Random Film of the Week (The Return!): The Terrornauts

Posted on November 30, 2023 by geelw

More bland than bad, but still…

When a little film called Star Wars was released back in 1977, I was one of a seeming minority who didn’t go rush out to see it. Not that I didn’t want to, mind you. There were assorted issues and I was out of the loop for a bit in my movie viewing. It wasn’t until summer 1978 when a friend of the family popped by to ask if I was interested in going to see the film, which of course, I agreed to. We arrived to the theater late, walking in on the scene where Luke and his Uncle Ben are buying C-3PO and R2-D2, so that was disappointing. But we agreed to watch the film a second time and sat through the second part of the double feature, a rather unusual science fiction film from 10 years earlier called The Terrornauts. I’m guessing that whomever picked this as a good film to show with Star Wars had never seen either movie or just thought “well, it’s also a space flick sooooo…” (or something like that). Seeing movies in Times Square was very often bizarre like that, from what I understand and recall from a few odd occasions.

Anyway, the plot: a small team of scientists working for Star Talk, a UK-based organization dedicated to tracking signals from outer space in order to find life on distant planets, get a lot more than they bargained for when not only do they get that signal, aliens decide to yank their entire facility off the Earth and deliver it to their planet where there’s an interplanetary war about to take place. Guess who gets to stop that war with more war in the lowest budget manner (we’re talking Woolworth shower caps as a costuming option, folks). Yes, we sat through this flick just to see the other one and yes, when I told friends at school, they all laughed at me for seeing Star Wars over a year late.

The more amusing thing was around a year later, The Terrornauts started popping up semi-frequently on local TV, so I was able to introduce it to some new friends and yes, we hated it, but found plenty of amusement at the visual effects and general cheesiness of the film. At least they got in a shot that’s replicated almost exactly on the film’s poster art. On the other hand this wasn’t an interstellar epic like Star Wars or even a This Island Earth on a less than shoestring budget.There are plenty of good intentions here, it’s just that the execution is somewhat off the mark.

While the film is far from Amicus Productions better known films, it has it’s share of fans out there who grew up watching this on television, so nostalgia wins here. However, it’s pretty much forgotten these days, as it isn’t legally available on disc and the digital version isn’t 100 percent flawless when you can find it online. I also had the luxury back in the day to read the book the film is based on, Murray Leinster’s 1960 novel The Wailing Asteroid, which is a “hard” science fiction tale much more suited to a film with a much more robust budget. The goofy bit here is Murray Leinster is the name of the ship at the beginning of the 1978 film Starcrash, which I saw shortly after it’s release (on Times Square, of course). Yes, I’ll have to get to that film again one day in review form, but not for a while, as it’s so mind numbing and silly in a like-ably weird manner.

Anyway, this post is part of The Hammer-Amicus Blogathon IV, hosted by Barry over at Cinematic Catharsis and Gill from Realweegiemidget Reviews. I’m posting a few days early due to a few previous commitments, but make sure to pop on over to get a peek at the other posts. As for me? Well, I’ll be back sooner that later- it says so on my contract!

-GW

Early to Bed…

Posted on November 26, 2023 by geelw

So, my post for the blogathon below is all done and scheduled, but WordPress weirdness mucked up the header I wanted to use and you all just have to wait until the end of the week so I can yell at the sky and attempt to re-edit the piece. (Some of you know how this goes, I hope.)- I’m taking a few days off to sort out some health issues, but I’ll pop in and throw a few sentences together just to liven the place up a bit. Have a great week or just a good one, for that matter.

-GW

Review: Cul-De-Sac (1966)

Posted on October 5, 2022 by geelw

When I was about 14 or so, I finally noticed that the local public television station had been showing a load of old foreign and domestic films from the late evening into the early morning hours. While I can’t recall the exact date they started, I can remember seeing classics like Seven Samurai, Metropolis, a few Godard films and the occasional silent movie, usually to the effect of me falling asleep on the sofa (hey, not too many kids start out liking everything they watch). It was definitely an eye-opening experience except for me occasionally falling asleep, not really from boredom, but from the films all starting well past my normal bedtime. At least back then, school nights were unaffected by this new hobby although I was pretty useless when I stayed up too late watching all those movies.

“I’m mean, I’m mean, I’m mean – you know what I mean…”

Anyway, one evening I turned the TV on and just missed the opening credits to one film, so all I recall before I passed out about 15 minutes later was a burly guy with a bandaged hand pushing a car down a long road with a seemingly sick or injured passenger inside. The man ends up leaving his passenger alone while he checks out a small castle-like house atop a hill, sneaks in and helps himself to whatever food he can scrounge, including a raw egg. A few years later, I found out that was Roman Polanski’s 1966 film Cul-De-Sac and I ended up tracking the film down at a rental shop here that specialized in obscure films. I also discovered Donald Pleasence in a really quirky role, no truly likeable characters among the main cast and a plot that was a mix of dark comedy and psychological drama which is, of course, better appreciated at an older age.

George (Donald Pleasence) and Teresa (Françoise Dorléac) are a married couple living in a remote island area well off the beaten path (Lindisfarne in Northumberland, according to Wikipedia). As George is entertaining some annoying guests, Teresa is doing her fling with a man who’s not her husband. The odd thing is, George seems a bit intentionally oblivious to this for some reason, but things are about to be shaken up somewhat after his guests leave. That man pushing the car is a gangster named Dickie (Lionel Stander) and he’s come to George’s home just to make a long distance call. It’s a home invasion film of sorts, with Dickie locking the couple in their room while he waits for aid to arrive from a mysterious Mr. Katelbach, who seems to be Dickie’s employer.

The next order of business is retrieving Albie (Jack MacGowran), Dickie’s literal partner in crime, before he drowns in the stolen car he’s trapped in. This surprises Dickie as well as Albie, as they doesn’t realize they’re on a small island where the tide isolates the area for a few hours each night. We also learn the unseen crime they were paired up for went south quickly before the film begins. Dickie gets wounded in the wrist, while Albie was shot in the stomach and spends his remaining time in the film hallucinating (he thinks George in makeup is his wife at one point) and later, dies from his wound. Dickie initially starts digging a makeshift grave, but Teresa escapes from the room she’s locked in with George and ends up digging willingly for Dickie after offering him some of her homemade vodka. George eventually wakes up to find Teresa free and Dickie forces him to finish the job. George soon ends up as Dickie’s drinking buddy after he’s coerced into a few drinks (and he doesn’t drink at all, which makes him a bit of a mess when he does imbibe).

Just as you’re getting the idea that this odd and temporary friendship may be a way out of sorts for everyone, things go completely awry (even more so than you’d prefer).

To add to the madness, a surprise arrival shakes things up when the expected guests aren’t expected at all (or: hell is indeed other people) and Dickie needs to play servant to the couple to keep a ruse going. Jacqueline Bisset gets a tiny cameo, but an increasingly more unhinged George kicks his new guests out and Dickie gets some more bad news after he fixes the telephone and attacks Teresa after she plays a trick on him. George, now nearly completely out of his mind, gets to prove some sort of manhood to his wife as the film takes itself to its bleak conclusion, but you’re treated to an ending that adds at least one final question if you look carefully, guess that a mind was changed and yes, George probably is in for a even ruder awakening than even his now destroyed mind can imagine. I’m not one to rate a film with a proper score these days, but for it’s unusual plot presentation, Gil Taylor’s great black and white cinematography and Krzysztof Komeda’s jazzy score, this one gets a Recommended mention from this end.

It’s a bit twisted in a few ways…

In case you haven’t guessed, this post is part of The Devilishly Delightful Donald Pleasence Blogathon hosted by Cinematic Catharsis and Realweegiemidget Reviews and other entries can be found at both links starting on October 28, I’m posting a bit early due to some medical stuff coming up ths month, so enjoy my scribbling and please poke at the other posts!

-GW

Review: Once Upon A Time In The West

Posted on June 2, 2022 by geelw

An intentionally slow moving, deliberately paced epic “western opera”, Sergio Leone’s now classic Once Upon A Time In The West wasn’t exactly a huge hit back during its 1969 North American release. The film, which was edited for some content (since restored) was probably still somewhat lengthy for audiences of the era and the film’s somewhat glacial pace will be a bit much for some new and impatient viewers.

Interestingly enough, the film is a sweeping and meticulous love letter to the western genre, featuring major and minor visual and aural tips of the hat to many previous westerns. It’s also Leone doing remarkable work with his camera using carefully crafted sets and locations in Spain and some prime locations in Monument Valley to grand effect. There’s also spring loaded tension throughout, such as the brilliant opening sequence where three duster-clad gunmen wait impatiently for a late train to arrive just so they can kill a man (Charles Bronson). Leone uses some humor here to break that tension, having a common fly and dripping water torment two of the men as they wait.

No, he doesn’t do requests…

The would-be assassins fail, save for wounding their target and the film cuts to a man named Brett McBain and his young son hunting birds before taking their catch back home to a ranch named Sweetwater, where the entire McBain family is in turn brutally dispatched by a man named Frank (Henry Fonda!), Then we move to Jill McBain (Claudia Cardinale) arriving via train to the town of Flagstone, where no one is there to meet her (thank to Frank and his men). After the buggy she’s hired to take her to her new home makes an unscheduled stop, we then meet Cheyenne (Jason Robards), an outlaw who’s just escaped from jail and ends up at that spot where he meets his gang. Cheyenne meets a recuperating Bronson, who he dubs “Harmonica” upon seeing and hearing him play while wondering if he can shoot as well. Harmonica initially thinks Cheyenne sent his three of his men to kill him earlier because of the dusters they wear, but he’s soon convinced otherwise. Jill eventually makes it to her new home where we see the bodies of the family laid out and a small group of neighbors waiting to give her the sad news. Before the funeral, evidence of Cheyenne’s involvement in the murders is revealed, but Frank is actually responsible.

The next time he rode a train, he made sure no one would shoot him.

It turns out Frank is working for a very wealthy man named Morton, who’s got a disability and travels in a specially customized train. Morton admonishes Frank for killing the family instead of scaring them off, to which Frank coldly replies: “People are only scared when they’re dying”(ouch). Morton wants Sweetwater for its proximity to the railroad and its water source, both of which will add to his wealth, but he doesn’t realize Frank also has his own plans for the property. Meanwhile, Jill is the sole owner of Sweetwater now that her family has been killed and yes, Frank has plans for her as well. Both Cheyenne and Harmonica figure out what Frank is up to, but both men have their own plans for dealing with him and fate also drops into the picture. The theme of water plays so heavily here that I thought of Chinatown for a moment once the overall story was finally revealed. This is a film that takes its sweet time to fully display its plot, using Bronson’s character as the near-silent observer/detective and his reason for being a bit vengeance minded is finally revealed after a trio of initially hazy flashback sequences are spread throughout the film that eventually tell a tragic tale.

There’s a lot more, but we’ll talk instead about how Leone’s superb attention to detail in everything from the sets to costumes to his work with composer Ennio Morricone that make this a film worth watching. The scope of the film is constantly amazing down the finest details to the dozens of extras in full costume for a single scenes. Jill’s arrival in Flagstone goes from crowd shot to crane shot to show of the dusty non-splendor of the growing railroad town and as expected, Leone gets in some truly outstanding closeup shots. Morricone has a theme for each of the four main characters and there’s a few uses of sound design in lieu of score, like how the film opens using a mix of insects, a constantly squeaky windmill and other amplified bits. The film stretches scenes and can be deliberately confusing in spots, but that’s Leone wanting viewers to figure out things out as Harmonica does.

Oh don’t you know, that’s the sound of the men working on the train gang?

In other words, take the time to watch this and you’ll be surprised at how well this film works not only as western, but also as a homage to other past westerns. Hey, if you sat through a three hour Batman film, this will be a cakewalk, right? Cheyenne says make a fresh pot of coffee and have it handy (you’ll get the reference from watching the film). by the way, this post is part of The Foreign Western Blogathon hosted by Moon in Gemini. Pop on by and take a peek at the other submissions for other genre faves!

-GW

Random Film of the Week: Shin Godzilla

Posted on June 16, 2020 by geelw

They’re going to have a meeting about having a meeting, most likely.

Sometimes, a kick to the Shin works.

Hideaki Anno and Shinji Higuchi’s Shin Godzilla is, for all intents and purposes, more of a grand live action anime because it translates much of its visual style and energy rather successfully from some of both of its creators’ previous well-known animated works. It’s also a sly poke at Japanese government bureaucracy where every decision has to go up a few ladders and lengthy meetings are constantly being held even as a horrific, mutating monster makes its radioactive presence known.

As a reboot of the classic franchise it works excellently in delivering a new and more terrifying Godzilla that mutates from a googly-eyed giant, arm-less gilled beast that flops and slides along because its body can’t hold it up, to a 400-foot tall nuclear blasting fiend that requires a lengthy cooldown after it uses its powers. This isn’t a Godzilla who’s a kid-friendly lizard who punches other monsters in the face and goofs around. Nope, the film takes it back to the more horror-laced 1954 original in terms of tone, laying on a modern plot where every decision made needs discussion and division heads and other leaders change into fancy jumpsuit ensembles just to look official while executive orders are issued.

(Thanks, Funimation!)

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(Not So) Random Film of the Week: The Omen (1977)

Posted on June 4, 2020 by geelw

“Never work with children or animals.” – W.C. Fields

Hell is other people, indeed…

Now, I’m quite sure Gregory Peck very likely wasn’t thinking of this well-aged quote while shooting The Omen, but I get a chuckle out of maybe thinking he was because he surely goes through all nine circles of Hollywood hell in dealing with his demon-bred son with the quirky birthmark (Harvey Spencer Stephens) and a couple of dogs that get to attack him (and his stunt double) with relish (or whatever it is dogs use as a condiment. Maybe… Chow Chow Picalilli?).

If his character had lived to be in the inevitable and somewhat silly (but still kind of scary) sequel, Damien: Omen II, I’m sure he would have also wanted to kill a few mockingbirds (a murder of crows, if you will) if one of them had ever decided to give him the old “good luck” airdrop plop, but (uh, spoiler alert?). he doesn’t live to see that happen (end spoiler). I’d make an Atticus F(l)nch joke here. but I don’t want to push my luck.

“Isn’t he a little angel?” Uh, not really. You’ll see…

Then again, there’s an air of bleak inevitability in Richard Donner’s film that pervades every frame and it’s not hard to see from the opening titles onward that Jerry Goldsmith’s sole Oscar winning score (more on that later) was predicting some very bad things to come. I was too young to see this back in 1976, but I recall a schoolmate telling me his parents took their four kids to see it and they were all traumatized to some extent, but it was all they talked about for weeks. As the family was pretty religious, my guess now is that was one surefire (heh) way of keeping them in church.

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Package Lander II: The (Not) Quickening

Posted on June 2, 2020 by geelw

(Thanks, tarash oniani!)

So, in the middle of this more very urgent chaos taking place, I have 19 pounds of someone else’s medical supplies here. They’ve been here over a week and it’s FedEx’s fault for “just doing their job”. Hi, FedEx. Anyway, here’s the deal: someone ordered whatever is in this box and had it shipped here, but they seem to have mixed up their address with mine or the person who took the order scrambled the numbers or couldn’t read someone’s handwriting properly. I say this because just over two weeks back, I got two large boxes bundled together that for the same person.

After about 45 minutes to an hour spent going to the FedEx website which constantly sent me to an automated call line no matter what I tried, I held on for a live operator and explained the situation. The problem seemed to be solved when he said the box would be retrieved (which took a few days), but guess what? It wasn’t. A week or so later, another large box labeled medical supplies arrived and was left at the door before I even had the chance to open that door and explain to the driver this wasn’t the correct address. FedEk was called again, and almost 52 minutes of looping muzak later, someone said they would be picking up the box… and that was what, almost a week ago?

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That’s Entertainment?

Posted on June 2, 2020 by geelw

Where’s the brake pedal, please?

Yeah, I’m still here – just thinking about too much stuff as I guess we all are these days. Or most of us, as a few folks clearly aren’t much for sensible thought. There are a lot of half-written things here because it’s hard to concentrate on being entertaining when the planet is spinning in “Stop The World – I Want To Get Off” mode, whee.

(Thanks, RetroAlexander!)

Anyway, I’ll pop in here later in a more “reviewery” mode as I’ve actually been playing a load of stuff that’s been quite good, but I don’t want to give the total impression that I’m totally clueless to all this distress going on. The blinders were, in fact, never on here. I just keep my annoyance with many things in check with the insane hope that we figure out one day that we should maybe have a test for leaders like the ones they give sanitation workers or some other public employees or maybe even the those that choose to volunteer for medical research for a few spare dollars to live on.

Some music to lighten the mood (not by much, though):

(Thanks, IamPersonMan!)

-GW

(Not So) Random Film of the Week: No Blade of Grass

Posted on May 20, 2020 by geelw

So, I lost a coin toss with myself a few days ago and ended up watching a pretty dark film from the lower end of the bucket list. Reasons, I guess. I also guess I should put a trigger warning here, as this one’s something else.

Grim meets garish (plus tax where applicable) in Cornel Wilde’s 1970 apocalyptic survival shocker No Blade of Grass, which is very likely not a film you want to see if you’re holed up in quarantine for a spell. Then again, it’s a film that’s brutal to watch under any circumstances, with its kind of timely by today’s calendar plot and Wilde’s decision to linger on some scenes that are a bit too exploitative and counteract whatever strong ecological message he was trying to send.

Then again, the source material wasn’t exactly a pleasant story either. Still, Wilde (who co-wrote, directed, and produced the film) gets his powerful message across from the opening moments, using a sledgehammer of assorted mostly stock imagery of polluted water, air and land, plus what seems to be clips of a dying emaciated child to let you know business is meant in all that intensity of the opening moments. I think there was a nuclear explosion in there somewhere as well, but I might have been busy trying to find my jaw, which was under the sofa when it fell off and rolled under it. I need to vacuum more, it seems, as my chin was a bit dusty when I located it. Uh, so mind-blowing and downbeat opening, plus a reach for a finger pistol depressing tune (sung by Roger Whittaker!) as a main title? Check.

(Thanks, The Film Archives!)

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Frogs (Trick or Treat 1)

Posted on April 26, 2020 by geelw

(Thanks, Burbanked!)

I rather liked science class as lot as a kid despite running into a few bumps in the road, literal warts and all. I recall almost no one wanting to dissect those pickled frogs that the teacher placed on each lab table one fine day, save for two guys in the back (why are the shady ones always in the back and equipped with sharp knives now?) who I guess either turned out later to be really good doctors or even better serial killers later on in life. That and there were a couple of too gleeful girls who obviously didn’t believe that kissing a very dead frog would generate a very dead prince or a live one, for that matter. They just wanted to gross out those that spied them doing it, Ewww.

The more amusing thing here was those girls otherwise hated the class except for this one time and a few other incidents where mayhem was a potential outcome. There was the one time they (about a year later), along with one of the two boys from the back ‘accidentally’ created ammonia gas in the lab that cleared the whole floor, eventually leading to school being dismissed for the day, whee. Uh, don’t try that trick at home, by the way. It’ll the be the perfect cure for everything that ails you with the very obnoxious little side effect of a bit of invisible but acrid smelling poisonous death (and neither a fine nor noble death at that).

(Thanks. Henridellik!)

Eventually, during the two days, I caved into the learning process and with a fellow equally skittish student (we were all paired up in the class – less dead frogs means a sharing moment for all), we took the plunge. Yes, I thought of all those company-farmed frogs taking a plunge one fine day for a final swim they didn’t know would have them a few hundred miles away dead, well-preserved and soon to be splayed out like ghastly centerfolds courtesy of class-provided scissors and scalpels. My partner in (non) crime was a girl who mentioned before we cut into the preserved formerly ribbiting animal that she had frog once for dinner and yes, it tasted like chicken.

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