Monthly Archives: August 2016

Deadpool (2016) Review

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One from the to watch pile…
Deadpool (2016)


Film:  

I never wanted to see Deadpool. 

I detested pretty much well everything that Rob Liefeld, comic ‘creator’ and ‘artist’ did to my favourite comic, which I had been collecting since issue 1, Marvel Comics’ brilliant The New Mutants, and every time I saw one of his new characters, I rolled my eyes at the crudely drawn, horrible characters. The New Mutants was a companion comic to The Uncanny X-Men that started in the early eighties and told of Professor X’s attempt to relaunch his school for super powered kids.

Deadpool was amongst those characters that helped execute it and I pretty much well ignored him until around 2004 when I was attracted to the art in a comic called Cable & Deadpool. I enjoyed that comic’s irreverent humour, but when it folded I didn’t actively pursue either character, so Deadpool and I drifted apart again.

I do however enjoy the X-Men movies, and if I’m completely honest, I loved Ryan Reynold’s portrayal of the character in the dreadful X-men Origins: Wolverine film, but mainly because they completely screwed him up, and I hoped that he would be retro-fitted out of the Marvel comic universe…


However, I must eat a large slice of humble pie as I just watched the film Deadpool… and loved it. The film is the first feature film from visual effects designer, now director Tim Miller from a script by Rhett Reece and Paul Wernick (both from Zombieland, which explains a lot about the comedy in this), from comic ideas from Fabian Nicieza and Rob Liefeld.

Deadpool tells of ex-special ops guy Wade Wilson (Ryan Reynolds) who now earns money as a mercenary, with the occasional good will job. He meets and falls in love with Vanessa (Morena Baccarin) and things seem to all be great until one night he passes out, and they discover he’s suffering from multiple cancers.

After some research he decides to take up an offer he’s received to have his cancer cured by having an artificial mutant gene introduced to his body by a man named Ajax (Ed Skrein), but what he doesn’t realise is, Ajax sells the mutated people as weapons.

Wilson is a giant smartarse, and takes great delight in teasing Ajax, who in turn tortures him as a petty revenge. The operation is successful and his body now has a healing factor akin to Wolverine’s, but it does have some cosmetic side effects… And perhaps fractured his mind.

So with his help from the X-men Colossus (voiced by Stefan Kepipic) and Negasonic Teenage Warhead (Brianna Hildebrand), Wilson becomes Deadpool, and seeks Ajax and his men out so he can reap bloody revenge…


This film is one of the most entertaining comic films I have ever seen, with perfect comedy timing and an element of violence not before seen in a mainstream Marvel character’s film. The cast is bang on with their performance and the choreography of the violence is catastrophic and awesome.

I must say that being a comic fan is of great benefit to watchers of this film, as is knowing that there have been other comic films around helps as there are references to everything from Hugh Jackman as Wolverine, the previous cinematic appearance of Deadpool and Ryan Reynolds not-entirely successful turn as Green Lantern. It’s not essential though, but your experience is certainly enhanced by it. This is possibly one of the endearing things about this film: it is self-referential, it regularly breaks the fourth wall and enjoys the fact that it KNOWS it can’t be taken 100% seriously… Because you know, basically the concept of superheroes is one that is hard to take seriously.

The film also doesn’t stop at any point for a breather. From the beginning of this built-like-Pulp-Fiction movie, if you aren’t cringing at the hyper violence, you are laughing at the constant barrage of filth coming from the main characters, or perhaps are admiring the hot naked girls in the strip club, or wondering how they got away with the sex scene. The best idea anyone ever had about this film was to make it for adults: innuendo does NOT exist in Deadpool’s world.

Also, Stan Lee’s appearance, and I won’t spoil it here, was certainly different from any he’s done so far!

If I have to really dig deep into my hyper-critical reviewer pockets to pick on this film, but I did and I have. Very occasional there are some dodgy CGI physics, and the character Colossus is SO obviously an effect… I mean, he’s a giant walking metal mutant, by the just never felt like he was not completely present physically in the film, like when Jerry the mouse (from Tom and Jerry) danced with Gene Kelly in Anchors Aweigh: most special effects take an element of deliberate ignorance by our brains to be effective, but I just never found him visually effective. Luckily his Boy Scout persona made that easier to overlook as he is Deadpool’s perfect straight man.

I am however being extraordinarily picky in this case as I liked the film so much and am just attempting to find some thing to take this film to task on.

The film is just so damn violent, so damn funny and so damn fun it’s like a traditional superhero film, but made by the guys who did The Story of Ricky with the script writer from Superbad. It’s hilariously violent, and violently hilarious. I think this 20th Century Fox production will open the eyes of other companies, including Marvel themselves, making superhero movies, and if the trailers to Warner Bros/ DC’s Suicide Squad are anything to go by, maybe they have…

Score: ****1/2

Format: This review was done with the Australian, region B, bluray (steelbook) edition, which runs for approximately 108 minutes, with a 2.40:1 image and a DTS-HD 7.1 audio, both of which are perfect. The package also comes with a digital download of the film.

Score: *****

Extras: 


Deleted Scenes with or without commentary by the director: The Raft, Cancer World Tour, , Extended Workshop Fight, Morgue, 5 Year Montage, No. 5 Bathroom, Extended Angel/ NTW Fight, Extended Rubble/ Gratuitous Worth It and Alt Coda. Some of these deleted and extended bits have unfinished CGI elements, but the lover of the making of films finds this interesting. Watching with Ritter’s commentary is quite informative as well.

I love me a good Gag Reel and this is excellent, a hoot and a holler, with heaps of dialogue freestyling from some of the cast.

From Comics to Screen… to Screen is a series of making-of mini docs including Origin…ier, Peoples and Muties, Stylin’, ‘Splosions and Magic! Watched from start to finish, these docos cover everything to do with the production of this film, and it’s entertaining as well.

We have Two Audio Commentaries on this disc too, one by Reynolds, Reese and Wernick and the other by Miller and Liefeld. Both commentaries tell of different processes and have different tales to tell of the production of the film, but both are heaps of fun and very informative.

There is a series of galleries for Concept Art, Costumes, Storyboards, Pre-vis and Stunt-Vis – Shipyard. Normally I hate stills galleries but this is a money saver as I won’t have to buy the expensive no-doubt-impending ‘Art of Deadpool’ hardcover book because all the images are here.

Deadpool’s Fun Sack is all the worldwide advertising for the film. It contains all the trailers and interstitials and a whole of bunch of posters.

Score: *****


WISIA: I’m already seeing it again. Nuff said!

Regression (2015) Review

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One from the to watch pile…
Regression (2015)

Film: The older Ethan Hawke gets, the better I think he gets. He went from potentially a pretty boy Diet Coke version of Brad Pitt early in his career to an angry, arse-kicking, flat-top sporting type who borders between sketchy as hell, to being the guy who could snap and beat your face in if you look at him the wrong way.

He’s like a young Charles Bronson but with acting abilities.

I picked up this film not just due to his presence in it, or Emma Watson or David Thewlis’s appearances, and not even just because it was written and directed by Alejandro Amenábar, who capacity for inserting ambiguity into a story, like in The Others and Vanilla Sky/ Open Your Eyes but because it entertains ideas in its story from a period of time and a cultural series of events that I find fascinating.


That of the Satanic Panic that held every Christian in its thrall during the 80s. The time when everything I liked: comics, Dungeons and Dragons, heavy metal, horror movies and horror novels were looked upon as being something that would eventually make me a whore of Satan.

So far that hasn’t happened…

Anyway one of the scary things about this period was the psychologists who believed through regressive hypnosis that they could get people to ‘remember’ evil rituals and black masses that they were involved in… I guess using that old adage of ‘the finest trick of the Devil is to persuade you he does not exist’ by Charles Baudelaire being the basis for the idea that evil people can get you involved in these rites and then make you forget what you have done.

Which, of course, is ridiculous, and has since been discredited.


This film, Regression, tells of a small town in 1990 where a man, John Gray (David Dencik) has been accused by his daughter Angela (Watson) of interfering with her. John admits guilt even though he claims he has no memory of it happening, but with using regressive hypnosis performed by Dr Raines (Thewlis), Detective Bruce Kenner (Hawke) becomes convinced there is a satanic cult living in the town, performing unspeakable acts of violence and murder, not only on children like Angela, but on others as well.

But is there really, or are conclusions being jumped to without proper investigation?

I wonder…

There is no doubt that the film is beautifully shot and every actor performs their role with great conviction. The story has a great sense of doubt and mistrust all through it and will keep you guessing to an end that is ultimately slightly dissatisfying, but appropriate. It seems to tie up all too quickly, and there is really no big crescendo at the finish, so it does leaves one a little flat.

Score: ***1/2

Format: Regression goes for 106 minutes and is presented on this region B Bluray in an immaculate 2.35:1 image with a DTS-HD Master Audio 5.1 soundtrack of matching quality. 


Score: *****

Extras: There are four short documentaries on this disc’ The Vision of Regression, The Cast of Regression, Bruce’s Obsession and The Complexity of Angela. I’m sure all these featurettes could have been really interesting if they lasted more than 2.5 minutes each. A look at the 80s/ 90s Satanic Panic wouldn’t have gone astray.


Score: ***

WISIA: It an OK film, but like a magician revealing his hand, it’s probably not a rewatcher.

New Rob Zombie shirts from Fright Rags!

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If you liked the Alice Cooper shirts that Fright Rags did a few months ago, you might just dig these Rob Zombie designs announced today!


Now you won’t have to dig through ditches or burn witches to get this lot, they will all be available for  $27 US (plus delivery). Some of these designs are also available as tank tops or baseball shirts.

All photos (c) Fright Rags.

Burn Witch Burn (1962) Review

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One from the re watch pile..
Burn Witch Burn aka Night of the Eagle (1962)

Film: Sometimes I love the slow burn horror tales, the ones about atmosphere, acting, style: films like The Wicker Man, The Nanny, The VVitch. Ones that tell a story about fear and mistrust: sometimes I feel like watching those films instead of the blood soaked, titty jiggling, heavy metal soundtracked gorefests.

That’s not to say I don’t love soaking blood and jiggling titties, but I do also like to sit down and watch a solid film that tells a great story.

Burn Witch Burn is one of those films that has a solid story and acting, and for its time (the early sixties) is quite revolutionary in its treatment of the supernatural and it’s implication of rape.


When cynical college professor, Norman Taylor (Peter Wyngarde) discovers his wife Tansy (Janet Blair) has been practising witchcraft as she feared for his safety when they first moved to their new town, he demands she destroy all of her talismans and phylactery

After all the objects are destroyed, Taylor’s life takes a turn for the worse: he’s almost hit by a car, accused of the rape of a student and other mishaps, but can a man as sceptical as Taylor believe that such superstitions be true or is it all coincidence and his wife is simply, mad?

You’d better grab the film and find out!

This film was directed by Sidney Hayers, from a script by Richard Matheson and Charles Beaumont, based on the novel ‘Conjure Wife’ by Fritz Leiber and is a well acted and entertaining movie both about the practice of black magic and the scepticism of it.

This film looks great and is an interesting alternate look at ‘modern’ day Black Magic. It has some great of-it’s-day acting (by today’s standards it may be seen as occasionally stage-you or overwrought) and the special effects are what you would expect from an AIP film of this period, though it doesn’t rely on them to transmit its tale.

Is it as good as other films of its ilk like The Wicker Man or Blood on Satan’s Claw? No, but it is as entertaining as one of its contemporaries from a few years earlier, Night of the Demon.


Score: ***

Format: The review copy is the Australian Cinema Cult release on a region 4, NTSC disc. This approximately 90 minute film is presented in a satisfactory 1.85:1 widescreen with a stereo audio track. There is a very occasional pixelation of the image, but it is very rare.

The beginning of the film warns that it was completed from various sources and that the quality may be uneven, but I didn’t really find that too much. 

Score: ***


Extras: Only a trailer…  Not even scene selections!!

Score: **


WISIA: I have seen this film several times, and it will probably be on a high rewatch rotation as it’s easy to watch. I usually seem to throw it on when I don’t know what else to watch.

Batman The Killing Joke (2016) review

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One from the to watch pile…
Batman The Killing Joke (2016)


Film: Batman has never been my favourite superhero, but he’s always been right up near the top. His parliament of villains though, are unsurpassed by any other comic. Characters like Two-Face, the Penguin, Killer Croc, Catwoman and the Joker in different circumstances are Travis Bickle, The Godfather, Hannibal Lector, Lisbeth Salander or Freddy Kruger; since the 80s, the writers of Batman have always given a real cinematic personality to Batman villains.

Specifically this has happened since the 80s because of three comics that took the childlike elements of comics, and made them for adults. These comics all came from DC because in those days, Marvel weren’t anywhere near the same page as DC in terms of understanding that there were now adults who had been reading comics since they were kids and they still waded in the kiddies end of the pool. DC though, struck out with three comics that changed the face of comics: Watchmen, The Dark Knight Returns and the comic that this DC animated feature is based on The Killing Joke.


The Killing Joke specifically is a Batman/ Joker story and explores not the differences that they have always shown… The good/bad dichotomy… But instead the similarities of their psychoses.

The Killing Joke introduces us to Barbara Gordon aka Batgirl, a sidekick who also has somewhat of a crush on him. We explore her and Batman’s relationship in the first act with an investigation into a mobster, and how it grows into something more that just a professional relationship.

After we get that relationship down, we lead into the real horror story which is of the Joker on the loose in Gotham City, and when he maims Barbara and kidnaps her father, Commissioner Gordon, Batman’s investigative powers go into high gear… As does his need for revenge…

In and amongst this story, we get a glimpse into the origin of the Joker… Or one of the many origins he claims, anyway.


The animated version does have a slight difference in the story from the comic, in that they have included more Batgirl as an introduction so what the Joker does to her has more gravity to someone who may enjoy these movies, but don’t necessarily have a large volume of DC Universe knowledge running through there skulls. Within the confines of this feature it works well, and the actual comic itself probably would have been far to short for a feature over an hour, so it’s a welcome addition, though there is clearly two completely separate acts. The thing I found real interesting is that obviously Moore’s resistance to his stories being translated into film or TV have resulted in his name being completely removed from the credits. I can’t say whether this is upon his request or DC’s, but I assume the former is the truth.

This film received a lot of criticism about the relationship between Batman and Batgirl, but I don’t think it’s as bad as they say, and doesn’t really vary from Batgirl’s origins. Almost every incarnation of the comic version of the character have had Barbara become Batgirl due to an obsession with the Dark Knight, and to have her act in that obsession isn’t completely unreasonable. Also, the character has always been of varying age, sometimes she’s a university student, so maybe 18 to 22, or working in a library, and not an ingenue librarian either, but an established one, so we are talking mid 20s to 30… These ages aren’t unreasonable to have a sexual liaison with a man in his late 30s to early 40s.

The animation is great, and lies somewhere between TV animation and a Disney feature, but it does emulate Killing Joke comic artist, Brian Bolland’s art satisfactorily, but obviously, and those that know Bolland’s work will appreciate it would be difficult, not exact to his style. It does replicate his layouts and animates them efficiently.

The voice acting is perfect and reuses the Batman regulars Kevin Conroy as Batman, Mark Hamill as The Joker and Tara Strong as Batgirl, and they all complete their roles perfectly. Hamill’s Joker particularly has a comic psychosis too it that is truly disturbing.

I thoroughly enjoyed this take of The Killing Joke, and look forward to, considering the post-credit sequence, a Birds of Prey animated film sometime in the future. Batgirl has always been a favourite of mine, and this was a great introduction to the character!

Score: ****

Format: The review copy of this film was the Australian region B bluray which runs for 72 mins and is presented in an immaculate 1.78:1 widescreen with a Dolby digital 5.1 soundtrack.

Score: *****

Extras: These DC animated features almost always have a bunch of features, and The Killing Joke is no exception.


The disc actually opens with a trailer for Batman Vs Superman: Dawn of Justice and an ad for the DC Season Pass, which incorporates all the DC TV series’s currently airing like Supergirl, Gotham, Arrow, The Flash and Legends of Tomorrow.

Then we get into the REAL extras, which include trailers for the animated feature Batman: Bad Blood, the film Suicide Squad and the DC All Access App.

From the DC Comics Vault has two cartoons: ‘Christmas with the Joker’ from Batman: The Animated Series and ‘Old Wounds’ from The New Batman Adventures.

We also have Sneak Peeks of their next animated movie, Justice League Dark, and previous releases, The Dark Knight Returns Part 1 and 2 and Assault on Arkham.

Madness Set to Music talks to the composers and cast who worked the score of The Killing Joke.

Batman The Killing Joke: The Many Shades of Joker is a character dissection of the Joker.


Score: *****

WISIA: I really love these animated DC features and they always get watched again just because they are so much better than any comic based live-action film, DC, Marvel or otherwise. They don’t feel they need to retell origin stories over and over, and just tell the tale of heroic deeds and villainous acts.

Dead 7 (2016) Review

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One from the to watch pile…
Dead 7 (2016)


Film: Imagine you live in a world where opportunities are given to ex boy-band singers to make horror/action films… Well, you DO live in that world! Here we have a horror/scifi/western called Dead 7 written by Backstreet Boys’ Nick Carter, and directed by Danny Roew, responsible for 2013’s black comedy Shotgun Wedding. Who else but Syfy and The Asylum could get this together?

Though ‘The Asylum’ can occasionally be a gigantic red warning light…

The movie starts with a bit of a background story of what has happened to humanity. There has been an apocalypse of some kind, and mankind… Well, America… Had returned to a simpler lifestyle, similar to that of the Wild West, but an evil character by the name of Apocalypta (Debra Wilson) has created an army of zombies, or ‘copperheads’ as they are know here, so she can herd them into gated towns and then take them over… Yep, she has the power of the undead at her will and she’s using them for land grabbing.


The film is told in chapters, and we are introduced to the ‘Magnificent Dead 7′ one by one. They are Jack (Nick Carter), Billy (Jeff ’98 Degrees’ Timmons), Komodo (Erik-Michael ‘O-Town” Estrada), The Vaquero (Howie ‘Backstreet Boys’ Dorough), Whiskey Joe(Joey ‘*Nsync’ Fatone), Sirene (Lauren ‘married to a Backstreet Boy’ Kitt Carter), and Daisy-Jane (Carrie Keagan… Whom you will never forget!) Now this ‘Dead 7’ have been gathered together to fight the forces of Apocalypta and destroy her, but will they be able too… Will the power of this 7 be able to do it?

You’d better see it and find out.

Now I can’t continue this review without a mentioning a few other cast members: Chloe ‘daughter of Olivia Newton John’ Lattanzi, John ‘Just Another Day’ Secada and A.J. ‘Backstreet Boys’ McClean.

I was going to make an attempt to review this film by using nothing but lines from songs from the aforementioned boy bands, but after listening to three of them, I couldn’t go on with that idea, so I said ‘bye, bye, bye’ to it. 

I have to say I quite enjoyed this film. In no way did I ever expect that I would have fun with this pastiche of Mad Max, the Magnificent Seven and The Walking Dead, but somehow, it works… And I swear I wasn’t drunk when I did this review. At times the filmmaking itself did annoy me, especially with House of the Dead style exposition whenever a new character was introduced, but essentially it’s job was to move the story along, and make pop stars seem like adequate actors; so mission accomplished. 

The special effects are from two ends of the scale. The make up effects are actually pretty cool though zombie make ups seem to be a dime a dozen now, and can be executed at home with Halloween costume kits. The chopping off, and exploding if heads in general look pretty good, but as ever, the cgi blood sprays look really dumb, and there is a hanging intestine gag that just out and out sucks.

This is what unemployed ex-boy band members get up to in their spare time though I admit to being sadden you the absence of Tiffany and Debbie Gibson, surely there could have been a role for them!


So, it’s pretty good, for what it is, which is a zombie film that has come far too late in the zombie trend to ever be taken as too original, but it is fun enough for you to overlook that.

Score: ***

Format: The version of Dead 7 reviewed was the Australian DVD release presented in 1.78:1 widescreen with Dolby Digital 5.1 soundtrack, both of which are pretty good, though occasionally the faster moving panoramic shots pixelate a little.

Score: ***1/2

Extras: Not a bad selection of extras on this disc:


Dead 7: Behind the Scenes looks at how the film came together.

Dead 7: A Look At The All-Star Pop Music Cast repeats some of the interviews from the previous extra, but it exists really just to highlight the members of various boy bands.

Dead 7: Gag Reel weren’t very long, but there were titty and fart jokes, so that’s a plus.

Dead 7: Trailer is the trailer for the film.

Thankfully, the ‘supergroup’ song ‘In The End’ threatened on the back cover isn’t something I had to endure except for over the end credits.

Score: ***


WISIA: You know, there was just enough zombies, violence and sexy gunslinging gals in this to warrant at least a second watch.

The Astro-Zombies (1968) review

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One from the to watch pile…
The Astro Zombies (1968)


Film: I am an unabashed fan of films, and I don’t care if they a blockbusters or trashy trash, I just love cinema. I’ve seen films with a negative budget that have entertained me to no end, and sat down to multi-million dollar, star studded efforts that have bored me to the point of attempting to swallow my own tongue just to get out of the cinema. I’ve seen Academy Award (c) winners that sucked, and Razzie recipients that didn’t.

This is the amazing tapestry of life: opinions are like arseholes, everyone’s got one and most of them stink.

The reason I find films of all levels entertaining lie in two pieces of personal necessary criteria: story, and duration. The film has to have a good story, and the effects don’t matter because whether they are seamless CGI effects or rubber costumes, I can see the story that is being conveyed. If effects were such an issue, TV shows like the Thunderbirds wouldn’t have the longevity they do. The duration and efficiency in how that story is told is also a point of contention. One of my pet peeves is the current trend of overselling a great movie with a TV series remake… I’m looking directly at you, Scream. The first film was told with an economy that the TV series unnecessarily expands upon. The point here is not whether the show is good or not, because an item of entertainment can have great acting and direction but then not deliver its tale with any sense of timing delivery.


This film, The Astro Zombies, is by legendary independent film-maker Ted V. Mikels, whose skill in filmmaking I find interesting and frustrating. Interesting insomuch as I like the themes, and story of the films he makes, but frustrating as he breaks my second rule about the pace of a film. His direction is always here and there with me as well; occasionally I find scenes that are set with such an amazing eye for a quirky angle, and then in the next second, someone spends an entire dialogue scene with their face in the shadows, but the back of their head lit perfectly.

This film tells of Dr DeMarco (John Carradine) a former scientist from the Astro Space Laboratory, who has managed to created a murderous ‘Astro-man’ from parts stolen from various dead bodies procured by his deformed assistant, Franchot (William Bagdad). Even though performed in secret, the doctor’s work has still been brought to the attention of agents from various secret services from around the world, including the villainous spy Satana (Tura Satana) and the CIA’s chief Holman (Wendell Corey).

Holman amps up his investigation though when a young lab assistant is brutally killed by one of the Astro-men, and using the latest hi-tech equipment that the CIA has, they manage to pinpoint his secret location for a final deadly showdown.

Realistically, this movie could be summed up in one sentence: Dr Frankenstein vs The Man From Uncle, and even, in the credits, uses some of the fonts from TV shows like The Brady Bunch, and scene changes that kinda-sorta feel a bit Batman (the 60s TV show) in style.


The basic for the story is quite entertaining, though I am mystified as to how Umbrella managed to be stuck with an R rating. There is really nothing here that is SO offensive to require that. I almost wonder if they have just thrown on a rating from several years ago just to not have to pay to have it resubmitted, especially as seeing as how it is at such a low price in Australia (this copy was bought from JB Hifi in Sydney NSW at a just sub $7 price point). I don’t see how this could be under the same category as Cannibal Holocaust and Salo!

The real joy from this film comes from the appearance of iconic Russ Meyer star Tura Satana, chewing up every line she gets and showing her disdain for every man she comes across that doesn’t bow to her will, and John Carradine, a cinema legend who is known just as much for the absolute crap he ended up in as much as he is known for his quality cinema. The appearance of these two though, doesn’t mean the film is a must-see gem unfortunately.

I think perhaps Mikels at this stage in his career didn’t quite understand, or chose to ignore, and I mentioned this earlier, that cinema has a language where every single step of a procedure doesn’t need to be shown. At one point Carradine goes through this long winded process with a computer chip that brings the film down to almost a complete halt. I’m amazed I stayed awake!

The film is entertaining, though has several of these moments that bog it down. It’s hardly one I’d suggest to most of my film friends, but the trash fans will get up for it… And it’s got Tura Satana in it, surely that at least worth one watch!

Score: **

Format: This Australian region free DVD release from Umbrella Entertainment is presented in a very artefact-filled, telecine wobbling 1.77:1 image with a mono English soundtrack. It’s still watchable, but it is far from a perfect image.


Score: **

Extras: Not a sausage. Not a single thing. Zip. Zilch. I do have to compliment the awesome cover though, but it doesn’t get a score as an extra just for having that.

Score: N/A


WISIA: It’s far from a great film and honestly I found it at times somewhat of a trial, but the appearances of Tura Satana and John Carradine possibly could cause it to be spun more than once.