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Suburban Grindhouse Memories: XTRO (1983)

Posted in 1980s Horror, 2013, Aliens, B-Movies, Cult Movies, Just Plain Weird, Nick Cato Reviews, Science Fiction, Suburban Grindhouse Memories, UFOs with tags Alien Monsters, evi toys, Grindhouse, Maryam D'Abo, UFOs, XTRO on May 16, 2013 by knifefighter

Suburban Grindhouse Memories No. 63:
Not all E.T.’s are Friendly…
By Nick Cato

Released less than a year after the success of Steven Spielberg’s E.T., low budget British sleaze-fest XTRO (1983) exists basically to support its infamous tag line, “Some extra-terrestrials aren’t friendly.” And in the case of XTRO, not all E.T.’s make much sense, either.

A father (Sam) and son (Tony) are playing around on their isolated farm when the son witnesses his father being abducted by a UFO. Three years go by and the poor kid is still having nightmares, and worse, no one believes his story, figuring his old man took off on them. His mother, convinced her hubby has met another woman, grows tired of waiting for him to return and gets involved with another man, leaving young Tony not too happy.

From here on out, XTRO is a bit difficult to follow because it truly doesn’t make a heck of a lot of sense.

A space craft crashes in a wooded area, setting most of the place on fire. We see a humanoid/spider-like alien emerge from the wreckage and examine its new surroundings and it’s eventually hit by a car (apparently these XTRO’s aren’t only unfriendly, but are rather stupid considering they’ve traveled from space to get here). The alien doesn’t die, and manages to make it to a small house where it rapes a woman, which leads to one of the most absurd sequences I’ve ever seen on the big screen: the woman gives birth to a full-grown Sam, apparently now returned to earth in a most strange manner (don’t bother to ask why…it’s just not worth it). The scene is truly gross and still sticks with me thirty years later.

Sam is now on a mission to find his son, who is living in an apartment with his mother Rachel and new boyfriend Joe. He starts to pick Tony up from school, pissing off Joe and causing Rachel concern. Sam claims he can’t remember a thing that’s happened in the past three years (where he has been, his former job, etc), so against the Joe’s wishes, Rachel allows him to move in with them for the time being.

One night, Tony catches his father eating his pet snake’s eggs, and high-tails it out until his old man catches him and bites into his shoulder (we later learn he’s planting alien seed in his son).

And the film gets even more asinine: Tony discovers he has gained a bunch of new powers, including the ability to make his toys come alive. He puts this skill to use when one of his neighbors kills his pet snake. He makes one of his toys turn into a midget (dressed as a clown) and it attacks people with a lethal yo-yo-type of weapon. He also sends a toy soldier after his neighbor for some snake-revenge.

If the theater I saw XTRO in (the now defunct Fox Twin Cinema) had a bar, I would have definitely pounded down a few shots at this point.

For some reason Sam and his wife (ex-wife?) decide to visit the farm they used to live on and leave Tony home with a gorgeous nanny (played by Maryam D’Abo of the 1987 007 film THE LIVING DAYLIGHTS), who of course has her boyfriend come over for a shag session (and Bond fans might want to note Miss D’Abo does a generous nude scene here). Tony keeps bugging them to play hide and seek, and they eventually do, but during the game the nanny is knocked out by the aforementioned midget clown and impregnated with alien eggs (remember, I told you this thing makes little sense) while Tony sends one of his toy army tanks to deep-six her boyfriend.

Meanwhile, back at Sam’s old farmhouse, he manages to have sex with his wife (ex-wife?) but during the act his body starts to bleed profusely and transform. Joe shows up with Tony looking for Rachel, and this is when total chaos ensues: Sam and Tony follow the light from a UFO, and Sam turns into an alien, who manages to kill Joe with his ear-shattering screams. The alien Sam then takes Tony and heads toward the space craft as a confused Rachel goes back to her apartment … and is raped by the same alien who raped the poor woman earlier in the film.

The more you consider XTRO, the more you’ll be convinced the makers of it were determined to create the exact opposite of E.T.: where Spielberg’s film was family friendly and featured a positive, wholesome ending, XTRO is a mess of gore, splatter, alien slime, and one of the most nihilistic, depressing endings to ever grace a sci-fi/horror film. All the strangeness with the toys still baffles me, but it did provide some laughs for the grossed-out audience.

I recently watched this film for the first time since seeing it theatrically upon its release, and found it even more confusing than I had remembered. I’m surprised this one has such a healthy cult following, especially since stretches are a bit slow and the acting stiff, with the exception of Rachel (played by Bernice Stagers, of Fellini’s 1980 CITY OF WOMEN), who most of the film revolves around, despite an ad campaign that would let you believe Tony was the focus.

XTRO is a real mess. It’s gross, nasty, and ends on such a low note some might consider the director to have been a manic depressive. Yet at the same time, lovers of B-movie schlock should enjoy it well enough. This here’s one father/son relationship tale I doubt any parent would approve of. I still haven’t seen the sequel.

Live long and SUFFER!

Ever see a woman give birth to a full grown man? Yeah, XTRO goes there!

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The Distracted Critic – ENTER NOWHERE (2011)

Posted in 2013, Enigmatic Films, Existential Horror, Indie Horror, Paul McMahon Columns, The Distracted Critic with tags Distracted Critic, Enter Nowhere, Existential Horror, Identity Crisis, Jack Heller, Katherine Waterson, sara paxton, Scott Eastwood on May 15, 2013 by knifefighter

ENTER NOWHERE (2011)
Review by Paul McMahon – The Distracted Critic

ENTER NOWHERE is a film with aspirations. It wants to go places, get noticed, be remembered. It wants to be a contender.

A rough-looking couple enters a convenience store called Catena’s and walks directly to the furthermost corner without so much as a glance toward the attendant. They start making out and you get the definite feeling that this is a kiss for luck. Next thing you know, they’re both holding guns on the attendant and demanding all the money in the register. Once they have it, the man runs for the car, but his girl stays behind and demands the attendant open the safe.

“I’ll open it, but I don’t think you’ll like what’s inside.” He then challenges her about making the life decisions that have led her to be holding a gun on him. “You don’t even care that you’re going nowhere,” he says. She shoots him.

Title Card: ENTER NOWHERE

Now there’s another woman, lost and afraid, wandering through the woods. Her movements are clipped and tight. She comes to a cabin in the woods. Inside, she finds a backpack with a baggie full of granola and eats a fistful. Someone starts moving around outside the cabin. We see dark shoes approaching, see the head of an axe dragging in the dirt. The man with the axe, Tom, turns out to be a nice guy. Both he and the woman, Samantha, have been stranded here because of car trouble. Tom says he’s been here for a few days, but hasn’t been able to find a way out. While there’s no phone, they do have an antique two-way radio. Of course, it’s broken. Night falls, Samantha says she’s pregnant, and Tom lets her have the bed, volunteering to sleep on the floor.

The next morning, Tom sets out for her car, thinking he can siphon the gasoline from his crashed truck and use it to get Sam’s car running. While he’s gone, Sam hears someone else wandering around outside the cabin and opens the door to find the blonde girl from the opening segment, the one who shot the attendant, passed out on the porch. Samantha moves her inside the cabin where she wakes and is none to happy to be there. She tells Samantha her name is Jody, but that’s as friendly as she gets. When Tom returns and takes her lighter to start a fire to warm the cabin, she gets downright belligerent.

Later on, Jody makes an offhand comment to Samantha, asking why she’s way out in Wisconsin, and Samantha insists they’re in New Hampshire. Tom thinks them both crazy, because he knows for a fact that they’re in South Dakota. Each of them is absolutely sure where they are. A plane they can’t see passes overhead.

The next morning they set off together determined to walk until they reach civilization. After walking most of the day, Jody trips and falls hard to the ground. Sam discovers that she tripped on a trap door in the woods. They hope that whatever is behind this door will hold the answer to why they’ve been brought together, but they find only a bomb shelter filled with German antiques and old wine. They take what food they can carry and resume their walk, only to come upon the cabin again. “That’s impossible,” Jody says.

There are no clues snuck in just for the audience in this film. We get to discover what’s going on along with the protagonists.

All the elements are here to make a film people will notice and talk about for a long time. It’s got a premise we’ve seen before (most notably CUBE, 1997 and IDENTITY, 2003), strangers coming to an unfamiliar location with no inkling of why they’re there. The resolution is one that writers Shawn Christensen and Jason Dolan took some time to think up. First time director Jack Heller (the upcoming DARK WAS THE NIGHT, 2013) cites Roman Polanski and Alfred Hitchcock as role models, and truth be told you can imagine either director wanting to be at the helm of this story. This is one of those rare tales that is compelling because the audience learns what’s happening at the same pace that the characters do. Heller does a very good job with a limited budget. His credits previous to this include work as a producer on seven movies. It’s plain to see that he’s spent a lot of time on set, watching directors work.

Sara Paxton (THE INNKEEPERS, 2011) plays Jody, and she makes this character pop off the screen. This is a woman who’s had nothing easy her entire life and has learned to act out in anger, causing pain to everyone she meets before they have the chance to hurt her. Katherine Waterson (MICHAEL CLAYTON, 2007 and ROBOT & FRANK, 2012) plays Samantha, and at first I thought her rigidity was an acting fault, but later on we learn that it’s entirely reasonable behavior for her character. Scott Eastwood (GRAN TORINO, 2008 and TEXAS CHAINSAW 3D, 2013), son of legendary actor/ director Clint Eastwood, plays Tom. His character is a “nice guy,” almost to a fault. There were times that he seemed disconnected from what was happening, though, at times so profoundly that it pulled me from the spell of the story.

For all its desire to be an important film, there are a few logic lapses that throw a bump in the narrative flow, as well as one blatant “goof” that had me rewinding the scene to be sure I saw it correctly. I did.

I saw a lot of promise here, for the director, for the writers, for the actors. While the film itself is pretty good, I wouldn’t urge you to go out of your way to hunt it down. At the same time, I wouldn’t recommend you avoid it at all costs, either.

Apparently, this classic model car was equipped with power windows when it was made.

I give ENTER NOWHERE two stars, with three timeouts.

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FAREWELL TO RAY HARRYHAUSEN

Posted in 1950s Sci-Fi Films, 2013, 60s Movies, Giant Monsters, LL Soares Reviews, Michael Arruda Reviews, Mythology, Obituaries and Appreciations, Special Effects with tags argonauts, Harryhausen, sinbad, special effects, stop-motion, ymir on May 14, 2013 by knifefighter

(The following tribute to Ray Harryhausen is appearing both on my blog and here at CINEMA KNIFE FIGHT.—Michael Arruda)

A Tribute to RAY HARRYHAUSEN
By Michael Arruda

Special effects master Ray Harryhausen with some of his creations.

Ray Harryhausen, the greatest stop-motion animator in the history of motion pictures, passed away on Tuesday, May 7, 2013. He was 92.

I had the pleasure of meeting Harryhausen at a convention in the late 1990s, and the thing I remember most about the experience—besides the fact that he was a classy guy and that he brought many of his miniature creature models with him—was Harryhausen’s love for telling stories. It wasn’t just about the special effects with Harryhausen. It was about the story. It was important for him that his creatures lived in a world that seemed real yet magical at the same time. On the movies that Harryhausen worked, much time was spent hammering out background stories, imaginative settings, and exciting conflicts.

Harryhausen’s genius wasn’t only that he was a master of stop-motion animation effects, but that the creatures he created using these effects lived and breathed in stories that were as memorable as the creatures themselves. Of course, it helped that he was a master animator. His movie creations are like no others. He gave them sculpted bodies, facial expressions and incredible movement, bringing them to life long before CGI technology.

To watch a movie with special effects by Ray Harryhausen is to enter another world.

From MIGHTY JOE YOUNG (1949), the first major movie he worked on, under the direction of his teacher and mentor, King Kong creator Willis O’Brien, to CLASH OF THE TITANS (1981), Ray Harryhausen’s movie magic has no equal. O’Brien may have created the most memorable stop-motion effects ever in KING KONG (1933), but by sheer volume alone, Harryhausen is king. He dominated the special effects scene from the 1950s through the 1970s, and during these decades, no one else came close to achieving the consistency and quality of stop-motion animation effects. Simply put, he was the best at it.

Harryhausen working on the model for MIGHT JOE YOUNG (1949)

And the argument can be made that in a couple of his films his animation rivals O’Brien’s work in KING KONG, in films like THE 7^TH VOYAGE OF SINBAD (1958) (arguably his best), and JASON AND THE ARGONAUTS (1962). The sword fight between Jason and his men and the army of skeletons in JASON AND THE ARGONAUTS is one of the most exciting and ambitious stop-motion effects sequences ever put on film.

Here’s a partial look at Harryhausen’s movies:

—MIGHTY JOE YOUNG (1949)—Other than Kong, Joe is the most remarkable giant ape in the movies. The fiery climax, in which Joe rescues children from burning building, is must-see cinema!

—THE BEAST FROM 20,000 FATHOMS (1953) —rivals GODZILLA, KING OF THE MONSTERS! (1956) as one of the scariest prehistoric-beasts-on-the-loose movies ever. Memorable conclusion involving Coney Island roller coaster. That’s Lee Van Cleef as the marksman at the end taking aim at the monster.

—IT CAME FROM BENEATH THE SEA (1955)

—EARTH VS. THE FLYING SAUCERS (1956) —Ray Harryhausen destroys Washington D.C.! See his alien spaceships attack the nation’s capital!

—20 MILLION MILES TO EARTH (1957) —Attack of the Ymir! Yep, that extraordinary monster from Venus is one of my favorite Ray Harryhausen creations. The Ymir was unnamed in the movie, and only picked up the name “Ymir” later from fans.

—THE 7^TH VOYAGE OF SINBAD (1958) —My pick for the best Ray Harryhausen movie of all time. It contains his finest special effects, one of his most memorable creations, the Cyclops, it’s briskly directed by Nathan Juran, has a phenomenal villainous performance by Torin Thatcher as Sokurah, the magician, and a rousing music score by Bernard Herrmann.

The Cyclops from THE 7TH VOYAGE OF SINBAD (1958)

—MYSTERIOUS ISLAND (1961) —That animated crab is the real thing! Harryhausen used a real crab in the giant crab sequence, animating it like one of his models.

-JASON AND THE ARGONAUTS (1963) —My second favorite Ray Harryhausen movie. The sword fight with the skeletons is spectacular!

-FIRST MEN IN THE MOON (1964) —I’ve always loved this story by HG Wells, and Harryhausen’s effects here don’t disappoint.

—ONE MILLION YEARS B.C. (1966) —Harryhausen joins the Hammer Films family and animates dinosaurs that chase scantily clad Raquel Welch in this Hammer prehistoric adventure.

—THE VALLEY OF GWANGI (1969) —in the subgenre of horror westerns, this film ranks among the best.

—THE GOLDEN VOYAGE OF SINBAD (1974) —Harryhausen’s follow-up to THE 7^TH VOYAGE OF SINBAD is nearly as good and contains some of Harryhausen’s best special effects, including a great sword fight between Sinbad and the goddess Kali.

Sinbad vs Kali. One of the best scenes in 1974′s THE GOLDEN VOYAGE OF SINBAD.

—SINBAD AND THE EYE OF THE TIGER (1977) —Released the same year as STAR WARS (1977) it was criticized for having outdated special effects. Suddenly, Ray Harryhausen’s stop-motion animation was passé.

—CLASH OF THE TITANS (1981) —Harryhausen’s last feature, one of my least favorites, yet still features some fine moments, including a very creepy Medusa sequence.

In my family, we all know who Ray Harryhausen is, but it pains me that Ray Harryhausen is not a household name. He should be.

For me, there are few moviemakers who have been as influential as Ray Harryhausen. The movies he’s worked on have been some of the most imaginative innovative creative films I have ever seen. They are the real deal. Movies that captivate fascinate and entertain.

To watch a Ray Harryhausen movie is to arouse your imagination.

Ray Harryhausen, the master of stop-motion animation, maker of movie monsters and fantasy worlds, of movies that will live in imaginations for years to come, thank you for sharing your genius with the world.

You will be missed.

*****

RAY HARRYHAUSEN: SOME AFTERTHOUGHTS
By L.L. Soares

Harryhausen was one of the best. CGI may have made his style of effects seem outdated and quaint, but it wouldn’t exist without his pioneering stop-motion process. Back when it took incredible amounts of time and effort to create even a few minutes of film, Harryhausen had incredible reserves of patience and talent.

The cool thing about Ray Harryhausen was not that he just did effects, but that most of the movies he worked on REVOLVED AROUND his effects. How often did that happen, where the special effects guy was the dominant figure in movies? And not just flimsy plots to keep the action going, but decent storylines, that made his creations shine.

Michael has touched upon some of the highlights. I’d like to give my personal take on these as well.

—THE BEAST FROM 20,000 FATHOMS (1953) —I remember seeing this one as a kid and being blown away by it. Harryhausen’s dinosaur on the loose was remarkable and effective, especially to a child’s eyes. And this one featured a rare collaboration between the two Rays – Harryhausen and Bradbury – as the movie was based on Bradbury’s story, “The Foghorn.”

—IT CAME FROM BENEATH THE SEA (1955) —This was one of my favorites, involving a gigantic octopus that rose from the ocean depths to cause havoc on the surface world of humans. The way the octopus moved was uncanny, and convincing. A really underrated entry in the 1950s “giant animals” genre.

The giant octopus from IT CAME FROM BENEATH THE SEA (1955)

—EARTH VS. THE FLYING SAUCERS (1956) —Sure, it might look a little dated now, but it also is immediately recognizable as the work of Harryhausen. I still think that ten minutes of this movie is more visually interesting than all of the similarly themed INDEPENDENCE DAY(1996)

—20 MILLION MILES TO EARTH (1957) – My favorite Harryhausen film. I loved the story that this movie told, as well as the monster at its heart. The Ymir was a vaguely humanoid, prehistoric-looking creature from the planet Venus. In this one, Harryhausen made us care about the monster, and believe in him. The scene where the confused Ymir fights an escape elephant remains a classic.

The “Ymir,” one of Harryhausen’s best creatures, from 20 MILLION MILES TO EARTH (1957)

—THE 7^TH VOYAGE OF SINBAD (1958) —I remember seeing stills from this one in issues of FAMOUS MONSTERS OF FILMLAND magazine, and hoped I’d finally get to see it for real. Back when I was a kid, a lot of these movies showed up on television, but you never knew where or when. It wasn’t like video and Netflix where you just call it up and watch it. It was a crapshoot. I remember watching this movie on a Saturday afternoon on a tiny black and white television, with fuzzy reception, and being astounded by it. The amazing Cyclops became one of my favorite fantasy movie creatures, as well as the two-headed giant bird, the Roc.

—JASON AND THE ARGONAUTS (1963) —Like Michael, this is my second favorite Ray Harryhausen movie, too. It didn’t have the heart of a creature like the Ymir, but it featured some of Ray’s most iconic effects. The sword fight with the skeletons might just be Harryhausen’s most memorable scene ever. I bet this one influenced a whole generation who would grow up to give us the computer effects that replaced it. But this movie had to come first.

The unforgettable battle with the skeletons from JASON AND THE ARGONAUTS (1963)

—ONE MILLION YEARS B.C. (1966) —Sure it makes no sense historically; dinosaurs and cavemen never existed at the same time—but this one is a classic, and was a pretty big hit at the time. The cool-looking dinosaurs almost diverted my attention away from the curves of star Raquel Welch. Almost.

—THE VALLEY OF GWANGI (1969) – Long before COWBOYS AND ALIENS (2011), there was this classic “Cowboys and Dinosaurs” film. Cowboys lassoing a Tyrannosaurus Rex never looked so good.

—THE GOLDEN VOYAGE OF SINBAD (1974) —I think I liked the story of this one even more than THE 7^TH VOYAGE OF SINBAD. Not only did it feature such amazing creatures as the flying homunculus and the living ship’s figurehead, as well as the amazing Centaur and the Griffin (their fight is legendary), but it also starred such genre legends as the beautiful Caroline Munro and, arguably the best Dr. Who ever, Tom Baker, as the villain. The sword fight between multi-armed Kali and Sinbad is my favorite scene though, and is almost as iconic as the skeleton sword fight in JASON AND THE ARGONAUTS.

—SINBAD AND THE EYE OF THE TIGER (1977) —Starring John Wayne’s son Patrick as Sinbad and another former Dr. Who, Patrick Troughton. It also features such Harryhausen creatures as the Troglodyte (a giant, fur-covered caveman with a horn on his head), a sabre-toothed tiger and a giant walrus. The Troglodyte model Harryhausen used for this one was used again (with slight changes) as Calibos in Harryhausen’s last feature, CLASH OF THE TITANS (1981).

Harryhausen was one of a kind. And as Michael said, he will definitely be missed by fans of science fiction and fantasy cinema.

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AFTERSHOCK (2013)

Posted in 2013, Action Movies, Bad Situations, Disaster Films, Eli Roth, Escaped Convicts, Exotic Locales, LL Soares Reviews, Suspense with tags Andrea Osvart, disaster movies, Earthquake, Eli Roth, Escape Convicts, Lorenza Izzo, Nicolas Lopez, Nicolas Martinez on May 13, 2013 by knifefighter

AFTERSHOCK (2013)
Movie Review by L.L. Soares

Originally, Michael Arruda and I were going to see this one and review it together for CKF, but something went wrong with the distribution. Instead of coming to a theater near me, this one popped up only in theaters way out in the suburbs. And it wasn’t playing near Michael at all. I figured we would just have to skip this one, but luckily it is currently showing on cable OnDemand.

I have no idea why this one didn’t get a proper release, but it’s a decent little disaster flick. The one recognizable star here is director Eli Roth, who has appeared in such Quentin Tarantino films as DEATH PROOF (2007) and INGLORIOUS BASTERDS (2009). I guess someone else finally decided to utilize his acting skills. Director Nicolas Lopez puts him in good use in AFTERSHOCK as an American tourist, hanging out with friends in Chile. (Roth also produced and co-wrote this one, by the way.)

The movie begins with Gringo (which is what the other characters call Eli Roth’s American in this one) and his buddies Ariel (Ariel Levy) and Pollo (Nicolas Martinez) seeing the sights and trying to pick up women in discos. Ariel is the insecure one who has just broken up with his girlfriend and can’t seem to get his dating rhythm going. Pollo is his roly-poly Zach Galifanakas-look alike Chilean buddy, who has a rich daddy and has a much more confident rap when meeting women. Gringo is along for the ride. He’s a recently divorced Dad who is so devoted to his daughter, he’d rather take a cell phone call from her than seal the deal with a horny local girl (in another, slightly humorous scene, Roth comes on to another American tourist, played by Selena Gomez in a cameo).

Eli Roth proves again that he’s a decent actor in AFTERSHOCK, here putting the moves on a fellow tourist (Selena Gomez).

It’s at one of these discos, an underground club, that the guys get stuck in the middle of an earthquake. But first, they meet three girls who are also visiting from America: fun-loving Kylie (Lorenza Izzo), her uptight sister Monica (Andrea Osvart) who acts like a mother hen, and their Russian friend Irina (Natasha Yarovenko).

When the quake comes, the six of them run for their lives (unfortunately, Ariel loses a hand in the process) and by the time they make it to the surface, the entire town has turned into a violent, chaotic mess. They find at least one ally in a firefighter (Marcial Tagle) who Pollo and Monica save after his fire truck crashes.

Not only are there earth-moving aftershocks that continue to cause injury and death, but a nearby prison has collapsed and a group of marauding, vicious prisoners has escaped, roaming the streets, intent on raping and killing just about whoever they come across.

AFTERSHOCK becomes a study in survival, as we eventually lose more of our heroes, either to the disaster or the escaped convicts. Who will ultimately survive, and who will die? You’ve got to see the film to find out the answer to that one.

The movie begins kind of slowly, with the guys going to a vineyard and various nightclubs, joking around and trying to get laid, before things really shift into gear, but I’ve never had a problem with characterization, and the time we spend with these guys just makes them more believable as people. The trio of girls is equally likeable.

The danger doesn’t seem to kick in until half-way into the movie, but once the first earthquake hits, director Lopez does a decent job building suspense and keeping the main characters constantly on the move. Once the action starts, it maintains a solid momentum until the end. He’s also not afraid to turn on the gore when necessary. The script for this one is by Lopez, Guillermo Ameodo and Eli Roth.

The cast is pretty good here. Standouts include Roth (who acquits himself quite well, and shows he deserves more chances to act), Martinez, who is pretty good as the most extroverted of the friends, and Osvart, who proves herself to be pretty tough when she needs to be. Interesting enough, a lot of the cast here also appears in Eli Roth’s upcoming Amazon jungle horror flick THE GREEN INFERNO, so it will be good to see them again (Guillermo Amoedo also co-wrote the script for Roth’s new one).

When the going gets rough,Monica (Andrea Osvart) proves she can be tough when she needs to be, in AFTERSHOCK.

AFTERSHOCK was filmed on location in Chile, and the setting is refreshing, especially in the small details, despite one character’s complaint that she was visiting the country expecting something “Third World, but cool..” (Note: because many of the characters are native Chileans, about half the dialogue is subtitled, and half is in English, in case that affects your particular movie-going experience).

Not the most amazing film you’ll see this year, but a serviceable thriller that will keep you watching until the end. I liked this one, and wish I had had the opportunity to see it on the big screen.

I give AFTERSHOCK, two and a half knives.

LL Soares gives AFTERSHOCK~two and a half knives.

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Quick Cuts Plays “WHAT’S MORE LIKELY?”

Posted in 2013, Based on Comic Book, Comic Book Movies, DC Comics, Quick Cuts, Sam Raimi, Twilight, Vampires, Zombies with tags batman, christian bale, Iron Man, Marvel, Quick Cuts, Robert Downey Jr., twilight, What's More Likely, Zombies on May 10, 2013 by knifefighter

QUICK CUTS: WHAT’S MORE LIKELY?
With Michael Arruda, L.L. Soares, Nick Cato, Daniel Keohane, Paul McMahon, and Jenny Orosel

MICHAEL ARRUDA: Welcome to another edition of QUICK CUTS. Tonight we’ll be playing a little game.

IRON MAN 3 opened in theaters last Friday, May 3rd. The Marvel superhero movies have enjoyed a nice run going back to X-MEN (2000) and Sam Raimi’s first Spider-Man movie, SPIDER-MAN (2002). Here we are in 2013 and they’re still going strong.

So, tonight we’re going to play a little game called “What’s More Likely?”

Our panel of Cinema Knife Fighters includes, in addition to L.L. Soares and myself, Nick Cato, Daniel Keohane, Paul McMahon, and Jenny Orosel. Thank you all for coming.

So, tonight’s game, “What’s More Likely?” works like this. Looking ahead to the next ten years and answer the following questions.

First question: What’s more likely? That there will be more Marvel movies in the next ten years, or more zombie movies?

NICK CATO: I think there will always be both, but superhero films seem to be more lucrative.

ARRUDA: So, more Marvel movies then?

CATO: Yes.

JENNY OROSEL: Seeing as they’re now owned by Disney, we’re going to see more Marvel movies than ever. I fully expect they’ll do two direct-to-video sequels or prequels for every one they have in the theater.

ARRUDA: I hope not. There’s nothing like a direct-to-video release to kill off a movie series. Ugh!

L.L. SOARES: Oh, what do you know!

Turning to the zombie genre for a moment, hopefully, oversaturation will result in a dwindling of zombie movies.

Marvel, however, has a nice variety of characters they can draw from (including many who have never been in a movie before), and should go strong for many years.

ARRUDA: I agree.

PAUL MCMAHON: With the success of THE AVENGERS (2012), there will definitely be more Marvel movies. I won’t be sure about zombie movies until we see how much money WORLD WAR Z (2013) makes. With all the buzz about production problems, it could either bring about a reanimation of the zombie sub-genre or put a bullet through its head.

SOARES: I’m sick of zombies. I wouldn’t mind putting a bullet through the head of the genre.

DANIEL KEOHANE: I’m going with Marvel movies, without a doubt.

Zombie movies are popular right now, but the superhero movies have a much wider reach and end up making more money, overall. And there are so many characters and teams to choose from, whereas zombies pretty much lumber along the same way each time.

ARRUDA: I’m going with Marvel movies as well.

Okay, on to our second question:

What’s more likely? That we’ll still be seeing Marvel movies in ten years, or that we’ll still be seeing movies based on books by Stephenie Meyer?

Dan, why don’t you start us off this time?

KEOHANE: Marvel movies.

(The panel cheers.)

KEOHANE: Thank you, thank you.

SOARES: We’re not cheering you. We’re cheering your pick.

KEOHANE: Don’t ruin my moment.

Where was I? Marvel movies. Because as good a writer for her age group as Stephenie Meyer is, she can only crank out so much content. Marvel not only has a slew of new comics coming out every month, they have half a century of classic stories already in the can ready to become movie-ized. Even the Avengers movie was loosely based on one of the first Avengers comics (I think). Not to mention DC’s Superman movies. They’ll keep making the same origin story over and over ad infinitum.

SOARES: What are you bringing up DC comics for? This question is about Marvel movies! Pay attention, Dan!

ARRUDA: But he makes a good point. Not only does Marvel have more stories to choose from, but they can remake their own origin stories. Heck, they just did it with their latest SPIDER-MAN movie.

Let’s move on. I don’t want to give Meyer any ideas. The last thing I want is a TWILIGHT remake!

SOARES: I predict that Stephenie Meyer will find a way to continue the Twilight series.

ARRUDA: No!

SOARES: You just don’t put a cash cow like that out to pasture.

However, the future for Meyer-related projects is iffy – especially if something new grabs the public’s interest. Meanwhile, I think Marvel movies will be going strong in 10 years.

CATO: Ten years from now? Hopefully Meyer will be retired by then.

ARRUDA: I’m with you. I hope she’s retired. I’ll be happy if I never have to see another movie based on a Stephenie Meyer book ever again.

KEOHANE: I think Meyer is a very talented writer, and you’re not giving her enough credit.

ARRUDA: Maybe so, but the TWILIGHT movies were awful, and they killed any interest I might have had in seeing THE HOST (2013).

SOARES: I think you secretly like the TWILIGHT movies. You talk about them so much.

ARRUDA: Yeah, right!

MCMAHON: Marvel movies, no question. They have new ideas and maybe some new-to-the-screen heroes as well.

And sorry, Michael, but it’s entirely possible, though, that in ten years they’ll be remaking the TWILIGHT movies. We can hope not.

ARRUDA: That’s a horrible thought, though I agree with you. In fact, I’ll go so far as to say that it’s bound to happen. If film history has taught us anything, it’s that remakes are always with us.

What about you, Jenny? In ten years, Marvel movies or Stephenie Meyer movies?

OROSEL: Ooh, that’s a tough one, since I fully expect Disney to eventually buy Stephenie Meyer, and turn Bella into a Disney Princess.

ARRUDA: This panel is getting more painful by the minute.

OROSEL: I call it a tie.

ARRUDA: Okay, it’s time for the third and final question of the night.

What’s more likely? Robert Downey Jr. plays Tony Stark/Iron Man again, or Christian Bale plays Batman again?

Robert Downey Jr. in IRON MAN 3, and still going strong.

MCMAHON: Downey is already going to play Tony Stark in THE AVENGERS 2. There will probably be an IRON MAN 4. I can’t see him ditching that cash cow while the iron is hot. Ahem.

(Someone in the audience groans.)

MCMAHON: I don’t think Christopher Nolan intends to do another Batman movie, and I can’t see Christian Bale playing that character under another director

ARRUDA: Good point. And I agree with you.

I say Robert Downey Jr. plays Iron Man again. Between THE AVENGERS movies and the IRON MAN series, you’d think that he’d at least be back one more time as Iron Man if not more.

From what I’ve read, Bale is done as Batman. You never know about these things, but I don’t expect him to play Batman again.

Christian Bale is Batman in THE DARK KNIGHT RISES.

OROSEL: It’s going to be hard for Bale to keep it going as Batman as he ages, while even if Downey looks ragged and worn, it fits the Stark character. Unless he ends up in rehab again. Then all bets are off.

KEOHANE: Robert Downey Jr. as Iron Man without a doubt. This is just a guess–.

SOARES: Really, Dan, it’s a guess? You mean you don’t know?

KEOHANE: Sorry. I left my crystal ball at home.

So, this is just a guess, but Downey seems to be enjoying himself immensely up there on the screen, whereas Christian Bale puts so much angst into his characters, his doctors will probably have him committed if he even thinks about doing another one of those.

CATO: It may be too early to tell, but hopefully Downey will continue to play Stark…he’s perfect in the role, whereas we have yet to find a Batman everyone seems to agree on.

SOARES: That’s for sure. It’s all about the mask anyway. Anyone can play Batman.

Both Downey and Bale probably want to focus on more artistic movies. That said, I think Batman is replaceable, as we’ve seen several people play him over the years, while Downey remains the definitive Tony Stark. I think it’s more likely Downey will be convinced to play Stark again.

ARRUDA: Okay, there you have it. It seems the general consensus is that Marvel movies will be around for a while.

That’s all the time we have for tonight. Thanks for joining us everybody, and we’ll see you next time on QUICK CUTS.

—END—

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Bill’s Bizarre Bijou Meets the CAPTIVE WILD WOMAN (1943)

Posted in 1940s Films, 2013, Animals Attack, B-Movies, Bill's Bizarre Bijou, Carnival Chills, Classic Films, Mad Doctors!, William Carl Articles with tags Acquanetta, Ape Woman, Captive Wild Woman, Clyde Beatty, Edward Dmytryk, Evelyn Ankers, John Carradine, Milburn Stone on May 9, 2013 by knifefighter

Bill’s Bizarre Bijou

By William D. Carl

This week’s feature presentation:

CAPTIVE WILD WOMAN (1943)

Welcome to Bill’s Bizarre Bijou, where you’ll discover the strangest films ever made. If there are alien women with too much eye-shadow and miniskirts, if papier-mâché monsters are involved, if your local drive-in insisted this be the last show in their dusk till dawn extravaganza, or if it’s just plain unclassifiable – then I’ve seen it and probably loved it. Now, I’m here to share these little gems with you, so you too can stare in disbelief at your television with your mouth dangling open. Trust me, with these flicks, you won’t believe your eyes.

Universal Studios was THE place to go for great horror movies in the early days of cinema. From DRACULA (1931) and FRANKENSTEIN (1931) to THE MUMMY (1932), THE INVISIBLE MAN (1933) to THE CREATURE FROM THE BLACK LAGOON (1954), Universal spent money on their horror films, creating atmospheric, beautifully made monster pictures that still hold up to viewings today. In between their A-Pictures, however, they churned out lots of fun B-movies as well. These movies didn’t have the best directors in the canon; nor did they employ the top box-office actors. They utilized lots of money-saving stock footage and re-used sets from the big movies. This doesn’t mean the films weren’t often very entertaining. Many of them exude a certain second-tier charm that makes them more than bearable. Often, they are as much fun as the big productions. Some examples of these B’s were MAN MADE MONSTER (1941), NIGHT MONSTER (1942), and our feature presentation, CAPTIVE WILD WOMAN (1943).

While circus animals are being unloaded from a ship, Fred Mason (Milburn Stone, Doc Adams from GUNSMOKE, also in INVADERS FROM MARS – 1953) meets his fiancé and secretary, Beth (Evelyn Ankers from THE WOLF MAN, 1941 and THE PEARL OF DEATH, 1944), who is dressed in great clothes. She kind of resembles Auntie Mame in every scene of this movie; the costumes are that fabulous! After playing kissy-face, he tells her about all the big game he has brought back for his circus, including Cheela, a huge female gorilla (okay, a man in a pretty decent gorilla suit). He introduces Beth to the gorilla as a crate holding a tiger bursts open and the wild beast escapes. Fred grabs a chair and tames the snarling tiger (more on this footage later). It’s actually a hell of an exciting opening!

Milburn Stone and Evelyn Ankers in CAPTIVE WILD WOMAN.

Beth tells Fred all about her little sister, Dorothy (played by Martha Vickers as Martha MacVicar) —from THE BIG SLEEP (1946) and THE MUMMY’S GHOST (1944)) —who has developed a glandular problem and was taken to the Crestview Sanatorium. Dr. Sigmund Walters is a well-known doctor who specializes in the glandular issues between races. The good doctor has changed several people who were deformed, making them normal by messing with their pituitary gland. His nurse assistant helps him with his experiments with sex hormones, where he wants to take human hormones and transplant them into animal subjects.

In his very first starring role, John Carradine (STAGECOACH, 1939 and THE ASTRO-ZOMBIES, 1968, and over three hundred other shows and films) plays Dr. Walters, a mad scientist (is there any other kind, especially with Carradine on hand?). Walters is obsessed with glandular disorders and charming young women. He joins Beth and Fred to have a look at the circus, where they are all waiting on famous lion-tamer Clyde Beatty to answer them about his new act. We get to see these beautiful animals, lions and tigers especially, caged, fed, and trained.

Cheela, the gorilla (of my dreams —sorry, couldn’t resist) attacks one of the handlers. Carradine is instantly smitten by the looks and talent of the gorilla. He wants to buy her, but the circus says no. So, he pays a thief to steal the animal. “It’s a deal, mister. You got yourself a monkey!” Instead of paying the thief, Dr. Walters pushes the man into the cage, where Cheela kills him!

The legendary John Carradine as Dr. Sigmund Walters.

Once in the lab, Walters begins his nefarious experiments, and Dorothy is included in this mysterious research with Cheela. Why does he want to turn a gorilla into a hot woman? Who knows? Maybe he can’t get a date any other way. Dorothy starts to die on the operating table, but the gorilla changes through the magic of stop motion photography (like in THE WOLF MAN, 1941) into a sexy young woman, played by Acquanetta (who only had one name, much like Cher or Madonna and was known as the Venezuelan Volcano in press releases and also played in JUNGLE WOMAN, 1944 and DEAD MAN’S EYES, 1944). Using his nurse’s glands, Walters finishes the experiment. He saves Dorothy for future surgeries. He renames the ape-woman Paula Dupree. Acquanetta plays her as a mute, acting pretty much with only her eyebrows, although she looks stunning doing so.

Meanwhile, back at the circus, Fred gets to try out his new act, mixing lions and tigers in the same cage with himself. Once again, the animal footage is terrific, exciting and scary and realistic. The two big cats actually get into a fight, which was supposedly staged and filmed in a single take. They really look like they’re tearing into each other. This is not a film for PETA!

Walters brings Paula Dupree (aka Cheela) to the circus, where the animals go crazy, sensing her unnaturalness. She steps into the lion cage, and the big cat is so afraid of her it backs away. Fred believes she may be the best lion-tamer of all time. He hires her, and she becomes a part of the act. She also falls in love with Fred. Rut-ro!

Paula Dupree hides a sinister secret in CAPTIVE WILD WOMAN.

When Paula/Cheela sees Fred kissing Beth, she gets angry and starts to change back into a gorilla. Her teeth grow to gigantic form, her skin turns darker, and hair begins sprouting all over her body, her brow becomes huge. The transformation is primitive and crude, but it works in context. It’s created by the great Jack P. Pierce, who also created all the classic make-ups for the Universal monsters like Frankenstein and The Wolf Man.

She immediately goes after Beth in her home, determined to kill off her romantic competition, but she’s interrupted by a landlady. The poor older woman is jumped and chewed to death. Paula escapes, but Dr. Walters knows he needs to perform more operations to get her hormones back to normal. Things aren’t looking good for Dorothy, who’s still at the sanatorium!

Will Dr. Walters get Paula’s glands back in order? Will Fred be able to control all those big cats without the help of Paula, and with a big thunderstorm on the way? Will Paula kill Beth and get the love of the man she adores? How the hell does Beth afford those terrific glamorous outfits on a circus secretary’s salary?

Tune in to find out, but it all ends in a spectacular circus finale with crazed big cats, a huge storm, and a lovelorn gorilla. Watching the stunt footage, I can’t believe somebody didn’t get killed during the filming of these scenes.

A credit at the beginning of the picture reads “We hereby make grateful acknowledgement to Mr. Clyde Beatty for his cooperation and inimitable talent in staging the thrilling animal sequences in this picture.” In other words, thanks to Clyde (a world famous lion-tamer) for letting us borrow all your scenes from THE BIG CAGE (1933), a jungle adventure in which Beatty performed the thrilling lion-taming acts. In fact, it’s rumored that Milburn Stone, a rather bland leading man, was only hired onto CAPTIVE WILD WOMAN because of his diminutive stature and resemblance to Clyde Beatty.

Other than Stone, however, the acting is quite good for this sort of picture. Evelyn Keyes looks gorgeous in her beautiful outfits and is completely natural, even when spouting dubious dialogue. Acquanetta is also unbelievably beautiful, and she does a good job, working the whole movie in short, sequined dresses and pantomiming everything she does. She’s like an animal in a lot of ways, the way her eyes follow things, the way her lips curl when disappointed or angry, and the way she stomps more than walks. Also impressive is John Carradine in a low-key role. I love me some John Carradine, and in this film he could’ve turned into the later Carradine, mugging for the camera and camping it up as a mad doctor. Instead, he reigns his performance inwards, and we can easily see how he could charm women. He also exudes an innate intelligence. The man was a terrific actor, and it’s too bad he was relegated to high-camp roles so often in his later years. A lot of people should watch his earlier work to see how good he truly was.

As noted before, the gowns in this movie are pretty spectacular for a B-picture. This is due to Vera West’s costume design. West was the gown designer behind most of the Sherlock Holmes movies of the 1940s, as well as THE GOOD FAIRY (1935), GREAT EXPECTATIONS (1934), MAGNIFICENT OBSESSION (1935) and SHADOW OF A DOUBT (1943), as well as ALL the major Universal horror films of the thirties and forties. She designed the gowns for 342 movies, almost all at Universal.

CAPTIVE WILD WOMAN was directed by stalwart Edward Dmytryk, who also helmed such classics as THE CAINE MUTINY (1954), CROSSFIRE (1947), BACK TO BATAAN (1945), and HITLER’S CHILDREN (1943). The son of Ukrainian immigrants, Dmytryk started working at Universal as a messenger boy at the age of fifteen. Later in life, he was one of the infamous Hollywood Ten who refused to cooperate with HUAC and Joseph McCarthy. He refused to name names as communists, and he ended up in prison. After a few months, he testified again, informing on several “communists.” He always believed he had done the right thing, but he was never forgiven by the rest of Hollywood, and his career stalled out in the 1970s.

Overall, CAPTIVE WILD WOMAN is a bit predictable, but that doesn’t lessen its entertainment value. This is a fun movie, and it moves amazingly swiftly. That’s a lot of plot and action for 61 minutes! The acting is generally very good, the make-up is cool, and the big cat action (thanks again Clyde) is truly jaw-dropping.

I give CAPTIVE WILD WOMAN three glands out of four.

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Pickin’ the Carcass: THE PACT (2012)

Posted in 2013, Family Secrets, Ghosts!, Haunted Houses, Horror, Indie Horror, Michael Arruda Reviews, Pickin' the Carcass, Psychic Powers with tags Agnes Bruckner, Caity Lotz, Casper Van Dien, ghosts, Haley Hudson, haunted house, Nicholas McCarthy, The Pact on May 8, 2013 by knifefighter

PICKIN’ THE CARCASS: THE PACT (2012)
By Michael Arruda

Welcome to PICKIN’ THE CARCASS, that column where we scour the countryside looking for horror movie gems which, for one reason or other, we missed the first time around. Sadly, there’s usually a good reason we miss these flicks during their first run, but lately I’ve had some luck as I’ve caught films that I’ve actually enjoyed.

The subject of today’s column, THE PACT (2012) ,gets off to such a strong start and features such likable performances, I found myself forgiving all the problems its plot runs into later on.

THE PACT, now available on Streaming Video, opens with a young woman, Nichole (Agnes Bruckner), on the phone trying to convince her sister that she needs to return home to attend their mother’s funeral, but her sister says no, that she hasn’t forgiven their mother for all the awful things she did to them.

Nichole is alone in her deceased mom’s home, and shortly after hearing some strange noises and feeling an unseen presence behind her, she decides to Skype her young daughter who’s with a babysitter. In the middle of the conversation, her young daughter asks, “Mommy, who’s that standing behind you?” Yikes!

Nichole’s sister, Annie (Caity Lotz), changes her mind about skipping her mom’s funeral, and she arrives at her mom’s house to find that her sister has disappeared. Annie’s cousin, Liz (Kathleen Rose Perkins), had been babysitting Nichole’s young daughter, and after the funeral, they all stay overnight at Annie’s mom’s house while they try to figure out what happened to Nichole. That night, there are more eerie noises and strange going’s on, and Liz disappears.

Annie goes to the police, and since there is evidence of a struggle, she finds herself a suspect in both disappearances. A local police officer, Bill Creek (Casper Van Dien), takes an interest in her case and offers to help her. However, Annie suspects the real threat is a supernatural one, and so she turns to a medium, Stevie (Haley Hudson), who comes to the house with her assistant, Giles (Sam Ball).

Annie, Stevie, and Giles encounter more weird happenings inside the house and discover a secret room hidden behind the walls of the home. Stevie is able to shed some light on the entity inside the house and provides Annie with some important clues regarding the whereabouts of Nichole and Liz. But the biggest discovery comes later, when Annie realizes the threat against her and her family isn’t just a paranormal one.

There’s a lot to like about THE PACT, from its story, which is more than just a PARANORMAL ACTIVITY rehash, to its strong acting performances, to a bang up directorial effort by writer/director Nicholas McCarthy.

THE PACT contains a lot of cool scenes and provides some neat images, like the creepy man sobbing on the edge of a bed. There are some violent sequences as well, including a gruesome stabbing scene, and the gore looks real. There’s no CGI blood in sight.

The film opens in such spine-chilling fashion, the unsettling feeling it instills at the outset remained with me throughout. When Nichole finds herself alone in her mother’s house, the film resembles the PARANORMAL ACTIVITY movies and does so again when the sinister force inside the house abducts Liz. But the fun part here is that there’s more to this story than just evil spirits. On the other hand, the details don’t always make sense, and this comes back to bite the film later.

The cast is excellent. Caity Lotz is terrific as Annie. She’s feisty, strong, and very sexy. She makes a formidable adversary for the threats which occupy her mom’s house. Casper Van Dien is also very good as Bill Creek, the police officer who helps Annie investigate her sister’s disappearance. Their scenes together are particularly enjoyable to watch as they share some nice onscreen chemistry.

Agnes Bruckner makes the most of her brief screen time as Nichole, and Kathleen Rose Perkins is also excellent as Annie’s cousin Liz.

But my favorite supporting performance belongs to Haley Hudson as the medium Stevie. The first time we meet her, she’s in this oddball household full of unceasing background noise, as TVs and rock music blare constantly. She’s quirky yet sincere, and so she comes off as very believable. And Sam Ball is nearly as good as Stevie’s friend and assistant Giles, who’s just as peculiar as she is.

And THE PACT packs some serious eye candy. Caity Lotz is striking and spends much of the movie in short shorts and sexy T-shirts. The other three actresses, Agnes Bruckner, Kathleen Rose Perkins, and Haley Hudson, are just as stunning.

And if you’re a female viewer, you’ve got Casper Van Dien and Sam Ball, two very good looking actors. This flick is very easy on the eyes.

I liked that the story aimed high and tried to be more than just your typical paranormal entity tale. It gets an A for effort. Where it falters is in the details.

For instance, at one point in the movie, the ghost physically attacks Annie, which I’m not sure ghosts can do, but this raises a question about the entire premise of the movie. If this ghost can physically attack human beings, then in light of what the film reveals later on, the question has to be asked, why didn’t the ghost simply tackle the other threat in the story on its own? Why did it need a human being’s help?

I also didn’t like the very ending of the movie. For it to make sense, one would have to surmise that there is yet another threat inside the house not revealed in the movie. I found this notion difficult to swallow. As it stands now, it plays like one of those endings where something creepy is added on simply to give the film an eerie conclusion, as opposed to a logical progression of the story.

Overall, once the movie starts putting the pieces of its puzzle together, it does so with too much obscurity, and so instead of sitting back and enjoying the ride, I found myself asking a lot of questions, which ultimately got in the way of my enjoying the movie. What really becomes of Nichole and Liz? You pretty much know, but you don’t really know. What does the “pact” from the title refer to? I can guess, but I’d rather know. Just how abusive was Annie’s and Nichole’s mother? What about that creepy hidden room in the middle of the house? How come no one ever noticed it before? And just how much did Annie’s mother know about what was going on inside her house?

I would have enjoyed the movie more if its second half provided clearer answers.

So, ultimately, the screenplay by director Nicholas McCarthy is a mixed bag. It provides a compelling story, but it doesn’t always make good on getting the details right. But it gets the scares right, and on that note, THE PACT delivers.

I give it two and a half knives.

—END—

Michael Arruda gives THE PACT ~ two and a half knives!

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Suburban Grindhouse Memories: XTRO (1983)

The Distracted Critic – ENTER NOWHERE (2011)

FAREWELL TO RAY HARRYHAUSEN

AFTERSHOCK (2013)

Quick Cuts Plays “WHAT’S MORE LIKELY?”

Bill’s Bizarre Bijou Meets the CAPTIVE WILD WOMAN (1943)

Pickin’ the Carcass: THE PACT (2012)

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