- Published on
In 1998, director Hideo Nakata and Toho Company delivered one of the better Chiller/Thrillers of the year (if not all of the 1990’s) when Ringu created a viral sensation – before viral sensations were a legitimate thing – that helped put Eastern Horror flicks on the cultural map.
In it, a reporter and her husband raced against time to save themselves once they realized they had viewed a cursed videotape that promised to deliver them to Death’s Door seven days after watching it. Writers Hiroshi Takahashi and Kôji Suzuki’s both ably handled suspense and character development within the ticking clock construct, allowing audiences to go along for the ride while peeling back the layers of the mystery surrounding the tape and its disturbing imagery. The end result was a cultural phenomenon that led to sequels, remakes, and imitators, but none of them truly matched the narrative power of the original.
But our collective fascination with comparable urban legends has been the footing for many a good film franchise, and now we can add a little ‘something something’ titled Elevator Game to the list. While it lacks the complexity and emotional weight of Ringu, it does present viewers with glimpse into a dark place – the Red World – just beyond our reach unless we’re willing to risk it all, follow some simple rules (like ‘don’t look at the Fifth Floor Woman’), and breach that barrier between reality and what lies beyond.
As you might guess, someone decides ‘wouldn’t it be fun to try,’ and – of course – it turns out to be a young’uns. Not one but several internet ghostbusters embark on the shared journey – all for the benefit of hits and clicks to their online channel – entering a nightmare they never thought possible. Will they make it out alive? Will they undo the fabric of the universe? And – most importantly – can they keep their only video sponsor?
Only time will tell …
(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:
“Supernatural Horror, based on the eponymous online phenomenon, a ritual conducted in an elevator, in which players attempt to travel to another dimension using a set of rules that can be found online.”
In it, a reporter and her husband raced against time to save themselves once they realized they had viewed a cursed videotape that promised to deliver them to Death’s Door seven days after watching it. Writers Hiroshi Takahashi and Kôji Suzuki’s both ably handled suspense and character development within the ticking clock construct, allowing audiences to go along for the ride while peeling back the layers of the mystery surrounding the tape and its disturbing imagery. The end result was a cultural phenomenon that led to sequels, remakes, and imitators, but none of them truly matched the narrative power of the original.
But our collective fascination with comparable urban legends has been the footing for many a good film franchise, and now we can add a little ‘something something’ titled Elevator Game to the list. While it lacks the complexity and emotional weight of Ringu, it does present viewers with glimpse into a dark place – the Red World – just beyond our reach unless we’re willing to risk it all, follow some simple rules (like ‘don’t look at the Fifth Floor Woman’), and breach that barrier between reality and what lies beyond.
As you might guess, someone decides ‘wouldn’t it be fun to try,’ and – of course – it turns out to be a young’uns. Not one but several internet ghostbusters embark on the shared journey – all for the benefit of hits and clicks to their online channel – entering a nightmare they never thought possible. Will they make it out alive? Will they undo the fabric of the universe? And – most importantly – can they keep their only video sponsor?
Only time will tell …
(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:
“Supernatural Horror, based on the eponymous online phenomenon, a ritual conducted in an elevator, in which players attempt to travel to another dimension using a set of rules that can be found online.”
The Crew
As per IMDB.com, Game shows directing duties were assumed by Rebekah McKendry, a name I recognized albeit I couldn’t quite remember from where.
A quick glance over her resume shows a work history largely (at this point) owed to both producer responsibilities alongside directing. It looks like her first time fully behind-the-camera for features was 2018’s holiday-themed Horror/SciFi All The Creatures Were Stirring for FallBack Plan Productions, an independent outfit from California. Interestingly enough, FallBack debut film – Absentia (2011) – is an exceeding well-done Horror I’ve seen and reviewed back in my Amazon.com Top 1,000 Reviewer days; I’m not sure that I have this one available on SciFiHistory.Net so I might need to do some searching to recover it for posterity’s sake. But I believe I recognized McKendry’s name most likely for her contributions to bringing 2022’s Glorious to life. I had wanted to see this much-advertised Horror headlined by Ryan Kwanten and J.K. Simmons, but I apparently wasn’t on the advanced screening lists at that time.
As for her work here?
Meh. It’s sometimes hard to make much of some directing efforts in the world of Horror features as so much of what makes the film work is both the narrative foundation and whatever visual trickery gets infused in the production process. As frights go, Game is pretty meager, almost razor thin with respect to gruesome effects and/or atmospheric delights. Although much ado is made in the script about the potential behind the ‘Red World,’ once we’re delivered there I’m at a loss as to see why it is all that elusive after all. In fact, the place only seems to have a single resident (i.e. the Fifth Floor Woman), everything is chromatically tinted red (for pretty obvious effect), and a fabulously under-used kinda/sorta flaming cross lighting the night sky. Those watching closely will understand perfectly where this light comes from, and it’s probably the feature’s best reveal, especially considering how frightless everything else in here truly is. So let’s just chalk up McKendry’s performance here as ‘serviceable.’
IMDB.com notes that Game’s script is attached to David Ian McKendry (I smell nepotism! I kid, I kid …) and Travis Seppala. Respectfully, Seppala’s apparently fairly new to the screenwriting gig (he has a few shorts listed on the profile, but this film and 2023’s Captive appear to be his big break into features). David Ian is, in fact, the director’s spouse; and his resume shows the aforementioned All The Creatures Were Stirring and Glorious as screen collaborations with his better half.
Without knowing where each writer’s contributions began and ended, it’s difficult to dish praise each appropriately and/or point fingers. The strength to an idea like Game presents – that being a modern era urban legend drawing the attention to those risk-taking vloggers – is that there’s likely a built-in audience who can grasp both the concept and its execution easily. Essentially, the exercise looks to prove or disprove the existence of this other reality, and no thought is put into the whole ‘what happens if we prove it’ aspect. However, there’s a mile-wide downside to it that plagued me until the latter half: what’s the purpose of playing a game wherein both winning and losing look to reward participants with death? These players rather dumbly – if not profoundly dumbly – go about the business of messing with All Things Strangeness without knowing precisely how to turn things off (and you knew they’d need to turn things off eventually). Is the big takeaway here nothing more than to demonstrate to audiences that we’ve raised a generation of thrill-seekers who don’t give a damn about their own lives? The fact that there is a way to (allegedly) close the bridge once it’s opened proves otherwise, and maybe – just maybe – we all should’ve known that going in. Granted, it would’ve made for a shorter picture, but that may not have been a bad thing.
As per IMDB.com, Game shows directing duties were assumed by Rebekah McKendry, a name I recognized albeit I couldn’t quite remember from where.
A quick glance over her resume shows a work history largely (at this point) owed to both producer responsibilities alongside directing. It looks like her first time fully behind-the-camera for features was 2018’s holiday-themed Horror/SciFi All The Creatures Were Stirring for FallBack Plan Productions, an independent outfit from California. Interestingly enough, FallBack debut film – Absentia (2011) – is an exceeding well-done Horror I’ve seen and reviewed back in my Amazon.com Top 1,000 Reviewer days; I’m not sure that I have this one available on SciFiHistory.Net so I might need to do some searching to recover it for posterity’s sake. But I believe I recognized McKendry’s name most likely for her contributions to bringing 2022’s Glorious to life. I had wanted to see this much-advertised Horror headlined by Ryan Kwanten and J.K. Simmons, but I apparently wasn’t on the advanced screening lists at that time.
As for her work here?
Meh. It’s sometimes hard to make much of some directing efforts in the world of Horror features as so much of what makes the film work is both the narrative foundation and whatever visual trickery gets infused in the production process. As frights go, Game is pretty meager, almost razor thin with respect to gruesome effects and/or atmospheric delights. Although much ado is made in the script about the potential behind the ‘Red World,’ once we’re delivered there I’m at a loss as to see why it is all that elusive after all. In fact, the place only seems to have a single resident (i.e. the Fifth Floor Woman), everything is chromatically tinted red (for pretty obvious effect), and a fabulously under-used kinda/sorta flaming cross lighting the night sky. Those watching closely will understand perfectly where this light comes from, and it’s probably the feature’s best reveal, especially considering how frightless everything else in here truly is. So let’s just chalk up McKendry’s performance here as ‘serviceable.’
IMDB.com notes that Game’s script is attached to David Ian McKendry (I smell nepotism! I kid, I kid …) and Travis Seppala. Respectfully, Seppala’s apparently fairly new to the screenwriting gig (he has a few shorts listed on the profile, but this film and 2023’s Captive appear to be his big break into features). David Ian is, in fact, the director’s spouse; and his resume shows the aforementioned All The Creatures Were Stirring and Glorious as screen collaborations with his better half.
Without knowing where each writer’s contributions began and ended, it’s difficult to dish praise each appropriately and/or point fingers. The strength to an idea like Game presents – that being a modern era urban legend drawing the attention to those risk-taking vloggers – is that there’s likely a built-in audience who can grasp both the concept and its execution easily. Essentially, the exercise looks to prove or disprove the existence of this other reality, and no thought is put into the whole ‘what happens if we prove it’ aspect. However, there’s a mile-wide downside to it that plagued me until the latter half: what’s the purpose of playing a game wherein both winning and losing look to reward participants with death? These players rather dumbly – if not profoundly dumbly – go about the business of messing with All Things Strangeness without knowing precisely how to turn things off (and you knew they’d need to turn things off eventually). Is the big takeaway here nothing more than to demonstrate to audiences that we’ve raised a generation of thrill-seekers who don’t give a damn about their own lives? The fact that there is a way to (allegedly) close the bridge once it’s opened proves otherwise, and maybe – just maybe – we all should’ve known that going in. Granted, it would’ve made for a shorter picture, but that may not have been a bad thing.
The Cast
As a critic, it isn’t always to review a film boasting almost entirely a young cast because – on the face of it – it’s fairly obvious that none of the players will likely display a level of maturity that suggests what they’ve doing might be a very bad idea. I think that’s one of the reasons – since Horror’s inception – these films have always focused on less-seasoned characters. In fact, the arrival of the more world-weary types usually bodes well for all involved (audiences, too) as it signals that finally there’s a potential voice of reason which might put us on a path toward an effective conclusion. That doesn’t happen in Game, but – once again – I suspect the flick’s core demographic wouldn’t have it any other way.
To the feature’s strength, it’s largely an ensemble piece. One of the big values to crafting screen stories this way is that each and every player not only suffers the shortcomings of their weakest talent but also reaps the benefits of the strongest; consequently, there’s a solid equilibrium to the group performance here, and no one comes off looking like … well … screen fodder (until they’re effectively reduced to screen fodder by the script, that is).
The biggest praise gets dished to Verity Marks. In the guise of ‘Chloe Young,’ she fills out the kinda/sorta everyman role – or what most closely looks like one in the whole adventure. As the resident researcher behind this vlog/group’s escapades, she both is a mover and a shaker here, delivering the exposition necessary to let her peers and the audience understand what’s going on. Though she deals with a lot of facts, she never quite lets any of them get in the away of her spirit of discovery; so it’s easy to appreciate and identify with what she does at each step along the way. Also, Gino Anania – as ‘Ryan Keaton’ – makes for a convincing male counterpart to share in the mischief. While I think the script didn’t quite know what to do with him in the first half (without spoiling too much, he operates from a somewhat hidden agenda that fuels the film’s main premise), the actor proves himself capable of delivering more than just a few clever, confused faces while eavesdropping on the group’s business talk from an adjacent room in the set-up.
The Bottom Line
Without making too much of this, I think it’s safe to conclude that this particular Game looks and works very much like any reasonably-budgeted thriller from the heydays of home video. It doesn’t break any barriers – as I suggested above, it’s structurally somewhat derivative of some vastly superior rights not unlike Ringu – and it goes about its business of putting the young, restless, and uninitiated through some efficient though predictable scares. Its risks are, sadly, somewhat safe bets; and nothing in here ever quite rises to the level necessary to make it anything greater than a mildly effective diversion. It’s forgettable … but you’ll likely have fun with it while watching.
What’s sad about it is that with a bit more time, effort, cash, and (most importantly) story, it could easily have raised the bar a notch or two for what was achievable with an origins-style Horror. I’ve always been a fan of somewhat ‘bare bones’ production, even downright guerilla-style storytelling, especially when it only tells you enough of a story to leave you wanting more. While Game looks very affordable, it just never makes me fear its beyond enough at any stop along its merry way; as a result, its characters truly end up looking more brainless than they do reckless, and I invest very little in their survival as a consequence. When I don’t care whether they make it out alive or not, there’s very little prospect I’ll recall even seeing this one this time next year.
As a critic, it isn’t always to review a film boasting almost entirely a young cast because – on the face of it – it’s fairly obvious that none of the players will likely display a level of maturity that suggests what they’ve doing might be a very bad idea. I think that’s one of the reasons – since Horror’s inception – these films have always focused on less-seasoned characters. In fact, the arrival of the more world-weary types usually bodes well for all involved (audiences, too) as it signals that finally there’s a potential voice of reason which might put us on a path toward an effective conclusion. That doesn’t happen in Game, but – once again – I suspect the flick’s core demographic wouldn’t have it any other way.
To the feature’s strength, it’s largely an ensemble piece. One of the big values to crafting screen stories this way is that each and every player not only suffers the shortcomings of their weakest talent but also reaps the benefits of the strongest; consequently, there’s a solid equilibrium to the group performance here, and no one comes off looking like … well … screen fodder (until they’re effectively reduced to screen fodder by the script, that is).
The biggest praise gets dished to Verity Marks. In the guise of ‘Chloe Young,’ she fills out the kinda/sorta everyman role – or what most closely looks like one in the whole adventure. As the resident researcher behind this vlog/group’s escapades, she both is a mover and a shaker here, delivering the exposition necessary to let her peers and the audience understand what’s going on. Though she deals with a lot of facts, she never quite lets any of them get in the away of her spirit of discovery; so it’s easy to appreciate and identify with what she does at each step along the way. Also, Gino Anania – as ‘Ryan Keaton’ – makes for a convincing male counterpart to share in the mischief. While I think the script didn’t quite know what to do with him in the first half (without spoiling too much, he operates from a somewhat hidden agenda that fuels the film’s main premise), the actor proves himself capable of delivering more than just a few clever, confused faces while eavesdropping on the group’s business talk from an adjacent room in the set-up.
The Bottom Line
Without making too much of this, I think it’s safe to conclude that this particular Game looks and works very much like any reasonably-budgeted thriller from the heydays of home video. It doesn’t break any barriers – as I suggested above, it’s structurally somewhat derivative of some vastly superior rights not unlike Ringu – and it goes about its business of putting the young, restless, and uninitiated through some efficient though predictable scares. Its risks are, sadly, somewhat safe bets; and nothing in here ever quite rises to the level necessary to make it anything greater than a mildly effective diversion. It’s forgettable … but you’ll likely have fun with it while watching.
What’s sad about it is that with a bit more time, effort, cash, and (most importantly) story, it could easily have raised the bar a notch or two for what was achievable with an origins-style Horror. I’ve always been a fan of somewhat ‘bare bones’ production, even downright guerilla-style storytelling, especially when it only tells you enough of a story to leave you wanting more. While Game looks very affordable, it just never makes me fear its beyond enough at any stop along its merry way; as a result, its characters truly end up looking more brainless than they do reckless, and I invest very little in their survival as a consequence. When I don’t care whether they make it out alive or not, there’s very little prospect I’ll recall even seeing this one this time next year.
Even worse, because there’s nothing eternally frightening about the Red World – much less the creepy, crawly Fifth Floor Woman – I’m struggling to even figure out how someone found this alternate existence in the first place. Did they stumble onto it by merely punching elevator buttons in this precise order, or was this nothing more than an old wives’ tale that somehow turned out to be true? And given the fact that whoever did find the place likely didn’t live to tell about it, how in the Holy Hell did the rest of us find out about it?
See what I mean? Too many questions spoil the thrill.
Elevator Game (2023) was produced by Fearworks, Buffalo Gal Pictures, Head Gear Films, Manitoba Film & Music, and Metrol Technology. From what I’ve been able to find online, the project is viewable either on Shudder or is available for purchase from Amazon’s Prime Video. As for the technical specifications? While I’m no trained video expert, I thought that the sights-and-sounds provided were pretty exceptional; there’s clearly not an awful lot that’s been expended on production details here – the sets are only occasionally colorful but have an almost TV grade quality to them at times – but it works well enough to tell the story. Lastly, if you’re looking for special features? As I watched this one entirely via streaming, there were no special features to consider.
Recommended.
Elevator Game is the kind of visual exercise that really only works because it pits a bunch of inexperienced youngsters willing to do something downright stupid against the world of the Supernatural … and you pretty much grasp going in that not everyone is going to get out alive. Much like its cast of characters relish the opportunity to come face-to-face with a brush with death, so does an audience vicariously, albeit we’re doing the same from the comfort of our own home. However, this script could’ve used a bit more polish – its world-building never quite rises to the required heights here, and I’m left wondering what all the fuss was about. The fact that it ends with nothing more than the promise of a sequel also cheapens the thrill, making this one feel a bit too much like a cash grab for whatever spectators are willing to give it a whirl.
In the interests of fairness, I’m pleased to disclose that the fine folks at Shudder provided me with complimentary streaming access to Elevator Game (2023) by request for the expressed purpose of completing this view. Their contribution to me in no way, shape, or form influenced my opinion of it.
-- EZ
See what I mean? Too many questions spoil the thrill.
Elevator Game (2023) was produced by Fearworks, Buffalo Gal Pictures, Head Gear Films, Manitoba Film & Music, and Metrol Technology. From what I’ve been able to find online, the project is viewable either on Shudder or is available for purchase from Amazon’s Prime Video. As for the technical specifications? While I’m no trained video expert, I thought that the sights-and-sounds provided were pretty exceptional; there’s clearly not an awful lot that’s been expended on production details here – the sets are only occasionally colorful but have an almost TV grade quality to them at times – but it works well enough to tell the story. Lastly, if you’re looking for special features? As I watched this one entirely via streaming, there were no special features to consider.
Recommended.
Elevator Game is the kind of visual exercise that really only works because it pits a bunch of inexperienced youngsters willing to do something downright stupid against the world of the Supernatural … and you pretty much grasp going in that not everyone is going to get out alive. Much like its cast of characters relish the opportunity to come face-to-face with a brush with death, so does an audience vicariously, albeit we’re doing the same from the comfort of our own home. However, this script could’ve used a bit more polish – its world-building never quite rises to the required heights here, and I’m left wondering what all the fuss was about. The fact that it ends with nothing more than the promise of a sequel also cheapens the thrill, making this one feel a bit too much like a cash grab for whatever spectators are willing to give it a whirl.
In the interests of fairness, I’m pleased to disclose that the fine folks at Shudder provided me with complimentary streaming access to Elevator Game (2023) by request for the expressed purpose of completing this view. Their contribution to me in no way, shape, or form influenced my opinion of it.
-- EZ
- Published on
Well, well, well ... good morning, gentle readers, and Happy Thursday! It's grand to see that all of you made it through Hump Day (snicker snicker) and have arrived safely at Thursday ... or as it's known more commonly around the world as 'Friday's Eve.'
Not an awful lot to report today, and sigh I've only a paltry 53 genre citations to pony up at the moment. As is the case with all days of the year, I do have a wealth of additional content to get up and glowing on the page, but -- as is also the case with all days of the year -- I just need to find the time necessary to commit to it. Wouldn't it be grand if I had a staff of smilers that I could dedicate such work to? "George, get those birthdays updated ... Chip, get those movie citations up and running ... Chico, I want those interviews done today!" Ah, alas, it's only me. The web's faithful one-stop-shop. Plus, George, Chip, and Chico would want to be paid for their efforts, and that's just not gonna happen in today's economy.
However, I am working on two reviews from projects watched this week alone, along with one lingering holdover from last week. As the day progresses, I'll likely have some new content on the MainPage to crow about, so keep your eyes peeled there. I've also received a notice on some digital releases that I need to try to watch tomorrow and/or this weekend; so I definitely have my work cut out for me over the next few sunrises-to-sunsets.
In any event ... without further delay ...
Not an awful lot to report today, and sigh I've only a paltry 53 genre citations to pony up at the moment. As is the case with all days of the year, I do have a wealth of additional content to get up and glowing on the page, but -- as is also the case with all days of the year -- I just need to find the time necessary to commit to it. Wouldn't it be grand if I had a staff of smilers that I could dedicate such work to? "George, get those birthdays updated ... Chip, get those movie citations up and running ... Chico, I want those interviews done today!" Ah, alas, it's only me. The web's faithful one-stop-shop. Plus, George, Chip, and Chico would want to be paid for their efforts, and that's just not gonna happen in today's economy.
However, I am working on two reviews from projects watched this week alone, along with one lingering holdover from last week. As the day progresses, I'll likely have some new content on the MainPage to crow about, so keep your eyes peeled there. I've also received a notice on some digital releases that I need to try to watch tomorrow and/or this weekend; so I definitely have my work cut out for me over the next few sunrises-to-sunsets.
In any event ... without further delay ...
As always, thanks for reading ... and live long and prosper!
-- EZ
- Published on
I’ve mentioned many times on SciFiHistory.Net that I grew up at a time when entertainment choices were exceedingly thin.
Back in the days of the late 1960’s and early 1970’s, I and my two sisters were forced to endure only what our small six-channel broadcast TV library had available. This meant that we were regularly exposed to some small market syndicated packages that included some of the more forgettable Science Fiction and Fantasy gems that came out of the Golden Age. Without the advent of a TV Guide (much less the Information Superhighway), we only had ourselves and those occasionally laughable productions to keep us entertained, and we learned to make do no matter how illogical or how ill-conceived a feature was. It was – simply put – life in them there old days.
So, yes, I’ve had the good fortune of witnessing the splendor of Robot Monster (1953) probably not once but perhaps maybe a half-dozen times. (Mind you: I’m sure my sisters tuned out and played with their Barbies instead.) This was the kind of thing that made the rotations regularly, and – as I was even back then a fan of All Things Genre – I just couldn’t look away, no matter how hard I tried. Robots were in such short supply, and monsters were the kind of thing I looked on as modern legends. Pairing them up in the title alone meant that I had to sit there, and I’d like to think I’m a better person today because of it … though my wife might disagree.
But … I’d never had the opportunity to experience it as its producers originally intended: Monster was both conceived and shot as one of the premiere 3D experiences from the 1950’s, and audiences – probably youngsters like I was back in my days – flocked to matinees making it one of the (surprise surprise!) more financially lucrative attempts to break that fourth wall. It may not have been dramatically riveting. It may not have presented a space saga worth its weight in gold. Yet, somehow, Monster made money – and big money, for its day – and now thanks to the folks at Bayview Entertainment I’ve had the good luck to see what all the fuss was about.
(NOTE: The following review will contain 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 …)
(Edited) From the film’s DVD slipcase:
“A cosmic catastrophe has wiped out humanity, and now the last six survivors must outwit that strange iconic alien menace, Ro-Man. Taking orders from the pitiless Great Guidance, Ro-Man wavers in his pursuit of human annihilation when he falls in love with a girl. Can dashing young Roy save her? Filmed in the Tru-Stereo process, Robot Monster boasts excellent 3-D that rivals big studio efforts of its day.”
While certainly not endemic to the story, I included that last bit about the 3D mostly because it’s largely why a little ‘something something’ like Robot Monster has survived to this day: it’s a curiosity that both demonstrates how stories were told and how studios tried to make them the ‘event pictures’ of that bygone era. From what I’ve read, Monster was completed largely to capitalize on the 3D craze of the 1950’s, and – despite the overwhelmingly negative reviews – it was rewarded for its effort: even IMDB.com reports that the feature grossed an astonishing $1+ million dollars on a budget of less than $20,000!
My two cents? Yeah. It looks like it was shot for less than $20,000!
No, I’m not nitpicking. I’m being honest as there’s very little cinematography in there that qualifies as anything other than ‘competent.’ Director Phil Tucker – this one of his earliest screen attempts – does very little but stand-by and allow the onscreen talent to do little more than deliver some of the most passionless dialogue in all of filmdom, perhaps only encouraging them to look aghast at such dark developments fleetingly. In fact, if it weren’t for a few rather grim predicaments, the actors and actresses would really have nothing to react to (including one another!) at all in the picture. It’s all so blatantly staged for audiences that at an astonishingly trim 66 minutes this one feels like it’s 30 minutes too long.
Still, because it’s short and because it’s got its own irrepressible 1950’s charm, Monster has endured. It has defied the odds and grown to be a bit of a cultural oddity. Some have even championed it as one of the better features employing 3D at a time when the technology was just emerging in theaters that – had it come along later – it may’ve been an even greater sensation than it was. (Color me dubious!) Personally, I think the lack of any marquee names as well as its curiously thin script would always have kept it in relative obscurity, and maybe that’s best for all involved, audiences included.
Back in the days of the late 1960’s and early 1970’s, I and my two sisters were forced to endure only what our small six-channel broadcast TV library had available. This meant that we were regularly exposed to some small market syndicated packages that included some of the more forgettable Science Fiction and Fantasy gems that came out of the Golden Age. Without the advent of a TV Guide (much less the Information Superhighway), we only had ourselves and those occasionally laughable productions to keep us entertained, and we learned to make do no matter how illogical or how ill-conceived a feature was. It was – simply put – life in them there old days.
So, yes, I’ve had the good fortune of witnessing the splendor of Robot Monster (1953) probably not once but perhaps maybe a half-dozen times. (Mind you: I’m sure my sisters tuned out and played with their Barbies instead.) This was the kind of thing that made the rotations regularly, and – as I was even back then a fan of All Things Genre – I just couldn’t look away, no matter how hard I tried. Robots were in such short supply, and monsters were the kind of thing I looked on as modern legends. Pairing them up in the title alone meant that I had to sit there, and I’d like to think I’m a better person today because of it … though my wife might disagree.
But … I’d never had the opportunity to experience it as its producers originally intended: Monster was both conceived and shot as one of the premiere 3D experiences from the 1950’s, and audiences – probably youngsters like I was back in my days – flocked to matinees making it one of the (surprise surprise!) more financially lucrative attempts to break that fourth wall. It may not have been dramatically riveting. It may not have presented a space saga worth its weight in gold. Yet, somehow, Monster made money – and big money, for its day – and now thanks to the folks at Bayview Entertainment I’ve had the good luck to see what all the fuss was about.
(NOTE: The following review will contain 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 …)
(Edited) From the film’s DVD slipcase:
“A cosmic catastrophe has wiped out humanity, and now the last six survivors must outwit that strange iconic alien menace, Ro-Man. Taking orders from the pitiless Great Guidance, Ro-Man wavers in his pursuit of human annihilation when he falls in love with a girl. Can dashing young Roy save her? Filmed in the Tru-Stereo process, Robot Monster boasts excellent 3-D that rivals big studio efforts of its day.”
While certainly not endemic to the story, I included that last bit about the 3D mostly because it’s largely why a little ‘something something’ like Robot Monster has survived to this day: it’s a curiosity that both demonstrates how stories were told and how studios tried to make them the ‘event pictures’ of that bygone era. From what I’ve read, Monster was completed largely to capitalize on the 3D craze of the 1950’s, and – despite the overwhelmingly negative reviews – it was rewarded for its effort: even IMDB.com reports that the feature grossed an astonishing $1+ million dollars on a budget of less than $20,000!
My two cents? Yeah. It looks like it was shot for less than $20,000!
No, I’m not nitpicking. I’m being honest as there’s very little cinematography in there that qualifies as anything other than ‘competent.’ Director Phil Tucker – this one of his earliest screen attempts – does very little but stand-by and allow the onscreen talent to do little more than deliver some of the most passionless dialogue in all of filmdom, perhaps only encouraging them to look aghast at such dark developments fleetingly. In fact, if it weren’t for a few rather grim predicaments, the actors and actresses would really have nothing to react to (including one another!) at all in the picture. It’s all so blatantly staged for audiences that at an astonishingly trim 66 minutes this one feels like it’s 30 minutes too long.
Still, because it’s short and because it’s got its own irrepressible 1950’s charm, Monster has endured. It has defied the odds and grown to be a bit of a cultural oddity. Some have even championed it as one of the better features employing 3D at a time when the technology was just emerging in theaters that – had it come along later – it may’ve been an even greater sensation than it was. (Color me dubious!) Personally, I think the lack of any marquee names as well as its curiously thin script would always have kept it in relative obscurity, and maybe that’s best for all involved, audiences included.
As for its story? Well, I’ll conceal the film’s biggest surprise (more on that later) and stick to the basics.
Earth lies in ruins, basically, and the few survivors owe their good fortune to the fact that the Professor (John Mylong) invented some serum (in events not show on film) that miraculously exempted his patients from susceptibility. (In case you’ve missed it, yes, the premise is more than a bit hackneyed and confusing.) Mankind’s fall has allowed Ro-Man (George Barrows) – the robot monster of the title who is not really a robot so much as he is a gorilla in a helmet – and his people to move in and claim residency over our world; and Ro-Man himself has been tasked with tidying up the place by murdering any who remain. Given that it’s a scant six-to-eight folks (depending upon one’s perspective), it shouldn’t take long. Lo and behold, Ro-Man becomes smitten with young Alice (and who can blame him when it’s the lovely Claudia Barrett?) and desires to keep her as his own. (I’m not sure how that coupling would work.) This forces him to fall into disfavor with his boss, the Great Guidance, and thus we have the foundation for the picture.
So there’s a reasonable SciFi/Fantasy construct around which Monster is constructed, and screenwriter Wyatt Ordung manages to even infuse the action with a bit of unrequited passion via the Ro-Man/Alice promise. Alice is already in love with Roy (George Nader) who’s around to expand this cinematic affair into a love triangle. Roy spends a good portion of the film running around with his shirt off so maybe those smitten with such costuming (or lack thereof) can see the appeal. As one might predict, this threesome (not that kind) comes to a head (also, not that kind), with Ro-Man kinda/sorta winning out as he resorts to Neanderthal tactics, seizing Alice against her will and taking her back to his cave (which really is a cave).
Yes, it’s all quite laughable, much in the same way that Mystery Science Theater 3000 built its reputation on lampooning the simplicity of such genre thrillers. But I encourage cynics to set aside their jaundiced view of life, liberty, and all that jazz to just enjoy Monster. On that level – and only on that level – it’s innocent fun. There’s not an ounce of toxicity in here, and I guarantee you that this is the kind of feature your parents and grandparents likely enjoyed in the days of their youth. It’s entirely meant for the young at heart. At a run-time of barely an hour, how could it be anything more or less?
Lastly, I’m willing to share a bit of insider knowledge I learned from the audio commentary. Without spoiling it for those who’ve never seen the picture, Monster utilizes one of Hollywood’s favorite techniques – the twist ending – in order to spin this particular yarn. (Because I’ve seen the film, I knew what was coming.) What I hadn’t realized is that there’s a – cough cough – costume change early in the film that most definitely spoils the narrative trickery for those watching closely. If you caught it? Then good for you! In all these years – and with all I’ve read about the flick – I’d never seen it. Now I encourage you to figure it out, and you’ve solved the minor puzzle.
Robot Monster (1953) was produced by Three Dimensions Pictures. DVD distribution (for this particular release) is being coordinated by the fine folks at Bayview Entertainment. As for the technical specifications? Wowza. While I’m no trained video expert, I thought that the sights-and-sounds to this black-and-white flick were damn near stunning, especially given its age as well as the fact that – from what I’d read – some of the footage had been presumed to be lost to the ages for quite some time. This is a damn fine presentation, especially also given the fact that it likely hasn’t been seen in this form for quite probably as long. Well done!
As for the special features? OK, bear with me a minute here, folks, as this might seem a bit technical. The film is available for viewing in both 3D and traditional 2D on the same disc, but keep in mind that those wishing to enjoy it in 3D must have the requisite 3D hardware (player, cables, and monitor) to achieve the proper effect. To kinda/sorta complicate matters a bit further, there are two sets of special features – one specifically for 3D viewing and another for 2D – so if you’ve all the right gadgets then there’s a wealth of stuff in here to enjoy. The 3D collection includes the shorts ‘Memories Of A Pooped Out Pinwheel,’ ‘Travels Through Time & Space,’ ‘Side Streets of Hollywood,’ ‘Adventures In 3D,’ ‘Return To Bronson Canyon,’ ‘Whatever Happened To Ro-man?,’ a Before/After restoration demo, and the new 3D trailer. The 2D collection includes the original theatrical trailer, ‘3D Movies In Los Angeles,’ ‘Monster From Mars,’ ‘Joe Dante, Trailers From Hell,’ ‘Mistakes & Innovations,’ ‘Robot Monster Diaries,’ and ‘Rescuring Ro-man.’ There are also a few extras available in both viewing formats, including a feature commentary, ‘Was I A Man,’ a memorabilia gallery, and a featurette on Bela Lugosi.’
Essentially – while there’s a lot to enjoy – it’s kinda/sorta confusing that producers would limit access to these extras by functionality. I can appreciate anyone’s desire to fidget with the obvious benefits of 3D for the home viewer, but I’m not so sure you’ll make friends with the consumer by shucking content that’s maybe just a bit too exclusive. (I know, I know: it is what it is.) Also, I will mention that – on the 2D content – the materials suggest that you can move from feature to feature by using the chapter forward button on your remote: for some reason, I couldn’t get mine to work in that way – it kept skipping all the way to the last feature – so I’m wondering if perhaps the disc’s core programming might be tad too complex for some conventional (non 3D players). Granted, it didn’t diminish my enjoyment; I only thought it worth mentioning as a possible technical glitch.
Recommended, but …
Robot Monster (1953) remains an imperfect film. It’s best left to genre fans who have the acquired patience to sit through long sequences of characters simply walking from one place to another, or maybe that contingent of aficionados dedicated to ‘films of yesteryear’ or even 3D enthusiasts will find more to love than just the Average Joe. On that front, the short feature film (just over 60 minutes) likely has greater appeal. For SciFi purists? Sure, it’s worth a one-off. Just don’t look for it to have the kind of enduring qualities many of productions from the 1950’s had because they’re not there.
In the interests of fairness, I’m pleased to disclose that the fine folks at Bayview Entertainment provided me with a complimentary 3D Blu-ray of Robot Monster (1953) by request for the expressed purposes of completing this review. Their contribution to me in no way, shape, or form influenced my opinion of it.
-- EZ
Earth lies in ruins, basically, and the few survivors owe their good fortune to the fact that the Professor (John Mylong) invented some serum (in events not show on film) that miraculously exempted his patients from susceptibility. (In case you’ve missed it, yes, the premise is more than a bit hackneyed and confusing.) Mankind’s fall has allowed Ro-Man (George Barrows) – the robot monster of the title who is not really a robot so much as he is a gorilla in a helmet – and his people to move in and claim residency over our world; and Ro-Man himself has been tasked with tidying up the place by murdering any who remain. Given that it’s a scant six-to-eight folks (depending upon one’s perspective), it shouldn’t take long. Lo and behold, Ro-Man becomes smitten with young Alice (and who can blame him when it’s the lovely Claudia Barrett?) and desires to keep her as his own. (I’m not sure how that coupling would work.) This forces him to fall into disfavor with his boss, the Great Guidance, and thus we have the foundation for the picture.
So there’s a reasonable SciFi/Fantasy construct around which Monster is constructed, and screenwriter Wyatt Ordung manages to even infuse the action with a bit of unrequited passion via the Ro-Man/Alice promise. Alice is already in love with Roy (George Nader) who’s around to expand this cinematic affair into a love triangle. Roy spends a good portion of the film running around with his shirt off so maybe those smitten with such costuming (or lack thereof) can see the appeal. As one might predict, this threesome (not that kind) comes to a head (also, not that kind), with Ro-Man kinda/sorta winning out as he resorts to Neanderthal tactics, seizing Alice against her will and taking her back to his cave (which really is a cave).
Yes, it’s all quite laughable, much in the same way that Mystery Science Theater 3000 built its reputation on lampooning the simplicity of such genre thrillers. But I encourage cynics to set aside their jaundiced view of life, liberty, and all that jazz to just enjoy Monster. On that level – and only on that level – it’s innocent fun. There’s not an ounce of toxicity in here, and I guarantee you that this is the kind of feature your parents and grandparents likely enjoyed in the days of their youth. It’s entirely meant for the young at heart. At a run-time of barely an hour, how could it be anything more or less?
Lastly, I’m willing to share a bit of insider knowledge I learned from the audio commentary. Without spoiling it for those who’ve never seen the picture, Monster utilizes one of Hollywood’s favorite techniques – the twist ending – in order to spin this particular yarn. (Because I’ve seen the film, I knew what was coming.) What I hadn’t realized is that there’s a – cough cough – costume change early in the film that most definitely spoils the narrative trickery for those watching closely. If you caught it? Then good for you! In all these years – and with all I’ve read about the flick – I’d never seen it. Now I encourage you to figure it out, and you’ve solved the minor puzzle.
Robot Monster (1953) was produced by Three Dimensions Pictures. DVD distribution (for this particular release) is being coordinated by the fine folks at Bayview Entertainment. As for the technical specifications? Wowza. While I’m no trained video expert, I thought that the sights-and-sounds to this black-and-white flick were damn near stunning, especially given its age as well as the fact that – from what I’d read – some of the footage had been presumed to be lost to the ages for quite some time. This is a damn fine presentation, especially also given the fact that it likely hasn’t been seen in this form for quite probably as long. Well done!
As for the special features? OK, bear with me a minute here, folks, as this might seem a bit technical. The film is available for viewing in both 3D and traditional 2D on the same disc, but keep in mind that those wishing to enjoy it in 3D must have the requisite 3D hardware (player, cables, and monitor) to achieve the proper effect. To kinda/sorta complicate matters a bit further, there are two sets of special features – one specifically for 3D viewing and another for 2D – so if you’ve all the right gadgets then there’s a wealth of stuff in here to enjoy. The 3D collection includes the shorts ‘Memories Of A Pooped Out Pinwheel,’ ‘Travels Through Time & Space,’ ‘Side Streets of Hollywood,’ ‘Adventures In 3D,’ ‘Return To Bronson Canyon,’ ‘Whatever Happened To Ro-man?,’ a Before/After restoration demo, and the new 3D trailer. The 2D collection includes the original theatrical trailer, ‘3D Movies In Los Angeles,’ ‘Monster From Mars,’ ‘Joe Dante, Trailers From Hell,’ ‘Mistakes & Innovations,’ ‘Robot Monster Diaries,’ and ‘Rescuring Ro-man.’ There are also a few extras available in both viewing formats, including a feature commentary, ‘Was I A Man,’ a memorabilia gallery, and a featurette on Bela Lugosi.’
Essentially – while there’s a lot to enjoy – it’s kinda/sorta confusing that producers would limit access to these extras by functionality. I can appreciate anyone’s desire to fidget with the obvious benefits of 3D for the home viewer, but I’m not so sure you’ll make friends with the consumer by shucking content that’s maybe just a bit too exclusive. (I know, I know: it is what it is.) Also, I will mention that – on the 2D content – the materials suggest that you can move from feature to feature by using the chapter forward button on your remote: for some reason, I couldn’t get mine to work in that way – it kept skipping all the way to the last feature – so I’m wondering if perhaps the disc’s core programming might be tad too complex for some conventional (non 3D players). Granted, it didn’t diminish my enjoyment; I only thought it worth mentioning as a possible technical glitch.
Recommended, but …
Robot Monster (1953) remains an imperfect film. It’s best left to genre fans who have the acquired patience to sit through long sequences of characters simply walking from one place to another, or maybe that contingent of aficionados dedicated to ‘films of yesteryear’ or even 3D enthusiasts will find more to love than just the Average Joe. On that front, the short feature film (just over 60 minutes) likely has greater appeal. For SciFi purists? Sure, it’s worth a one-off. Just don’t look for it to have the kind of enduring qualities many of productions from the 1950’s had because they’re not there.
In the interests of fairness, I’m pleased to disclose that the fine folks at Bayview Entertainment provided me with a complimentary 3D Blu-ray of Robot Monster (1953) by request for the expressed purposes of completing this review. Their contribution to me in no way, shape, or form influenced my opinion of it.
-- EZ
- Published on
If I’m perfectly honest – and I do so try with you, faithful readers – then I’ll admit to never having even heard about 1931’s End Of The World until only a few scant years ago.
If I remember correctly, I think it came to me via a list of obscure films from history that focused on either an Apocalypse or were Apocalyptic-themed. Given as much reading as I’ve done across my lifetime into genre flicks – both known and unknown – I was a bit surprised that I’d somehow missed this one. (If it did pop up anywhere along the way, then it must’ve been mentioned so matter-of-factly that I made absolutely no reference to it.) Now having watched it – thanks to the good people at Kino Lorber for providing me with a complimentary copy – I’m astounded that it hasn’t earned a bit of extra love over the years but equally understanding of why it may’ve failed to resonate: at 95 minutes, it suffers a bit by way of an overly melodramatic presentation and just not enough focus on the dire circumstances (in some ways) to earn fandom’s sometimes fickle attention. This isn’t to say it’s a bad film in any measure; it’s just a bit uneven.
Still, for those interested in seeing how deeply even all the way back into the 1930’s that Science Fiction and Fantasy elements were finding their path to the big screen, End Of The World should be a welcome discovery. It may lack the visual finesse of today’s effects-laden blockbuster disaster films, but there are still the seeds of what universally fascinates audiences about the prospect of the end of life as we know it. Earth may not wind up entirely destroyed, but it’s clear that what remains of mankind is going to be rebuilding for decades after the depicted events.
Maybe we’ll get it right the next time!
(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 product packaging:
“Following the discovery of a comet heading straight for Earth, a scientist, helped by his brother, manages to unify all the nations of the world and have a Universal Republic proclaimed.”
For those unaware, there are many academics and scholars who’ve suggested – on more than a single occasion – that Science Fiction owes its cultural foundation to some 18th century ideals when writers began both imagining and developing formulas to craft the perfect society.
While I’m not among those who share such a conclusion, I’ll admit that – sure – the way these thinkers went about either proselytizing for or plotting to encourage cultural change is most definitely under the purview of Science Fiction. There are a great number of literature and film classics (Brave New World, Things To Come, Gattaca, etc.) that explore this very theme, so the inclusion of such a massive intellectual movement arguably deserves some discussion. My issue with it is that I consider it more as a subset to the broader issues SciFi has dealt with; had the efforts of any of these forward-thinkers developed beyond the planning stages, then maybe I could give it more credit. As is? Meh. Interesting, yes! But still … meh.
Also, I’ve written at times about just how often Science Fiction has gone to great lengths to explore the demise of man. Many, many, many films have tapped into that narrative zeitgeist, so much so that I’ve often wondered if there isn’t some latent programming within our core DNA which makes so very many of us flock to theatrical screenings of such tragedies. Could there have been some event in our distant past – alien intervention with the dawn of our species, or maybe even a flood of Biblical proportions – that was so widespread and significant that dormant memories lie in wait within our very cells? Certainly, something accounts for our collective fascination with extinction level events – if the box office is any effective indicator – and the conspiracist in me suspects it’s deeper than mere escapism.
1931’s End Of The World rather effectively explores this territory in two wonderful ways. The first one? Well, that’s quite obvious as a great deal of the story revolves around this comet rocketing through outer space with our planet smack dab in the middle of its path. The other one? That’s a bit more complicated.
The film opens with an accounting of Christ’s crucifixion. Men and women are gathered around the cross mourning the sight unfolding right before their eyes. Jesus calls out for a drink of water, and one Roman soldier kinda/sorta responds with a wet sponge. Eventually, the man hanging by his wrists succumbs to his wounds, and the viewer can feel the swell of emotion overtaking the son of God’s followers. It’s a solemn moment delivered quite beautifully on screen … only then the camera dollies back to reveal that we – the audience – have been treated to little more than a stage play of the revered event from our history.
Depending upon what you’ve been told (and/or taught) about the crucifixion, you may not give this protracted opening a second thought. Me? Well, back in the days of my Sunday School at the Baptist church, I remember being persuaded to look at Christ’s end (on the cross) as the end of Man. Yes, yes, and yes: Christ died on the cross so that man could live – his sacrifice meant a kinda/sorta Biblical new beginning for each of us – but the youth minister was adamant that who we were as a people came to an end in those moments. (I realize some religions attach this meaning to Christ’s resurrection, but you can’t have that without the death, so it made sense to my young mind.)
If I remember correctly, I think it came to me via a list of obscure films from history that focused on either an Apocalypse or were Apocalyptic-themed. Given as much reading as I’ve done across my lifetime into genre flicks – both known and unknown – I was a bit surprised that I’d somehow missed this one. (If it did pop up anywhere along the way, then it must’ve been mentioned so matter-of-factly that I made absolutely no reference to it.) Now having watched it – thanks to the good people at Kino Lorber for providing me with a complimentary copy – I’m astounded that it hasn’t earned a bit of extra love over the years but equally understanding of why it may’ve failed to resonate: at 95 minutes, it suffers a bit by way of an overly melodramatic presentation and just not enough focus on the dire circumstances (in some ways) to earn fandom’s sometimes fickle attention. This isn’t to say it’s a bad film in any measure; it’s just a bit uneven.
Still, for those interested in seeing how deeply even all the way back into the 1930’s that Science Fiction and Fantasy elements were finding their path to the big screen, End Of The World should be a welcome discovery. It may lack the visual finesse of today’s effects-laden blockbuster disaster films, but there are still the seeds of what universally fascinates audiences about the prospect of the end of life as we know it. Earth may not wind up entirely destroyed, but it’s clear that what remains of mankind is going to be rebuilding for decades after the depicted events.
Maybe we’ll get it right the next time!
(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 product packaging:
“Following the discovery of a comet heading straight for Earth, a scientist, helped by his brother, manages to unify all the nations of the world and have a Universal Republic proclaimed.”
For those unaware, there are many academics and scholars who’ve suggested – on more than a single occasion – that Science Fiction owes its cultural foundation to some 18th century ideals when writers began both imagining and developing formulas to craft the perfect society.
While I’m not among those who share such a conclusion, I’ll admit that – sure – the way these thinkers went about either proselytizing for or plotting to encourage cultural change is most definitely under the purview of Science Fiction. There are a great number of literature and film classics (Brave New World, Things To Come, Gattaca, etc.) that explore this very theme, so the inclusion of such a massive intellectual movement arguably deserves some discussion. My issue with it is that I consider it more as a subset to the broader issues SciFi has dealt with; had the efforts of any of these forward-thinkers developed beyond the planning stages, then maybe I could give it more credit. As is? Meh. Interesting, yes! But still … meh.
Also, I’ve written at times about just how often Science Fiction has gone to great lengths to explore the demise of man. Many, many, many films have tapped into that narrative zeitgeist, so much so that I’ve often wondered if there isn’t some latent programming within our core DNA which makes so very many of us flock to theatrical screenings of such tragedies. Could there have been some event in our distant past – alien intervention with the dawn of our species, or maybe even a flood of Biblical proportions – that was so widespread and significant that dormant memories lie in wait within our very cells? Certainly, something accounts for our collective fascination with extinction level events – if the box office is any effective indicator – and the conspiracist in me suspects it’s deeper than mere escapism.
1931’s End Of The World rather effectively explores this territory in two wonderful ways. The first one? Well, that’s quite obvious as a great deal of the story revolves around this comet rocketing through outer space with our planet smack dab in the middle of its path. The other one? That’s a bit more complicated.
The film opens with an accounting of Christ’s crucifixion. Men and women are gathered around the cross mourning the sight unfolding right before their eyes. Jesus calls out for a drink of water, and one Roman soldier kinda/sorta responds with a wet sponge. Eventually, the man hanging by his wrists succumbs to his wounds, and the viewer can feel the swell of emotion overtaking the son of God’s followers. It’s a solemn moment delivered quite beautifully on screen … only then the camera dollies back to reveal that we – the audience – have been treated to little more than a stage play of the revered event from our history.
Depending upon what you’ve been told (and/or taught) about the crucifixion, you may not give this protracted opening a second thought. Me? Well, back in the days of my Sunday School at the Baptist church, I remember being persuaded to look at Christ’s end (on the cross) as the end of Man. Yes, yes, and yes: Christ died on the cross so that man could live – his sacrifice meant a kinda/sorta Biblical new beginning for each of us – but the youth minister was adamant that who we were as a people came to an end in those moments. (I realize some religions attach this meaning to Christ’s resurrection, but you can’t have that without the death, so it made sense to my young mind.)
Clearly, those moments of Jesus of Nazareth presented in End Of The World are meant to address an ‘end of things’ in a narrative sense, and I suspect that might be why screenwriter André Lang and directors Abel Gance and K. Ivanoff wanted this opening to bookend their feature. (I include all involved in the storytelling process here because I’ve no way of knowing whether this was in the original draft; whatever the case may be, I’m just trying to cover my bases.) Audiences know that there’s doom and gloom in store for End’s big finish – that comet’s not gonna destroy itself – so this beginning meditation on fate stands out as if to suggest, “This has happened before.” Maybe not literally, of course. But figuratively.
From there, End pretty much descends into a fairly routine melodramatic potboiler not all that different from the era.
Its characters come together and clash in ways we’ve seen before, and the bulk of the screen time is actually committed to affairs far more conventional than they are … erm … fantastic. The SciFi element – the looming Apocalypse – is really only a hook with which to explore an otherwise predictable yarn indicting global conflict, capitalism, and warmongering. Gance – who is largely credited with directing the piece which would become France’s first all-talking feature – achieves pretty solid results in moments big and small: his close-ups are particularly impressive – I say this as one whose exposure to films of this era is fairly limited – and the film keeps pushing forward with a great deal of pomp, circumstance, and attitude. There are even some rather lurid moments involving the unseen rape of Genevieve de Murcie (Colette Darfeuil); given that her plight is a catalyst for so many characters’ motivations, Gance gives the sequence the dramatic polish it deserves.
However, there are some obvious cultural threads that weave across End that might deserve a bit of thought.
While I can’t say what for crertain, Gance appears to be making some analogies between the treatment of women tying into the demise of man, perhaps even suggesting that such misogyny might spell certain doom. (We spend more time with the women at Christ’s feet and their observations than we do any men; and de Murcie’s deflowering – as suggested above – puts a great deal of the plot in motion.) But the fact that these women – especially de Murcie – are only circumstantially tied into their respective villain’s fates leaves me wondering precisely what I was to make of it all. Also, End gets high marks for showing that – in the face of our destruction – all governments of the world are able to come together in what we believe might be our last moment … but for what? Essentially, we create a super government – one meant to preside equitably over all – while the rich and powerful are still off in their respective enclaves living their last moments in utter debauchery, the likes of which have been rarely shown on film of this era. Again, the union of two vastly different themes portrayed simultaneously has me wondering whether the director was hopeful for our tomorrow or knew well enough to know that some don’t/won’t didn’t give a damn … no matter what.
End Of The World (1931) was produced by L’Écran d’Art. DVD distribution (for this particular release) is being coordinated by Kino Lorber under their Kino Classics label. As for the technical specifications? Though I’m no trained video expert, I thought that the sights-and-sounds to this advertised 2K restoration were quite good, especially given the age of the surviving elements. (NOTE: I’ve read online that this 95-minute version is a pale imitation of the original, which one person claims ran well over 180 minutes. I can’t speak to that, but I thought it worth mentioning here.) Lastly, if you’re looking for special features? The disc includes ‘On The Trail Of A Dream: Interviews About The Film’ that discusses the efforts to both assemble this version as well as explore some of Gance’s legacy on film.
Recommended, but …
I suspect that there’s an audience out there for End Of The World (1931), but it’s likely a bit slim. As a completed feature, I’m led to believe it’s incomplete: this clocks in at 95 minutes while others online insist the French-language original is, perhaps, twice that length. The plot moves along well enough, but, frankly, I’ll admit that there were a few sequences that kinda/sorta left me hanging (as to some specific character motivations). All involved handle the melodrama quite nicely, and the end montages – involving the catastrophe unfolding on our planet – are quite good given that they’re likely largely assembled from stock footage. A bold attempt – especially for its time and place in filmdom – but I, too, couldn’t help wondering if there were more.
In the interests of fairness, I’m pleased to disclose that the fine folks at Kino Lorber provided me with a complimentary Blu-ray of End Of The World (1931) by request for the expressed purposes of completing this review. Their contribution to me in no way, shape, or form influenced my opinion of it.
-- EZ
From there, End pretty much descends into a fairly routine melodramatic potboiler not all that different from the era.
Its characters come together and clash in ways we’ve seen before, and the bulk of the screen time is actually committed to affairs far more conventional than they are … erm … fantastic. The SciFi element – the looming Apocalypse – is really only a hook with which to explore an otherwise predictable yarn indicting global conflict, capitalism, and warmongering. Gance – who is largely credited with directing the piece which would become France’s first all-talking feature – achieves pretty solid results in moments big and small: his close-ups are particularly impressive – I say this as one whose exposure to films of this era is fairly limited – and the film keeps pushing forward with a great deal of pomp, circumstance, and attitude. There are even some rather lurid moments involving the unseen rape of Genevieve de Murcie (Colette Darfeuil); given that her plight is a catalyst for so many characters’ motivations, Gance gives the sequence the dramatic polish it deserves.
However, there are some obvious cultural threads that weave across End that might deserve a bit of thought.
While I can’t say what for crertain, Gance appears to be making some analogies between the treatment of women tying into the demise of man, perhaps even suggesting that such misogyny might spell certain doom. (We spend more time with the women at Christ’s feet and their observations than we do any men; and de Murcie’s deflowering – as suggested above – puts a great deal of the plot in motion.) But the fact that these women – especially de Murcie – are only circumstantially tied into their respective villain’s fates leaves me wondering precisely what I was to make of it all. Also, End gets high marks for showing that – in the face of our destruction – all governments of the world are able to come together in what we believe might be our last moment … but for what? Essentially, we create a super government – one meant to preside equitably over all – while the rich and powerful are still off in their respective enclaves living their last moments in utter debauchery, the likes of which have been rarely shown on film of this era. Again, the union of two vastly different themes portrayed simultaneously has me wondering whether the director was hopeful for our tomorrow or knew well enough to know that some don’t/won’t didn’t give a damn … no matter what.
End Of The World (1931) was produced by L’Écran d’Art. DVD distribution (for this particular release) is being coordinated by Kino Lorber under their Kino Classics label. As for the technical specifications? Though I’m no trained video expert, I thought that the sights-and-sounds to this advertised 2K restoration were quite good, especially given the age of the surviving elements. (NOTE: I’ve read online that this 95-minute version is a pale imitation of the original, which one person claims ran well over 180 minutes. I can’t speak to that, but I thought it worth mentioning here.) Lastly, if you’re looking for special features? The disc includes ‘On The Trail Of A Dream: Interviews About The Film’ that discusses the efforts to both assemble this version as well as explore some of Gance’s legacy on film.
Recommended, but …
I suspect that there’s an audience out there for End Of The World (1931), but it’s likely a bit slim. As a completed feature, I’m led to believe it’s incomplete: this clocks in at 95 minutes while others online insist the French-language original is, perhaps, twice that length. The plot moves along well enough, but, frankly, I’ll admit that there were a few sequences that kinda/sorta left me hanging (as to some specific character motivations). All involved handle the melodrama quite nicely, and the end montages – involving the catastrophe unfolding on our planet – are quite good given that they’re likely largely assembled from stock footage. A bold attempt – especially for its time and place in filmdom – but I, too, couldn’t help wondering if there were more.
In the interests of fairness, I’m pleased to disclose that the fine folks at Kino Lorber provided me with a complimentary Blu-ray of End Of The World (1931) by request for the expressed purposes of completing this review. Their contribution to me in no way, shape, or form influenced my opinion of it.
-- EZ
- Published on
Holy moly, Batman! Can you believe it? Can you believe that we've actually made it to Wednesday -- the perennial Hump Day -- that everyone talks about? Wowza! This week is just flying by!
Well, maybe and maybe not. Each and every day brings its own challenges and opportunities ... but -- in true SciFiHistory.Net fashion -- it also brings us an incredible amount of genre tidbits to be thankful for. Things like ... birthdays. Things like ... movies. Things like ... television airings. Sometimes, why, there's even a bit more. You never know what you're going to find when you surf on over to any individual day at the website, but what I can tell you you'll find is an incredible, an astoninshing, an exciting 76 different citations! That, my friends, is a great assortment, indeed.
And -- for what it's worth -- I have probably about as many waiting to get added to the day as I've already posted up there. I've mentioned before that I keep an archive of new additions (for rainy days when I have the time to do some tinkering on the pages), and there's an absolute ton of stuff I have waiting in the wings. Seriously, I hope I never pass away because there's always work to do on this place. A ton of work.
Without further ado ...
Well, maybe and maybe not. Each and every day brings its own challenges and opportunities ... but -- in true SciFiHistory.Net fashion -- it also brings us an incredible amount of genre tidbits to be thankful for. Things like ... birthdays. Things like ... movies. Things like ... television airings. Sometimes, why, there's even a bit more. You never know what you're going to find when you surf on over to any individual day at the website, but what I can tell you you'll find is an incredible, an astoninshing, an exciting 76 different citations! That, my friends, is a great assortment, indeed.
And -- for what it's worth -- I have probably about as many waiting to get added to the day as I've already posted up there. I've mentioned before that I keep an archive of new additions (for rainy days when I have the time to do some tinkering on the pages), and there's an absolute ton of stuff I have waiting in the wings. Seriously, I hope I never pass away because there's always work to do on this place. A ton of work.
Without further ado ...
As always, please please please like and share, if you can. That sharing part is, obviously, super-important. There's only so much that I -- one solitary man -- can do to keep this place up and running. Obviously, the more support I can achieve, then the greater it becomes to build and build and build. Honestly, you're no idea how many additional visits I get each day off of a single share -- it's quite impressive -- so do me the honor and help a blog out.
Also, as always, thanks for reading ... and live long and prosper!
-- EZ
- Published on
I've said many times before that one of the great joys I get as being one of the web's premiere promoters of All Things Genre is that -- from time-to-time -- I have folks reach out to me asking that I share some of their promotional materials with my growing readership. Granted, not everything that comes along in emails is precisely what I'm looking for on the MainPage; but when I do receive something of interest I'm always willing to pass it along.
This morning, I received a notice regarding a forthcoming theatrical release from the folks at Cineverse. Their animated Fantasy -- Warrior King -- is scheduled to hit screens on August 25th. While I don't see a great deal of information available regarding the release on the Information Superhighway, the trailer is available ... so I'll be doing the usual by copying and posting the details as provided. Interested folks should give it a watch and maybe even mark your calendars if this one looks to be what you might be anticipating for yourself and maybe the kiddies. It definitely has a family-focused vibe to it.
As always, thanks for reading ... and live long and prosper!
-- EZ
This morning, I received a notice regarding a forthcoming theatrical release from the folks at Cineverse. Their animated Fantasy -- Warrior King -- is scheduled to hit screens on August 25th. While I don't see a great deal of information available regarding the release on the Information Superhighway, the trailer is available ... so I'll be doing the usual by copying and posting the details as provided. Interested folks should give it a watch and maybe even mark your calendars if this one looks to be what you might be anticipating for yourself and maybe the kiddies. It definitely has a family-focused vibe to it.
As always, thanks for reading ... and live long and prosper!
-- EZ
Cineverse Acquires the Animated Epic Fantasy Warrior King
Sets August 25 Theatrical Release Date in North America
Los Angeles, CA / July 19, 2023 / Cineverse announced today that the Company has acquired all North American rights to the Chinese animated epic fantasy Warrior King. Inspired by the legend of the hero and warrior, King Gesar, the film will release in theaters August 25, following its international theatrical debut.
Based on the epic true story, King Gesar was born to a divine lineage and was destined to become a great hero and ruler. As a young man, the future king grew up exiled in a realm overrun by menacing demons and monsters. When evil forces threaten his home, he embarks on a heroic journey to save his people and fulfill his destiny as a legendary leader.
The story of Gesar is considered one of Central Asia’s literary classics and was passed down in oral tradition for some 1,000 years, as well as literary, poetic and stage play versions. Its Tibetan iteration may now be the most prominent, It is certainly one of the longest, running to over 100 volumes and a million verses, according to some calculations.
“Epic films are meant to be experienced on the big screen,” said Yolanda Macias, Chief Content Office of Cinedigm “The sensory immersion that comes from watching films like this in theaters not only enhances the experience in the moment but reminds us why we love going to the theater in the first place. High-quality action and animation are what summer movies are made for. Warrior King invites fans of fantasy animation to embark on a captivating co-viewing experience showcasing the extraordinary strength, intelligence and courage of King Gesar, the qualities that define a true warrior.”
About Cineverse
Cineverse is a global streaming technology and entertainment company with one of the world’s largest portfolios of owned and operated streaming channels, all powered by its advanced, proprietary technology platform. Cineverse currently features enthusiast brands for subscription video on demand (SVOD), advertising-based video on demand (AVOD) and free, ad-supported streaming television (FAST) channels. Cineverse entertains consumers around the globe by providing premium feature film and television series, enthusiast streaming channels and technology services to some of the world's largest media, retail and technology companies. For more information, please visit www.cineverse.com.
Based on the epic true story, King Gesar was born to a divine lineage and was destined to become a great hero and ruler. As a young man, the future king grew up exiled in a realm overrun by menacing demons and monsters. When evil forces threaten his home, he embarks on a heroic journey to save his people and fulfill his destiny as a legendary leader.
The story of Gesar is considered one of Central Asia’s literary classics and was passed down in oral tradition for some 1,000 years, as well as literary, poetic and stage play versions. Its Tibetan iteration may now be the most prominent, It is certainly one of the longest, running to over 100 volumes and a million verses, according to some calculations.
“Epic films are meant to be experienced on the big screen,” said Yolanda Macias, Chief Content Office of Cinedigm “The sensory immersion that comes from watching films like this in theaters not only enhances the experience in the moment but reminds us why we love going to the theater in the first place. High-quality action and animation are what summer movies are made for. Warrior King invites fans of fantasy animation to embark on a captivating co-viewing experience showcasing the extraordinary strength, intelligence and courage of King Gesar, the qualities that define a true warrior.”
About Cineverse
Cineverse is a global streaming technology and entertainment company with one of the world’s largest portfolios of owned and operated streaming channels, all powered by its advanced, proprietary technology platform. Cineverse currently features enthusiast brands for subscription video on demand (SVOD), advertising-based video on demand (AVOD) and free, ad-supported streaming television (FAST) channels. Cineverse entertains consumers around the globe by providing premium feature film and television series, enthusiast streaming channels and technology services to some of the world's largest media, retail and technology companies. For more information, please visit www.cineverse.com.
- Published on
Folks, I kid you not:
It wasn't all that long ago that I had an exchange with an actor. This fellow -- who shall be nameless -- was surprised and somewhat impressed that I could recount a great deal of his appearances in both Science Fiction and Fantasy projects. However, he was -- ahem -- damn near aghast when I mentioned that in his career he had a guest visit to the world of TV's ALF. You see, his position was that ALF wasn't Science Fiction, in the slightest. He kinda/sorta laughed at the idea. When I pointed out that -- ahem -- ALF was an abbreviation for Alien Life Form, he kinda/sorta shut up.
True story.
In any event ...
I don't bring this up to shame anyone. I don't expect actors and/or actresses to know anything about the properties they are paid to be a part of, but I did think it was a pretty big surprise that this guy didn't know that one simple fact at all. But I do bring this up because I noticed over on the Shout Factory website they're now selling what looks to be a couple different versions of The Complete ALF Collection. As per usual, there are different price points along with different extras, so you do have the opportunity to pick a release that's within your budgetary requirements. Rest assured: I get nothing in return for promoting this item on my website -- I've never even received a complimentary email from the folks at Shout Factory (though I've contacted them many, many, many times) -- so don't think you're necessarily doing me a solid in any way. I'm merely doing my part as a promoter of All Things Genre by passing along the info.
The publicity materials will be copied and pasted below.
As always, thanks for reading ... and live long and prosper!
-- EZ
It wasn't all that long ago that I had an exchange with an actor. This fellow -- who shall be nameless -- was surprised and somewhat impressed that I could recount a great deal of his appearances in both Science Fiction and Fantasy projects. However, he was -- ahem -- damn near aghast when I mentioned that in his career he had a guest visit to the world of TV's ALF. You see, his position was that ALF wasn't Science Fiction, in the slightest. He kinda/sorta laughed at the idea. When I pointed out that -- ahem -- ALF was an abbreviation for Alien Life Form, he kinda/sorta shut up.
True story.
In any event ...
I don't bring this up to shame anyone. I don't expect actors and/or actresses to know anything about the properties they are paid to be a part of, but I did think it was a pretty big surprise that this guy didn't know that one simple fact at all. But I do bring this up because I noticed over on the Shout Factory website they're now selling what looks to be a couple different versions of The Complete ALF Collection. As per usual, there are different price points along with different extras, so you do have the opportunity to pick a release that's within your budgetary requirements. Rest assured: I get nothing in return for promoting this item on my website -- I've never even received a complimentary email from the folks at Shout Factory (though I've contacted them many, many, many times) -- so don't think you're necessarily doing me a solid in any way. I'm merely doing my part as a promoter of All Things Genre by passing along the info.
The publicity materials will be copied and pasted below.
As always, thanks for reading ... and live long and prosper!
-- EZ
Put down that cat!
The ultimate ALF collection is finally on DVD!
Shout is thrilled to announce the release of ALF: The Complete Series: Deluxe Edition. This definitive 24-disc collection includes: every episode of the interstellar hit series as it was originally broadcast*; the 1996 film, Project: ALF, starring Martin Sheen; and all 47 episodes of Saturday morning's ALF: The Animated Series and ALF Tales!
This ultimate set also comes in several exclusive bundles, which include a prism sticker, enamel pins, vinyl record, lunch box, and a one-of-a-kind PIECE OF THE PLANET MELMAC!
*"Try To Remember" has been edited for content, and represents the best existing version of the episode.
ALF: The Complete Series: Deluxe Edition + Poster + Prism Sticker
INCLUDES:
• Every hilarious episode, including restored footage not seen since their original broadcast
• ALF: The Animated Series
• ALF Tales
• Project: ALF – ALF's 1996 TV movie finale
• NEW A look back at ALF with creators Paul Fusco and Tom Patchett
• NEW "ALF On ALF" – Audio commentaries with ALF and Tom Patchett for select episodes
This ShoutFactory.com exclusive offer contains ALF: The Complete Series (Deluxe Edition) on DVD, plus the following items, produced in collaboration with Gutter Garbs and featuring new artwork by Matthew Skiff:
ALF: The Complete Series: Deluxe Edition + Poster + Prism Sticker + Whisked Calico (or Tabby) Splatter Vinyl
INCLUDES:
• Every hilarious episode, including restored footage not seen since their original broadcast
• ALF: The Animated Series
• ALF Tales
• Project: ALF – ALF's 1996 TV movie finale
• NEW A look back at ALF with creators Paul Fusco and Tom Patchett
• NEW "ALF On ALF" – Audio commentaries with ALF and Tom Patchett for select episodes
This ShoutFactory.com exclusive offer contains ALF: The Complete Series (Deluxe Edition) on DVD, plus the following items, produced in collaboration with Gutter Garbs and featuring new artwork by Matthew Skiff:
ALF: The Complete Series: Deluxe Edition + Poster + Prism Sticker + Whisked Calico (or Tabby) Splatter Vinyl + Enamel Pins + Lunch Box + Melmac Rock
INCLUDES:
• Every hilarious episode, including restored footage not seen since their original broadcast
• ALF: The Animated Series
• ALF Tales
• Project: ALF – ALF's 1996 TV movie finale
• NEW A look back at ALF with creators Paul Fusco and Tom Patchett
• NEW "ALF On ALF" – Audio commentaries with ALF and Tom Patchett for select episodes
This ShoutFactory.com exclusive offer contains ALF: The Complete Series (Deluxe Edition) on DVD, plus the following items, produced in collaboration with Gutter Garbs and featuring new artwork by Matthew Skiff:
Plus, ShoutFactory.com is proud to present the following as part of this offer:
This ultimate set also comes in several exclusive bundles, which include a prism sticker, enamel pins, vinyl record, lunch box, and a one-of-a-kind PIECE OF THE PLANET MELMAC!
*"Try To Remember" has been edited for content, and represents the best existing version of the episode.
ALF: The Complete Series: Deluxe Edition + Poster + Prism Sticker
INCLUDES:
• Every hilarious episode, including restored footage not seen since their original broadcast
• ALF: The Animated Series
• ALF Tales
• Project: ALF – ALF's 1996 TV movie finale
• NEW A look back at ALF with creators Paul Fusco and Tom Patchett
• NEW "ALF On ALF" – Audio commentaries with ALF and Tom Patchett for select episodes
This ShoutFactory.com exclusive offer contains ALF: The Complete Series (Deluxe Edition) on DVD, plus the following items, produced in collaboration with Gutter Garbs and featuring new artwork by Matthew Skiff:
- An 18” x 24” ALF Bouillabaseball Poster (this will ship rolled, in a poster tube).
- A 2.5” x 3.5” retro prism sticker, featuring new ALF artwork, designed to replicate the vintage vending machine prism stickers from the late 80s and early 90s (this will ship in a stay-flat folded cardboard sleeve).
ALF: The Complete Series: Deluxe Edition + Poster + Prism Sticker + Whisked Calico (or Tabby) Splatter Vinyl
INCLUDES:
• Every hilarious episode, including restored footage not seen since their original broadcast
• ALF: The Animated Series
• ALF Tales
• Project: ALF – ALF's 1996 TV movie finale
• NEW A look back at ALF with creators Paul Fusco and Tom Patchett
• NEW "ALF On ALF" – Audio commentaries with ALF and Tom Patchett for select episodes
This ShoutFactory.com exclusive offer contains ALF: The Complete Series (Deluxe Edition) on DVD, plus the following items, produced in collaboration with Gutter Garbs and featuring new artwork by Matthew Skiff:
- An 18” x 24” ALF Bouillabaseball Poster (this will ship rolled, in a poster tube).
- A 2.5” x 3.5” retro prism sticker, featuring new ALF artwork, designed to replicate the vintage vending machine prism stickers from the late 80s and early 90s (this will ship in a stay-flat folded cardboard sleeve).
- A 7” on exclusive Whisked Calico (or Tabby) splatter vinyl. The A-side includes “You’re The One Who’s Out Of This World” and the B-side contains “Theme From ALF.” The Whisked Calico splatter vinyl variant is a limited edition of 500 units.
ALF: The Complete Series: Deluxe Edition + Poster + Prism Sticker + Whisked Calico (or Tabby) Splatter Vinyl + Enamel Pins + Lunch Box + Melmac Rock
INCLUDES:
• Every hilarious episode, including restored footage not seen since their original broadcast
• ALF: The Animated Series
• ALF Tales
• Project: ALF – ALF's 1996 TV movie finale
• NEW A look back at ALF with creators Paul Fusco and Tom Patchett
• NEW "ALF On ALF" – Audio commentaries with ALF and Tom Patchett for select episodes
This ShoutFactory.com exclusive offer contains ALF: The Complete Series (Deluxe Edition) on DVD, plus the following items, produced in collaboration with Gutter Garbs and featuring new artwork by Matthew Skiff:
- An 18” x 24” ALF Bouillabaseball Poster (this will ship rolled, in a poster tube).
- A 2.5” x 3.5” retro prism sticker, featuring new ALF artwork, designed to replicate the vintage vending machine prism stickers from the late 80s and early 90s (this will ship in a stay-flat folded cardboard sleeve).
- An Authentic Piece of Planet Melmac (limited to 600 units) – a souvenir rock complete with a plastic display case, which measures approximately 4” x 4” x 4” and packaged in a custom box.
- A collectible retro style lunch box (limited to 600 units) – a plastic 1980s/1990s style lunchbox featuring a brand-new ALF design on both sides and measuring 4” x 8.5” x 7.5”.
- An official ALF Collectible Enamel Pin Set (limited to 600 units), which includes 4 hard enamel pins, a backer card (which measures approximately 6” x 5”), and a custom keepsake box (which measures approximately 7” x 6”). Note that the Melmac Orbit Guard shield pin measures approximately 3.5” in height and the other three pins measure approximately 1.5” – 2” in height and/or width.
Plus, ShoutFactory.com is proud to present the following as part of this offer:
- A 7” on exclusive Whisked Calico (or Tabby) splatter vinyl. The A-side includes “You’re The One Who’s Out Of This World” and the B-side contains “Theme From ALF.” The Whisked Calico splatter vinyl variant is a limited edition of 500 units.
- Published on
Sigh.
Gentle readers, I am more than well aware that not all of you enjoy some older releases nearly as much as I do. As I've mentioned many, many, many times in this space, I grew up on these films. While they're most definitely imperfect, they still do represent an era when Science Fiction, Fantasy, and Horrors releases were kinder, gentler prospects; and the level of ingenuity to rendering some of these visuals if nothing else might make for a great laugh more than it does a good story. Plus, there's the nostalgia factor for me, and at my advanced age I just can't help myself.
That's why I'm thrilled to share that this September, 2023 promises to be one for the ages as Film Masters is bringing an incredible double-bill of schlock to life: The Giant Gila Monster (1959) and The Killer Shrews (1959) are receiving a much-needed makeover for a Special Edition release on home video.
Could there -- quite possibly -- be a better time to be a fan of cult flicks? Would you have ever imagined that we'd live to see a day when not one but both of these productions were given the kind of loving attention they deserve? Gosh. I'm giddy with excitement.
Don't even think about hating on me today, peeps. Don't. Even. Think.
Should I be lucky enough to snag a copy, then I'll definitely be reviewing these for the sake of my own posterity as well as SciFiHistory.Net's enduring legacy.
You've been warned.
As always, thanks for reading ... and live long and prosper!
-- EZ
Gentle readers, I am more than well aware that not all of you enjoy some older releases nearly as much as I do. As I've mentioned many, many, many times in this space, I grew up on these films. While they're most definitely imperfect, they still do represent an era when Science Fiction, Fantasy, and Horrors releases were kinder, gentler prospects; and the level of ingenuity to rendering some of these visuals if nothing else might make for a great laugh more than it does a good story. Plus, there's the nostalgia factor for me, and at my advanced age I just can't help myself.
That's why I'm thrilled to share that this September, 2023 promises to be one for the ages as Film Masters is bringing an incredible double-bill of schlock to life: The Giant Gila Monster (1959) and The Killer Shrews (1959) are receiving a much-needed makeover for a Special Edition release on home video.
Could there -- quite possibly -- be a better time to be a fan of cult flicks? Would you have ever imagined that we'd live to see a day when not one but both of these productions were given the kind of loving attention they deserve? Gosh. I'm giddy with excitement.
Don't even think about hating on me today, peeps. Don't. Even. Think.
Should I be lucky enough to snag a copy, then I'll definitely be reviewing these for the sake of my own posterity as well as SciFiHistory.Net's enduring legacy.
You've been warned.
As always, thanks for reading ... and live long and prosper!
-- EZ
Schlock, Cult Favorite The Giant Gila Monster
With New 4K Restoration + Bonus Film The Killer Shrews
1959 Double Bill Feature on Blu-ray + DVD Sept. 26th
ROCKPORT, Mass. — Sept. 2023 — For Immediate Release — The premiere release from Film Masters—the new vintage film restoration and distribution company, launched in June by industry veteran and film historian Phil Hopkins--is a two-disc collection featuring cult favorite The Giant Gila Monster with bonus film The Killer Shrews, which were originally released as a double-feature, drive-in bill in 1959.
The classic era of drive-in schlock was near its end at the time, but there remained a dedicated audience for this pair of no-budget howlers from director Ray Kellogg and producer Gordon McLendon.
The Giant Gila Monster (from a new 4k scan of 35mm, original film elements): When two teens disappear from a small Texas town, the locals think they’ve eloped. But soon it becomes clear that something much more sinister is afoot. And if a giant Gila monster isn’t enough for you, there are plenty of cool cars and some ersatz rock 'n' roll sung by star Don Sullivan (The Monster of Piedras Blancas).
The Killer Shrews (new HD-restored version): Starring James Best (The Dukes of Hazard), Ken Curtis (Gunsmoke) and Ingrid Goude (Miss Universe 1957), a riverboat pilot and a small group of passengers find themselves stranded by a hurricane on a remote island where a population of shrews the size of German shepherds are voracious.
The Giant Gila Monster and The Killer Shrews are offered in theatrical aspect ratio of 16x9, as well as in 4x3 ratio, on region-free discs with DTS-HD sound (Blu-ray) and Dolby AC3s sound (DVD).
BONUS MATERIALS: Ray Kellogg: An Unsung Master, a Ballyhoo Motion Pictures documentary written by C. Courtney Joyner and narrated by Larry Blamire; an archival interview with star, Don Sullivan, conducted by author Bryan Senn in 2009; full commentary of The Giant Gila Monster by Larry Strothe, James Gonis, Shawn Sheridan and Matt Weinhold from The Monster Party podcast; full commentary of The Killer Shrews by professor and film scholar Jason A. Ney; original, vintage radio, marketing spots for both features, provided by Gary L. Prange; and a full-color, inserted booklet with essays by Don Stradley and Jason A. Ney.
PRE-ORDER NOW!
Blu-ray:
https://mvdshop.com/products/the-giant-gila-monster-1959-with-bonus-film-the-killer-shrews-1959-blu-ray?_pos=2&_sid=51815bc34&_ss=r
DVD:
https://mvdshop.com/products/the-giant-gila-monster-1959-with-bonus-film-the-killer-shrews-1959-dvd
About Film Masters:
Film Masters is a consortium of historians and enthusiasts who seek to celebrate the preservation and restoration of films. We are archivists, committed to storing film elements for future generations and reviving films that have been sitting dormant for decades. By scanning in 2K and 4K, we give these lesser-known films the red-carpet treatment they deserve. Leveraging modern means of distribution to release forgotten films back into the world, we also produce original bonus materials—including feature-length documentaries, audio commentaries and historic articles—to contextualize and celebrate these works of art as they were meant to be. Visit us online at: www.FilmMasters.com
The Giant Gila Monster (2-Disc Collection)
Film Masters
Genre: Cult/Horror
Original Release: 1959 (B+W)
Not Rated
Format: Blu-ray + DVD
Running Time: Approx. 74 Minutes (Plus Special Features)
Suggested Retail Price: $29.95 (Blu-ray) / $19.95 (DVD)
Pre-Order Date: August 22, 2023
Street Date: Sept. 26, 2023
Catalog #: FMB001 (Blu-ray) / FMD001 (DVD)
UPC Code: #760137129837 (Blu-ray) / #760137129844 (DVD)
- 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 …)
(Edited) From the 2023 Blu-ray release’s product packaging:
“A kitschy sci-fi extravaganza recently restored in 4K, Star Pilot is a wildly colorful adventure through the vastness of space. Aliens from the constellation Hydra crash-land on the island of Sardinia. A prominent scientist, his daughter, several young technicians, and a pair of spies are taken hostage by the beings so they can use them to repair their spaceship’s broken engine. With that done, they take off towards their home planet, taking the Earthlings with them. However, the humans attempt to mutiny against their captors, inadvertently sending their tiny spaceship hurtling into the infinite beyond.”
From what I’ve come to understand regarding the general state of Italian cinema, its directors and screenwriters found themselves heavily influenced by theatrical trends emerging from outside their native land. For example, if Horror films were in great demand, then they’d write and direct Horror films. If Science Fiction flicks were popular at the box office, then they’d tackle the Final Frontier. The same could be said for Westerns (though it would seem that that trend endured longer than most), spy thrillers, and the like. If audiences were willing to pay to see it up in the lights, then Italian storytellers and studios were all-too-happy to oblige. This – my friends – is the true definition of capitalism: when you have a customer base, then you seek to keep it happy.
In that respect, the script for Star Pilot – IMDB.com credits it to Ian Danby, director Pietro Francisci, and Fernando Paolo Girolami – definitely feels like an amalgam of what very well may’ve been popular theatrically at the time of the feature’s production. While its story clearly leans heavily into Science Fiction – what with the subject matter of UFOs, spaceships, aliens, space princesses, and flame-barking ray guns – one might also deduce an element of light bawdy comedy (the inevitable battle of the sexes back in a day when mankind only had two of them, snicker snicker), the hints of blooming romances, and even the emerging spy movie formulas. While I’ll admit that none of these pieces come together successfully in the finished product – Pilot’s events kinda/sorta chug along haphazardly like a train in search of a depot – I’d be a fool if I failed to point out that they’re all in here … so maybe Danby, Francisci, and Girolami’s storytelling ambitions got the better of themselves at a time when their budget couldn’t deliver the scale needed for all of this to excel.
Also – from what I’ve read in IMDB.com’s trivia section on the release – a good portion of the special effects work had been culled from Toho Studio’s previous Gorath (1962) Invasion Of Astro-Monster (1965). Assuming that this was largely limited to sequences in outer space and quite possibly some of the scenes of Earth’s eventual demise, I’m left wondering how much of Pilot’s plot in the second half may have been re-engineered to work with the supplied footage instead of spinning some fantastic galactic yarn all of its own. None of that excuses Golden Motion Pictures’ somewhat obvious attempt to capitalize on box office trends; but it does beg the question as to how much producers may’ve had to ‘fit a round peg in a square hole’ instead of building one seamless story all of their own from scratch. Consequently, I think it’s safe to chalk up a portion of this one’s clunkiness to that but certainly not all of it.
Still, because Pilot at times feels like a light sex comedy and – at other times – like a spy flick – and – at even other times – like an apocalypse-themed space saga wherein no residents escape unscathed by mankind’s (and alien-kind’s) hubris, the resulting highs and lows never synchronize into one consistent attempt. Without a center to hold sway of this journey, we’re merely along for the ride, and we’re not pointed toward caring one way or the other about any of the developments. Sadly, there’s no central player or performance here either that an audience can identify with or express some affinity toward, and this leaves viewers not so much in the harsh coldness of space as it does in the harsh cold role of independent observers of plights-in-progress wherein happy endings are more contrived than they are authentically experienced much less earned.
(Edited) From the 2023 Blu-ray release’s product packaging:
“A kitschy sci-fi extravaganza recently restored in 4K, Star Pilot is a wildly colorful adventure through the vastness of space. Aliens from the constellation Hydra crash-land on the island of Sardinia. A prominent scientist, his daughter, several young technicians, and a pair of spies are taken hostage by the beings so they can use them to repair their spaceship’s broken engine. With that done, they take off towards their home planet, taking the Earthlings with them. However, the humans attempt to mutiny against their captors, inadvertently sending their tiny spaceship hurtling into the infinite beyond.”
From what I’ve come to understand regarding the general state of Italian cinema, its directors and screenwriters found themselves heavily influenced by theatrical trends emerging from outside their native land. For example, if Horror films were in great demand, then they’d write and direct Horror films. If Science Fiction flicks were popular at the box office, then they’d tackle the Final Frontier. The same could be said for Westerns (though it would seem that that trend endured longer than most), spy thrillers, and the like. If audiences were willing to pay to see it up in the lights, then Italian storytellers and studios were all-too-happy to oblige. This – my friends – is the true definition of capitalism: when you have a customer base, then you seek to keep it happy.
In that respect, the script for Star Pilot – IMDB.com credits it to Ian Danby, director Pietro Francisci, and Fernando Paolo Girolami – definitely feels like an amalgam of what very well may’ve been popular theatrically at the time of the feature’s production. While its story clearly leans heavily into Science Fiction – what with the subject matter of UFOs, spaceships, aliens, space princesses, and flame-barking ray guns – one might also deduce an element of light bawdy comedy (the inevitable battle of the sexes back in a day when mankind only had two of them, snicker snicker), the hints of blooming romances, and even the emerging spy movie formulas. While I’ll admit that none of these pieces come together successfully in the finished product – Pilot’s events kinda/sorta chug along haphazardly like a train in search of a depot – I’d be a fool if I failed to point out that they’re all in here … so maybe Danby, Francisci, and Girolami’s storytelling ambitions got the better of themselves at a time when their budget couldn’t deliver the scale needed for all of this to excel.
Also – from what I’ve read in IMDB.com’s trivia section on the release – a good portion of the special effects work had been culled from Toho Studio’s previous Gorath (1962) Invasion Of Astro-Monster (1965). Assuming that this was largely limited to sequences in outer space and quite possibly some of the scenes of Earth’s eventual demise, I’m left wondering how much of Pilot’s plot in the second half may have been re-engineered to work with the supplied footage instead of spinning some fantastic galactic yarn all of its own. None of that excuses Golden Motion Pictures’ somewhat obvious attempt to capitalize on box office trends; but it does beg the question as to how much producers may’ve had to ‘fit a round peg in a square hole’ instead of building one seamless story all of their own from scratch. Consequently, I think it’s safe to chalk up a portion of this one’s clunkiness to that but certainly not all of it.
Still, because Pilot at times feels like a light sex comedy and – at other times – like a spy flick – and – at even other times – like an apocalypse-themed space saga wherein no residents escape unscathed by mankind’s (and alien-kind’s) hubris, the resulting highs and lows never synchronize into one consistent attempt. Without a center to hold sway of this journey, we’re merely along for the ride, and we’re not pointed toward caring one way or the other about any of the developments. Sadly, there’s no central player or performance here either that an audience can identify with or express some affinity toward, and this leaves viewers not so much in the harsh coldness of space as it does in the harsh cold role of independent observers of plights-in-progress wherein happy endings are more contrived than they are authentically experienced much less earned.
In fact, there’s even a scripted joke – early in the film – involving a somewhat fawning mention of men being romantically smitten with actress/model Leonora Ruffo. (Google and gander, if you will, and you’ll see it’s praise well earned!) Lo and behold, who did the producers cast to play our somewhat bossy and domineering space princess Kaena for this particular journey to the stars? Why, that would be … actress/model Leonora Ruffo … in the flesh! While some might see this as a somewhat obvious throwaway joke – maybe even a cheap laugh – I’m left somewhat confused as to whether or not I’m supposed to take any of this seriously. Given what dire predicaments lie in wait for both our and Kaena’s civilizations in the big finish, how can I not now see the joke as a bit of inappropriate humor?
So, thematically, Pilot is a mess of modest proportions. Roland Lesaffre’s ‘Professor Solmi’ never quite emerges as our world’s chief intellect as the script implies. His daughter Luisa (the comely Leontine Snell) plays a part that seems conceived and written as part of a space-based sex comedy – she’s misunderstood by both Earth and alien men alike, and I suspect all of it was intended as such. Indeed, her biggest contribution here would seem to be mastering costume changes; thank goodness it all looks great in body stockings and feather boas! And the fact that there’s no significant heroic male presence – even the Chinese spies are curiously bland as their stated mission seems to be just watching endlessly for whatever technology they can steal – the cast seems in search of a central collective motivation far too much of the time.
There’s no disputing that – despite some ill-timed comic bits – Pilot suggests a sinister present as well as a murky tomorrow.
What little we learn of these visitors from the Hydra constellation is alarming. Apparently, they rely on genetic engineering to produce a race of slaves to serve whatever needs society demands, and they’re not above kidnapping Earthlings to do their bidding (instead of doing it themselves?) even in the face of extinction. The fact that both Earth and their world suffer similar fates speaks to a long-established trend in Science Fiction that would grace the screen almost constantly, reminding us at almost every occasion that we’re collectively doomed if we don’t get our act together. In 1968’s seminal Planet Of The Apes, Charlton Heston had to go centuries into the future to see what shape mankind left his Earth in, and Pilot finds the time to caution us not once but twice in that film’s present day. So, yes, perhaps it bodes well that both man and the Hydrans are basically forced to collaborate in rebuilding one functioning world – setting aside their differences and repopulating the respective species – but that’s an ending we don’t get to see as no follow-up was ever made to this otherwise uneven picture.
Star Pilot (aka 2+5 Missione Hydra) (1966) was produced by Golden Motion Pictures and Sarda Cine Service. DVD distribution (for this particular release) is being coordinated via the fine folks at Kino Lorber. As for the technical specifications? Though I’m no trained video expert, I found the sights-and-sounds to this all-new 4K restoration to be surprisingly good; as I’ve both seen this thing broadcast on television as well as an earlier DVD release, I was very impressed by the look and audio here. It’s a vast improvement over what’s been available previously. Lastly, if you’re looking for special features? The disc boasts two different versions of the flick – a 91-minute Italian language original (with subtitles) along with an 86 English-dubbed version. There’s also an audio commentary hosted by author and film historian David Del Valle. Given the age of the picture – and the fact that it’s a reasonable obscure title – it’s a solid collection for folks who enjoy this sort of thing.
Recommended, but …
As I stated in my first review piece of 1966’s Star Pilot (from a 2016 standard DVD reissue), I don’t consider it a bad film, certainly not on the level that I’ve seen so many critiques on the World Wide Web. My issues with it relate entirely to the fact that its characters as so one-dimensional that no standouts truly emerge; and its story largely clunks along from development to development. There’s a deep, dark warning for mankind trapped somewhere in there – what with its thematically dire second half that would almost serve as a precursor to the Apocalyptic and/or dystopian themes that dominated so much of Science Fiction throughout the late 1960’s and well into the 1970’s.
In the interests of fairness, I’m pleased to disclose that the fine folks at Kino Lorber provided me with a complimentary Blu-ray of Star Pilot (1966) by request for the expressed purposes of completing this review. Their contribution to me in no way, shape, or form influenced my opinion of it.
-- EZ
So, thematically, Pilot is a mess of modest proportions. Roland Lesaffre’s ‘Professor Solmi’ never quite emerges as our world’s chief intellect as the script implies. His daughter Luisa (the comely Leontine Snell) plays a part that seems conceived and written as part of a space-based sex comedy – she’s misunderstood by both Earth and alien men alike, and I suspect all of it was intended as such. Indeed, her biggest contribution here would seem to be mastering costume changes; thank goodness it all looks great in body stockings and feather boas! And the fact that there’s no significant heroic male presence – even the Chinese spies are curiously bland as their stated mission seems to be just watching endlessly for whatever technology they can steal – the cast seems in search of a central collective motivation far too much of the time.
There’s no disputing that – despite some ill-timed comic bits – Pilot suggests a sinister present as well as a murky tomorrow.
What little we learn of these visitors from the Hydra constellation is alarming. Apparently, they rely on genetic engineering to produce a race of slaves to serve whatever needs society demands, and they’re not above kidnapping Earthlings to do their bidding (instead of doing it themselves?) even in the face of extinction. The fact that both Earth and their world suffer similar fates speaks to a long-established trend in Science Fiction that would grace the screen almost constantly, reminding us at almost every occasion that we’re collectively doomed if we don’t get our act together. In 1968’s seminal Planet Of The Apes, Charlton Heston had to go centuries into the future to see what shape mankind left his Earth in, and Pilot finds the time to caution us not once but twice in that film’s present day. So, yes, perhaps it bodes well that both man and the Hydrans are basically forced to collaborate in rebuilding one functioning world – setting aside their differences and repopulating the respective species – but that’s an ending we don’t get to see as no follow-up was ever made to this otherwise uneven picture.
Star Pilot (aka 2+5 Missione Hydra) (1966) was produced by Golden Motion Pictures and Sarda Cine Service. DVD distribution (for this particular release) is being coordinated via the fine folks at Kino Lorber. As for the technical specifications? Though I’m no trained video expert, I found the sights-and-sounds to this all-new 4K restoration to be surprisingly good; as I’ve both seen this thing broadcast on television as well as an earlier DVD release, I was very impressed by the look and audio here. It’s a vast improvement over what’s been available previously. Lastly, if you’re looking for special features? The disc boasts two different versions of the flick – a 91-minute Italian language original (with subtitles) along with an 86 English-dubbed version. There’s also an audio commentary hosted by author and film historian David Del Valle. Given the age of the picture – and the fact that it’s a reasonable obscure title – it’s a solid collection for folks who enjoy this sort of thing.
Recommended, but …
As I stated in my first review piece of 1966’s Star Pilot (from a 2016 standard DVD reissue), I don’t consider it a bad film, certainly not on the level that I’ve seen so many critiques on the World Wide Web. My issues with it relate entirely to the fact that its characters as so one-dimensional that no standouts truly emerge; and its story largely clunks along from development to development. There’s a deep, dark warning for mankind trapped somewhere in there – what with its thematically dire second half that would almost serve as a precursor to the Apocalyptic and/or dystopian themes that dominated so much of Science Fiction throughout the late 1960’s and well into the 1970’s.
In the interests of fairness, I’m pleased to disclose that the fine folks at Kino Lorber provided me with a complimentary Blu-ray of Star Pilot (1966) by request for the expressed purposes of completing this review. Their contribution to me in no way, shape, or form influenced my opinion of it.
-- EZ
- Published on
Greetings and welcome to Happy Tuesday, gentle readers!
Have you seen today yet? Have you actually surfed over to the site and checked out today, Tuesday? Why, it's chocked full with an incredible 69 different genre citations, be they birthdays, movie releases, or broadcast television airings. It's a fabulous assortment from all around the world, specifically drawing attention to only those SciFi, Fantasy, and Horror memories that each and every one of us out to be celebrating on this day. As always, I encourage you to check them out and -- out of respect for the work that I do -- please please please share and share alike at any of the stops you make while traversing the Information Superhighway today.
I'm puttering about the house a bit today. The wifey has me making a little 'something something' in the crockpot. I'm going to try to get up my review of The Walking Dead: Dead City's latest airing from this past Sunday, but I can't guarantee it as of yet. Just depends upon how much time I can get over this hot keyboard. Also, I have had a few folks reach out to me regarding press releases and trailer drops, so I may -- may!!! -- get around to posting those announcements later this afternoon as well.
So ... without further ado ...
Have you seen today yet? Have you actually surfed over to the site and checked out today, Tuesday? Why, it's chocked full with an incredible 69 different genre citations, be they birthdays, movie releases, or broadcast television airings. It's a fabulous assortment from all around the world, specifically drawing attention to only those SciFi, Fantasy, and Horror memories that each and every one of us out to be celebrating on this day. As always, I encourage you to check them out and -- out of respect for the work that I do -- please please please share and share alike at any of the stops you make while traversing the Information Superhighway today.
I'm puttering about the house a bit today. The wifey has me making a little 'something something' in the crockpot. I'm going to try to get up my review of The Walking Dead: Dead City's latest airing from this past Sunday, but I can't guarantee it as of yet. Just depends upon how much time I can get over this hot keyboard. Also, I have had a few folks reach out to me regarding press releases and trailer drops, so I may -- may!!! -- get around to posting those announcements later this afternoon as well.
So ... without further ado ...
As always, THANK YOU for reading ... and live long and prosper!
-- EZ