Zombie Resurrection (2014) | This indie undead horror from Hampshire is a homemade riot
458 days after an engineered army vaccine has turned most of the world’s population into rabid flesh-eating zombies, a rag-tag group of survivors take refuge inside an old school in rural Hampshire.
Heading up the survivors are tough army sergeant Mac (Jim Sweeney) and cowardly Major Gibson (Joe Rainbow), who are transporting the alleged architect of the virus, Dr Sykes (Eric Colvin), to the city of Imperion; the golf-mad Beaumont (Danny Brown) and his teenage daughter, Becca (Rachel Nottingham); office worker Gandhi (Simon Burbage); Essex slag Harden (Jade Colucci); and a pint-sized, heavily-pregnant, religious nutter (Shamiso Mushambi).
Once inside, however, the survivors discover they are not alone – a messiah-like zombie (Rupert Phelps) with the power to heal the infected is wandering the corridors. Believing him to be the cure, Sykes convinces his captors to try and capture the unholy undead dude. But their task isn’t made easy when the virus starts spreading amongst the survivors…
‘Die down the negative energy, it’s not the end of the world!’
This low budget zombie comedy horror from Hampshire-based film outfit Charmed Apocalypse Pictures (aka Andy Phelps and Jake Hawkin) is way better than it ought to be. If you can forgive the copious amounts of swearing and questionable acting ability, this homemade horror is a riot.
It’s got a cracking script, whose black humour owes a big debt to Monty Python, Blackadder and Shaun of the Dead; gory special effects that really do deliver (decapitation by golf club, anyone?); some nicely twisted takes on the horror genre’s stock-in-trade characters; cool comic book style graphics; and a catchy darkwave electronic theme tune (that sounds not unlike Laibach).
Much fun is made about death and religion and some of it is very dark, like when the Bible-spouting Esther tries to crucify herself. It’s also incredibly inventive – who knew wearing a coat of rotting human skin will make you invisible to zombies? Then there’s the fatalistic central theme of being eaten, resurrected and eaten again: now that’s really scary. If there’s one downside, it’s that the comedy ends up taking the back seat as the grisly theme plays out. But then, we wouldn’t have the film’s Romero-esque final shot…
Zombie Resurrection is out on Blu-ray and DVD from Left Films in the UK
Dead Men Don’t Wear Plaid | Steve Martin’s film noir spoof was released on this day in 1982
Paying homage to classic Forties film noirs, 1982’s Dead Men Don’t Wear Plaid starred Steve Martin (giving one of his best performances) as the Philip Marlowe-styled gumshoe Rigby Reardon, who is hired by Juliet Forrest (Rachel Ward) to investigate the death of her father, a noted scientist, philanthropist and cheesemaker…
Originally released on 21 May 1982, the film is irresistibly silly and very funny (aside from the misogyny of course, which was typical of films of the era). But the best thing about the comedy is how it cleverly intercut 19 classic movies into its spoof adventure. Whilst writing the film, Carl Reiner and George Gipe spent countless hours looking for specific shots and ‘listening for a line that was ambiguous enough but had enough meat in it to contribute a line’, while 85 sets were constructed in order toe edit in and merge the old film footage.
Then, of course, there was that amazing cast of Hollywood greats who ended up being Martin’s co-star. Alan Ladd, Barbara Stanwyck, Ray Milland, Burt Lancaster, Humphrey Bogart, Eva Gardner, Cary Grant, Ingrid Bergman, Charles Laughton, Joan Crawford Veronica Lake, Bette Davis, Lana Turner, Kirk Douglas, Fred McMurray, James Cagney and Vincent Price.
Check them all out here.
Available on Blu-ray in the UK from Fabulous Films, Dead Men Don’t Wear Plaid really makes you want to revisit the classic films spliced into the light-hearted spoof. And here they all are.
Johnny Eager (1941)
Keeper of the Flame (1942) (uncredited)
This Gun for Hire (1942)
The Glass Key (1942)
Double Indemnity (1944)
The Lost Weekend (1945)
The Killers (1946)
The Big Sleep (1946)
The Postman Always Rings Twice (1946)
I Walk Alone (1947)
Dark Passage (1947)
Sorry, Wrong Number (1948)
White Heat (1949)
The Bribe (1949)
In a Lonely Place (1950)
Roger Corman’s Death Race 2050 | This Wacky Races for the Trump era is a turbo-charged blast of popcorn fun
This ‘sequel’ to Roger Corman and Paul Bartel’s 1975 cult drive-in actioner Death Race 2000 is a hoot and a half – and finally consigns those dire Jason Statham/Luke Goss efforts to the wrecker’s yard.
Malcolm McDowall dials in another performance as the Trump-esque Chairman of the United Corporations of America who gets his bouffant comb-over in a twist when his four-time racing champion Frankenstein wants to retire from the ‘greatest pissing contest of mankind’ (aka the Death Race), which every citizen (now permanently unemployed) vicariously joins in via VR headsets.
Playing the man of many a spare part (and stepping into John Carradine’s black leathers) is Manu Bennett (TV’s Spartacus), who seems to be channelling Mel Gibson’s Mad Max as he sets off with his proxy Annie Sullivan (Marci Miller, Days of Our Lives) – who is secretly working for a resistance group – from Old New York to Los Angeles. But as they mow down ‘willing’ fans along the way to collect vital points, will trying to avoid some high calibre hospitality, hot on their tailgate is the genetically-modified superstar Jed Perfectus (Burt Grinstead), who’ll stop at nothing to beat them to the finish line…
This Wacky Races for the Trump era is a turbo-charged blast of popcorn fun that pays loving homage to the original (even down to the retro poster design), while also providing some thigh-slapping political satire by lampooning everything that is wrong with America today – from guns and religion to consumerism and social apathy.
Director GJ Echternkamp and co-writer Matt Yamashita inject loads of black humour into the film and its characters, who are great fun to cheer on or boo as they traverse America’s re-named cities and states like Upper Shitville (Baltimore), New Texxaco (Texas) and MeatPakistan (Kansas).
Amongst the racers are hip-hop star Minerva (Folake Olowofoyeku), whose latest hit song is ‘Drive… drive… drive… kill… drive…’; Tammy the Terrorist (Anessa Ramsey), a bible-bashing interfaith wack-job who is a ‘magnet for heathens’; and ABE, a KITT-like artificial intelligence who has an existential meltdown when he accidentally impales his sex-mad proxy to the hood of his bonnet.
Turning up the Roid Rage to warp factor 10 is Burt Grinstead as the sexually-ambiguous Perfectus, who reminded me of a closeted version of Gerrit Graham’s glam rocker Beef in 1974’s Phantom of the Paradise, while Yancy Butler (of Lake Placid and Witchblade fame) is the tough as nails Alexis, a former network programmer who now leads the resistance – a bunch of leather clad muscle boys. But for me, it’s Shanna Olsen who steals the show as the Hunger Games-styled news anchor Grace Tickle.
Among the many funny lines are ‘It’s hard to turn global famine into click bait’ and ‘I’ll drink your tears Frankenstein and lick them off your handsome face’, but the most chilling must be, ‘The world is fucking crazy, a sane person doesn’t stand a chance’. Considering what America is going through now, it might just be true…
The late-great Ib Melchior gets a credit at the end for it was his short story The Racer that inspired Corman’s original Rollerball rip-off in the first place… now, does anyone remember sales people?
Death Race 2050 is out on Blu-ray and Digital Download from Monday 20 March 2017
DID YOU KNOW? You can watch the original cult action film here – in full!
Here Comes Mr Jordan (1941) | The supernatural Hollywood classic is comic perfection and a must-see on Blu-ray
Nominated for seven Oscars (and winning two for its story and screenplay) and the inspiration for a slew of guardian angel pictures, including a 1947 sequel, Down to Earth with Rita Hayworth, and two remakes, as Heaven Can Wait, director Alexander Hall’s delightfully droll 1941 fantasy, Here Comes Mr Jordan, is comic perfection.
When working-class boxer Joe Pendleton (Robert Montgomery) dies in a plane crash, he finds himself arriving in heaven 50 years too early owing to a clerical error by an over-zealous chief dispatcher’s messenger (Edward Everett Horton).
On discovering his body has been cremated, his angelic minder, Mr Jordan (Claude Rains) fixes it that so that he can return to Earth using the body of crooked banker Bruce Farnsworth, who’s just been murdered by his adulterous wife (Rita Johnson) and secretary (John Emery).
Falling in love with the daughter of one of his duped investors (Evelyn Keyes), Joe tries to remake Farnsworth’s unworthy life, while also trying to stop a world championship prizefight from being thrown by gamblers…
Robert Montgomery makess for a believable and solid everyman hero as the boxer given a second chance, while Claude Rains gives great support, as do James Gleason as Joe’s boxer manager and Evelyn Keyes as the breezy love interest. But it’s Edward Everett Horton who steals the show as the dithering Messenger 7013. Sweet, sophisticated and super smooth – they certainly don’t make them like this any more – and its prime a slice of Hollywood’s golden age that deserves pride of place in any classic film fan’s collection.
The Criterion Collection Blu-ray release features a new 2K digital restoration, which really makes Joseph Walker’s diffused cinematography zing, and includes the following extras…
• Critic Michael Sragow and filmmaker Michael Schlesinger discuss the film and its influence.
• Audio interview from 1991 in which Elizabeth Montgomery (who died in 1995) looks back at her relationship with her staunch Republican actor father Robert Montgomery (1:19min).
• 1942 Lux Radio Theatre adaptation starring Cary Grant, Claude Rains, Evelyn Keyes and James Gleason.
• Essay by critic Farran Smith Nehme.
• New artwork by Caitlin Kuhwald.
Frank (2014) | Music, madness and a giant papier-mâché head collide in the oddball, anarchic comedy drama
With the offbeat comedy drama premiering on Film4 today at 10.40pm, here’s my take on Frank…
Don’t stop believing in your dreams
Following a chance encounter with the avant-garde Soronfrfbs rock band and their eccentric front man Frank (Michael Fassbender), who wears a giant papier-mâché head 24/7, wannabe musician Jon (Domhnall Gleeson) finds himself propelled on an anarchic journey of self-discovery.
Recruited as a replacement keyboard player, Jon struggles to connect with the other band members, especially distrusting Theremin-player Clara (Maggie Gyllenhaal), but ends up using his inheritance to produce the band’s latest concept album. While cooped up in a log cabin on a remote island, the social media savvy Jon posts videos on the internet and ends up scoring the band a big gig at the South by Southwest festival in Texas. When a disastrous warm-up gig causes the band to fall out, Jon manages to convince Frank to take to the stage as a duo. But is he doing it for Frank, or himself?
Will it push you to your furthest corners?
It’s not often I come across a film that really connects on a personal level, but comedy drama, Frank, from Irish director Lenny Abrahamson really hit home. Loosely inspired by the cult figure of Frank Sidebottom (aka the late Mancunian singer-comedian Chris Sieves), in whose Oh Blimey Big Band one of the writers, Jon Ronson, played keyboards in the 1980s, the film also adds elements of notorious rock legend Captain Beefheart and schizophrenic Texan singer/songwriter Daniel Johnston, but sets the action in contemporary Ireland.
Michael Fassbender gives a nuanced performance as the titular outsider artist, whose absurd headgear hides a fragile soul which Domhnall Gleeson’s callow fan boy Jon ends up shattering (its their journey that’s at the heart of the film). And Maggie Gyllenhaal is a real standout as Clara. She’s like a female Syd Barrett, whose permanent scowl actually hides a deep love for Frank.
The film’s first half is a crazy road-movie-styled delight (the opening titles span a very post-modern 10 minutes btw) and I found myself helplessly drawn into Jon’s bromance with Frank, while his onscreen tweets are #hilarious (but you’ll never make them out if watch the film on a mobile). But when the comedy gives way to more serious matters (and the truth about Frank is revealed), the film’s fun factor comes to a screeching halt. While those introspective scenes put a dampener on the oddball adventure, the home truths that are revealed are food for thought – especially on the nature of the artist versus the cult of celebrity, maximising our online presence, and mental illness vs true genius.
Oddball, yet deep (in sentiment), passionate, yet punk-spirited (about the creative process), there’s a lot going here, just like there’s a lot going on behind Frank’s papier-mâché cartoon face. It’s also got some bonkers brilliant toons.
Frank is also available from Curzon Film World on Blu-ray and DVD, which includes audio commentary with Lenny Abrahamson, Domhnall Gleeson and composer Stephen Rennicks; commentary with writers Jon Ronson and Peter Straugaan; behind the scenes featurette, sound promo, deleted scenes and trailer.
Also available from ArtificalEyeFilms on YouTube and BFI Player
The Frank soundtrack is released by Silva Screen, check it out here: http://www.soundtrack.net/album/frank/
Brit indie comedy Sasquatch gets its London premiere screening this weekend
Sasquatch is a new comedy adventure from Brit indie outfit Lukewarm Films, and it gets a London premiere screening this coming Saturday at the iconic Prince Charles Cinema at 8.30pm.
This coming-of-age comedy set in the Lake District finds buddies Will (Dominic Crisp) and Harvey (Bernie Paget), who trick a small town into believing that Bigfoot is real. Armed with nothing but their determination and a cheap costume the two set off to scare the locals. Unbeknownst to them their plan works too well and the town employs a hunter to take down the roving beast…
Co-starring Abigail Hardingham (Nina Forever) and John Murtagh (Braveheart, Rob Roy), Sasquatch is directed, produced and co-written by Rob Luke, and co-written and produced by Bernie Paget, and produced by Maxwell Boulton.
Tickets are £20 (£15.99 for Under 25s) and can be purchased following this link: https://www.eventbrite.com/e/sasquatch-the-london-premiere-tickets
Une Femme Est Une Femme (1961) | Jean-Luc Godard’s delightful tribute to the Hollywood musical
Parisian striptease dancer Angela (Anna Karina) yearns to have a child, but her bookseller husband Emile (Jean-Claude Brialy) is only interested in cycling. Angela then turns her attentions to Emile’s best friend Alfred (Jean-Paul Belmondo) who ends up falling in love with her.
This delightful light comedy from 1961 was Jean-Luc Godard’s second feature, but his first to be shot in colour and in a studio. It also earned him and his then wife Anna Karina awards at the Berlin Film Festival.
Channelling the spirit of American screwball comedies and musicals of the 1930’s, with an affectionate nod to director Ernst Lubitsch (Belmondo’s character is named after the Hollywood legend), this off-centre tribute is dominated by an engaging Karina as the naïve dancer and Belmondo as the gauche, tongue-tied Alfred. A colourful confection indeed.
Une Femme Est Une Femme (Cert PG, 80min) is available on StudioCanal’s Jean-Luc Godard The Essential Blu-ray Collection five-disc box set alongside featuring Breathless, Le Mépris, Pierrot le fou and Alphaville.
The special features include and introduction by Colin McCabe, an interview with Anna Karina, and galleries of photos and posters.
A Hard Day’s Night (1964) | The Beatles movie is still hard to beat 51 years on…
Soaring in their first, full-length, hilarious, action-packed film!
OK, so the 50th anniversary restoration release of The Beatles’ classic film came out last year, but I couldn’t help but share these great pics from the film which swept the world between July and October in 1964, and had its Spanish premiere on 14 September.
The Cat and the Canary (1939) | Bob Hope and Paulette Goddard are a class act in the creaky comedy chiller
‘Don’t big empty houses scare you?’ ‘Not me, I used to be in vaudeville!’
A slick mix of wisecracking comedy and spooky thrills, the 1939 classic comedy chiller, The Cat and the Canary, turned Bob Hope into a Hollywood star and won Paulette Goddard a 10-year contract with Paramount.
One of the earliest ‘old dark house’ mysteries, first filmed as a silent in 1927 (watch it below), it was tailored to Hope’s characteristic style, which he’d go onto hone in his buddy comedies with Bing Crosby, and gave Goddard the chance to shine as the spirited heroine. Together they play a radio actor and an heiress who turn up at a decrepit old mansion in a mist-shrouded Louisiana swamp for the reading of a will. Secret passages, a portrait with eyes that move, a valuable diamond necklace, and an escaped lunatic keep the couple and a cast of eccentric characters on their toes until the final act, in which Goddard’s spunky ‘canary’ is lured into an underground passage by the shadowy ‘Cat’.
Stylishly staged and filled with a suitably spooky atmosphere, it boasts wonderfully gloomy performances from George Zucco as a stiff lawyer and Gale Sondergaard as the sinister housekeeper. Following this film. Zucco and Sondergaard went on to play the villainous Moriarty and The Spider Woman in Universal’s big-screen Sherlock Holmes adventures opposite Basil Rathbone.
The success of the film led to Hope and Goddard re-teaming for The Ghost Breakers (1940), while John Willard’s classic story was later remade by erotic arthouse director Radley Metzer in 1979. The film was also the model for the Frankie Howerd comedy The House on Nightmare Park in 1970 (see my review here).
THE UK RELEASE
The Cat and the Canary is available on DVD from Fabulous Films in the UK and includes as extras, a trailer and three galleries.
THE 1927 SILENT IN FULL
Here Come The Munsters (1995) | It’s back to Mockingbird Lane for some silly old-school slap-shtick
Back in 2012, Hannibal creator Bryan Fuller tried to resurrect America’s first family of fright and fun, The Munsters, with Mockingbird Lane. But it wasn’t the first time that the cult CBS TV show, which ended its run after two season in 1966, was dusted off and reimagined.
Thanks to syndication, the popularity of the series was such that three members of the original cast – Fred Gwynne, Yvonne De Carlo and Al Lewis – were reunited for the 1981 made-for TV movie, The Munster’s Revenge, in the hope that a sequel series would be picked up.
But the jokes were old hat by then and nothing came of it, until seven years later when The Munsters Today ended up airing for three seasons, with John Schuck, Lee Meriwether and Howard Morton playing everyone’s favourite monsters: Herman, Lily and Grandpa.
Then came the TV-movie, Here Come The Munsters, which was first screened in the US on Halloween night in 1995, and starred Edward Hermann (The Gilmore Girls), Veronica Hamel (Hill Street Blues) and future Mad Men actor Robert Morse in the lead roles. Serving as a prequel and a reinvention of the original TV series, it found the family forced to flee their native Transylvania for America, where they settle down in the home of Herman’s comatose sister Elsa (Judy Gold) at 1313 Mockingbird Lane.
While Lily tries to win over the neighbours, including the nosey Mrs Dimwitty (Mary Woronov), and Herman finds his perfect job at the local undertakers, it’s down to Grandpa to find an antidote for Marilyn’s dad, Norman Hyde (Deep Space Nine‘s Max Grodénchik), who has accidentally turned himself into a xenophobic Republican, Brent Jeykll (Jeff Trachta).
Hermann, Hamel and More do a great imitation of the original characters as played by Gwynne, De Carlo and Lewis, who great a neat cameo in a restaurant scene with Pat Priest and Butch Patrick (the original Marilyn and Eddie).
The slap-shtick comedy is lifted straight out the 1960s series, as are many of the puns and visual gags that made the series so memorable. Mind you there are also some new ones like Lily’s creaking stair-climber to bring it up to date (1990s style). The film’s script, from future Big Bang Theory co-creator Bill Brady, meanwhile, errs on the side of caution in making fun of Republicans, low-fat diets and anti-immigration laws.
Playing Marilyn is Ben Stiller’s future wife, Christine Taylor, who is so annoyingly chirpy that she seems to be channeling her Marcia Brady character from the Brady Bunch movies, while cult favourite Mary Woronov is wasted as the Neighborhood Watch busybody and deserves more scream time.
Unfortunately, the Munster Mansion that was used in the TV series (and which ended up being redressed for Desperate Housewives) doesn’t make an appearance here. Making welcome return, however, is the original Munster Koach, designed by George Barris, who also did the Batmobile for TV’s Batman, the show that help sealed The Munsters premature burial back in the 1966s.
While Here Come the Munsters can’t beat the original series, or indeed the first screen outing (in colour), 1966’s Munster, Go Home! (also available from Fabulous Films), its old school charm pays a nice homage. Yet another TV movie, The Munsters Scary Little Christmas, was made in 1996, again with a different cast and a different house (it was shot in Australia).
Here Come the Munsters is available on DVD in the UK from Fabulous Films