suicide at age 33.
(The is a review of Respectable: The Mary Millington Story elsewhere on this very site)
This film, Playbirds, tell of a serial killer who is targeting girls from the men’s magazine Playbirds. The police, Holbourne (Glynn Edwards from Get Carter) and Morgan (Gavin Campbell from On The Buses) investigate the murders, interviewing the magazines owner, Dougan (Alan Lake from Blake’s Seven) before deciding they need a ‘man’ on the inside… you know, putting a female officer in danger by posing as a stripper/ glamour model… standard police procedure.
Speaking of ‘standard police procedure’, the way they decided which WPC should be used in the undercover work is to get a bunch of them to volunteer to strip and show their bodies, the ‘winner’ being an officer named Lucy (Millington), new so she goes undercover to infiltrate the business and try to find the killer… but will she a victim herself?
It’s such a weird film as it really does appear to attempt to be telling some kind of giallo-ish thriller! It’s written by George Evans, who worked on Carry On films and several 70s tv series like Bless This House and the Dick Emery Show, and Willy Roe, also the director, who wrote mainly soft core porn films, including Millington’s Come Play With Me. The combination of TV comedy writer and a porno writer don’t make for a gripping story.
It being 70s soft core though, I expect the story isn’t was the viewer was supposed to be ‘gripping’ – nudge nudge wink wink.
The weird thing about this film is the attempts to be a ‘legitimate’ film, with actors like the aforementioned Edwards, Campbell and Lake, also joined by such well known actors as Dudley Sutton, Alex Mango and Windsor Davies!
It’s little more than a quaint and kitschy curio, but it’s an interesting look at the attempts to legitimise soft core porn as ‘proper’ entertainment. I warn you though, it’s not in the slightest but PC, so it’s not for the easily offended… but I guess the easily offended wouldn’t be watching this sort of thing anyway!
Extras: Honestly, I was surprised by how many extra they are on this disc:
Mary Millington’s Striptease Extravaganza is a 45 minute featurette from 1981 celebrating Millington’s life via a striptease competition. It reminds me of Varietease and other strip reels. It’s a quaint, and occasionally awkward when you think these women would all be grans now, look at stripping.
Response (1974) is an 8mm ‘short’ of the type that were sold in sex shops in the 70s. Soundless (because it’s a reel) soft-porn shenanigans.
Still gallery featuring the artwork and media marketing for the film.
Lastly, 4 trailers for other ‘adult’ films: Cool It Carol, Intimate Games, Spaced Out and Secrets of Sex.
WISIA: I don’t think I would watch it again, except to show someone else.
Film: I’d like to say I’m a fan of Darren Lynn Bousman, but I just can’t. For me, his output has been massively hit or miss for me. I loved his additions to the Saw saga, and the Mother’s Day remake (was it REALLY a remake? I’m not sure), but films like St. Agatha completely missed the mark.
There’s no doubt he has a great visual eye and he gets good performances from his actors, but I think occasionally the stories are duds, and that reflects on him.
This film, Death of Me sits smack bang in the middle of the two extremes.
Death of Me tells the story of Christine (Maggie Q) and her husband, travel writer Neil (Luke Hemsworth… how many Hemsworths are there?!? There seems to be more than the Baldwins and Daddos combined) are staying at a small AirBnB on a remote island in Thailand when something strange happens.
The film opens with our couple waking up in their room which has been destroyed. There is mud everywhere and they are both filthy. They do some investigation and find a two hour video on the memory card, which shows them both doing shots in a small bar, before finding themselves outside the AirBnB, where Neil rapes Christine, strangles her, and then remorsefully buries her right there and then.
If he killed her though, how is she still alive? Christine seems to be getting strangely sicker too, with her vomiting up grass and dirt initially, followed by a small snake, and the local doctor, suggested to them by the owner of the AirBnB, Samantha (Alex Esso, from Starry Eyes and Doctor Sleep), tells her that there is nothing wrong.
They continue their investigations until Neil suddenly goes missing after Christine seemingly witnessed him committing suicide on a nearby dock, and then it starts to get REALLY weird… but how is it all tied into the weird necklace, and the threat of an incoming typhoon?
Easily the two best things about this film are the location, which was filmed in Thailand and looks so lush and fresh that it’s almost unbearable, and the casting of Maggie Q, an actor I have adored since I saw her in Naked Weapon and followed her career through various Die Hards and Mission Impossibles.
Another point on the location: Bousman does a fantastic job at mixed the wide open spaces and beautiful landscapes, with some really claustrophobic interiors that make for an occasional effectively creepy scene.
Now the problems: the story is somewhat bland. It’s clearly influenced by films like The Wicker Man (even to the point one of the characters even references it) with its ‘strangers in a strange land/ odd locals’ theme but it just doesn’t resonate, and the Carrie styled ending is a little bit daft too. Hemsworth probably wasn’t the greatest companion for Q either; she is far to strong an actor and he is somewhat pedestrian.
It’s a shame. This film could have possibly been great, but it just flapped around, not really doing anything extraordinary.
Film: I have been a comic fan for well over 35 years, and I have to admit that whenever I hear that one of my favourite characters is coming out in a cinematic form, I admit to be fairly excited by the prospect… OK, more than a little excited: maybe, just maybe, on occasion a little bit of wee does leak out.
More often than not that excitement turns to trepidation as I hear of choices made in the casting department, but after being proven wrong with my doubts about Michael Keaton being able to perform a decent Batman, I concede that some ludicrous decisions can actually work. The argument against that, of course, is Daredevil, two Hulk films, Superman Returns and this film, Catwoman.
Catwoman is a character I have loved since I first read of her in a Batman comic, and as her character evolved over the years from a cat-burgling she-foil for the Dark Knight into a love-interest female Robin Hood of Gotham City I always had hopes of seeing her on the big screen, outside of a Bat-film and on her own, so imagine my excitement when this film was originally announced in 1995 to be written by Heathers screenwriter Daniel Waters, as a vehicle for Michelle Pfeiffer after her portrayal of the character in Batman Returns as a psychologically damaged ex-shrinking violet turned super-villain/ spirit of vengeance.
Unfortunately, as sometimes happens in Hollywood, films are put on back-burners and cast and crew are replaced, and scripts are re-written, in this case apparently 14 times (which is a GIANT red flag against quality!). For a film that could have had a real pro-woman stance, the story descended into a story where the main character wanted pretty things, and became involved in a fight against an evil cosmetics company.
This version of Catwoman tells the tale of advertising artist Patience Phillips (Halle Berry), a downtrodden wallflower who works for cosmetic magnate George Hedare (Lambert Wilson) and his wife Laurel Hedare (Sharon Stone). After being told her work is not good enough by George, Phillips redoes some artwork in record time and delivers it to him at one of his factories, only to discover their new product Beau-line has disastrous side-effects. Hedare orders his flunkies to kill Phillips and she is flushed out of a sewer pipe, and drowns, only to be brought back to life by the CPR administered by a bunch of cats, led by a cat previously rescued by her, and some magical cat hoodoo.
She returns from deaths as a flesh eating cat zombie… no, sorry, she returns from death with all the powers of the cat: can always land on her feet, can see in the dark, can wield a bullwhip (hang on, cats can’t do that!!) and is so flexible she can lick herself in places normally only others can reach.
Caution: that last idea tragically did not make it into the film.
What she does do though is dress is the sluttiest leather clothes she can find and both foils crimes and commits them at the same time, and eventually is told by a mysterious cat lady, Ophelia (Francis Conroy) that she is the latest in a long line of vengeful spirits that give women super powers (an idea stolen directly from the Crow, along with some of the dialogue). Eventually Catwoman decides to use her powers to defeat the Hedares and stop their evil plans to copy the Joker’s threat from 1989’s Batman film.
This FILM HAS Absolutely NO saving graces. Bad acting, atrocious CGI, over-glossy production design, and a story SO clichéd and… well, crap that I feel that the cavalcade of writers may not have been responsible for it at all, and instead it was actually written by some kind of super-computer programmed to write the worst film ever! I imagine getting caught by your Mum polishing your dolphin to Playstation 1 graphics of Lara Croft would be LESS embarrassing that being caught watching this pile of steaming cat turd.
Now I guess I should clarify some of the comments made in the previous paragraph.
Academy Award winner Berry truly embarrassed herself, and a good percentage of womankind by appearing in this: the quality of her acting in this is nothing short of dull. I am sure that forever more, comics fans who have seen this film will no longer fantasize about her multi-million dollar mams, instead, the dream of slapping her face has replaced it. Singling her out though is unfair though: Bratt was as flaccid as ever, Stone coated her villainy with an air of boredom and the supercool Wilson was as interesting as a high school science teacher. The only actor in this who truly acted to her abilities was Alex Borstein, who other than her portrayal of Lois Griffin in Family Guy is an affront to both words in the term ‘acting profession’.
The CGI was a huge problem here as well. It is a shame that someone like me, who is a proponent of this cinematic artform, can have the barely good enough to be a console game cut-scene images in this film as an argument against his enjoyment high standards of effects. I certainly hope the team responsible didn’t high five each other upon presentation to the director, as to approve this he must have had no standards, or no budget. The surprising thing about either of those options is that Pitof is normally a Special effects supervisor and has works on such films as Delicatessen and The City of Lost Children.
The production design deserves a huge smack in the face as well. Straight up, the worst costume EVER for the character of Catwoman, and considering in the comics at one point she wore a scaly green outfit, that is saying something. Sure it showed off Berry’s great body, but it also showed what a slut looks like at the end of a big night of B and D. The cityscape was lackluster as well, after the amazing designs used in Tim Burton’s Batman films of Gotham City, designed by Anton Furst these were just uninteresting, standard city skylines.
This film received 7 nominations for Razzies, which are the anti Academy Award, and won 4 on them, which, to her credit, Berry went to receive… it seems to me, upon reflection, she was aware of the travesty in which she had taken part.
There is NO doubt that the image is a good one, and is presented in 2.35:1 widescreen, but don’t’ don’t imagine anyone will ever test their AV equipment by throwing on a Catwoman DVD! Again, this disc has a really great presentation here in Dolby Digital 5.1 but you will never use it as a standard by which to set other discs.
If I were to give this movie a score at all it would be just for the quality of the disc, but the film is SO terrible, I can’t bring myself to even give it a single star.
Extras: The Many Face of Catwoman is an excellent, if brief, look at all the actresses who have played the character, hosted, as it should be, by Ertha Kitt, and with comments from various comic creators, writers and co-stars (the immortal Adam West) about the history of the feline felon. I have to say my favourite inadvertently funny part of this piece is Halle Berry’s whip trailer talking about her impressive ‘horizontal crack’. OooooKay….
Behind the Scenes Documentary is a traditional BTS piece that briefly discusses the making of the film, with a lot of clips from the film. AT best, it is perfunctory.
The deleted scenes were thankfully, deleted, as it shortened a film that already suffers with far too much padding. I would like to especially point out what absolute GASH the alternate ending is, as well.
There is also a theatrical trailer, and some DVD-rom stuff which involves the installation of something called Interactual Player 2.0 which I am not prepared to litter my laptop’s memory with, so I did not review.
WISIA: Why would one choose to abuse themselves in this way more than once?
Film: Basically, Doctor Who is a third parent of mine. I don’t mean my mum was once an intern in the 60s at the BBC, but instead, he took care of me by being my after school babysitter and also taught me a general sense of right and wrong when I watched him on the ABC as a kid.
My first experience with Doctor Who though wasn’t the TV series but instead the books, when my mum bought me a copy of the novelisation of Death to the Daleks in the 70s and I was immediately hooked. When I then found out it was a TV series on ABC I became immediately enamoured with it. Since then it has always been a part of my life, and I have a sad and tragic collection that includes DVDs, comics, magazines, books, toys, t shirts… Basically everything.
Having read so much about it though I do have a pretty good foundation in knowing when and where the show came from, but imagine my excitement when I discovered that a TV drama was being made of the genesis of my favourite TV show, written by a writer whose work I admire, being League of Gentlemen’s Mark Gatiss, directed by award winning director Terry McDonough (Wire in the Blood) and starring several actors I like, including Brian Cox (Manhunter), David Bradley (the Harry Potter films)and Jessica Raine (The Woman in Black).
An Adventure in Space and Time is based in the early 60s and tells of then Head of Drama Sydney Newman (Cox) coming up with an idea for a TV show for children called ‘Doctor Who’. He approaches his former production assistant Verity Lanbert (Raine) to be head producer and make the show along with director Waris Hussein (Sacha Dhawan), but can a Jewish girl and an Indian man create a show when it appears they may have been set up for failure by the old guard of the BBC?
You better believe it!
They employ well known actor Bill Hartnell (Bradley) to play the Doctor and we follow the next three years of production, obviously told in a quite abbreviated matter and look at the key elements of the series’ life in those early days if television, and how Doctor Who went from being something that the BBC didn’t have faith in, to a million viewer show.
With the current huge fan base for Doctor Who, this really was the best way to create a historical document about the origin of the show. Sure, there could have been factual documentary made, but essentially, a lot of the people involved have passed and for the rest it would have been little more than a talking head doco that may not have held too many people’s interest except for die hard fans, like your truly.
Having a drama though, written by post millennium who writer Gatiss, and starring a Harry Potter series favourite was definitely to best way to go to get the younger fans involved. The script is fun and the actors are charismatic enough to make what could be a stodgy story about the old Beeb irreverent and entertaining. I must admit to having somewhat of a crush on Jessica Raine now as well.
The story moves along at a cracking pace and a lot is fit into the time, but it never feels rushed. The departures of Hussein and Lambert seem to happen quite suddenly, though their absence, along with some of the initial costars does lead to Hartnell’s departure as well.
The story is quite well written as well in the sense that it is a show about a TV series, and yet starts as a story about Lambert yet ends as a tale about Hartnell, without taking a breath. The tale ends with a round up of what each character went on to do with their careers.
A special mention must go to the soundtrack by Edmund Butt (Ed Butt… Brilliant: he should have been a WWE wrestler). It is a wonderful combination of cinematic whimsy with a few winks to Doctor Who, and really suits the production magnificently.
Eagle eyed fans should also keep a look out as there may be an old cast member or two turning up here and there.
I really only have two real criticisms of this production. The first has to do with opportunistic, schmaltzy fan service. In a scene where Hartnell ponders his and the show’s future, we are presented with a phantom of the 11th Doctor, Matt Smith. The populous piece of claptrap exists to make sure the current fans get a look at their Doctor, but to this old fan, it seems to be a disservice to all the other people who have played the part of the Doctor. Am I being over sensitive? Possibly, but it essentially served no other purpose.
The second criticism involves a catastrophic bit of miscasting. Reece Shearsmith is put forward to play a young Patrick Troughton, Hartnell’s replacement of the role of the Doctor. He simply looks terrible in his extraordinarily bad wig, and I feel like he only exists in the role as a favour to Gatiss, the pair of them being ex League of Gentlemen cast mates. Don’t get me wrong, I like Shearsmith, and the role is only brief, but it is like fingernails down a blackboard as he plays it like a pantomime caricature which doesn’t sit well within the well executed acting by the rest of the cast.
The An Adventure is Space and Time DVD looks and sounds great, presented in 16:9 with a Dolby 5.1 soundtrack.
All in all though, and even taking those criticisms into account, this is a thoroughly enjoyable drama about an important part of my life, that is, my adoration a silly science fiction children’s television program, and also is an interesting look at TV production in the 60s, told in an amusing and affectionate manner.
Extras: A great deal of extras for the Who fan here as well:
William Hartnell: the Original looks at William Hartnell’s career with interviews of former cast and crew mates, others Doctors, family members and directors. It is an affectionate look at his life, and includes some wonderful footage of him in an interview from the 60s.
The Making of an Adventure is a good old fashioned making of, though it is hosted by actor Carole Ann Ford, who played Susan, the original Doctor’s granddaughter. It is a combination of a documentary about the original series, and a making of this production.
Reconstructions is a series of recreations of scenes from the original series. They are really clever and include all the faults, dialogue mistakes and miscues of the originals, and also act as deleted scenes (though there are a few of those as well). They include Scenes from An Unearthly Child, Regenerations, Farewell to Susan and Festive Greeting.
The Title Sequences compares the actual original title sequence from Who with the replica titles from this production.
There are also two deleted scenes: the The Radiophonic Workshop and Verity ‘s Leaving Party.
A special mention must also go to the menus and the accompanying leaflet. The artwork on the cover is a recreation of the first Doctor Who Annual. The leaflet itself contains photos from the production, a drawing if William Hartnell as the Doctor and a few Daleks, and an introduction from writer Mark Gatiss.
WISIA: As a dedicated Who nut I found this extraordinary, though a non Who fan may not be as impressed, I doubt though they could not enjoy the production in itself, as it is well written and a lot of fun. Having said that, it may not have the water to regularly rewatch!
Shadow Student Council Vice President Gives Her All
In general, I like to read a manga before I watch an anime, but Prison School was an exception because, quite frankly, I couldn’t believe the images/ cosplay/ rumours/ spoilers/ vinyl statues that I have seen.
I watched the anime first and what I found was a sexy and hilariously archaic parody of school that wouldn’t have been uncomfortable in the company of 80s teen comedies like Porky’s or Animal House. This led me to the manga, which I found the first collection to be pretty average, story wise, but the art was nice, and I’ll stick with it because I know what is coming from watching the anime.
Of all the characters in both the anime and manga, the one that sticks out more than any of the others, is one of the baddies, the Shadow Student Council Vice President Meiko Shiraki. Why does she stick out? Well, she’s tall, with silver hair and glasses, and an extraordinarily large breast to waist to hip ratio, can’t seem to find clothes to fit her appropriately (well, except for stilettos) and sweats profusely… and I mean SWEATS whenever she is under any kind of pressure.
Of course, this means mangaka, Akira Hiramoto, presents her in the most obtuse of positions, showing off her enormous breasts, buttocks or labia majora, usually covered in perspiration and generally before executing some cruel form of torture on an unexpected male pupil. She is the sexy straight man of the baddies, and is amusing to see in her various displays.
What we have here with Shadow Student Council Vice President Gives Her All, is a series of 14 short manga vignettes showing Shiraki is various high pressure situations, such as a maths exam, trying to get back to a steeping cup of tea before it spoils, eating a mega-curry and several others. Some of the other characters peek in here and there, but these mostly wordless stories show her under pressure and then relieved of it.
It’s ecchi of the highest order for sure, and there is no doubt that the art by ReDrop isn’t sexy and over the top as the idea of the manga would suggest, but the stories themselves just aren’t engaging or, for that matter, very good. Actually they are less than not very good.
Considering Shiraki was the Darth Vader scaled villain of the piece, this is the equivalent of finding that major cinematic villain dancing on stage at Disneyland to MC Hammer’s ‘U Can’t Touch This!’ and it’s a big disappointment. I imagined this to be some kind of a story about other horrible things she has done to people, but it’s just putting her into situations where she gets sweaty, or naked.
I’m not sure how successful this was, but considering that I, as a fan of manga and don’t mind a little ecchi in my comics, am probably the target market, and I don’t like it, when you can probably take that as a pretty big failure.