Category Archives: Might-See
In her last feature film before heading to TV land, Barbara Stanwyck reunited with her former husband Robert Taylor for this mystery-suspense from legendary showman Castle, who casts aside his usual gimmicks and instead relies on the reputation of Psycho author Robert Bloch, who wrote the screenplay under the original title, The Dream Killer.
Stanwyck plays Irene Trent, a former beauty-parlour owner who is plagued by dreams of a fantasy lover. When her blind, possessive inventor husband Howard (Hayden Rorke) is killed in an explosion in the upstairs lab of their mansion home, Irene inherits his fortune…
But fact and fantasy get all messed up when Irene’s lover (Lloyd Bochner) appears before her and whisks her off to be married. Unsure whether it was a dream or not, Irene enlists the help of her husband’s attorney, Barry Moreland (Robert Taylor), to uncover the truth… But all is not what it seems as The Night Walker makes his nightmarish return…
Aside from the twists, turns and red-herrings, there’s some genuinely creepy moments to be found in the monochrome chiller, including a frightening image of a hand clutching an eyeball, which jumps out at you in the opening sequence as Paul Frees narrates a prologue on the subject of nightmares.
When I first saw this film as a youngster, I was deeply shocked by Hayden Rorke’s cane-tapping entrance from out of the shadows, which slowly revealed his horribly burned face. But it wasn’t his disfigurement or the idea that he might be an undead ghoul that disturbed me – it was seeing I Dream of Jeannie‘s Dr Bellows playing it mean and despicable. But I have to admit his make-up was pretty cool.
While light on the camp hysterics of the same-year’s Strait-Jacket (starring Joan Crawford), Castle’s woman in peril follow-up is a surreal, entertaining treat that will have you guessing till the very end. Stanwyck plays it with serious intent, and earns our sympathy (and respect) as a result, while Vic Mizzy’s harpsichord-fused score deftly underpins the film’s funereal tone (now: is it just me, or does the main theme sound like Food, Glorious Food from Lionel Bart’s Oliver). The exteriors were all shot at the Higgins-Verbeck-Hirsch mansion in LA, which would become home to Elsa Lanchester and an army of rats in 1971’s Willard, while Mizzy’s catchy soundtrack got a Percepto Records CD release in 2002 (which now fetches ridiculous prices).
There’s also a collectable paperback tie-in, written by Sidney Stuart and based on Bloch’s screenplay, which was published in 1964 by Awards Books. This features the same imagery as the poster art, which was a variant of Henry Fuseli’s influential 1781 painting The Nightmare – of a demonic creature crouching over a sleeping woman. In the poster art, this incubus is painted as a horned devil, which does not appear in the film. However, it does have a curious link to Guillermo del Toro’s Pan’s Labyrinth.
On the audio commentary of Optimum Home Entertainment’s 2006 Blu-ray release, del Toro revealed his inspiration for the Pale Man (the ogre who inserts a pair of eyes into the palms of his hands) was based on an image from a film poster that he once saw as a youngster. While he doesn’t mention the name of the film, he was most probably referring to The Night Walker, because of that eyeball in the hand that appears in the opening sequence and on the poster art (which Final Cut have reproduced here for their release). By the way, I have to credit film historian Tim Lucas for being the first to muse over this connection. But I think he’s hit the mark.
Final Cut Entertainment’s UK DVD release features a lovely print of the film, but is lacking in bonus content – like the audio commentary that was included on the Shout Factory Blu-ray release in the US (whose trailer I have included below). Still, if you are a collector of William Castle’s films, and don’t have a multi-region player, then you should consider adding this to your collection.
From Lionsgate UK comes 1987’s The Gate, as part of their ongoing Vestron Collector’s Series, restored and remastered on Blu-ray.
While their parents are away for a long weekend, break 16-year-old Al (Christa Denton) and 12-year-old Glen (Stephen Dorff) have free reign of their suburban home. But it soon turns into a supernatural battleground when Glen and his best friend Terry (Louis Tripp) unwittingly unleash demonic forces from a large hole in the backyard…
Though not much happens in the first half hour of this Poltergeist meets Home Alone offering, things really liven up when an army of pint-size trolls begin to start crawling out from ‘the other side’.
What The Gate lacks in originality, it certainly makes up for it with its ‘wink and a smile’ fan-boy approach that plays fast and furious with some classic horror tropes like the ‘monster in the closet’ and the ‘thing under the bed’, while also chucking in a great gag involving the lyrics of heavy metal records being linked to black magic and satanism.
The practical special effects may have some rough edges, but they still look terrific: especially the ankle-sized demons (a winning combination of forced perspective and people in full rubber suits), and the climactic sequence in which Glen, armed with a toy rocket, takes on the film’s gigantic HP Lovecraft-inspired serpentine demon.
So sit back and prepare to channel your 12-year-old self once again with this gleefully ghoulish fun-ride.
• Audio commentary with director Tibor Takacs, writer Michael Nankin, and sfx designer/supervisor Randall William Cook
• Audio commentary with the sfx crew, including Randall William Cook, Craig Reardon, Frank Carere and Bill Taylor
• Isolated Score and audio interview with composers Michael Hoenig and J Peter Robinson
• Eight new and archival behind-the-scenes featurettes with the cast and crew
• Trailers & TV Spot
WATCH IT ON THE BIG SCREEN: Lionsgate UK’s free screenings at the Monday Film Club at The Alibi in Dalston, East London finish tonight (26 March) with The Gate. Check it out here: https://www.facebook.com/events/178367812773304/
The Gate copyright: Programme Content and Photography: ©1986 The Gate Film Productions Inc. all Rights Reserved. Package Design: © 2018 Lionsgate Home Entertainment UK. All Rights Reserved.
From Lionsgate UK comes 1997’s Wishmaster, as part of the Vestron Collector’s Series, restored and remastered on Blu-ray.
In 1127 Persia, a demonic genie (Andrew Divoff) is trapped inside a fire opal by a quick-thinking sorcerer before he can unleash his evil on the land. In present day America, the opal finds its way into the hands of an antique appraiser, Alex (Tammy Lauren), who has strange visions while handling the gem.
Seeking answers, Alex hands it over to her best friend Josh (Tony Crane) to analyse. But when the gem explodes, the evil djinn is released and tricks Josh into wishing for a ‘fatal’ end to his pain. Taking on human form, the djinn begins granting wishes in exchange for souls, while seeking out Alex who becomes the instrument of his evil plans…
Presented by horror maestro Wes Craven and produced by Pierre David (Scanners), Wishmaster was one of those 1990’s titles that I missed first time round. But now that it’s undergone a re-master, I thought it high time to check it out. And it’s not as bad as I expected.
Peter Atkins, the screenwriter of the first two Hellraiser sequels, crafts a pleasing slice of horror hokum with the genuinely engaging Lauren (The Young and the Restless) in the hot seat as the fearless female protagonist. Atkins also provides some delicious dialogue for Divoff’s camp Pinhead meets Freddy Krueger creation to hiss under the mountain of prosthetics (to me, he looks slightly reminiscent of Tim Curry’s Lord of Darkness in Legend).
Fantasy fiction fans will have a field day recognising the surnames of some of the characters (including ‘Charles’ Beaumont and ‘August’ Derleth), while the cameos from some icons of the horror genre are the real reason to check this title out. Robert Englund (Freddy Krueger), Tony Todd (Candyman) and Kane Hodder (Jason Voorhees) all get the tables turned on them with some inventive death scenes; Phantasm’s Reggie Bannister pops up as a pharmacist, while Angus Scrimm narrates; and there are also turns from Ted Raimi (Evil Dead), John Carpenter favourite George ‘Buck’ Flower as a drunken bum (of course), Verne Toyer (as a mini djinn), sfx guru Tom Savini and the film’s director Robert Kurtzman.
Wishmaster did reasonable business on its release, despite some critical drubbing, and the character rose again for three sequels – but they turned out to be a textbook case of ‘the law of diminishing returns’. Even the versatile Divoff ditched the character after the first sequel (though he did end up playing a similar role in 2000, playing Mephistopheles in Brian Yuzna’s Faust: Love of the Damned). But do check this one out – especially as there’s a drinking game just waiting to happen with that hit list of horror cameos.
Order from Amazon
• Audio commentary with director Robert Kurtzman and screenwriter Peter Atkins
• Audio commentary with actors Andrew Divoff and Tammy Lauren and Robert Kurtzman
• Isolated score selections and audio interview with composer Harry Manfredini
• Out of the Bottle: Interviews with Robert Kurtzman and co-producer David Tripet
• The Magic Words: Interview with screenwriter Peter Atkins
• The Djinn and Alexandra: Interviews with Andrew Divoff and Tammy Lauren
• Captured Visions: Interview with director of photography Jacques Haitkin
• Wish List: Interviews with Robert Englund, Kane Hodder, and Ted Raimi
• Trailers, TV & Radio Spots
• Archive ‘Making Of’ featurette & EPK
• Behind-the-scenes footage compilation
SEE THE FILM ON THE BIG SCREE: Throughout March, Lionsgate UK are taking over the weekly, free entry Monday Film Club at The Alibi in Dalston, East London, with Wishmaster being screened on Monday 19 March. Check it out here: https://www.facebook.com/events/1633296950113773/
Wishmaster copyright: Programme Content and Photography: © 1997 Artisan Pictures Inc. All Rights Reserved. Package Design: ©2018 Lionsgate Home Entertainment UK. All Rights Reserved.
The Lair of the White Worm (1988) | Ken Russell’s wild take on Bram Stoker’s novel uncoils on Blu-ray
From Lionsgate UK comes The Lair of the White Worm, as part of their ongoing Vestron Collector’s Series, restored and remastered on Blu-ray.
Scottish archaeologist Angus Flint (Peter Capaldi) unearths an unusual animal skull while digging in the garden of a Derbyshire B&B run by his girlfriend Mary (Sammi Davis) and her sister Eve (Catherine Oxenberg).
Could it be linked to the local legend of a worm-like dragon (the Lambton Worm), which was said to have been slain by a distant relative of the current Lord of the Manor, James D’Ampton (Hugh Grant)? Could it have something to do with the disappearance of the girls parents many years beforehand? And why does the strangely alluring Lady (Amanda Donohoe) steal it?
As our our Scooby gang investigate, they unwittingly uncoil a centuries old mystery involving a pagan cult and human sacrifice…
Mercurial director Ken Russell treads a fine line between titillation and terror in this, his wildly OTT tongue-in-cheek adaptation of Bram Stoker’s 1911 gothic novel. Amanda Donohoe camps it up big time as the very wicked Lady Silvia Marsh, a country-house aristocrat who enjoys worshipping a snake God and fanging the locals while wearing next to nothing. A shaggy-haired Peter Capaldi (who has since earned himself iconic status playing a certain Time Lord) gets an hilarious scene warding off a bloodsucking copper with a pair of bagpipes, while a fit looking Hugh Grant (fresh off the Edwardian gay love story Maurice) plays it typically posh and daft.
Russell’s schoolboy humour might be a tad lame, but his shocking visual asides at Catholicism (nuns and dildos) are wonderfully irreverent, and the practical special effects are an inventive highlight. Donohoe’s tight-fitting costumes are also a seductive treat and the chilly location shoots that include the Peak District and Manifold Valley in Staffordshire are gorgeously lensed. Stoker purists, however, will probably be greatly offended.
• Audio commentaries with director Ken Russell and Lisi Russell
• Worm Food: Special effects artists Geoffrey Portass, Neil Gorton and Paul Jones (who were all 18 or 19 at the time) talk about their experiences working on the film
• Cutting for Ken: interview with editor Peter Davies
• Trailers From Hell featuring producer Dan Ireland
• Mary, Mary: interview with actress Sammi Davis
• Theatrical Trailer
• Still Gallery
NEWS JUST IN: Throughout March, Lionsgate UK are taking over the weekly, free entry Monday Film Club at The Alibi in Dalston, East London, with The Lair of the White Worm being screened on Monday 12 March. Check it out here: https://www.facebook.com/events/802548666603104/
Lair of the White Worm copyright: Programme Content and Photography: © 1988 Vestron Pictures Inc. All Rights Reserved. Package Design: © 2018 Lionsgate Home Entertainment UK. All Rights Reserved.
I’m finally dipping into Indicator/Powerhouse’s fantastic box-set Hammer Volume One: Fear Warning, in which a quartet of classic chillers get their first-ever HD restorations (region free) with a host of exclusive extra features. Here’s my look back at 1964’s The Curse of the Mummy’s Tomb.
In 1900 Egypt, a team of archaeologists, including John Bray (Ronald Howard) and his Egyptology expert fiancée, Annette (Jeanne Roland), unearth the tomb of the Ra-Antef.
When Annette’s father is murdered, the expedition’s main backer, Alexander King (Fred Clark), hatches a plan to have the treasure and sarcophagus shipped back to England for a luridly sensational tour. But when the seals are cut during the exhibition’s opening night – the coffin is found to be empty.
Soon the beat of cloth-wrapped feet begin to sound in foggy Victorian London as the ancient avenger (Dickie Owen) pursues all those who defiled its tomb…
What happens next is entirely predictable: the mummy goes on the rampage as Annette gets herself involved in a love triangle with her wimpy fiancé John and charismatic arts patron Adam (Terence Morgan), before ending up in the sewer system with the lumbering bandaged evil.
This 1964 horror sequel is a far cry from Hammer’s original 1959 classic; with pretty lame sets (especially the desert scenes) and suffers from some middle of the road casting (and sadly lacking Hammer favourites Peter Cushing and Christopher Lee), but US import Fred Clark certainly makes up for it as Alexander King, a PT Barnum meets William Castle showman with a heart of gold. A great comic actor, Clark would go onto co-star alongside Frankie Avalon in the Vincent Price spy spoof Dr Goldfoot and the Bikini Machine the following year.
Burmese-born actress Jeanne Roland tries her best to present her educated Annette as an independent, modern (Victorian) woman, but ends up being little more than an alluring decoration.
This was Roland’s only starring vehicle for Hammer (she also suffered the same fate as many a Hammer scream queen – being dubbed), and later popped up in You Only Live Twice as Bond’s masseuse.
Hammer stalwarts George Pastell and Michael Ripper also appear – albeit too briefly, and future Virgin Witch director Ray Austin gets into a punch-up with Morgan’s Adam.
With its scenes of head crushing and severed hands, it’s surprisingly violent, and there’s a neat twist in the final act. Originally released in the UK and the US on a double-bill with The Gorgon, it actually proved a big success for Hammer despite its flaws.
• Blood and Bandages: Inside The Curse of the Mummy’s Tomb (very informative and illuminating anecdotes)
• An appreciation of Jeanne Roland by Diabolique editor-in-chief Kat Ellinger
• Interview with Michael McStay (2017): the British film and TV actor looks back at his time working for Hammer (his deaf person’s story is a hoot)
• Interview with composer Carlo Martelli on the use of sourced music for the film
• Super 8 Version: original cut-down home cinema presentation
• Trailer and Image Gallery
10 years after the death of the infamous Jigsaw killer aka John Kramer (Tobin Bell), Detectives Halloran (Callum Keith Rennie, Memento) and Hunt (Clé Bennett, Heroes Reborn) investigate a series of murders bearing the unique modus operandi of the Jigsaw killer. Has Kramer really returned from the grave to remind the world to be grateful for the gift of life? Or is this a trap set by a killer with designs of their own?
Director Michael Spierig and Peter Spierig (Predestination) go back to basics with their reboot, which ditches the torture porn for a pure chill-ride that aims to recapture the same suspenseful thrills as Se7en – only bloodier. Matt Passmore (The Glades), Laura Vandervoort (Supergirl), Paul Braunstein (The Thing), Brittany Allen (All My Children) and Mandela Van Peebles (Baadassss!) are Jigsaw’s targets this time round, while Tobin Bell is back in his iconic role – and it’s not just a ‘blink and you’ll miss it’ cameo.
Horror fans will lap up the inventive death scenes, which involve booby-trapped rooms and firearms, and some truly deadly laser cutters. Kudos go to the film’s big set piece which involves a giant spiralator and a motorbike. In an homage to the franchise’s original inspiration, 1970’s The Abominable Dr Phibes, one trap sees the victims choosing between three syringes that contain a poison antidote, a saline solution and a flesh-melting acid.
Given its open ending and the huge business it did at the box-office (despite the mostly unfavourable reviews), it looks like the Saw franchise just might begin anew. Personally, I rather enjoyed it… unlike the previous ones.
SPECIAL FEATURES ON THE BLU-RAY AND DVD
• Audio Commentary with producers Mark Burg, Oren Koules and Peter Block
• I Speak for the Dead: The Legacy of Saw: A feature-length appreciation of the franchise, with behind-the-scenes footage and interviews with cast and crew of the reboot discussing its visual design, sound score, special effects and much more.
• The Choice is Yours: Exploring the Props: A fascinating featurette (around 6min) in which Don Post’s pig masks and the iconic Billy puppet make a welcome return.
Phew! Horror Channel FrightFest is over for another year and it was probably one of the best ever that I have attended with some great thrills and surprises amongst the 64 film shown over the Bank Holiday weekend at the Cineworld Leicester Square and The Prince Charles Cinema. Now, while I didn’t get to see all of them, I did rather burn out my retinas catching quite a few. So, for what it’s worth, here’s my Top 10, plus a couple pf runner-up faves.
THE TOP 10
• Tragedy Girls
• Cult of Chucky
• Better Watch Out
• King Cohen
• The Bar
• Victor Crowley
• 68 Kill
• Death Note
• Attack of the Adult Babies
Director: Tyler MacIntyre. US. 2017. 93 mins.
If you are a fan of TV’s Scream Queens, then you will certainly LOVE this gleefully camp Heathers meets Scream slasher in which two vain high school besties (played by Deadpool’s Brianna Hildebrand and X-Men: Apocalypse’s Alexandra Shipp) go on a killing spree just to increase their social media standing. With stylish cinematography, charismatic performances, and a smart script (with lots of 1980s horror movie references), this was a real winner at Frightfest.
CULT OF CHUCKY
Director: Don Mancini. US. 2017. 91 mins.
Following a great Twilight Zone-homage from Hatchet’s Adam Green and Joe Lynch, FrightFesters were treated to the World Premiere of the seventh entry in the 30-year-old Killer Doll franchise – and it did not disappoint. This time round, Chucky continues to terrorise poor Mica (Fiona Dourif), who was found guilty of the murders in 2013’s Curse of Chucky. But is she just imagining things because Chuck’s old nemesis Andy Barclay (Alex Vincent) seems to have Chucky’s head locked up in a safe? If you want to read more (CLICK HERE). This one will be getting a Halloween release in the UK.
BETTER WATCH OUT
Director: Chris Peckover. Australia/USA 2016. 88 mins.
It’s Christmas, and parents Patrick Warburton and Virginia Madsen go out for the evening leaving 12-year-old Luke (Pan’s Levi Miller) in the care of his favourite babysitter, 17-year-old Ashley (The Visit’s Olivia DeJonge). But when a brick crashes through the window reading ‘You Leave, You Die’, it sets in motion a series of events that you will not expect. This Yuletide home invasion horror is enormous fun, but also very dark, featuring an intelligent, genre-bending script, and great performances from the young leads – especially Miller. It’s due out in the US on 6 October, and I do hope it gets a UK release soon.
Director: Steve Mitchell. USA 2017. 110 mins
I really enjoyed this fantastic appreciation of maverick US film auteur Larry Cohen, the writer/producer/director behind TV’s The Invaders and genre fare like It’s Alive and The Stuff. Featuring interviews with his former stars like Yaphet (Alien) Kotto and Eric Robert, and admirers like Martin Scorsese, JJ Abrams and John Landis, plus with the legend himself (and boy, can he talk!), this is a real must-see. If you want to know more, check out my full review (CLICK HERE).
Director: Alex de la Iglesia. Spain 2017. 104 mins.
This latest effort from the director of Day of the Beast and Witching and Bitching was one of the festival’s big highlights. It’s life as usual at Amparo’s bar in central Madrid until a group of regular customers – including hipster Nacho (Mario Casas), snooty Elena (Blanca Suárez), businessman Andrés (Joaquín Climent) and homeless beggar Israel (Jaime Ordonez) – witness two men being fatally shot as they try to leave. Who is responsible? Why aren’t the police doing anything? And why are there people wearing Hazmat suits in the square? Alex de la Iglesia’s black comic chiller puts human nature under the microscope, and it’s not a pretty picture. Death, selfishness, survival and hypocrisy are all treated with great wit and dark humour.
Director: Dominic Bridges. UK. 2017. 79 mins.
The feature debut from commercials director Dom Bridges and written by Outpost’s Rae Brunton is a twisted fusion of claustrophobic black comedy and urban morality tale, but with a bizarre spin on the home invasion premise. Contortionist Orlan (Javier Botet) secretly moves into the flat of slimy real estate agent Hussein (Mim Shaikh) by occupying the hidden spaces of his flat (like his cupboards and wardrobe). It’s all part of the master of concealment’s plan to slowly unravel Hussein’s life and drive him insane. But does he succeed? Well, hopefully Bridges’ searing comment on race, the house market (and Brexit) will get a proper UK release soon so you can find that out for yourself. Cleverly scripted and with strong performances (especially the double-jointed Botet – whose face is usually hidden behind loads of make-up in films like the new It, The Mummy and Crimson Peak), this is a cracker of a debut from Bridges.
Director: Adam Green. US. 2017.
The big surprise at FrightFest was Adam Green unveiling the world premiere of his fourth entry in the Hatchet series with the film’s star Kane Hodder in attendance. Hatchet 3 survivor Andrew Long (Parry Shen), is now a minor celebrity who ends up back on Crowley’s swamp turf (which has been turned into a tourist attraction) when he agrees to a $1million fee to participate in a TV documentary. But when the crew’s plane crashes and wannabe filmmaker Chloe (Katie Booth) invokes Crowley’s spirit (via clips on the internet), the slaughter begins all over again. Made in secret over two years, this gory fun ride is packed with inventive, and very bloody, kills and some LOL campy humour. It also earned Green a standing ovation following the screening. Green dedicated the film to two masters of the genre – the late George A Romero and Tobe Hooper, who actually passed away on the same day as the screening (26 August).
Director: Trent Haaga. USA. 2017. 93mins
Chip (Criminal Minds’ Matthew Gray Gubler) is a hapless nice guy who pumps sewage for a living and is completely infatuated with his trailer park ex-stripper girlfriend Liza (AnnaLynne McCord). But she turns out be crazier than he first imagined when her plan to rob her sugar daddy goes horrible wrong. This fast-paced thriller is full of surprises, great fun and boasts some quite extreme violence.
Dir Adam Wingard. US. 2017. 101 mins.
This Netflix-produced take on the Japanese manga comes from director Adam Wingard (You’re Next) and follows high school student Light Turner (Nat Wolff) who turns self-appointed judge, jury and executioner when he comes across a supernatural notebook in which you write the name of someone you wish to die. When he begins to kill all those he deems unworthy of life, a reclusive detective (Lakeith Stanfield) sets out to end his reign of terror. Featuring great Final Destination-style set pieces, excellent performances, superb John Carpenter-inspired synth score from Atticus Ross and Leopold Ross, and Willem Dafoe voicing Ryuk, the death god who becomes Light’s moral compass, this is not to be missed. Catch it on Netflix now.
ATTACK OF THE ADULT BABIES
Director: Dominic Brunt. UK 2017. 80 mins.
Dominic Brunt is best known as bumbling vet Paddy Kirk in Emmerdale, but he’s also a film director who has shared his passion for all things horror with his writer/actress wife Joanne Mitchell in films like Before Dawn, Bait and now this perverted shocker. A home invasion forces a mother (Kate Coogan) and two teenagers (Kurtis Lowe and Mica Proctor) to break into a country manor to steal some secret documents. Little do they know the stately pile – which is presided over by the mysterious Margaret (Sally Dexter) – is also where high-powered middle-aged men take refuge from daily life by dressing in nappies and having young women in nurses uniforms indulge them in their every perverse nursery whim. But these rich bastards also have another very sick agenda and it involves something quite monstrous in the basement. Brunt’s blunt, bloody and bonkers satire is a gleefully grotesque carnival of bad taste, over the top gore and gross-out scatological humour. It’s like Lindsay Anderson re-making Downton Abbey as a Pete Walker horror with added Benny Hill comedy touches. Just throw in some crazy claymation (courtesy of Lee Hardcastle) and some psychedelic chat with the God of Shit (voiced by Brunt) and you’ve got one of the weirdest British comedies ever made.
I ALSO LIKED…
• Freddy/Eddy – Tini Tuellman’s spine-chilling psycho suspense thriller
• Leatherface – Julien Maury and Alexandre Bustillo’s stunning prequel to Texas Chain Saw Massacre
• Canaries – Peter Stray’s alien-invading black comedy
• Veronica – Carlos Algara and Alejandro Martinez-Beltran’s gripping psychological twister
• To Hell and Back: The Kane Hodder Story – a moving documentary about everyone’s favourite Jason Voorhees from the Friday the 13th series (expect my full review soon, but here’s a pic of the legendary stuntman with one of his fans – me!)
Finally, a big thanks to Greg Day (Clout Communications) and the Horror Channel for inviting me back this year.
Cockneys vs Zombies (2012) | ‘Bloody Trafalgar!’ this zom-com is just as bloody brilliant as Shaun of the Dead
While geezer brothers Andy and Terry (Harry Treadaway and Rasmus Hardiker) rob a bank with their cousin (Michelle Ryan), an ancient plague is unleashed on London’s East End turning the locals into zombies. Next stop – the Bow Bells Care Home, where their granddad Ray (Alan Ford) and his fellow residents are trying to fend off the undead horde. Can the trio save the oldies and escape before it’s too late?
This 2012 zom-com combines the witty banter and comic hi-jinks of Carry On films of old with the flashy fast cut edits of a Guy Ritchie-styled mockney crime heist to produce one of the best British comedies in ages. In fact, having seen in countless times now, it’s as bloody brilliant as Shaun of the Dead.
Veteran stars Honor Blackman, Richard Briers and Dudley Sutton get the biggest laughs – especially Briers (who died six months after the film’s release) trying to outwalk the zombies on his zimmer frame. And the Ska-fuelled end credits song Head to Head with the Undead is just so darn catchy, you might find yourself wanting the soundtrack as well (yep, there is one).
Cockneys vs Zombies screens on The Horror Channel on Saturday 19th August at 9.00pm
Origin Wars (2016) | This buff bromance in outer space is an enjoyable slice of Saturday matinee sci-fi
Set in the future in a time of interplanetary colonisation, Sy (Twilight‘s Kellan Lutz), escapes a brutal prison where mysterious experiments have been taking place. After orchestrating an escape, Sy meets Kane (former Neighbours star, Daniel MacPherson), a lieutenant working for an off-world military contractor – EXOR (overseen by Rachel Griffiths’ Assad-like General Lynex), who have set in motion a plan to wipe out all life from the face of the planet in an attempt to cover up their crimes – when their terrifying ‘experiments’ escape.
Now, the unlikely pair must work together to rescue Kane’s daughter, Indi (Teagan Crof). Teaming up with a pair of outlaws, Gyp (Isabel Lucas) and Bill (Luke Ford), it’s a race against time for the group as they clash with EXOR in an attempt to escape while battling the marauding savage creatures…
From writer-director Shane Abbess (Infini, Gabriel), Origin Wars (aka The Osiris Child: Science Fiction Volume One) features an inventive action-packed screenplay, an oddball bunch of characters and some damn impressive practical creature effects (think Tremors meets Labyrinth).
Newcomer Teagan Crof might be a bit on the whiny side, but Isabel Lucas and Luke Ford rock as the rough diamond couple whose armoured prison van (which reminded me of George Peppard’s Landmaster in 1977’s Damnation Alley) plays a vital role in getting our hunky bromancing heroes Lutz and McPherson to their final destination. Don’t let this an enjoyable slice of Saturday matinee sci-fi pass under your radar…
Available on Digital Download 17 July and DVD and Blu-ray 24 July, 2017 from Lionsgate UK
Convinced by her unborn baby (who speaks to her from her womb) that her partner’s death in a climbing accident was the result of a group decision to cut his rope, Ruth tracks them down and kills them with a large kitchen knife. But when her waters break as she finally confronts the group’s leader, Tom, (Kayvan Novak), Ruth finds herself on a cliff edge (both literally and metaphorically) swaying between redemption and destruction…
Shot in just 11 days during Lowe’s own real-life pregnancy, Prevenge is an assured directorial debut from the writer/actress, who is best known for her turns in Ben Wheatley’s Kill List and Sightseers. Now I came into the film expecting it to be played strictly for laughs, but there’s an emotional core that quietly drags you in.
And that’s down to Lowe’s compelling performance as Ruth who, throughout her murder spree, which includes slashing the throat of Kate (Game of Thrones) Dickie’s bitchy boss and the gory castration of Tom Davis’ sleazy DJ, the viewer is left wondering if she’s clinically mad or just having a really bad day?
Thankfully, Ruth’s got Jo Hartley’s caring midwife to help ground her back to reality. But Ruth is a deeply sad and lonely woman – and you can’t help but sympathise with her because she has no family or support as she awaits the birth of her baby.
Ruth’s bland apartment – which looks like temporary council accommodation – only heightens her loneliness and sense of alienation. So do the other-worldly neon-lit Cardiff city locations – which were chosen on purpose according to Lowe in the extras.
Speaking of which, do check out the Post Natal Confessions extra, it’s really informative in shedding light on the making of this surprisingly emotional black comedy that deserves multiple viewings. It also reveals the genesis behind my favourite scene in which Ruth meets ‘Death’ in the form of a Halloween party-goer.
Prevenge is out on DVD, Blu-Ray and VOD from includes an audio commentary with Alice Lowe, cinematographer Ryan Eddleston, editor Matteo Bini and producer Vaughan Sivell.
The Prevenge soundtrack by ToyDrum is also available digitally through Invada Records at www.invada.co.uk