I woke myself up earlier this morning laughing because this is fitting music for this time of my life:
It’s a long story, but I’ll explain one of these days. If I can make it make some kind of sense…
GW
I woke myself up earlier this morning laughing because this is fitting music for this time of my life:
It’s a long story, but I’ll explain one of these days. If I can make it make some kind of sense…
GW

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
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

As mad scientist flicks go, Corruption is something of a forgotten classic in its own crazy manner. You get the great Peter Cushing out of his usual period piece horrors playing a successful plastic surgeon in a more modern 60’s setting, some surprisingly shocking (by mid 60’s standards) content and a laser gone haywire in a finale that may elicit some chuckles from forward thinking Star Wars fans. If you’ve ever wanted to see Cushing go full-tilt, over the top into scenery chomping territory, this one won’t disappoint one bit. While there are some slow expository moments here, the overall film is an interesting slice of horror that while not wholly original, ends up being pretty memorable on a few fronts.
(Thanks, groovemaster!)
After the swingin’ credit sequence, we meet Cushing’s Sir John Rowan and his pretty younger fiancée Lynn (Sue Lloyd) at a pretty raucous party. While the good doctor struggles with the mingling, Lynn, who just so happens to be a model, is in the middle of an impromptu photo shoot when Rowan rushes up to stop the snapping away before his squeeze loses all her clothes. Before you can say “Watch out for that hot studio lamp!”, Rowan accidentally knocks said lamp over and it lands on poor Lynn, burning half her face. Ouch! Fortunately, she’s engaged to a very capable plastic surgeon, right? Unfortunately, conventional surgery won’t work this time, so Rowan decides to use Lynn as a guinea pig to try out a little something he’s been working on in secret.
If you’ve seen Georges Franju’s Les yeux sans visage (Eyes Without A Face), you can probably guess things up to a point, For everyone who hasn’t, Répétez après moi, s’il vous plaît:
“What could POSSIBLY go wrong?”(dot dot dot) Continue reading
Yasuharu Hasebe’s brooding but action-packed Massacre Gun (Minagoroshi no kenjū) is a great example of the Japanese gangster film that’s well worth a look. Starring chipmunk-cheeked Jô Shishido (he has plastic surgery to look that way), the film packs in plenty of beatings and shootings into its 91 minute running time while maintaining its not so sunny outlook for just out everyone in its cast. Then again, when the “happiest” looking guy in the movie is the angry one with the titular firearm you know you’re in for a wild ride.
Shishodo stars as Kuroda, a hit man who turns on his employers after being sent on a job to kill his girlfriend. Kuroda fires himself after the work and teaming up with his brothers Saburo (Jirô Okazaki)and Eiji (“Tatsuya Fuji”, or director Hasebe’s acting persona) also wronged by the crime boss, set off to take down his empire. This trio of men setting out for vengeance on other men thing is a high risk gig and yes, the film has a very fatalistic tone running throughout that works heavily in its favor. Some Japanese gangster films tend to have running themes about codes of honor and men maimed or dying in as respectful a manner possible (well, given the violent ways in which they meet their ends). There’s a lot of that in Massacre Gun, but Hasebe’s fluid, innovative direction and use of a jazzy score make the film compelling even in its most violent moments. That and the film is amusing when it needs to be. Someone gets a nice surprise in the form of a booby trapped coffin and some of the sudden violence can be funny because it arrives when least expected and lasts longer than you’d think.
When UK-based Arrow Video finally decided to launch in North America this year, it picked a trio of excellent films to kick off what’s going to be a wild run of classics and desired library additions. As all three films arrived at the same time, I had to flip a coin to choose which one to review first and Tonino Valerii’s magnificent 1967 spaghetti western Day of Anger (I giorni dell’ira) won the review draw.
This was one of those genre films I’d heard about for years but have never seen until this beautifully restored (from the original 35mm Techniscope camera negative) version and it’s very highly recommended whether or not you’re a western fan. Excellent performances all around, some stirring set pieces, excellent art direction and cinematography all wrapped up with a superb Riz Ortolani score that will stick in your head for days makes this one a must-see (and must buy if you’re a collector). Continue reading
(thanks, ryy79!)
It’s actually quite funny, sitting and watching a favorite film with people who haven’t seen it before who initially end up not liking as much as you do. I’ve had this happen countless times, but I don’t think I’d ever had such an odd reaction from the last screening I did of The Graduate, Mike Nichols’ excellent, classic 1967 comedy/drama. What I saw (and still see) as one of the many films of that year that were minor to major revolutions in film making, my friend and his wife (who are a tiny bit younger than me) ended up being divided on a few fronts, making for an interesting discussion afterwards. I’d initially planned a straightforward review of the film, but watching these two people interact during and after the movie made me scrap that in favor of this article.
Is Dustin Hoffman’s Benjamin Braddock merely a “spoiled rich kid, a stalker and a jerk!” or is he just “an elite everyman living a plastic life” like my friends debated (among other things)? If you look at the film with a modern eye, the answer is yes on both counts. However, that modern eye will miss a chunk of the film’s actual comedic value and even some of the most interesting elements of this classic. if there’s a lesson to be learned here, it’s this: spinning things into a too politically correct version of a movie that needs to be seen as a sign of the times it was made in isn’t always necessary, but it makes for some perky bits of conversation… Continue reading
(thanks, captbijou!)
From the moment Dimitri Tiomkin’s bouncy western theme music kicks things off and “The Ballad of The War Wagon” plays out with its bouncier western lyrics (sing along, now!), you just KNOW you’re in for a good time. Directed by Burt Kennedy (Return of the Seven, Support Your Local Sheriff), this 1967 western paired John Wayne and Kirk Douglas as a pair of adversaries who team up to take down the titular gold-loaded, four-wheeled, well-armored horse-drawn vehicle (say that five times fast!) with the help of some friends is light and airy fun for an afternoon that’s worth a watch even if you don’t like westerns at all.
If your eyebrow is arching up a bit, fear not pardner! Just think of this gem as a variation on The Adventures of Robin Hood or a more modern heist flick with some of your favorite stars and that’s all you need to know to know you’ll come away from this one grinning. In fact, this is one of those films that works brilliantly because it’s supposed to be funny while also delivering plenty of action and dramatic moments to please genre fans… Continue reading
(thanks, santipages!)
So, I’m walking about the other day and I pass some kids coming from school and overhear one of them saying to his friends that his mom is punishing him for some offense or another by taking away his gaming and online time at home. As I’m grinning while just ahead of them, I hear the kid say he doesn’t know why he’s being treated “like a prisoner” and IMMEDIATELY this intro came to mind. Oh, you kid… you don’t even KNOW what it’s like at all. AT ALL. Although, I’d laugh like a loon if he walked in the door to his home and a Rover was waiting to chase him right to his room away from the TV and computer. Those damn things always scared the heck out of me as a kid when I was watching the show every week and not knowing what in the world was going on, but not being able to look away.
And be glad I didn’t think of the opening theme and titles to HBO’s super NSFW show, OZ. Although, that might be more fitting under the most incorrect of circumstances. Stay in school, boys and girls… stay in school…