- Published on
site update
So many movies ... so little times ...
Lo and behold:
It was on this day in the great nation of Japan all the way back in the year 1995 that the singular creation that was Eko Eko Azarark: Wizard Of Darkness enjoyed its very first theatrical release.
Directed by Shimako Sato from a story by Shinichi Koga and Junki Takegami, the Horror feature starred Kimika Yoshino, Miho Kanno, Shu-Ma, Naozumi Takahashi, Ryôka Yuzuki, Mio Takaki, Mika Shibata, Juri Maezono, Tatsuki Hirabayashi, Yûta Okusawa, and more. Wikipedia.org states that the film and its sequels -- Eko Eko Azarak II: Birth Of The Wizard (1996) and Eko Eko Azarak: Misa The Dark Angel (1998) -- were based on the Japanese manga published from September, 1975 through March, 1979.
Here's the plot summary as provided by IMDB.com:
"Misa Kuroi is an adorable high-school girl who arrives at her new school when it is falling under an evil supernatural force. Trying to figure out who's behind the supernatural attack, Misa also has to deal with assumptions by her fellow classmates that believe she is the one behind it all. Misa and twelve other students are kept late after school hours one day to retake an exam. Then, after sunset, the entire school is deserted, and the students find themselves trapped inside and their teacher no where to be found. One by one, the thirteen students are picked up and disposed of in horrific and graphic fashion. It is up to Misa to try and gain the trust of her fellow students so that she can protect them and stop the evil before it's too late."
From what I've been able to see online, the film received a bit of positive attention when it was screened in 1997 at the popular Fantasporto Film Festival in Portugal; and, in 1996, actress Kimika Yoshino took home top honors in the category of 'Best New Actress' at the Japanese Professional Movie Awards.
-- EZ
Lo and behold:
It was on this day in the great nation of Japan all the way back in the year 1995 that the singular creation that was Eko Eko Azarark: Wizard Of Darkness enjoyed its very first theatrical release.
Directed by Shimako Sato from a story by Shinichi Koga and Junki Takegami, the Horror feature starred Kimika Yoshino, Miho Kanno, Shu-Ma, Naozumi Takahashi, Ryôka Yuzuki, Mio Takaki, Mika Shibata, Juri Maezono, Tatsuki Hirabayashi, Yûta Okusawa, and more. Wikipedia.org states that the film and its sequels -- Eko Eko Azarak II: Birth Of The Wizard (1996) and Eko Eko Azarak: Misa The Dark Angel (1998) -- were based on the Japanese manga published from September, 1975 through March, 1979.
Here's the plot summary as provided by IMDB.com:
"Misa Kuroi is an adorable high-school girl who arrives at her new school when it is falling under an evil supernatural force. Trying to figure out who's behind the supernatural attack, Misa also has to deal with assumptions by her fellow classmates that believe she is the one behind it all. Misa and twelve other students are kept late after school hours one day to retake an exam. Then, after sunset, the entire school is deserted, and the students find themselves trapped inside and their teacher no where to be found. One by one, the thirteen students are picked up and disposed of in horrific and graphic fashion. It is up to Misa to try and gain the trust of her fellow students so that she can protect them and stop the evil before it's too late."
From what I've been able to see online, the film received a bit of positive attention when it was screened in 1997 at the popular Fantasporto Film Festival in Portugal; and, in 1996, actress Kimika Yoshino took home top honors in the category of 'Best New Actress' at the Japanese Professional Movie Awards.
-- EZ
- Published on
site update
So many movies ... so little time ...
Lo and behold: it was on this day in the United States of America (USA! USA! USA!) all the way back in the distant year of 2005 that Hollywood, California audiences were treated to the thrilling and chilling theatrical premiere of The Amityville Horror, an all-new adaptation of the dark tale once spun in book format by George and Kathy Lutz.
Directed by Andrew Douglas from a story by Scott Kosar, Jay Anson, and Sandor Stern, the Horror film starred Ryan Reynolds, Melissa George, Jesse James, Jimmy Bennett, Chloë Grace Moretz, Rachel Nichols, Philip Baker Hall, Isabel Conner, Annabel Armour, Brendan Donaldson, and more. According to our friends at IMDB.com, here's the plot summary:
"December 1975. George and Kathy Lutz of Deer Park, New York recently married, this marriage her second following the death of her first husband. In part to begin a new life with her three children - Billy, Michael and Chelsea - especially as George tries to eke out his place in their life which is not to replace the memory of their father, George and Kathy want to buy another house in which they will live, they with a financial hurdle as George builds his contracting business. In nearby Amityville, they find what they consider the perfect waterfront colonial which they are surprised is just within their price range. After falling in love with the house, they learn that the reason for the low asking price is that one year previous, the former owners, the DeFeos, were murdered in the house. With this information in hand, they proceed to buy the house anyway, with George planning to turn the basement into an office for his business. Before buying the house, they are unaware of the details of the mass murder, where 23-year-old Ronald DeFeo Jr. had moved back in with his family, he living in the basement. He progressively began to feel possessed when finally on his 28th day in the house, he killed his parents and four siblings in the middle of the night, hearing voices telling him to kill them. After the Lutzs move into the house, some of the family members begin to see visions and have hallucinations, none of them telling the others for one reason or another. Slowly, the forces within the house begin to consume them to various degrees where they know that something is not quite right. The questions become if they will figure out that there is a force overtaking them before they are no longer able to get away, or if they are doomed to the same fate as the DeFeos on the 28th day of their residence. If the latter be the case, there will be the next Ronald DeFeo Jr. who will be the one of who the rest of the family needs to be wary."
-- EZ
Lo and behold: it was on this day in the United States of America (USA! USA! USA!) all the way back in the distant year of 2005 that Hollywood, California audiences were treated to the thrilling and chilling theatrical premiere of The Amityville Horror, an all-new adaptation of the dark tale once spun in book format by George and Kathy Lutz.
Directed by Andrew Douglas from a story by Scott Kosar, Jay Anson, and Sandor Stern, the Horror film starred Ryan Reynolds, Melissa George, Jesse James, Jimmy Bennett, Chloë Grace Moretz, Rachel Nichols, Philip Baker Hall, Isabel Conner, Annabel Armour, Brendan Donaldson, and more. According to our friends at IMDB.com, here's the plot summary:
"December 1975. George and Kathy Lutz of Deer Park, New York recently married, this marriage her second following the death of her first husband. In part to begin a new life with her three children - Billy, Michael and Chelsea - especially as George tries to eke out his place in their life which is not to replace the memory of their father, George and Kathy want to buy another house in which they will live, they with a financial hurdle as George builds his contracting business. In nearby Amityville, they find what they consider the perfect waterfront colonial which they are surprised is just within their price range. After falling in love with the house, they learn that the reason for the low asking price is that one year previous, the former owners, the DeFeos, were murdered in the house. With this information in hand, they proceed to buy the house anyway, with George planning to turn the basement into an office for his business. Before buying the house, they are unaware of the details of the mass murder, where 23-year-old Ronald DeFeo Jr. had moved back in with his family, he living in the basement. He progressively began to feel possessed when finally on his 28th day in the house, he killed his parents and four siblings in the middle of the night, hearing voices telling him to kill them. After the Lutzs move into the house, some of the family members begin to see visions and have hallucinations, none of them telling the others for one reason or another. Slowly, the forces within the house begin to consume them to various degrees where they know that something is not quite right. The questions become if they will figure out that there is a force overtaking them before they are no longer able to get away, or if they are doomed to the same fate as the DeFeos on the 28th day of their residence. If the latter be the case, there will be the next Ronald DeFeo Jr. who will be the one of who the rest of the family needs to be wary."
-- EZ
- Published on
site update
So many movies ... so little time ...
Lo and behold ... it was on this day in the United Kingdom all the way back in the year 1960 in which the good people of London were treated to an exclusive theatrical premiere engagement when Peeping Tom thrilled and chilled watchers on the silver screen.
Directed by Michael Powell from a story by Leo Marks, the Slasher/Horror starred Karlheinz Böhm, Anna Massey, Moira Shearer, Maxine Audley, Miles Malleson, Esmond Knight, Martin Miller, Michael Goodliffe, Jack Watson, and more. According to our friends at IMDB.com, here's the plot summary:
"Mark Lewis, works as a focus puller in a British film studio. On his off hours, he supplies a local porno shop with cheesecake photos and also dabbles in filmmaking. A lonely, unfriendly, sexually repressed fellow, Mark is obsessed with the effects of fear and how they are registered on the face and behavior of the frightened. This obsession dates from the time when, as a child, he served as the subject of some cold-blooded experiments in terror conducted by his own scientist father. As a grown man, Mark becomes a compulsive murderer who kills women and records their contorted features and dying gasps on film. His ongoing project is a documentary on fear. With 16mm camera in hand, he accompanies a prostitute to her room and stabs her with a blade concealed in his tripod, all the while photographing her contorted face in the throes of terror and death. Alone in his room, he surrounds himself with the sights and sounds of terror: taped screams, black-and-white "home movies" of convulsed faces. At his house, he meets Helen Stephens, a young woman who lives with her blind mother in a downstairs flat. She visits his flat, where he shows her black-and-white films that were taken of him when he was a child. She is horrified to see that his father used him as a guinea pig in various experiments, taking movies of his reactions of fear."
In all honesty, I'd never even heard of this film until I happened across it in a bit of research. According to some of what I've read, the story essentially hamstrung an otherwise fairly storied professional career of director Michael Powell, pretty much getting the fellow kinda/sorta blacklisted from the industry owed to the picture's "depiction of violence and its lurid sexual content" (per Google.com search). The flick is, largely, considered a box office flop; but I've also read that it's credited with 'inventing' the whole Slasher sub-genre of Horror. I guess if you're going to go down in history, then let's make it a big one, am I right?
As tends to happen over time when a picture is a bit misunderstood in its infancy, Peeping Tom has gone on to develop a somewhat revered reputation. A review on the popular website Rotten Tomatoes even states that the feature is a "landmark in voyeuristic cinema."
-- EZ
Lo and behold ... it was on this day in the United Kingdom all the way back in the year 1960 in which the good people of London were treated to an exclusive theatrical premiere engagement when Peeping Tom thrilled and chilled watchers on the silver screen.
Directed by Michael Powell from a story by Leo Marks, the Slasher/Horror starred Karlheinz Böhm, Anna Massey, Moira Shearer, Maxine Audley, Miles Malleson, Esmond Knight, Martin Miller, Michael Goodliffe, Jack Watson, and more. According to our friends at IMDB.com, here's the plot summary:
"Mark Lewis, works as a focus puller in a British film studio. On his off hours, he supplies a local porno shop with cheesecake photos and also dabbles in filmmaking. A lonely, unfriendly, sexually repressed fellow, Mark is obsessed with the effects of fear and how they are registered on the face and behavior of the frightened. This obsession dates from the time when, as a child, he served as the subject of some cold-blooded experiments in terror conducted by his own scientist father. As a grown man, Mark becomes a compulsive murderer who kills women and records their contorted features and dying gasps on film. His ongoing project is a documentary on fear. With 16mm camera in hand, he accompanies a prostitute to her room and stabs her with a blade concealed in his tripod, all the while photographing her contorted face in the throes of terror and death. Alone in his room, he surrounds himself with the sights and sounds of terror: taped screams, black-and-white "home movies" of convulsed faces. At his house, he meets Helen Stephens, a young woman who lives with her blind mother in a downstairs flat. She visits his flat, where he shows her black-and-white films that were taken of him when he was a child. She is horrified to see that his father used him as a guinea pig in various experiments, taking movies of his reactions of fear."
In all honesty, I'd never even heard of this film until I happened across it in a bit of research. According to some of what I've read, the story essentially hamstrung an otherwise fairly storied professional career of director Michael Powell, pretty much getting the fellow kinda/sorta blacklisted from the industry owed to the picture's "depiction of violence and its lurid sexual content" (per Google.com search). The flick is, largely, considered a box office flop; but I've also read that it's credited with 'inventing' the whole Slasher sub-genre of Horror. I guess if you're going to go down in history, then let's make it a big one, am I right?
As tends to happen over time when a picture is a bit misunderstood in its infancy, Peeping Tom has gone on to develop a somewhat revered reputation. A review on the popular website Rotten Tomatoes even states that the feature is a "landmark in voyeuristic cinema."
-- EZ
- Published on
(NOTE: The following review will contain minor spoilers necessary solely for the discussion of plot and/or characters. If you’re the type of reader who prefers a review entirely spoiler-free, then I’d encourage you to skip down to the last few paragraphs for the final assessment. If, however, you’re accepting of a few modest hints at ‘things to come,’ then read on …)
From the film’s IMDB.com page citation:
“Follows a criminal who has a deformed hand grafted onto his body after losing an arm, only for the hand to take on a monstrous will of its own.”
In early October of 2024, Cleopatra Entertainment announced via Deadline that they had snatched up the North American rights to distribute The Beast Hand (2024) before it had grasped audiences by the throat (not literally) with its unveiling at the Sitges Fantastic Film Festival; and – quite frankly – who could blame them? Writer/director Coralie Fargeat had set the critical world ablaze with her much-heralded The Substance (2024) – a kinda/sorta comeback film for the underappreciated Demi Moore – at Cannes that year; so anything that even remotely took an honest stab into the world of Body Horror was considered a ‘safe bet.’ While I’m not complaining, I’ll also suggest that perhaps a bit of restraint could’ve been helpful.
Though Hand certainly points its spindly fingers in the proper direction to stand beside The Substance, it’s also a bit ambiguous (until fairly late in the picture) as to how and why such body transmogrification comes from and (more importantly) evolves. Mind you: there’s never any doubt as to those particulars when it comes to what the slowly-fading celebrity sells her soul for in The Substance, and a bit of exposition in the right place at the right time might’ve helped alleviate a bit of the confusion when our victim – Osamu Kogure (played by Takahiro Fukuya) – starts to, literally, sprout something equally macabre from where his all-new left hand emerges. The Japanese has always had a fascination with tentacle porn, so – ahem – maybe that accounts for why it was left a bit curious. Since I don’t share their enthusiasm for having snake-like tendrils wrapped about my junk, I sensed something might’ve been lost in translation here just a bit.
Osamu eeks out a near-homeless existence, jumping from one odd job to the next while holing up in what appears to be a condemned building on the outskirts of a big city. Eventually, an old criminal acquaintance of his shows up unexpectedly – Inui (Yota Kawase) – who also happens to be on-the-run for breaking out of incarceration and avoiding his parole officer. Now that they’ve teamed up once more, Osamu would like nothing better to tackle some profitable petty crime; and yet Inui won’t do anything until he rekindles his sexually-violent relationship with the young Koyuki (Misa Wada). Luckily, our lead knows right where she is – even though she’s changed her appearance via plastic surgery in order to avoid being found – and this opens the door to some pretty vicious sexual encounters that confirm Inui is no one to be trifled with.
From the film’s IMDB.com page citation:
“Follows a criminal who has a deformed hand grafted onto his body after losing an arm, only for the hand to take on a monstrous will of its own.”
In early October of 2024, Cleopatra Entertainment announced via Deadline that they had snatched up the North American rights to distribute The Beast Hand (2024) before it had grasped audiences by the throat (not literally) with its unveiling at the Sitges Fantastic Film Festival; and – quite frankly – who could blame them? Writer/director Coralie Fargeat had set the critical world ablaze with her much-heralded The Substance (2024) – a kinda/sorta comeback film for the underappreciated Demi Moore – at Cannes that year; so anything that even remotely took an honest stab into the world of Body Horror was considered a ‘safe bet.’ While I’m not complaining, I’ll also suggest that perhaps a bit of restraint could’ve been helpful.
Though Hand certainly points its spindly fingers in the proper direction to stand beside The Substance, it’s also a bit ambiguous (until fairly late in the picture) as to how and why such body transmogrification comes from and (more importantly) evolves. Mind you: there’s never any doubt as to those particulars when it comes to what the slowly-fading celebrity sells her soul for in The Substance, and a bit of exposition in the right place at the right time might’ve helped alleviate a bit of the confusion when our victim – Osamu Kogure (played by Takahiro Fukuya) – starts to, literally, sprout something equally macabre from where his all-new left hand emerges. The Japanese has always had a fascination with tentacle porn, so – ahem – maybe that accounts for why it was left a bit curious. Since I don’t share their enthusiasm for having snake-like tendrils wrapped about my junk, I sensed something might’ve been lost in translation here just a bit.
Osamu eeks out a near-homeless existence, jumping from one odd job to the next while holing up in what appears to be a condemned building on the outskirts of a big city. Eventually, an old criminal acquaintance of his shows up unexpectedly – Inui (Yota Kawase) – who also happens to be on-the-run for breaking out of incarceration and avoiding his parole officer. Now that they’ve teamed up once more, Osamu would like nothing better to tackle some profitable petty crime; and yet Inui won’t do anything until he rekindles his sexually-violent relationship with the young Koyuki (Misa Wada). Luckily, our lead knows right where she is – even though she’s changed her appearance via plastic surgery in order to avoid being found – and this opens the door to some pretty vicious sexual encounters that confirm Inui is no one to be trifled with.
While Inui is away scouting for criminal opportunities that will give them the money they all seek, the captive Koyuki confesses her attraction for Osamu – we learn that they’ve had ‘relations’ before – and the two descend into a bit of a slugfest that blossoms into some aggressive lovemaking. Confiding in one another that perhaps they can score a big payday and eventually escape the clutches of Inui, they’re willing to risk just about anything for a chance at freedom. So when the gang leader returns with news of a factory payroll that’s ripe for the taking, they’re all too happy to join him in this quest … and, yes, this is where everything goes from bad to worse in the blink of an eye.
At the factory, Inui and Osamu find themselves cornered by the gang of hardened criminals that Inui had secretly learned of the forthcoming payroll from, and those bandits take the cash. Then – as a penance for trying to exploit their territory – they shoot Inui in the head. Another culprit produces a ninja blade, and he quickly hacks Osamu’s left arm off at the elbow in what he believes is a fitting punishment for a thief. The crooks leave our main character for dead, but he’s discovered by Koyuki. The lady hauls him to an underworld doctor who, interestingly enough, might just have a ‘cure’ for Osamu’s injury.
Essentially, this is the set-up for the remainder of the film that follows, a technique not all that different from other conventional Body Horrors (if there is such a thing). The problem so far as I see it is that typically such stories are meant to expand upon a central character’s shortcomings or disappointments with himself (or herself) or the world-at-large. For example, Elisabeth Sparkle (from the aforementioned The Substance) emotionally struggles with the reality that an older and less-flattering celebrity – what she’s aging into – has few (if any) chances to monopolize the cultural spotlight; and it’s this set of circumstances that compel her to investigate that film’s fountain of youth. The audience is brought on this journey, and they’re given a front-row-seat to the litany of consequences both the young and old Sparkle endure.
Sadly, it’s that same connective tissue that’s missing from the center of The Beast Hand.
As best as can explain, the Hand itself takes charge of Osamu’s conscious self at times when he’s taxed emotionally, physically, or psychologically. Not unlike how Bruce Banner’s anger brings out The Incredible Hulk in him, our petty thief unlocks this ultimate primal entity inside whenever the routine elements of his life now conspire against him. Those same hangups before this new appendage is attached? Ah, they just pinned a good man down. Now that he’s been genetically upgraded with such cryptic medicine, he’s a nearly unstoppable force, one which even appears immortal at times.
While it would be easy to attribute Osamu’s fate – this beastly arm has a mind, hunger, and lethality all of its own – to his actively living a life of crime, the same could be said had he not dabbled in such fringe science and instead learned to get by without the creepy appendage in the first place. Granted, the comeuppance suffered would’ve been far more conventional, but audiences could’ve received much of the same narrative message had this film learned more toward Drama than it did Horror. Arguably, Fukuya and Wada have the chops to handle that journey – they do so here but take second seat to some low-rent special effects – and not a great deal would’ve been lost.
At the factory, Inui and Osamu find themselves cornered by the gang of hardened criminals that Inui had secretly learned of the forthcoming payroll from, and those bandits take the cash. Then – as a penance for trying to exploit their territory – they shoot Inui in the head. Another culprit produces a ninja blade, and he quickly hacks Osamu’s left arm off at the elbow in what he believes is a fitting punishment for a thief. The crooks leave our main character for dead, but he’s discovered by Koyuki. The lady hauls him to an underworld doctor who, interestingly enough, might just have a ‘cure’ for Osamu’s injury.
Essentially, this is the set-up for the remainder of the film that follows, a technique not all that different from other conventional Body Horrors (if there is such a thing). The problem so far as I see it is that typically such stories are meant to expand upon a central character’s shortcomings or disappointments with himself (or herself) or the world-at-large. For example, Elisabeth Sparkle (from the aforementioned The Substance) emotionally struggles with the reality that an older and less-flattering celebrity – what she’s aging into – has few (if any) chances to monopolize the cultural spotlight; and it’s this set of circumstances that compel her to investigate that film’s fountain of youth. The audience is brought on this journey, and they’re given a front-row-seat to the litany of consequences both the young and old Sparkle endure.
Sadly, it’s that same connective tissue that’s missing from the center of The Beast Hand.
As best as can explain, the Hand itself takes charge of Osamu’s conscious self at times when he’s taxed emotionally, physically, or psychologically. Not unlike how Bruce Banner’s anger brings out The Incredible Hulk in him, our petty thief unlocks this ultimate primal entity inside whenever the routine elements of his life now conspire against him. Those same hangups before this new appendage is attached? Ah, they just pinned a good man down. Now that he’s been genetically upgraded with such cryptic medicine, he’s a nearly unstoppable force, one which even appears immortal at times.
While it would be easy to attribute Osamu’s fate – this beastly arm has a mind, hunger, and lethality all of its own – to his actively living a life of crime, the same could be said had he not dabbled in such fringe science and instead learned to get by without the creepy appendage in the first place. Granted, the comeuppance suffered would’ve been far more conventional, but audiences could’ve received much of the same narrative message had this film learned more toward Drama than it did Horror. Arguably, Fukuya and Wada have the chops to handle that journey – they do so here but take second seat to some low-rent special effects – and not a great deal would’ve been lost.
In fact, I’d insist that the only thing that makes perfect sense in the examination of these murky lives is the fact that they’re both willing and able to set aside the imperfections of the world outside and, simply, remain a pair. Certainly, they seem thrown together more out of expediency’s sake than they do true love; and yet they’ve found a way to keep struggling on behalf of their union as opposed to both throwing in the towel. Yes, it would’ve been a different movie; but as an indie-style Drama it could’ve covered almost everything as set in motion by Yasunori Kasuga’s script and Taichiro Natsume’s direction.
Of course, that isn’t the film delivered.
Instead, our heroes (???) find themselves hunted by a renegade cop whose gangland boss wants that devilish hand back because it can be used for much nastier business. As such, Hand evolves into a race-against-time to avoid capture, something that I think audiences knew damn well was going to happen once it was introduced into the plot. Then it tries to pivot again – albeit briefly – into a diatribe about the need to extract (bloody) vengeance, a turn that also feels all-too-obvious. The fact that Koyuki’s pregnancy gets shortchanged with little more than an after-the-credits sequence shows either no one was really interested in exploring anything remotely original here or the available budget didn’t make a real outcome fiscally possible.
The Beast Hand was produced by Takahiro Fukuya. DVD distribution (for this particular release) has been coordinated by the fine folks at Cleopatra Entertainment (via MVD Visual Entertainment Group). As for the technical specifications? While I’m no trained video expert, I can still confirm that this one has all of the looks and sounds of independent cinema, meaning that the effects and splatterwork involved with this story are a bit underwhelming but serviceable. Lastly, if you’re looking for Special Features? Well, there are some promotional bits related to the theatrical trailers, but that’s all they provided. A bit … shorthanded … if you ask me.
Mildly Recommended.
Despite some decidedly low budget looks to it, The Beast Hand might still succeed if it’s embraced by those who like me appreciate indie flicks … because that’s clearly what this is. It lacks the big bucks that could’ve made the Hand itself a bit more ominous and maybe even a bit of the Horror-fueled sequences a bit more frenetic. What there is works but only if you’re willing to suspend your disbelief and you’re willing to stick with the characters. I did care about them through the long and the short of it all, and that has to count for something.
In the interests of fairness, I’m pleased to disclose that the fine folks at Cleopatra Entertainment (via MVD Visual Entertainment Group) provided me with a complimentary Blu-ray of The Beast Hand (2024) by request for the expressed purpose of completing this review. Their contribution to me in no way, shape, or form influenced my opinion of it.
-- EZ
Of course, that isn’t the film delivered.
Instead, our heroes (???) find themselves hunted by a renegade cop whose gangland boss wants that devilish hand back because it can be used for much nastier business. As such, Hand evolves into a race-against-time to avoid capture, something that I think audiences knew damn well was going to happen once it was introduced into the plot. Then it tries to pivot again – albeit briefly – into a diatribe about the need to extract (bloody) vengeance, a turn that also feels all-too-obvious. The fact that Koyuki’s pregnancy gets shortchanged with little more than an after-the-credits sequence shows either no one was really interested in exploring anything remotely original here or the available budget didn’t make a real outcome fiscally possible.
The Beast Hand was produced by Takahiro Fukuya. DVD distribution (for this particular release) has been coordinated by the fine folks at Cleopatra Entertainment (via MVD Visual Entertainment Group). As for the technical specifications? While I’m no trained video expert, I can still confirm that this one has all of the looks and sounds of independent cinema, meaning that the effects and splatterwork involved with this story are a bit underwhelming but serviceable. Lastly, if you’re looking for Special Features? Well, there are some promotional bits related to the theatrical trailers, but that’s all they provided. A bit … shorthanded … if you ask me.
Mildly Recommended.
Despite some decidedly low budget looks to it, The Beast Hand might still succeed if it’s embraced by those who like me appreciate indie flicks … because that’s clearly what this is. It lacks the big bucks that could’ve made the Hand itself a bit more ominous and maybe even a bit of the Horror-fueled sequences a bit more frenetic. What there is works but only if you’re willing to suspend your disbelief and you’re willing to stick with the characters. I did care about them through the long and the short of it all, and that has to count for something.
In the interests of fairness, I’m pleased to disclose that the fine folks at Cleopatra Entertainment (via MVD Visual Entertainment Group) provided me with a complimentary Blu-ray of The Beast Hand (2024) by request for the expressed purpose of completing this review. Their contribution to me in no way, shape, or form influenced my opinion of it.
-- EZ
- Published on
Yes, yes, and yes, readers. I have seen the 'all-new' Superman Preview Trailer that was spawned on the Information Superhighway just yesterday. Thanks for all of your emails to let me know that it was out there, but I think I'd seen it well before anyone thought they were scooping it for me. But -- as always -- THANK YOU for thinking of me and SciFiHistory.Net.
Ach ... here's the thing ...
Even though I'd admittedly one of the world's biggest Superman fans, I'm still finding it really hard to get all that excited about this one. There isn't any single reason, frankly, and it's probably something so complex that I'd struggle putting it into exact words. Some of it is owed to James Gunn -- as talented as he may be, I'm not convinced that he's the right person for a property as mythic as is Big Blue. Some of it is owed to the fact that I'm not all that impressed with the visuals we've seen -- as I tend to remind regular readers of this space, I'm much more of a story guy, meaning that even bad characterization can work if the story is grand enough, and the snippets released so far don't give me any sense of the overall narrative. And, sure, some of it is owed to the fact that like some of you I was much more interested in seeing where Zack Snyder appeared to be headed with his Man Of Steel, Batman V Superman, and Justice League plotlines: now that's been stalled in progress, it's hard not to feel some disappointment.
Ultimately, this is one of those "it is what it is" things; and -- for now -- I'm happily leaving it at that.
But as the 'Sneak Preview Trailer' hit the World Wide Web, I thought I'd go ahead and post it here along with these few humble words. I really do hope it succeeds this summer in bringing back the world's best superhero in just the way he deserves; and I'll keep my fingers crossed that Gunn gets it right once I see it for myself.
-- EZ
Ach ... here's the thing ...
Even though I'd admittedly one of the world's biggest Superman fans, I'm still finding it really hard to get all that excited about this one. There isn't any single reason, frankly, and it's probably something so complex that I'd struggle putting it into exact words. Some of it is owed to James Gunn -- as talented as he may be, I'm not convinced that he's the right person for a property as mythic as is Big Blue. Some of it is owed to the fact that I'm not all that impressed with the visuals we've seen -- as I tend to remind regular readers of this space, I'm much more of a story guy, meaning that even bad characterization can work if the story is grand enough, and the snippets released so far don't give me any sense of the overall narrative. And, sure, some of it is owed to the fact that like some of you I was much more interested in seeing where Zack Snyder appeared to be headed with his Man Of Steel, Batman V Superman, and Justice League plotlines: now that's been stalled in progress, it's hard not to feel some disappointment.
Ultimately, this is one of those "it is what it is" things; and -- for now -- I'm happily leaving it at that.
But as the 'Sneak Preview Trailer' hit the World Wide Web, I thought I'd go ahead and post it here along with these few humble words. I really do hope it succeeds this summer in bringing back the world's best superhero in just the way he deserves; and I'll keep my fingers crossed that Gunn gets it right once I see it for myself.
-- EZ
- Published on
Undoubtedly, 1980’s audiences were hungry for cinematic Fantasy.
A great deal of this fascination is owed to the emergence and general box office success of Star Wars (1977). Writer/director George Lucas brought whole new worlds to life by pushing an evolution of special effects that hadn’t quite been seen before; and the fact that such creatures and places and objects could be placed believably up on the silver screen prompted like-minded storytellers to open their own respective floodgates. Granted, this trend forced studios and independent filmmakers to commit to bigger and bolder budgets; and yet moviegoers back in the day seemed happy to part with a bit of their spending cash in exchange for being transported to galaxies and historical eras far, far away all for a healthy bit of escapism.
It really wasn’t until the respectable success of 1982’s Conan The Barbarian that authentic ‘Sword and Sorcery’ Fantasy took hold in our collective consciousness. Written (in part) and directed by John Milius, the film brought the much-beloved warrior drawn from the pages of author Robert E. Howard’s stories to life in bloody yet sexy fashion, giving a younger athlete-turned-actor Arnold Schwarzenegger his first real breakout role in cinemas. Like Star Wars spurred interest in Space Fantasy, Conan did likewise with its little corner of the theatrical universe, meaning that – yes – big and little imitators followed in its wake over the next several years.
One property that I believe Fantasy fans had high hopes for was the theatrical adaptations from the Gor universe. Originally written by John Norman (aka John Lange), the world of Gor combined elements of several Earth cultures in crafting the people of the distant planet, one where – ahem – a bit of sexism and misogyny were more than a bit of the norm. As the saying goes, “men were men, and women were women,” and there wasn’t room in this tiny little rest top of the galaxy for anything other than sex and violence with a bit of commerce – mostly involving sex and violence – in the process. It was a sweaty, sensual, and swinging enterprise; and even Wikipedia.org reports that amongst its most ardent fans the books inspired their own – ahem – unique subculture. Rest assured, all of it relied on dominance and submission, so to each their own.
The first film – Gor – arrived in 1987; and a second – Outlaw Of Gor (aka Gor II) (aka Outlaw) – followed in 1988/1989 (the release citations are a bit unclear). While I watched them both on home video back in the day – and, frankly, I don’t remember thinking all that much of them – I wanted to revisit them separately for the site.
A great deal of this fascination is owed to the emergence and general box office success of Star Wars (1977). Writer/director George Lucas brought whole new worlds to life by pushing an evolution of special effects that hadn’t quite been seen before; and the fact that such creatures and places and objects could be placed believably up on the silver screen prompted like-minded storytellers to open their own respective floodgates. Granted, this trend forced studios and independent filmmakers to commit to bigger and bolder budgets; and yet moviegoers back in the day seemed happy to part with a bit of their spending cash in exchange for being transported to galaxies and historical eras far, far away all for a healthy bit of escapism.
It really wasn’t until the respectable success of 1982’s Conan The Barbarian that authentic ‘Sword and Sorcery’ Fantasy took hold in our collective consciousness. Written (in part) and directed by John Milius, the film brought the much-beloved warrior drawn from the pages of author Robert E. Howard’s stories to life in bloody yet sexy fashion, giving a younger athlete-turned-actor Arnold Schwarzenegger his first real breakout role in cinemas. Like Star Wars spurred interest in Space Fantasy, Conan did likewise with its little corner of the theatrical universe, meaning that – yes – big and little imitators followed in its wake over the next several years.
One property that I believe Fantasy fans had high hopes for was the theatrical adaptations from the Gor universe. Originally written by John Norman (aka John Lange), the world of Gor combined elements of several Earth cultures in crafting the people of the distant planet, one where – ahem – a bit of sexism and misogyny were more than a bit of the norm. As the saying goes, “men were men, and women were women,” and there wasn’t room in this tiny little rest top of the galaxy for anything other than sex and violence with a bit of commerce – mostly involving sex and violence – in the process. It was a sweaty, sensual, and swinging enterprise; and even Wikipedia.org reports that amongst its most ardent fans the books inspired their own – ahem – unique subculture. Rest assured, all of it relied on dominance and submission, so to each their own.
The first film – Gor – arrived in 1987; and a second – Outlaw Of Gor (aka Gor II) (aka Outlaw) – followed in 1988/1989 (the release citations are a bit unclear). While I watched them both on home video back in the day – and, frankly, I don’t remember thinking all that much of them – I wanted to revisit them separately for the site.
(NOTE: The following review will contain minor spoilers necessary solely for the discussion of plot and/or characters. If you’re the type of reader who prefers a review entirely spoiler-free, then I’d encourage you to skip down to the last few paragraphs for the final assessment. If, however, you’re accepting of a few modest hints at ‘things to come,’ then read on …)
From the film’s IMDB.com page citation:
“An Earthman returns to the planet Gor, and fights against tyranny.”
There’s nothing wrong with a bit of role play in one’s life, and – on some level – I kinda/sorta sense that all of the greater Gor mythology – of which Outlaw certainly qualifies – might gently feed into that sentiment. How else does one conceive of taking a somewhat average Earth male, teleport him to the other side of the Milky Way, dress him in loincloths, shack him up with a beauty queen, and make him a hero? Although there’s a healthy dose of sexism added to the mix – the kind of which likely couldn’t be done in today’s sensitive climate – Outlaw Of Gor still functions on that simple plane of existence, never coloring outside the lines even faintly.
In this entirely unnecessary sequel to Gor (1987), Tarl Cabot (played by Urbano Barberini) is catapulted via a magic ring back to an existence where swords, sorcery, and swagger are the norm. This time, he inadvertently brings along a fellow professor and obnoxious drinking buddy – Watney Smith (Russel Savadier) – to give him a kinda/sorta sidekick (but one with duplicitous intent, it would seem) who can take part in some political shenanigans amongst the royal elite. It would seem that King Marlenus (Larry Taylor) has taken a bride – Lara (Donna Denton) – but the lady has her eyes on seizing the throne for no stated purpose other than … well … it’s what she wants, I guess.
So, thankfully, Outlaw at least tries to evolve a bit from that blatantly sexist foundation of the Norman novels: these women – including Cabot’s lovely Talena (Playboy’s Playmate Of The Month June 1986 Rebecca Ferratti) – aren’t exactly going ‘quietly into submission.’ Sure, they probably wanna play between the sheets when its called for in the script credited to Harry Alan Towers and Rick Marx; but a small handful of them are ready, willing, and able to engage in some nasty fisticuffs in the combat arena when the time comes, too. Yes, the fight choreography is a fit laughable, but – hey – kudos for stepping up to the plate and taking a shot, am I right?
As happens in stories of this type, Marlenus is killed; and – you guessed it – circumstances conspire so that Cabot is framed for the murder, putting him at odds with the good people of Gor and requiring that he take it on the lam. However, once Queen Lara realizes that perhaps ruling her kingdom would be easier with that hunky professor at her side instead of risking his being turned into a martyr, she dispatches the hunter Ost (Tullio Moneta) to brave the wastelands and bring him back alive.
From the film’s IMDB.com page citation:
“An Earthman returns to the planet Gor, and fights against tyranny.”
There’s nothing wrong with a bit of role play in one’s life, and – on some level – I kinda/sorta sense that all of the greater Gor mythology – of which Outlaw certainly qualifies – might gently feed into that sentiment. How else does one conceive of taking a somewhat average Earth male, teleport him to the other side of the Milky Way, dress him in loincloths, shack him up with a beauty queen, and make him a hero? Although there’s a healthy dose of sexism added to the mix – the kind of which likely couldn’t be done in today’s sensitive climate – Outlaw Of Gor still functions on that simple plane of existence, never coloring outside the lines even faintly.
In this entirely unnecessary sequel to Gor (1987), Tarl Cabot (played by Urbano Barberini) is catapulted via a magic ring back to an existence where swords, sorcery, and swagger are the norm. This time, he inadvertently brings along a fellow professor and obnoxious drinking buddy – Watney Smith (Russel Savadier) – to give him a kinda/sorta sidekick (but one with duplicitous intent, it would seem) who can take part in some political shenanigans amongst the royal elite. It would seem that King Marlenus (Larry Taylor) has taken a bride – Lara (Donna Denton) – but the lady has her eyes on seizing the throne for no stated purpose other than … well … it’s what she wants, I guess.
So, thankfully, Outlaw at least tries to evolve a bit from that blatantly sexist foundation of the Norman novels: these women – including Cabot’s lovely Talena (Playboy’s Playmate Of The Month June 1986 Rebecca Ferratti) – aren’t exactly going ‘quietly into submission.’ Sure, they probably wanna play between the sheets when its called for in the script credited to Harry Alan Towers and Rick Marx; but a small handful of them are ready, willing, and able to engage in some nasty fisticuffs in the combat arena when the time comes, too. Yes, the fight choreography is a fit laughable, but – hey – kudos for stepping up to the plate and taking a shot, am I right?
As happens in stories of this type, Marlenus is killed; and – you guessed it – circumstances conspire so that Cabot is framed for the murder, putting him at odds with the good people of Gor and requiring that he take it on the lam. However, once Queen Lara realizes that perhaps ruling her kingdom would be easier with that hunky professor at her side instead of risking his being turned into a martyr, she dispatches the hunter Ost (Tullio Moneta) to brave the wastelands and bring him back alive.
About the best one might say about a project as lazily assembled as Outlaw is that – minimally – it has a structure familiar enough to endear fans of such schlock. Furthermore, building such a bare bones adventure around ‘a tale as old as time’ – the politics of royals, easily identifiable good guys and bad guys, etc. – won’t tax the brainpower of the uninitiated who might stumble across such fare and stick with it longer than a few minutes. Sadly, what’s ultimately delivered flows like it had no authentic script: scenes work like they were merely thrown together with perhaps a bit of dialogue agreed upon in advance. When even a Hollywood heavyweight like the late, great Jack Palance – who plays the palace priest and spiritual advisor Xenos – seems like he’s phoning it in, we’ve charted a course for dubious returns at best.
Gor wasn’t the fantastical destination methinks audiences expected when they showed up hoping to be secreted far away from the troubles of Earth. It’s trite. It’s corny. It’s forgettable. Universal Television kinda/sorta did far more with this type of storytelling in the 1990’s when they delivered the fabulous but still sometimes campy Hercules: The Legendary Journeys to TV syndication, but such innovation was still a few years off. Even by 1980’s questionable standards, Gor limped to its finish line in this second feature; and I highly suspect no one misses it.
Outlaw Of Gor (1988) was produced by Breton Film Productions and Cannon International. A quick Google.com search confirms that the film is presently available for streaming via a variety of web platforms. As for the technical specifications? Erm … well, while I’m no trained video expert, I’m still finding this a bit tough because, frankly, the flick is so lazily assembled on damn near every level it’s hard to find anything substantive to say. Let’s just agree that it all came together and exists, but director John ‘Bud’ Cardos didn’t exactly bring his A-Game to the procedure. It’s all too cut-and-paste to truly resonate. Lastly, if you’re looking for Special Features? Alas, as I watched this one via streaming, there were no Special Features under consideration.
Not Really Recommended.
Folks! C’mon! Really! Despite striving to always have something fresh and/or positive to say about damn near everything, Outlaw Of Gor truly taxed me to the limits. Even though I enjoy a bit of throwback to the even the occasional ‘sword and sandals’ picture – of which this arguably qualifies since there’s so little true Fantasy – there’s just so little here to hang one’s hat on in any regard. While there might be a bauble here and there that shows someone in production design put in a bit of extra effort, the end result is far too plain to be taken as anything other than a disappointment. Clearly, this was conceived cheaply and like on-the-fly; and it shows at every opportunity. Sad. Predictable and sad.
In the interest of fairness, I’m pleased to disclose that I’m beholden to no one for this review of Outlaw Of Gor (aka Gor II) (1988) as I viewed it in its entirety via my very own subscription to MGM+.
-- EZ
Gor wasn’t the fantastical destination methinks audiences expected when they showed up hoping to be secreted far away from the troubles of Earth. It’s trite. It’s corny. It’s forgettable. Universal Television kinda/sorta did far more with this type of storytelling in the 1990’s when they delivered the fabulous but still sometimes campy Hercules: The Legendary Journeys to TV syndication, but such innovation was still a few years off. Even by 1980’s questionable standards, Gor limped to its finish line in this second feature; and I highly suspect no one misses it.
Outlaw Of Gor (1988) was produced by Breton Film Productions and Cannon International. A quick Google.com search confirms that the film is presently available for streaming via a variety of web platforms. As for the technical specifications? Erm … well, while I’m no trained video expert, I’m still finding this a bit tough because, frankly, the flick is so lazily assembled on damn near every level it’s hard to find anything substantive to say. Let’s just agree that it all came together and exists, but director John ‘Bud’ Cardos didn’t exactly bring his A-Game to the procedure. It’s all too cut-and-paste to truly resonate. Lastly, if you’re looking for Special Features? Alas, as I watched this one via streaming, there were no Special Features under consideration.
Not Really Recommended.
Folks! C’mon! Really! Despite striving to always have something fresh and/or positive to say about damn near everything, Outlaw Of Gor truly taxed me to the limits. Even though I enjoy a bit of throwback to the even the occasional ‘sword and sandals’ picture – of which this arguably qualifies since there’s so little true Fantasy – there’s just so little here to hang one’s hat on in any regard. While there might be a bauble here and there that shows someone in production design put in a bit of extra effort, the end result is far too plain to be taken as anything other than a disappointment. Clearly, this was conceived cheaply and like on-the-fly; and it shows at every opportunity. Sad. Predictable and sad.
In the interest of fairness, I’m pleased to disclose that I’m beholden to no one for this review of Outlaw Of Gor (aka Gor II) (1988) as I viewed it in its entirety via my very own subscription to MGM+.
-- EZ
- Published on
(NOTE: The following review will contain minor spoilers necessary solely for the discussion of plot and/or characters. If you’re the type of reader who prefers a review entirely spoiler-free, then I’d encourage you to skip down to the last few paragraphs for the final assessment. If, however, you’re accepting of a few modest hints at ‘things to come,’ then read on …)
From the film’s IMDB.com page citation:
“The hapless heroine Agnes is reincarnated every time she makes the same mistake: falling in love with the wrong man.”
For the life of me, I couldn’t figure out where I’d heard the name Alice Lowe before.
Oh, it isn’t as if I’ve seen here in a ton of things. Frankly, I don’t watch a good deal of British television or movies – not because I don’t like them but because I’m on the U.S. side of the pond wherein I don’t have a great deal of access to them. Still, I watched Timestalker (2024) – a solid, funny, and surprisingly thought-provoking (in small ways) yarn about mismatched lovers meeting, dying, then meeting again across multiple reincarnations – and I just couldn’t quite put my finger on the familiarity of Lowe’s features. I knew I’d watched her in something that I absolutely loved, but it escaped me.
Now, in fairness, that could be owed in part to the fact that the talented and much decorated actress reinvents herself in several roles across the flick’s 90-minute running time. She starts out as some emotionally distance French noble from a few millennia back; and across several costume changes she brings herself – with slightly different make-up, hair, and (obviously) outfits corresponding to the wackiest designs of these various eras – from the past, to the present, and into the not-too-distant future. But those eyes? That feminine jawline? That ‘aren’t I important’ speaking tone? I knew it, but I couldn’t place where.
Well, thank goodness for a resource like IMDB.com because they figured it out for me: Lowe played the irrepressible ‘Dr. Liz Asher’ – in one of her very first roles – aboard the hilariously funny Garth Marenghi’s Darkplace, a BBC sitcom mocking overwrought medical procedurals – with a healthy helping of Horror – back in 2004. If you haven’t seen it, then stop what you’re doing right now and correct that oversight. She’s absolutely delightful in it – along with the entire ensemble – and it’s arguably one of the craziest things ever done for broadcast television. And while I have seen her in other projects, I really don’t think I’ve had the chance to truly see her as front-and-center as she is here in a film that she starred, wrote, and directed. Hats off to a talented gal!
From the film’s IMDB.com page citation:
“The hapless heroine Agnes is reincarnated every time she makes the same mistake: falling in love with the wrong man.”
For the life of me, I couldn’t figure out where I’d heard the name Alice Lowe before.
Oh, it isn’t as if I’ve seen here in a ton of things. Frankly, I don’t watch a good deal of British television or movies – not because I don’t like them but because I’m on the U.S. side of the pond wherein I don’t have a great deal of access to them. Still, I watched Timestalker (2024) – a solid, funny, and surprisingly thought-provoking (in small ways) yarn about mismatched lovers meeting, dying, then meeting again across multiple reincarnations – and I just couldn’t quite put my finger on the familiarity of Lowe’s features. I knew I’d watched her in something that I absolutely loved, but it escaped me.
Now, in fairness, that could be owed in part to the fact that the talented and much decorated actress reinvents herself in several roles across the flick’s 90-minute running time. She starts out as some emotionally distance French noble from a few millennia back; and across several costume changes she brings herself – with slightly different make-up, hair, and (obviously) outfits corresponding to the wackiest designs of these various eras – from the past, to the present, and into the not-too-distant future. But those eyes? That feminine jawline? That ‘aren’t I important’ speaking tone? I knew it, but I couldn’t place where.
Well, thank goodness for a resource like IMDB.com because they figured it out for me: Lowe played the irrepressible ‘Dr. Liz Asher’ – in one of her very first roles – aboard the hilariously funny Garth Marenghi’s Darkplace, a BBC sitcom mocking overwrought medical procedurals – with a healthy helping of Horror – back in 2004. If you haven’t seen it, then stop what you’re doing right now and correct that oversight. She’s absolutely delightful in it – along with the entire ensemble – and it’s arguably one of the craziest things ever done for broadcast television. And while I have seen her in other projects, I really don’t think I’ve had the chance to truly see her as front-and-center as she is here in a film that she starred, wrote, and directed. Hats off to a talented gal!
Initially, Timestalker – what with the title alone – billed to me as a Science Fiction-concept Comedy; and I need to set the record straight: there is absolutely very, very, very little about this that’s even remotely SciFi. Truly, the only thing that even tangentially qualifies would be the fact that the picture’s closing sequence takes place in a somewhat Dystopian future where – ahem – street dancers team up to fight ‘the Establishment’ with little more than sticks, stones, clubs, and anything else they can still get their hands on as weapons. Otherwise, Timestalker – which is a Comedy and a pretty good one, at that – is more of Fantasy, one that posits not only does reincarnation exist but also so does a wicked type of existential karma which keeps putting the same souls together – for better or for worse – across the ages.
In other words, imagine that you were – say – Cleopatra, and in your past you were killed by your one true love Mark Antony (instead of committing suicide-by-snake, as they say). Basically, the galaxy’s rules would require that – throughout the ages – you would met up in new forms again and again and again until you resolved whatever empirical angst had originally bound you together in time. This is the fabric around which Timestalker wraps itself – with a bit of a twist I won’t spoil. The clever recipe has the many faces of Lowe (or Agnes, as she’s named) swooning over the many faces of Alex (played by Aneurin Barnard) because she insists they’re ‘destined’ to be when all of the chronological evidence kinda/sorta keeps demonstrating otherwise.
Like a great many of British theatrical comedies do, Timestalker operates on an episodic construct. Principally, this story unfolds across the ages via these little vignettes, wherein the picture’s ensemble of talent keeps crossing paths in ways. Oft times, they’re friends (of a sort), but even though there might be a hint of affection one to another what truly evades resolution is True Love. Lowe’s script matches them up in several different ways – consensual, not so much so, heterosexual, homosexual, etc. – and it’s all of somewhat magical, mystical tapestry that doesn’t so much tug at one’s heartstrings as it reaches for bolder and bolder laughs. While it may not always work, there’s clearly been a good deal of thought put into its various layers – as well as their construction – so much so that I wonder if it might inevitably be the kind of story that needs a bit of time to be appreciated, to perhaps build a cult audience which understands and revels in its fantasy.
Still, come the end of it all, I’m left with the question of what it all means?
In other words, imagine that you were – say – Cleopatra, and in your past you were killed by your one true love Mark Antony (instead of committing suicide-by-snake, as they say). Basically, the galaxy’s rules would require that – throughout the ages – you would met up in new forms again and again and again until you resolved whatever empirical angst had originally bound you together in time. This is the fabric around which Timestalker wraps itself – with a bit of a twist I won’t spoil. The clever recipe has the many faces of Lowe (or Agnes, as she’s named) swooning over the many faces of Alex (played by Aneurin Barnard) because she insists they’re ‘destined’ to be when all of the chronological evidence kinda/sorta keeps demonstrating otherwise.
Like a great many of British theatrical comedies do, Timestalker operates on an episodic construct. Principally, this story unfolds across the ages via these little vignettes, wherein the picture’s ensemble of talent keeps crossing paths in ways. Oft times, they’re friends (of a sort), but even though there might be a hint of affection one to another what truly evades resolution is True Love. Lowe’s script matches them up in several different ways – consensual, not so much so, heterosexual, homosexual, etc. – and it’s all of somewhat magical, mystical tapestry that doesn’t so much tug at one’s heartstrings as it reaches for bolder and bolder laughs. While it may not always work, there’s clearly been a good deal of thought put into its various layers – as well as their construction – so much so that I wonder if it might inevitably be the kind of story that needs a bit of time to be appreciated, to perhaps build a cult audience which understands and revels in its fantasy.
Still, come the end of it all, I’m left with the question of what it all means?
Don’t misunderstand: I have a habit of overthinking Comedies, which is why I honestly find so few of them funny. But the concept here – the idea of wrongs being righted and rights being wronged across reincarnated denizens – had me wondering if there was some central message worth plucking from the wisdom. Are we all inconceivably welded together in the vastness of the cosmos in such a way that we’re sentenced to meet the same faces, cross the same bridges, make the same mistakes until we somehow make sense of it all? Is it only through the achievement of such wisdom that we finally are rewarded with transcendence and allowed to crossover out of this forever winding road into the truest Beyond there is? If you’re anything like me, then Lowe will have you questioning your existence … and she might even be warning you not to take any of what truly ails you all that seriously. Eventually, you’ll fix it … so why lose sleep over it today?
Timestalker (2024) was produced by Western Edge Pictures, British Film Institute (BFI), Ffilm Cymru Wales, Head Gear Films, Metrol Technology, and Popcorn Group. DVD distribution (for this particular release) has been coordinated by the fine folks at Level 33 Entertainment. As for the technical specifications? While I’m no trained video expert, I still found the provided sights and sounds to be pretty damn exceptional from start-to-finish. There’s a bit of in-camera trickery here and there, but it all looks very good. Lastly, if you’re looking for special features? Well, sadly, there isn’t a single one … and that’s a big miss. Disappointed that there isn’t even an interview as it would’ve been grand to hear something from Lowe, at least.
Recommended.
While I enjoyed Timestalker (2024) quite a bit, I can’t ignore the fact that its highly episodic narrative feels more like something that originated as part of some idea for a comedy skit/sketch show but was held back because someone – probably writer/director Lowe – felt it deserved theatrical treatment. Meh. Of course, it’s clever to see this wandering, lost souls colliding with one another throughout the ages; but that can’t escape that fact that at Lowe’s design it all leads to little more than a somewhat predictable punchline, one that underscores the futility of really doing anything to fundamentally reshape one’s destiny. We’re all cursed, after all, so why bother?
In the interests of fairness, I’m pleased to disclose that the fine folks at Level 33 Entertainment (via Allied Vaughn) provided me with a complimentary DVD of Timestalker (2024) by request for the expressed purpose of completing this review. Their contribution to me in no way, shape, or form influenced my opinion of it.
-- EZ
Timestalker (2024) was produced by Western Edge Pictures, British Film Institute (BFI), Ffilm Cymru Wales, Head Gear Films, Metrol Technology, and Popcorn Group. DVD distribution (for this particular release) has been coordinated by the fine folks at Level 33 Entertainment. As for the technical specifications? While I’m no trained video expert, I still found the provided sights and sounds to be pretty damn exceptional from start-to-finish. There’s a bit of in-camera trickery here and there, but it all looks very good. Lastly, if you’re looking for special features? Well, sadly, there isn’t a single one … and that’s a big miss. Disappointed that there isn’t even an interview as it would’ve been grand to hear something from Lowe, at least.
Recommended.
While I enjoyed Timestalker (2024) quite a bit, I can’t ignore the fact that its highly episodic narrative feels more like something that originated as part of some idea for a comedy skit/sketch show but was held back because someone – probably writer/director Lowe – felt it deserved theatrical treatment. Meh. Of course, it’s clever to see this wandering, lost souls colliding with one another throughout the ages; but that can’t escape that fact that at Lowe’s design it all leads to little more than a somewhat predictable punchline, one that underscores the futility of really doing anything to fundamentally reshape one’s destiny. We’re all cursed, after all, so why bother?
In the interests of fairness, I’m pleased to disclose that the fine folks at Level 33 Entertainment (via Allied Vaughn) provided me with a complimentary DVD of Timestalker (2024) by request for the expressed purpose of completing this review. Their contribution to me in no way, shape, or form influenced my opinion of it.
-- EZ
- Published on
in memoriam
Ach. As I've said before, folks, some of these announcements hurt much more than others; and this one is hitting real close to the bone.
The great Val Kilmer might not have been the biggest name or face in the world of genre entertainment; and yet his career was the kind of thing that fans of such style and substance truly appreciate. He invested so much of himself in transforming the faces that he played into work up there in the lights that he showed how involved he was with the craft beyond just being employed. He became some of these people for audiences who embraced his works, and that is no easy thing.
With over one hundred different screen credits to his name, his legacy should go down in history as one of the stronger talents of his generation. While I've read a few notices online suggesting that, perhaps, he wasn't as nuanced as were some of those he shared these spectacles with; I could easily -- very easily -- defuse such arguments by showing when the actor stepped up to home plate and literally knocked one out of the park even with limited screen time. I've always valued that as a measure of how great a Thespian one is; and in that regard I think Kilmer could teach his critics a thing or two.
While 1986's Top Gun isn't necessarily something that I celebrate 'round these parts, I can't help but mention that it was only just this past weekend that the wifey and I saw it on the silver screen once more in a classic showing ... and that's largely why this post hits so hard. Just days ago, his 'Iceman' was living larger than possible; and now the man behind the face is gone.
As for the realms of the Fantastic?
Again, Kilmer was no slouch. To name the greatest contributions might miss a few outside of SciFi, Fantasy, and Horror; so you'll pardon me if I throw in one or two significant other jobs because I find them deserving of mention.
Alas, none of us lasts forever ... but thankfully audiences will always have these singular stories with which to remember the man by. That has to count for something.
Our warmest prayers are extended to the family, friends, and fans of Val Kilmer.
May he rest in peace.
-- EZ
The great Val Kilmer might not have been the biggest name or face in the world of genre entertainment; and yet his career was the kind of thing that fans of such style and substance truly appreciate. He invested so much of himself in transforming the faces that he played into work up there in the lights that he showed how involved he was with the craft beyond just being employed. He became some of these people for audiences who embraced his works, and that is no easy thing.
With over one hundred different screen credits to his name, his legacy should go down in history as one of the stronger talents of his generation. While I've read a few notices online suggesting that, perhaps, he wasn't as nuanced as were some of those he shared these spectacles with; I could easily -- very easily -- defuse such arguments by showing when the actor stepped up to home plate and literally knocked one out of the park even with limited screen time. I've always valued that as a measure of how great a Thespian one is; and in that regard I think Kilmer could teach his critics a thing or two.
While 1986's Top Gun isn't necessarily something that I celebrate 'round these parts, I can't help but mention that it was only just this past weekend that the wifey and I saw it on the silver screen once more in a classic showing ... and that's largely why this post hits so hard. Just days ago, his 'Iceman' was living larger than possible; and now the man behind the face is gone.
As for the realms of the Fantastic?
Again, Kilmer was no slouch. To name the greatest contributions might miss a few outside of SciFi, Fantasy, and Horror; so you'll pardon me if I throw in one or two significant other jobs because I find them deserving of mention.
- Real Genius (1985)
- The Murders In The Rue Morgue (1986)
- Top Gun (1986)
- Willow (1988)
- Tombstone (1993)
- Batman Forever (1995)
- The Island Of Dr. Moreau (1996)
- The Saint (1997)
- Red Planet (2000)
- Spartan (2004)
- Mindhunters (2004)
- George And The Dragon (2004)
- Kiss Kiss Bang Bang (2005)
- Moscow Zero (2006)
- Knight Rider (2008-2009)
- The Thaw (2009)
- Hardwired (2009)
- B'Twixt Now And Sunrise (2011)
- Spider-Man: Edge Of Time (Video game) (2011)
- 7 Below (2012)
- The Super (2017)
- Top Gun: Maverick (2022)
Alas, none of us lasts forever ... but thankfully audiences will always have these singular stories with which to remember the man by. That has to count for something.
Our warmest prayers are extended to the family, friends, and fans of Val Kilmer.
May he rest in peace.
-- EZ
- Published on
press release
unleash 'the sword and the claw'
This special limited edition spot gloss and embossed slipcover is limited to 2,000 units and is only available on our website and at select indie retailers. Absolutely no major retailers will be stocking them.
The American Genre Film Archive (AGFA) represents the world's largest theatrical catalog of exploitation cinema. Their home video line presents a diverse selection of movies, ranging from new preservations of classics from the vast library of Something Weird to the wildest in shot-on-video (SOV) titles. Vinegar Syndrome’s sister company, OCN Distribution, is thrilled to be representing this diverse and unique home video line!
They took his money, family, and hands—but they can’t take his revenge. Exploding from the same hallucinogenic netherworld as TURKISH STAR WARS, THE SWORD AND THE CLAW is a Turkish action-fantasy spectacle that stars genre legend Cüneyt Arkin in his most iconic role. Distributed in North America by exploitation maestro William Mishkin, this movie contains more lo-fi bloodshed, pop-art visuals, and bizarro dubbing than the boundaries of reality can handle.
Directed by: Natuk Baytan
Starring: Cüneyt Arkin
1975 / 88 min / 1.78:1 / English DTS-HD MA 2.0
Additional info:
The American Genre Film Archive (AGFA) represents the world's largest theatrical catalog of exploitation cinema. Their home video line presents a diverse selection of movies, ranging from new preservations of classics from the vast library of Something Weird to the wildest in shot-on-video (SOV) titles. Vinegar Syndrome’s sister company, OCN Distribution, is thrilled to be representing this diverse and unique home video line!
They took his money, family, and hands—but they can’t take his revenge. Exploding from the same hallucinogenic netherworld as TURKISH STAR WARS, THE SWORD AND THE CLAW is a Turkish action-fantasy spectacle that stars genre legend Cüneyt Arkin in his most iconic role. Distributed in North America by exploitation maestro William Mishkin, this movie contains more lo-fi bloodshed, pop-art visuals, and bizarro dubbing than the boundaries of reality can handle.
Directed by: Natuk Baytan
Starring: Cüneyt Arkin
1975 / 88 min / 1.78:1 / English DTS-HD MA 2.0
Additional info:
- Region Free Blu-ray
- Preserved from the only known 35mm theatrical print in existence
- Action trailer reel from the AGFA vaults
- Bonus movie: THE BRAWL BUSTERS (1978, 83 mins), a Korean martial arts extravaganza that screened with THE SWORD AND THE CLAW during its original U.S. theatrical run
- English SDH subtitles
About American Genre Film Archive
The American Genre Film Archive (AGFA) is the world’s largest archive dedicated to genre movies and filmmakers, and the only known 501(c)(3) non-profit genre film distributor. Formed in 2009, AGFA is committed to preserving the legacy of genre films through our archival work, sharing these movies through our home video label, and promoting the power of genre through our theatrical distribution arm. Since its inception, AGFA has rescued over one-hundred features from the void, including the works of exploitation pioneer Doris Wishman, underground trash-art king Jon Moritsugu, Riot Grrrl icon Sarah Jacobson, and found-footage founder Joe Dante. AGFA’s archives house over six-thousand 35mm film prints, a 4K scanner, and prestigious libraries such as the Something Weird archive. AGFA exists to preserve the legacy of genre movies through collection, conservation, and distribution. We satisfy this mission by rescuing, restoring, and sharing largely forgotten films on home video and in theaters, as well as providing film scanning and restoration services.
About Vinegar Syndrome
Vinegar Syndrome is a film restoration and distribution company with a catalogue of hundreds of feature films, produced primarily between the 1960s and 1980s.
Founded by Ryan Emerson and Joe Rubin, VS has been acclaimed by The New York Times, Village Voice, Dangerous Minds, The Foglenest Files, and many others as one of the premier independent genre film focused distribution companies in the world, and was noted by Alamo Drafthouse Theatres as “…perhaps the most important home video label in the world for genre film…”
Our ever expanding catalog includes worldwide rights on such exploitation classics as Tammy & the T-Rex, Demon Wind, Spookies, Night Train to Terror, Terminal Island, Blood Harvest, Angel, The Lamp, Death Promise, Don’t Open Till Christmas, and countless others.
We also boast owning one of the largest catalogs of rare and classic X rated films, which can be found on our sister site Mélusine.
- Published on
Press Release
Leading the pack this month is the 4K UHD debut of maestro Lucio Fulci’s stylish and final giallo, MURDEROCK (1984) (or Murder-Rock, or Murder Rock: Dancing Death; whatever you prefer). This mid-80s classic offers everything you want and expect from Fulci, and this time, it also features a score from musical genius Keith Emerson. Not only is our exclusive-to-VS restoration of the original negative a stunner, but we’ve packed on every conceivable extra, including plenty of new and archival interviews with a ridiculously wide array of cast and crew, including an ultra-rare archival interview with Fulci himself discussing the film. This is the ultimate MURDEROCK experience.
This special limited edition 2-disc 4K UHD/Blu-ray set comes with a spot gloss hard slipcase + slipcover combo (designed by Suspiria Vilchez), includes a 40-page perfect bound book and is limited to 8,000 units. It is only available on our website and at select indie retailers. Absolutely no major retailers will be stocking them.
Candice Norman operates the hottest dance academy in town, with hoards of hopefuls dying to be admitted, maybe literally. Shortly after a trio of new students are accepted into Candice’s tutelage, a young female pupil is found murdered on campus, stabbed through the heart with a long pin. With the backbiting staff and students alike all rendered possible suspects, Candice is also plagued by haunting dreams involving a sinister man. When Candice spots this man's face on a billboard, she decides to track him down, while yet another rising dance starlet winds up with a punctured heart. Is this handsome stranger as dangerous as the man in her dreams? Could a bloodthirsty maniac from outside the school be preying upon the dancers? Or has the intense competition between dancers and staff turned one of them into a depraved killer? And how does Candice herself factor into this shocking mystery?
Director Lucio Fulci’s (City of the Living Dead, The Beyond) final giallo and also his final film set in New York City, MURDEROCK (Murderock - Uccide a passo di danza), is amongst the maestro's last truly lavish productions, boasting stylized dance numbers (scored by legendary musician Keith Emerson) and surreal dream sequences between its labyrinthine mystery and gruesome killings. Starring Olga Karlatos (Zombie), Ray Lovelock (Autopsy), Claudio Cassinelli (Slave of the Cannibal God), Cosimo Cinieri (The New York Ripper), and featuring a guest appearance from Silvia Collatina (The House by the Cemetery), Vinegar Syndrome proudly brings this late period giallo classic to 4K UHD and Blu-ray, exclusively restored from its 35mm camera negative and boasting an unparalleled selection of new and archival extras, including the first-ever interview with co-writer Gianfranco Clerici (Cannibal Holocaust), amongst many others.
Directed by: Lucio Fulci
Starring: Olga Karlatos, Ray Lovelock, Claudio Cassinelli, Cosimo Cinieri, Silvia Collatina
1984 / 93 min / 1.66:1 / English Stereo & Italian Dub
Additional info:
This special limited edition 2-disc 4K UHD/Blu-ray set comes with a spot gloss hard slipcase + slipcover combo (designed by Suspiria Vilchez), includes a 40-page perfect bound book and is limited to 8,000 units. It is only available on our website and at select indie retailers. Absolutely no major retailers will be stocking them.
Candice Norman operates the hottest dance academy in town, with hoards of hopefuls dying to be admitted, maybe literally. Shortly after a trio of new students are accepted into Candice’s tutelage, a young female pupil is found murdered on campus, stabbed through the heart with a long pin. With the backbiting staff and students alike all rendered possible suspects, Candice is also plagued by haunting dreams involving a sinister man. When Candice spots this man's face on a billboard, she decides to track him down, while yet another rising dance starlet winds up with a punctured heart. Is this handsome stranger as dangerous as the man in her dreams? Could a bloodthirsty maniac from outside the school be preying upon the dancers? Or has the intense competition between dancers and staff turned one of them into a depraved killer? And how does Candice herself factor into this shocking mystery?
Director Lucio Fulci’s (City of the Living Dead, The Beyond) final giallo and also his final film set in New York City, MURDEROCK (Murderock - Uccide a passo di danza), is amongst the maestro's last truly lavish productions, boasting stylized dance numbers (scored by legendary musician Keith Emerson) and surreal dream sequences between its labyrinthine mystery and gruesome killings. Starring Olga Karlatos (Zombie), Ray Lovelock (Autopsy), Claudio Cassinelli (Slave of the Cannibal God), Cosimo Cinieri (The New York Ripper), and featuring a guest appearance from Silvia Collatina (The House by the Cemetery), Vinegar Syndrome proudly brings this late period giallo classic to 4K UHD and Blu-ray, exclusively restored from its 35mm camera negative and boasting an unparalleled selection of new and archival extras, including the first-ever interview with co-writer Gianfranco Clerici (Cannibal Holocaust), amongst many others.
Directed by: Lucio Fulci
Starring: Olga Karlatos, Ray Lovelock, Claudio Cassinelli, Cosimo Cinieri, Silvia Collatina
1984 / 93 min / 1.66:1 / English Stereo & Italian Dub
Additional info:
- 2-disc Set: 4K Ultra HD / Region Free Blu-ray
- 4K UHD presented in Dolby Vision High-Dynamic-Range
- Newly scanned & restored in 4K from its 35mm original camera negative
- Presented in its original English language theatrical stereo soundtrack as well as its Italian language dub with newly translated English subtitles
- Commentary track with film historian Troy Howarth
- "Ballet in Blood" (28 min) - an interview with actor Robert Gligorov
- "Hellfant Prodige" (10 min) - an interview with actress Silvia Collatina
- "Lucio’s Pet" (13 min) - an interview with actor Al Cliver
- "Lightning Murder" (27 min) - an interview with cinematographer Giuseppe Pinori
- "A Pen in the Dark" (14 min) - an audio interview with co-writer Gianfranco Clerici
- "Augusto’s Empire" (32 min) - an interview with film historian Eugenio Ercolani
- "The Murder Instigator" (17 min) - interviews with producer Augusto Caminito and film historian Eugenio Ercolani
- "Murder Prog" (32 min) - an interview with music historian Pierpaolo De Sanctis
- "A Pin in the Heart" (8 min) - an interview with make-up artist Franco Casagni
- "Child's Play" (24 min) - an interview with actress Silvia Collatina
- Audio interview with director Lucio Fulci (16 min)
- Interview with actress Geretta Geretta (25 min)
- Original video trailer
- 40-page perfect bound book with essays by Stephen Thrower, Amanda Reyes, Al Cliver
- Reversible sleeve artwork
- English SDH subtitles
About Vinegar Syndrome
Vinegar Syndrome is a film restoration and distribution company with a catalogue of hundreds of feature films, produced primarily between the 1960s and 1980s.
Founded by Ryan Emerson and Joe Rubin, VS has been acclaimed by The New York Times, Village Voice, Dangerous Minds, The Foglenest Files, and many others as one of the premier independent genre film focused distribution companies in the world, and was noted by Alamo Drafthouse Theatres as “…perhaps the most important home video label in the world for genre film…”
Our ever expanding catalog includes worldwide rights on such exploitation classics as Tammy & the T-Rex, Demon Wind, Spookies, Night Train to Terror, Terminal Island, Blood Harvest, Angel, The Lamp, Death Promise, Don’t Open Till Christmas, and countless others.
We also boast owning one of the largest catalogs of rare and classic X rated films, which can be found on our sister site Mélusine.
Vinegar Syndrome is a film restoration and distribution company with a catalogue of hundreds of feature films, produced primarily between the 1960s and 1980s.
Founded by Ryan Emerson and Joe Rubin, VS has been acclaimed by The New York Times, Village Voice, Dangerous Minds, The Foglenest Files, and many others as one of the premier independent genre film focused distribution companies in the world, and was noted by Alamo Drafthouse Theatres as “…perhaps the most important home video label in the world for genre film…”
Our ever expanding catalog includes worldwide rights on such exploitation classics as Tammy & the T-Rex, Demon Wind, Spookies, Night Train to Terror, Terminal Island, Blood Harvest, Angel, The Lamp, Death Promise, Don’t Open Till Christmas, and countless others.
We also boast owning one of the largest catalogs of rare and classic X rated films, which can be found on our sister site Mélusine.