dh49 Reviews

Leprechaun 4: In Space (1996 Video)

FUN FUN FUN

[28 April 2000]

Okay, I went into this with the right frame of mind. Last night some buddies got together and saw this with an eye out for some cheap cheap laughs. And believe you me, the laughs are the absolute cheapest. The plot is non-existent, but that's intentional, and the makeup blows. Let's think a moment about the folks who made this film - lots of inside jokes, and no real attempt at horror. This movie was made for kicks. It's just an excuse to have fun. The script and performances prove that none of this whole affair was to be taken as anything monumental. It's a riot. And I'll tell you what - the metal headed officer is probably a pretty good actor faking bad on purpose. And the guy playing Mittenhand must be a downright brilliant actor. His sense of camp and comic timing floored me. His Mittenspider line is quite possibly the best line on film since "Rosebud". I'm not kidding. Brilliance permeates every frame of this delightfully tasteless and shameful movie. Rent or buy this film right now. But a warning - if you buy it, don't spend more than $5. I have a theory that you should never spend more for a video than the budget of the movie.

Titus Andronicus (1985 TV Movie)

Nice

[25 April 2000]

One of the BBC series which I can respect on the basis that it is approached like a stage performance. It is bound largely to one set which may disappoint some people, but works quite well if you consider it as a piece of theater. Performances are theatrical and large, some hit and some miss. One definite miss is the much misconcieved Aaron the moor who seems more jovial than the evil precursor to Shakespeare's later Iago. Lavinia and Tamora also seem a bit weak and off the mark, but then Lavinia is hardly afforded the time within the play to truly establish sympathy. Tamora fares better, but still seems like it could do with a bit more regal poise. She was a queen after all. The good performances on the other hand do have their flaws, but are largely very strong. Saturninus is way over the top, but admirably tackles the huge ego and short temper of the sinister ruler. Special kudos must be awarded to the actor portraying Marcus Andronicus. He achieves the moments of over the top style reflected in much of the cast, but he also has moments of wonderful subtlety and maintains a stoic and staid respectability. His performance may very well be the finest in the production. Finally, Peacock most noticeably brings his weighty gravely voice to Titus, and brings with it the necessary bellowing fire to the whole affair. His performance is even larger and more stylized than most, but I was actually moved deeply by some of his speeches in the scene immediately after he has his hand lopped off. When reading the play, they are just words on a page, but his voice cries out to the rafters full of anguish and horror at the events beset upon him. Quite nice. On the whole, the affair is carried off with a fire and style that may occasionally be missed in Shakespeare productions, and that helps one to overlook it's flaws. Maybe not an incredible video, but good theater.

King Lear (1983 TV Movie)

engaging

[25 April 2000]

I got lost through the first half of Olivier's Richard III. But his Lear some twenty years later sucked me in by absolute force. It may have been a bit difficult for me to ever have seen his King Lear storming across the battlefield, his sentimental age was disarming and effective. Particularly in the first scene with his dividing of the kingdom. He and Cordelia shared some intensely effective moments. His final moments are also moving and quite worthwhile. He gets a bit lost in the melodramatics of the middle, and more whines and rants "Reason not the need" than may have been necessary, but on the whole his performance shows the craft of his decades as a respected Shakespearean performer. The supporting cast is also very strong with all the daughters with the possible exception of Cordelia coming off very well. Hurt seems a bit jumbled as the fool, but that may have been the idea, and the parting shot of him tries to answer the old question of what happens to the fool after he fades out of the text. Edmund and Edgar could really be brothers, and work well in opposing roles. Both actors seem to love to show off their teeth through bushy beards, but despite moments of scenery chewing, they get the job done well. Leo McKern shines out of the supporting cast as Glouster. He is by turns jovial, tormented, lost, pained and thoughtful. An excellent interpretation of that role makes the work engaging for the stretch of time when Lear is taking his "forth act break". The sets and music may be a little crude, but the idea was that the acting be the focus, and fortunately it is. Very very nice and effective theatrical work.

The Revenge of Frankenstein (1958)

Better than the first

[22 February 2000]

The atmosphere clings to this film from the golden age of Hammer. The studio's best films came between 1958 and 1965, and this is probably one of the studio's all time best. The sets are flawless, and the cinematography is a blessing. Lighting is atmospheric and creepy, and the whole affair has a feel that is trademark Hammer. The cast is full of memorable and recognizable faces like Michael Ripper and Richard Wordsworth - both of whom excel in their supporting roles. Michael Gwynn generates a fair amount of sympathy as the monster, and does a fine job. Once again, rising above the rest is Peter Cushing whose steely blue eyes and thin chisled face convey a cool determination and fire that make him high among the finest actors of the time, let alone the genre. *possible spoiler* in the end when he is beaten to a pulp, the way he releases into a kind of loose mess is remarkable. Combined with Roy Ashton's subtle makeup, he does look at death's door. An actor can stand to learn a great deal from Peter Cushing who handles all parts with grace and honesty, and whose real life was silent sadness and tragedy. Many people never knew of his sorrows until he had left us. Now six years later there is a rich legacy of his films for us to enjoy, and Revenge of Frankenstein is graced with one of his finer performances.

The Curse of Frankenstein (1957)

Fine old chiller

[22 February 2000]

This is the one that started the second great wave of Gothic Horror movies. Hammer gambled on a color version of the old Frankenstein story and hit paydirt. Peter Cushing cuts a young striking image and carries the film effortlessly on his shoulders. The supporting cast is strong as well, but Pete rises above the rest. Some scenes could very easily have belonged to a score of B movies being churned out at the time, but with a chilly stare and stage trained grace, Cushing sweeps through the fine sets and vivid color to make the world his own. Then unknown Christopher Lee cuts a good image as a radically different monster, and fits the bill very well. This may not be the best Hammer film, or even their best Frankenstein effort, but it is an obvious strong cornerstone on which the empire was built. A fine, fine film full of atmosphere and a kind of charm that is very very Hammer.

Rushmore (1998)

Just when I had begun to lose faith in the future of American Cinema

[4 February 2000]

Even the big "emotional" or "spiritual" being made now seem to be some kind of crock. Saving Private Ryan has a great deal of impact, and is a finely made film, but in retrospect it is admittedly a little schmaltzy. I cannot say the same for Rushmore. Quite possibly one of the best movies to be offered up from the decade of shameless cinematic self indulgence. It is honest, quick witted, charming, moving and humorous. Our hero seems to be some kind of sociopath. About 2/3 of the way through the movie, you start yelling at the screen wondering why he is driving everybody away from him when they seem to care about him so much. Despite his yearnings for the older woman and his manipulation of several near him, I found the most crushing relationship was between the boy and his father. He just kind of brushes the old man aside. Very little attention is paid at all.

But there is a lot of charm in this picture. Bill Murray gives probably one of the best performances of his career blending his deadpan comic brilliance with sympathetic humanity. Despite the fact that he is obviously a total prick, we feel for him and hope everything comes out well. The soundtrack is also impeccable, and performances on all counts are radiant. A fine, fine film.

The Island of Dr. Moreau (1996)

A crying shame

[4 February 2000]

I saw this film at the worst possible time. I had just finished reading the original H.G. Wells novel. Bad move. The novel had completely arrested my imagination and kept me turning page after page for three days. The images and wonderful thought provoking concepts were still heavy in my mind. So, my brothers had gone out to rent movies, and this one was in the stack. I should have taken the hint when I noted that Val Kilmer and Marlon Brando were the stars. Kilmer is probably one of the most disgraceful, unpleasant, unnatural and wooden actors I have seen since those awful 1950s romance pictures. And Brando's talent is long since spent, and he makes a disgraceful spectacle and mockery of himself parading around in rediculous kabuki makeup draped in tarps. Laughable. I was to find out that these were the best parts of the picture. When beginning the movie, I thought to myself, "This is the 90s. Surely they can make this film with integrity and special effects to serve the story." I have hardly ever been so wrong. The monster makeup was vaguely reminiscent of Wal Mart during Halloween season with lurid and cheap masks leering from all sides. The special effects were slipshod and offensively cheap in appearance. What bothered me the most was the updating of the plot. Why do we always have to make things current? The thing is so much more effective as an 1800s tale of vivisection and domination rather than DNA splicing and computer chips. Next time, just follow the book. It would make so much more sense. If it ain't broke, don't fix it. The film comes to a climax (?) involving some killing and some of the worst and incontinent editing yet in motion picture history. The film grinds to a halt getting bogged down in a jumbled mess of MTV flashes of dancing (!) animal men in some kind of techno - monster club. As a film, this is repellent. I read the book in three days, but got bored after the first half hour of this. I think this is very high on the list of movies to be buried deep within the earth and forgotten. Shame on everybody involved, and I hope that Hollywood gets some good sense and sticks to the novel next time they attempt this story. Repugnant! If I could give a negative rating I would.

The Crazies (1973)

A very fine film by Romero

[4 February 2000]

Aside from Dawn of the Dead, I feel that this little seen film is one of Romero's strongest vehicles. Indeed the two films have a great deal in common in terms of pacing, style and overall visual impact. It throws the viewer into the middle of a story with little introduction, and continues at a breakneck pace right until it's bleak conclusion. The wonderful thing about Romero's works is that he manages to take situations that might just be distantly possible and make them an absolute chaotic reality. This film is a testament to that, and may even stand as one of his more realistic and plausible stories. Performances on the part of almost all of the actors are very good, particularly the main group of focus. There are some awkward moments with David, but Judy is very good, and proves herself particularly in her final scenes. Clank is interesting to watch, and does a very good job of descending into a dangerous and confused haze. Richard Liberty's Artie is a favorite, though, due largely to a scene where he tells why he never allowed his daughter to date. He is truly creepy. Those on the military side are also very good, particularly Major Rider and Colonel Peckam. I must admit that I do have a soft spot in my heart for Richard France as Dr. Watts. He rants and relentlessly chews the scenery in a grand performance, and adds a wonderful dash of color and even more insanity to this bleak film. Romero is always interesting in his use of characters, and this film is no exception. He is constantly pushing the envelope of audience expectations by having major characters die or succumb to the madness. Nothing is safe in a Romero movie. His use of the soldiers is wonderful in the frenzied and gritty military and chase scenes. This film as a whole is gritty, unnerving and a perfect stylistic precursor to Dawn of the Dead. One of the better scare pictures of the 70s.

The Lion in Winter (1968)

Possibly one of the finest films ever made

[1 February 2000]

After I had read the stage play, I was convinced that a film version would be hard pressed to beat it. I was wrong. This film effortlessly shattered the glass ceiling and works as a truly stunning piece of film. The dialogue is neatly trimmed and flows quick and sharply. Hepburn delivers a keen and to the point performance that is fascinating to watch. A well deserved Oscar. Of the three sons, John Castle stands out as the grim, sarcastic deceiver of the lot, perfectly conveying his malice for the whole family. Hopkins is somewhat stilted in a fake looking beard, but still manages to pull a nice performance out. Particularly by the end. The only character who doesn't measure up is the son John. Not altogether his part as Goldman admittedly underwrote the part. But the shining star in this film is Peter O'Toole as Henry. He has a power, fire and reality that make him the driving force behind this picture. By turns he bellows, preens, mocks and suffers with absolute sincerity. He is always the king, and never anything but a man. I will go so far as to say that Peter O'Toole is possibly the finest actor of the second half of this century, and it is a criminal act that he was passed over for an Oscar for this picture. He delivers another performance of a lifetime out of a long string of triumphs. He is the best part of a very good cast.

Shock Waves (1977)

Scarry as hell!

[8/10 · 31 January 2000]

I rented this film a few years ago strictly because I was a fan of Peter Cushing. I thought "Hm - Underwater Nazi Zombies? This should be fun." I had a mental image of Cushing running around in some green velvet Victorian jacket and a full head of hair opening cages and sending zombies off to do his bidding. Boy was I wrong. I got a grainy, dark, brooding little 70s movie that kept me looking over my shoulder. Pete looks terrible in a torn uniform, scarred face and bald pate. His performance is brief but striking. The rest of the cast (John Carradine - excepted) is fairly unfamiliar. This makes it all the more terrifying. They could be your neighbours being chased around and murdered by these horrifying monsters. And the zombies are some of the scarriest on film. They don't scream, or eat anybody. They just bob out of the water staring through black goggles and cut a path of destruction across the island. Wonderful. Contrasting to what I expected, this amazed me. It has since become one of my all time favourite horror films. It sure scared me more than Texas Chainsaw Massacre. Kind of a letdown there. But then I always could trust in Cushing.

The Demon Barber of Fleet Street (1936)

Tasty treat from Old London

[31 January 2000]

I just saw this film for the first time after searching for it for quite a while. I have long been a fan of the Sweeney Todd story, and this was far from disappointing. The cast is full of the delightful "woe is me" school of actors. Slaughter fits the bill from top to bottom as the grinning cackling Todd. A fine and campy performance. He takes the whole show with little competition. He is a delight to watch playing with his razors and skulking along in his patented style. The sets are atmospheric and effective given the budget, and despite the comic addition of the prologue and epilogue, this is a fine and enjoyable little film. Naturally I also highly recommend the musical, as well as versions of the play for good light reading. This origional 1936 is the definitive. Enjoy!