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: 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!
Planet of the Vampires aka Terrore Nello Spazio (1965)
Film: There is no doubt that director Mario Bava is truly the Godfather of Italian cinema. Able to dance between genres like a ballet dancer at breakdance school, he did everything from horror to westerns, from historical to sci-fi proving himself to be a master of cinema.
American International Pictures hit a few home runs with the Bava films Black Sunday and Black Sabbath (as well as some other non-Bava Italian films) and were looking to invest more heavily in the production of films so they could have the rights in the USA. Planet of the Vampires was one such collaboration and is based on the short story, One Night of 21 Hours by Renata Pestriniero, originally published in Interstellar Science Fiction Magazine. The screenplay was adapted by Bava, along with Ib Melchior, Alberto Bevilacqua, Castillo Consulich, Antonio Román, Rafael J. Salvia and Louis M. Hayward.
So, do many hands make light work, or did too many cooks spoil the broth?
Planet of the Vampires sees the deep space vessels Argos and Galliot answer a distress call on the planet Aura. As the ships descend into the atmosphere, a high gravity pressure forces the crews into unconsciousness, only finding themselves acting temporarily violently upon awakening.
When the ships land, the only person unaffected by the temporarily is the captain of the Argos, Captain Markary, who, after his crew come to their senses, organise a team to search the strange alien landscape for the Galliot.
When they find the Galliot, they discover the entire crew has killed each other and so all are buried, only to come back to life and attack the surviving crew. What is causing the crew to return to life though, and what happened to the gigantic alien race whose crashed spaceship seems to have suffered the same fate…?
Essentially, this is more or less a stock standard sci-fi film of the 50s but with a little bit of blood and gore… I mean, a LITTLE bit… but it’s notoriety comes from the influence it had on films like Alien and Prometheus, and if I may throw a little suggestion in their as well, Event Horizon and Lifeforce, but not to the same extent.
Bava’ s use of studios for the planet’s exteriors make for a bizarre looking alien world that does use his amazing skill of depth of field using lights and forced perspective, and should be included in any film schools education repertoire.
The costuming is a highlight though because it’s out of this world (wink wink)!! The best way to describe the main suits of the astronauts would be… um… ok, imagine if Hugo Boss has designed the SS uniform based on Kiss-Ass’s superhero suit/ wetsuit, but with 70s shirt collars flipped up like a polo on a frat boy. Yep. Nailed it.
Ultimately it’s 50s sci-fi made in the 60s. It’s quaint and it’s fine but I wish I’d watched Alien again instead! Or Lifeforce.
Or Event Horizon.
Hell, even Prometheus!
Format: I had a weird revelation whilst watching this DVD in that it’s 20 years old.
Yep. This release from MGM’s Midnite Movies brand is 20 years old at the time of this review, and for a DVD that old, it’s 1.85:1 image and mono audio wasn’t too bad. It’s not brilliant, but it was watchable and the audio was clear.
Extras: A trailer, and that’s it.
WISIA: Like I said, I wish I’d watched Alien again.
Sometimes creators occasionally seems to like to say about a new product they are releasing is that it is ‘above genres’ or ‘can’t be classified’. Usually, you’ll read about that is the now-defunct comics magazine Wizard, or Fangoria, which even once had a section of their magazine called ‘It’s Not A Horror Movie’ due to the amount of time creators would think that they could make their project more legitimate by giving it some kind of weasel word like ‘horror-adjunct’ or ‘it’s a gore-thriller’.
Well those people shouldn’t have been entering their films into a magazine dedicated to horror, and usually, in the Wizard articles, the ‘new take on super heroes’ would result in a super hero comic.
I’ve discovered recently that the REAL unclassifiable stories come from Jason and Korea in the form of manga, and that managkas, or comic creators if you will, really make comics that are unclassifiable. if you are in Sydney, you can visit a big book store called Kinokuniya, who have a MASSIVE Manga section, and realistically, the only genre split is ‘General’ and ‘Adult’.
… and in the ‘Adult’ section was where I found this manga, Gigant.
Gigant is created by the mangaka Hiroya Oku, the creator of manga/ anime series Gantz, a story about a mysterious black sphere who takes people from the point of their deaths and subjects them to a trail where they fight horrible demons and Inuyashiki, story of an old man whose body is accidentally destroyed by aliens, so they provide him a cybernetic battle body.
Yep, Oku is an interesting guy, and if you think those stories sound nuttier than squirrel poo, well, sit down, strap in and grit your teeth because this story is off the freaking charts.
Gigant tells of young wanna-be filmmaker, Rei Yokoyamada who discovers that porn star, Chiho ‘PaPiCo’ Johansson has moved into her neighbourhood whilst removing slanderous poster put up in the streets near their house, and due to his kindness, they developed a friendship.
One day, Chiho find an old man in a helmet, a backpack and a pair of Y-fronts who is injured lying the the street. She goes to assist when he slaps a strange watch-like device on her wrist, and then turns into a ventriloquist dummy.
Very quickly she finds out that the device has the ability to grow to ‘Gigant’-ic sizes and burst out of her clothes, which her porn movie producers quickly incorporate into her films. If this wasn’t enough of an upset to her life, her boyfriend gets increasingly jealous about her relationship with Rei, and they break up after he assaults Rei, no she has to use her powers to save him.
Another weird thing is happening whilst Chiho’s life has been turned upside down. A website called Enjoy the End has become popular: it’s schtick? It has a series of questionnaires that people can vote on, the options being increasingly bizarre options…. but they come true.
Faeces falls from the sky like rain and an earthquake occurs because they were voted on… does it have anything to do with Chiho’s weird device?
Well, it’s only volume one so I guess I won’t find out for a while.
Oku’s art and story are both extraordinarily sexy and violent at the same time. His art is exquisitely beautiful, and obtuse, with some bizarre traces of realism that remind me of Western comic artist John Byrne’s addition of real photos into his work occasionally.
I’m going to say that this is an intriguing comic that has piqued my interest, and I’ll definitely be buying the next issue.
Gloom is a card game created by Keith Baker and published in 2004; its an amusing game where the players have a tableau of cards, representing ‘their’ family, and require a desire to kill them, but not without making them suffer first… sound like your cup of poisoned tea? The general gaming populous must have also decided as it was their cup of tea as well, as it has five expansions, and three themed decks, Gloom in Space (a sci-fi version), Gloom of Thrones (a Game of Thrones version) and this one, Cthulhu Gloom, based very loosely on the work of horror/ sci-fi author Howard Phillips Lovecraft.
The way a person wins this game is by having the lowest, negative score possible, which is done by having awful events happen to your family of cards, and then killing them whilst at their lowest. A player cannot ‘kill’ one of their family members if they don’t have a negative score, so the other players must provide good events on their opponents families to stop them from being able to kill them off. The first person to kill their entire family wins.
Seriously, Gloom the movie would potentially be hilarious.
The rules of this game are very simple. In front of each player is a selection of cards representing members of a family, and each player has a hand of 5 cards and on each turn, can perform 2 actions: play cards to their or other’s families, following any or all instructions upon those cards, or discard cards, drawing more cards up to the starting hand of five at the end of each turn.
The cards you’ll mostly be playing are cards that add or subtract points from each character, which is how the game is won: by having the lowest possible score. You can also throw an ‘untimely death’ card onto a character, which is how you can either make points for yourself, or beat another player by stopping a character from ‘earning’ more misfortune, as there is nothing worse than death… right?
The really amazing thing about this game is that the cards are all transparent so when you are playing a card, the negative points act as an overlay, which means every negative or positive that can be seen accumulate to make your score, and you can drop the score of another player by giving fortune cards which have positive points which may cover the players negatives point score.
The most fun can be had with this game by actually reading aloud some of the misfortunes that happen, like ‘minced by Mi-Go’, will occasionally bring a smile to everyone’s faces, especially those who are familiar with Lovecraft’s work.
Atlas Games are obviously aware of some of the unfortunate opinions of when Lovecraft wrote his stories, and so some characters have been give Mad Magazine styled alter-egos so as not to offend.
All in all, Gloom is a fun game for a quick throw around or a games night party-starter, and those who love a Lovecraft theme (like me) this game is an entertaining distraction that can still be macabre fun in an Addam’s Family style for those who aren’t fans of his work.
Film: There is no doubt that William Sachs has made a mark on oddball, lowbrow filmmaking. He’s given us such cult titles as Galaxina, Hot Chilli, Van Nuys Blvd., and of course this film, 1977’s The Incredible Melting Man.
Sachs apparently isn’t very proud of this film though, as he claims the studio interfered with its production quite heavily (if you watch the commentary on this release, he spits quite a fair bit of venom at the re-editing and over-simplification of the story which honestly, by the sound of his description, would have been a far more interesting film.
That’s not to say, though, that this movie isn’t a gem of cult cinema, even though both it, and its main character, are a bloody mess.
After a disastrous mission to space, astronaut Steve West (Alex Rebar), returns and is immediately quarantined and hospitalised as for some reason, his body has started to lose its structural integrity.
Not only his body is melting, his brain is too, and he escapes the facility and starts a rampage across the countryside, become more monster than man, killing everyone in his path, but can he be stopped? Is there some way to stop his threat, or will he eventually melt into nothingness…
This film is interesting insomuch it’s a tragedy dressed up as a gore movie. The tragedy of All-American hero West’s mutation as he loses his identity and becomes violent is a horror staple. The effects are expectedly gruesome and gooey and the film is well-worthy of its status of cult movie… and the addition of Cheryl ‘Rainbeaux” Smith certainly nails down that title.
It’s a silly film but it’s certainly a fun film to watch.
Format: The film is presented so bright and clear considering it’s age. It’s presented in 1.85:1 with a 2.0 mono audio.
Extras: As Arrow usually do there is a cool couple of extras floating around on this disc.
Commentary by William Sachs is fairly detailed look at the film. His recollections are interesting, and occasionally quite scathing against the directors.
Super 8 Digest Version is quite a revelation. As a kid I used to see the ads in Famous Monsters for ‘Super 8 home video’ versions of horror films and I was always interested to see one. Well, here we have the Incredible Melting Man one!
Interview with William Sachs and Rick Baker is enlightening and entertaining, and it’s nice to see that neither of them take the film too seriously. Interestingly in a world where some films are being criticised by ‘proper’ filmmakers for being nothing more than ‘theme park rides’ it’s nice to see that Sachs wholly embraces his film as being exactly that. Unfortunately if you’ve already watched the commentary, some of the stories and anecdotes are repeated.
Interview with Greg Cannom is only very brief, and honestly could have been incorporated into the previous extra, but it gives an insight into Cannom’s involvement.
Promotional Gallery is another name for ‘stills gallery’, but at least this one is for the posters and lobby cards for the film.
Original Theatrical Trailer is exactly what it says on the box. Remember when there was just one original theatrical trailer and not a leak, a sub-teaser, a teaser, trailer 1, trailer 2 and a red-band trailer? Maybe older films had better luck at selling themselves because they were better films? Who knows.
WISIA: It’s extraordinarily goofy so it deserves multiple watches!
Film: It’s the best horror film ever made. Review finished.
Oh, you want more… sigh, ok then.
I first saw this film when it came out on VHS in Australia and was immediately and utterly taken by it. It didn’t just excite my brain cells, I found almost a soul mate within the confines of the little plastic video case. I liked horror before I saw this film, but afterward, I loved it.
I didn’t just love THIS film though, it turned me on to the writings of H. P. Lovecraft and more horror writers, both modern and old. It turned me from being a horror casual to a horror obsessive.
This film was directed by Stuart Gordon, who wrote the screenplay with Dennis Paolo (From Beyond, Dagon) and William Norris (mostly known as being an actor). The story was based on Lovecraft’s stories from the 1920s, but modernised and made into a gory, gooey horror movie with a wry sense of dark humour.
Re-animator tells of a medical student named Herbert West (Jeffrey Combs) who has moved to Miskatonic University to learn more, and further his research after the death of his mentor Dr Gruber. At Miskatonic, he moves in with student Dan Cain (Bruce Abbott) to whom West eventually reveals he has developed a reagent that’s can reanimate dead tissue, and bring the deceased back to life, though the life is a monstrous, violent, animalistic one,
Their experiments put them at odds with the Dean of the school, Dean Halsey (Robert Sampson), and his daughter Megan (Barbara Crampton), who also happens to be Cain’s girlfriend, and the object of obsession of Dr Carl Hill (David Gale), who also is the subject of West’s ridicule due to his ideas about human brain death.
Very quickly, the body count rises, and the lives of all concerned begin to fall horribly apart…
There is so much that is perfect about this film. Gordon’s direction of the script is perfect, and every performance is nailed and every scene is exciting and moves the story along at quite a fast rate.
The cast is excellent. Combs’ West is the maddest of mad doctors, Abbott is the most flaccid of accomplices, Crampton is the most loveliest of female lead (and I must admit to having a massive crush in her even all these years later) and David Gale… well, David Gale is the best Vincent Price like villain that was ever not played by Vincent Price.
This edition reviewed is the Umbrella Entertainment version, under their ‘Beyond Genres’ label, which contains two version of the film on it. The first disc has the original 86 minute ‘uncut’ version, chock full of chunky violence and blood and gore. The other disc contains what is called the ‘Integral’ cut, which has all the gore, but also some extended scenes from various cuts of the film that exist, which adds almost 20 minutes to the films length: not all of which is necessary, but most of which creates more layers to the film, especially the ‘anti-love’ triangle that develops between the three main leads… it’s not a triangle, but instead one of obsession and ownership.
Umbrella’s edition of this film also has an epic Simon Sherry cover that looks incredible too, and even better as the animated menus on disc 2!
Like I said, this is my favourite horror film of all time, and whenever anyone asks me what horror film is my favourite, without fail I say this one, as I believe it’s a must watch.
Score: ****** (yep, six stars: not an error)
Format: Reanimator was reviewed on the region B Bluray from Umbrella Entertainment, and it’s is easily the best this film has ever looked. It is presented in a 1.77 image, with a 5.1 audio.
Extras: Heaps of extras on this 2 disc extravaganza!
There are two audio commentaries, one by director Stuart Gordon, and the other by producer Brian Yuzna, and stars Jeffrey Combs, Barbara Crampton, Bruce Abbott and Robert Sampson. Both commentaries are interesting and engaging.
Re-animator Resurrectus is a retrospective documentary about the film, and is a pretty complete investigation of the film.
There is also a series of extended scenes, which are unnecessary but still work when put back into the ‘Integral” cut of the film, and a deleted scene, which I am not quite where it would have fit in the film, but was an interesting watch anyway.
On this disc there us a series if interviews with Gordon, Yuzna, Paoli, Music composer Richard Band and Fangoria editor Tony Timpone. These are interesting, but the stories start to repeat themselves over the course of the extras.
This disc also has a bunch of trailers and TV spots.
WISIA: Simply, I think it’s the best horror film ever made and I watch it regularly. Honestly I could probably perform the whole movie as a one man show.
One from the to watch pile, even though it’s technically a rewatch, though I haven’t seen the film since it’s first release on VHS in the 80s…
Film: I am terribly sorry to those of you who love the Peter Jackson Lord of the Rings/ Hobbit films, but they aren’t for me. I don’t like ‘em. Sure they are technological achievements in cinema and Jackson fulfilled a lifelong dream, but they are just so looooooooooooooong, and boring.
What I want from a fantasy film is expediency in storytelling, a story that tells a Dungeons and Dragon styled ‘bunch of rogues versus impossible evil’ tale, a pile of violence, and maybe, just maybe, boobs.
Krull was directed by Peter Yates, who directed things like The Deep, An Innocent Man and Eyewitness, from a script by Stanford Sherman, who wrote a whole bunch of episodes of the Batman TV show from the 60s, and honestly, that possibly shows with this movie.
Krull tells of the occupants of the planet called… Krull! Krull has a scourge on its surface though in the form of the Beast (voiced by Trevor Martin), and his constantly teleporting vehicle/ castle/ meteor The Black Fortress.
On the evening of the wedding of opposing kingdoms Colwyn (Ken Marshall) and his bride, Lyssa (Lysette Anthony), The Beast attacks and everyone is killed, except for Colwyn, and Lyssa is kidnapped. With everyone from both sides of the family killed, Colwyn in now the king of a united kingdom, but has no army.
So, he travels across the land, collecting a band of miscreants, including a cyclops who is cursed to see his own death (Bernard Bresslaw), a wizard (David Battley), an elderly seer (Freddie Jones) and a gang of escaped convicts (including Robbie Coltrane, Liam Neeson and Alun Armstrong with several others) overcoming many obstacles and adventures until they finally find themselves at the gates of The Black Fortress, ready to save the princess trapped inside.
So, yes, what you see here is the classic fantasy story with all the tropes, like kidnapped princess, evil bad guy, ragtag gang of heroes, charming male lead, that has been used in everything from Robert E. Howard’s Conan stories, to Star Wars and even video games, and Krull doesn’t try to rise above and challenge those lofty themes.
The world of Krull, like Star Wars, is a wholly fantasy one that exists outside of any Earthly timeline… perhaps it too, is a long time ago in a galaxy far, far away… though it appears to be set in a D&D styled environment, with a little sci-fi thrown in for good measure.
As I mentioned, the script is as one would expect. It’s camp and attempts a Shakespearean styled dialogue even though what they are saying is melodramatic claptrap… which I guess is perfectly Shakespearean! Thankfully the performances are solid, and the direction and cinematography is amazing. The exterior shots are impressive long shots which show amazing scenery, and the smaller scenes and interiors, all filmed in a soundstage a Pinewood Studios incredibly, look fine.
The special effects are occasionally clunky, but it’s to be expected. In actual fact some of them are quite effective, like the stop-motion crystal spider and even the cyclops’s prosthetic eye, though Bresslaw’s lack of vision is occasionally apparent when he has trouble manipulating objects.
There is also a couple of effects which are surprisingly gruesome for a G rated film, especially in regards to the Beast’s appearance, and the fact that his H. R. Giger-ish soldier’s head split open and release a bloody worm that burrows into the ground.
Krull is a fun rollicking adventure that you can watch with the kids. Sure it’s nothing you haven’t seen before, but it’s charm outweighs how derivative it might appear.
Format: This bluray release of Krull from Umbrella Australia is presented in a 2.35:1 image with a Dolby DTS 5.1 audio, both of which are really nice for a film that’s 30 years old.
Extras: There’s a nice mix of extras on this disc.
We have two commentaries (found under the ‘Audio’ selection rather than in the extras). One is a cast and crew commentary performed by director Peter Yates and performers Ken Marshall and Lysette Anthony and another labelled a ‘Behind the Scenes’ Commentary, which features a reading taken from Cinefantastique, a now deceased sci-fi magazine.
In the regular Extras section, there is a trailer for the film, Journey to Krull, a half hour TV special on the making of the film and finally, a look at the Marvel Comics Movie Special of Krull, which came out in 1982 (Marvel Comics, in the 80s, and after the success of the comics of both Star Wars and to a lesser extent, 2001:A Space Odyssey, was doing heaps of comic adaptations of films, some of which became regular series’s, like the aforementioned Star Wars and The Further Adventures of Indiana Jones). This feature shows panels of the comic with dialogue from the film played over the top.
The cover is also reversible: one side has new art from Simon Sherry and the other has the original poster art from the 80s.
WISIA: Now that it’s back under my nose, I’m sure I’ll have no problem putting it in again when I feel like a nice easy watch.
Film: I started my horror and comic journey at about the same time.
As a kid, my dad, every Saturday, would take me to the local newsagency in Thirroul, NSW and when he grabbed his Sunday paper, he’d buy me either a comic, or an issue of Famous Monsters of Filmland. We moved away from that town, and the new place’s local newsagency only had comic, so for several years my monster love was reduced to either Godzilla films on Saturday afternoons, or the various horror comics from Marvel or DC (or their local reprinters like Newton Comics would do), or if I was lucky, a Vampirella.
Comics became my big bag until video stores emerged a few years later, and I loved them dearly. As a kid I was all about Aquaman or Captain Marvel (now known as Shazam!) with an occasional Hulk or Spiderman comic, and maybe an Archie or two, but in the 80s I became a full-tilt, no holds barred Marvel zombie, and the Fantastic Four, the X-men and the Avengers became everything I needed. I even entertained dreams of become a comic writer or artist one day.
I still have a gigantic comic ‘universe’ in my head that I’d like to do one day.
Anyway, the Avengers comics of that period were amazing, and I never believed we would ever see a movie based on them.
… and then the Marvel Cinematic Universe kicked off!
The MCU, as you should all know, is a juggernaut of a movies series starring all the Marvel heroes… well most of them except for the ones licensed to other companies(well except for Spiderman, but that’s another story), is what seems to be a bunch of individual movies, but in actual fact is the greatest, biggest budget soap operas in the history of entertainment.
This film, The Avengers, takes placed directly after 2011’s Captain America: The First Avenger, and was written and directed by Josh Whedon, from a story developed by himself and Zak Penn.
The Avengers is the culmination of the previous films and here, the heroes, Iron Man (Robert Downey Jr), Captain America (Chris Evans), Thor (Chris Hemsworth), Black Widow (Scarlett Johannson), the Hulk (Mark Ruffalo and a HUGE team of CGI effects people) and Hawkeye (Jeremy Renner) join together to fight against Thor’s brother, the charismatic and deceitful Loki (Tom Hiddleston), who has stolen a powerful, seemingly mystical item known as the Tesseract, from Nick Fury (Samuel L. Jackson) and his agents of SHIELD, including Agent Coulson (Clark Gregg) and Agent Hill (Cobie Smulders).
SO the battle to retrieve the item begins, but what the Avengers and SHIELD don’t realise is, is that Loki has an ally in the alien race known as the Chitauri, who wait in another dimension to create Hell on earth if they aren’t stopped…
That comic collecting kid in me loves this movie, even though it does, like most of the films, take a few liberties from the source material, like the absence of Ant Man and the Wasp (who were founding members), and the early joining of Captain America (who didn’t become an Avenger until issue 4 of the comic). They do however do some fun stuff that pays homage to the comics, like Hawkeye’s turn as a bad guy (he was originally an Iron Man villain of sorts) and dodgy and adversarial combination of characters, which the early Avengers comics played upon to be a contrast to the ‘family’ vibe of Marvel’s first group comic, the Fantastic Four.
I also liked Edward Norton as Bruce Banner/ The Hulk, so Ruffalo’s replacement of him came as a surprise, but Ruffalo’s a charismatic actor, so it was easily overlooked. What wasn’t easily overlooked was the continued employment of the terrible, B-movie soap actor made good, Chris Hemsworth, who doesn’t seem able to rise to the occasion when dealing with far greater actors and comes across as a pantomime version of the character he is supposed to be portraying. At least Downey Jr and Jackson are playing themselves as they basically always have, and they are such cinematic legends, they can get away with it.
My only other criticism is a criticism I have of most modern day superheroes, and that is that it’s apparently just fine to be a killer with no regard for human life, but that’s not a criticism of this film, just of comic films, and comics in general.
The film clicks along at a brilliant pace and is a visual spectacle, and the story is pure comic book, which is exactly what it requires to be successful. Whedon clearly loves his comics books and the respect he has for the characters is clear. His strength is also team dynamics, which is apparent from his previous experience with Buffy the Vampire Slayer and Firefly.
This first Avengers movie is a fun rollicking adventure, which only relies on a couple of films worth of back story rather than the gigantic amount the later films suffer from, which become almost unwatchable by themselves as individual movies anymore.
Format: This release has the film in three formats: in 3D, a normal bluray and a digital copy. The film was reviewed on the regular bluray and was presented in a flawless 1.78:1 image with an epic Dolby Digital 7.1 audio.
Extras: The disc starts with an ad for an app called Marvel Avenger’s Alliance.
There are a bunch of cool extras on this disc:
Marvel One Shot: Item 47 is a short that Marvel used to do on their home video releases but unfortunately stopped. This is a cool one about a couple of thieves who have ended up with a Chitauri weapon and decide to use it for their own benefit… but don’t think SHIELD will be quite down with that. Much like one of the others focuses on Agent Coulson, this one gives Jasper Sitwell a go at being a hero… well before we find out the horrible truth about him in a later movie.
Gag Reel is just that, but back before they became contrived an unfunny, like they did on the later releases of other Marvel films.
Deleted Scenes has 8 deleted scenes, none of which are missed, but are interesting to see, particularly the Maria Hill interrogation stuff.
A Visual Journey is clearly the making of the film and only runs for 6 minutes. Shame, as I reckon a film this big deserves a little more than just a few minutes.
WISIA: It makes me cry with joy pretty much well every time I watch it, which is frequently.
Film: Now even though this is technically a rewatched film, I’m going to label it a To Watch Piler… why? Well I received a free ticket to see this at the cinema, and unfortunately it was a Mum’s and Bubs session, which means the house lights were on the whole time, so any scene that takes place at night is almost unseeable, especially when the lead cast member is wearing all black!
Black Panther is one of the Marvel Cinematic Universe movies, which all join together in a story ten years in the making which will all be resolved in 2019’s sequel to Avengers: Infinity War. Black Panther has been an important character in the Marvel comics universe since his first appearance in Fantastic Four comics in 1966, and has been an important member of not just that team, but also the Avengers as well as having several impressive comics series’ himself.
The film was directed by Creed director Ryan Coogler from a script that he co-wrote with Amber Lake’s Joe Robert Cole, and what they created caused a massive bag of excitement for its positive role models.
Black Panther tells of the country of Wakanda’s new King T’challa (Chadwick Boseman), who has ascended to the throne after the death of his father (in the film Captain America: Civil War) but the road to his regency isn’t smooth.
First, whilst being watched by his people, including his mother Ramona (Angela Bassett), potential wife Nakia (Lupita Nyong’o) and sister Shuri (Letitia Wright – the real revelation of this film), he must prove his worth as a leader in battle, but all the while, machinations are happening outside of Wakanda that may still threaten his rule.
A man calling himself Erik Killmonger (Michael B. Jordan) has teamed up with arms dealer Ulysses Klaue (Andy Serkis) but what is there nefarious plan, and how does it effect the rule of the Black Panther.
This film initially reminds me of a superheroic version of a James Bond film, much like Captain America: The Winter Soldier did. It has exotic locations, improbable inventions and a wry sense of humour as Boseman performs his African James Bond alongside Wright’s ‘Q’ and Forrest Whitaker’s ‘M’ as they face off against an eccentric bad guy with a sidekick with a bizarre weapon, not to mention a bevy of women, all of whom are defined by their skill, brains and asskickery rather than their looks.
The design of the film is magnificent: quite possibly the best a Marvel film to date has to offer, and the colours jump from the screen and are a nice tribute to the beauty of many African cultures, but occasionally the CGI effects fail. Ok, they don’t actually fail, but there is a standard of effects that some blockbuster films seem to think is ok which occasionally don’t sit right, due to the physics of gravity or the extension limits the human body has. I get it’s a movie based on a comic, but if you are selling it as real, it shouldn’t look like a comic. Also, there is some CGI animals that just don’t look quite right.
Ultimately, the one thing I find about this film that doesn’t work is it’s just an introduction. The Black Panther storyline is reminiscent of the first Iron Man’s story of the rights of ascension in a technological world, and serves really as just frosting on the cake that is actually film that could be called Wakanda: A Prelude to Infinity War, as it sets up one of the battlefields for the next Avengers movie, just as the first Thor and Captain America films were really just a way of getting the punter ready for a more complete film experience with the first Avengers film.
In saying that though, I don’t want to discount the amazing work it did with having a sympathetic bad guy and a great set of role models for various groups that in pop culture don’t get as many as the white male population.
This film, even though it is a fun film, in 100% sticking to the Marvel formula so if you are expecting TOO much different from the stations that the hype train stopped at whilst this film was at the cinemas, you will be disappointed.
Format: This film is presented in an impeccable 16:9 image with a matching DTS-HDMA 7.1 audio which is absolutely amazing.
Extras: As one expects with Marvel films, they have a pack of extras ready to role, some about this film, and others to advertise other product, but why wouldn’t you do that with a captured audience?
There is a Featurettes section which contains 4 parts: Crowning a New King which looks at the character of Black Panther and his world, The Hidden Kingdom Revealed is an introduction to the fictional African nation of Wakanda and making it a ‘real’ place, The Warriors Within looks at the actors who play the various Wakandans throughout the film and finally, Wakanda Tevealed: Exploring the Technology looks at the cool toys in the film.
The usual Marvel Gag Reel is present which seem to get less and less funny each time, as the actors seem to almost be acting the gags.
There is four Deleted Scenes which, like the rest of the film, are quite charming, and honestly, whilst I normally think most deleted scenes are better off deleted, there are a couple of bits here that have some heart that would not have hurt the film at all.
From Page to Screen: A Roundtable Discussion is a really cool look at all the writers of the character, including not just the movie creators, but also comic writers like Don McGregor, Ta-Nehisi Coates and Christopher Priest.
Marvel Studios:The First Ten Years – Connecting The Universe is the first of the Marvel sales pitches on this disc of the Marvel Cinematic Universe. There is no doubt it is extraordinarily clever and it is pretty cool when any series of films have a linking world, like Kevin Smith’s View Askewniverse and more importantly, Universal’s monster movies of the 40s that had multiple crossovers in the form of House of Dracula and House of Frankenstein. This is a fine albeit short celebration and for a moment, you look at all these separate movies as one big story, rather than a series of films with a, to date, continually unresolved plot device as it’s connective tissue.
Exclusive Sneak Peek at Antman and the Wasp is another one of those aforementioned self-promotional pieces that shows off the next attraction coming to the ci emas, in this case, Antman and the Wasp. The first movie was so charming that I actually am really looking more forward to this that either the sequel to Infinity War or my beloved Captain Marvel movie (in which I believe the main character has been miscast, but prove me wrong, Marvel).
There is also an Audio Commentary by writer/ director Coogler and production designer Hannah Beachler is fascinating as it doesn’t talk about the usual writer/ director stuff, it also explores the design of the entire world of Black Panther and Wakanda.
WISIA: As it is a part of the greater world of the Marvel movies, I will watch it again, but it’s not a top tier Marvel movie for me.