- Published on
True story, kids: I used to watch a lot more movies than I do today, and a great deal more of them were foreign as opposed to U.S. releases.
Time changes things, and many of the relationships I had, say, ten to fifteen years ago were built on the back of my Amazon.com profile. I was one of those Top 1,000 Reviewers -- an extremely difficult opportunity to reach -- so I had a line of companies offering me products on a daily basis. I wasn't flooded with stuff the way many were because I did take a discriminating approach to what I'd review, what I had to say about it, etc., but it was still an incredible amount of items I'd have to go through on a weekly basis. Today -- since I'm pretty much aligned exclusively here (after Amazon.com used and abused us for so many years only to unceremoniously dump us when they realized it was too expensive to maintain their chokehold on the consumer marketplace) -- so I do limit the wares even further, sticking mainly to Science Fiction, Fantasy, and Horror related items. Sure, every now and then I'll do something a bit different -- mostly because, simply put, I can as the editor-in-chief -- but I do prefer "keeping it real" with a narrow focus on quality genre properties for most of my time shucking words.
But there was a time when a little something something like Spiritwalker -- a forthcoming release from the reliable Well Go USA Entertainment -- was all the rage. I've got one coming -- meaning you'll have a review in store for you very soon -- so I wanted to ramp up the coverage (as they say in the industry) by posting a link and some general information regarding the company's release. The trailer will be below; following that you'll have the publicity info from Well Go USA. Watch the coming attraction. Read the info. This looks like it could be great stuff.
As always, thanks for reading ... and live long and prosper!
-- EZ
Time changes things, and many of the relationships I had, say, ten to fifteen years ago were built on the back of my Amazon.com profile. I was one of those Top 1,000 Reviewers -- an extremely difficult opportunity to reach -- so I had a line of companies offering me products on a daily basis. I wasn't flooded with stuff the way many were because I did take a discriminating approach to what I'd review, what I had to say about it, etc., but it was still an incredible amount of items I'd have to go through on a weekly basis. Today -- since I'm pretty much aligned exclusively here (after Amazon.com used and abused us for so many years only to unceremoniously dump us when they realized it was too expensive to maintain their chokehold on the consumer marketplace) -- so I do limit the wares even further, sticking mainly to Science Fiction, Fantasy, and Horror related items. Sure, every now and then I'll do something a bit different -- mostly because, simply put, I can as the editor-in-chief -- but I do prefer "keeping it real" with a narrow focus on quality genre properties for most of my time shucking words.
But there was a time when a little something something like Spiritwalker -- a forthcoming release from the reliable Well Go USA Entertainment -- was all the rage. I've got one coming -- meaning you'll have a review in store for you very soon -- so I wanted to ramp up the coverage (as they say in the industry) by posting a link and some general information regarding the company's release. The trailer will be below; following that you'll have the publicity info from Well Go USA. Watch the coming attraction. Read the info. This looks like it could be great stuff.
As always, thanks for reading ... and live long and prosper!
-- EZ
Well Go USA has provided a brand new trailer for its upcoming Blu-ray release of Yoon Jae-keun's action thriller Spiritwalker (2021). The release will be available for purchase on April 12.
Official description:
"After waking up from a car crash unable to remember anything about his life, a man begins regaining consciousness in a new body every 12 hours. Now, he must piece together his identity, all while evading attacks from pursuing agents and dangerous criminals alike. But with no memory—and no allies—his time is running out."
Director Yoon Jae-keun (Heartbeat), along with award-winning martial arts choreographers Park Young-sik and Chung Seong-Ho (SAG Awards, Best Stunt Ensemble, "Squid Game"), bring to life the action-packed thriller about a man who loses his memory and subsequently wakes up in a new body every twelve hours. Winner of the Daniel A. Craft award for Excellence in Action Cinema at the 2021 New York Asian Film Festival, SPIRITWALKER stars former K-pop singer Yoon Kye-Sang (Chocolate, The Outlaws), Park Yong-Woo (Nailed), Lim Ji-Yeon (Obsessed, High Society) and Park Ji-Hwan (The Pirates: The Last Royal Treasure).
Special Features and Technical Specs:
Official description:
"After waking up from a car crash unable to remember anything about his life, a man begins regaining consciousness in a new body every 12 hours. Now, he must piece together his identity, all while evading attacks from pursuing agents and dangerous criminals alike. But with no memory—and no allies—his time is running out."
Director Yoon Jae-keun (Heartbeat), along with award-winning martial arts choreographers Park Young-sik and Chung Seong-Ho (SAG Awards, Best Stunt Ensemble, "Squid Game"), bring to life the action-packed thriller about a man who loses his memory and subsequently wakes up in a new body every twelve hours. Winner of the Daniel A. Craft award for Excellence in Action Cinema at the 2021 New York Asian Film Festival, SPIRITWALKER stars former K-pop singer Yoon Kye-Sang (Chocolate, The Outlaws), Park Yong-Woo (Nailed), Lim Ji-Yeon (Obsessed, High Society) and Park Ji-Hwan (The Pirates: The Last Royal Treasure).
Special Features and Technical Specs:
- Behind the Scenes featurette
- Action trailer
- Theatrical trailer
- Original Korean and English dub tracks
- Optional English subtitles for the main feature
- Published on
Back in my college days (don’t ask how long ago that was, please), I had a media professor who just wasn’t a fan of The Twilight Zone.
Whut?!?!
I know, I know, I know. To be as precise as I can, it wasn’t that he thought it was a bad show, because that wasn’t the case at all. His position – as best I can state it – is that the entire program’s catalogue relied on a kind of narrative trickery that almost always led to what he dubbed “the same conclusion.” He contended that if you’d seen one episode you’d – in reality – seen them all because they stuck to the formula so closely that viewers needn’t invest in understanding or appreciating the characters because what mattered most was the last scene. Then, the truth would be revealed, and it was always some ‘spin’ few could logically anticipate because to see it sooner would destroy the work as presented.
Yeah, yeah, yeah. That’s a mouthful. I know.
But it was an opinion I could certainly understand. When you go into any film knowing that the ending involves such a dramatic shift of perception then you do begin to watch everything – the players, the settings, even the props – a bit differently. Naturally, you’re looking for the seams, as it were: you want to be able to identify exactly when and where the storyteller positioned clues (if any) pointing you in the direction of a conclusion. Whether you found them or not never detracted from your enjoyment unless you solved the unspoken mystery from the beginning, at which point you’d turn to the person next to you and say, “I saw that coming.”
Director Craig Singer’s 6:45 (2021) suffers from an ample amount of creative overkill. He and screenwriter Robert Dean Klein have fashioned a kinda/sorta whodunit within what audiences were promised to be a Groundhog Day time loop; but what they deliver is an entirely different animal, one we’ve seen all-too-often in stories involving a descent (or is that ascent?) from madness.
You be the judge.
(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 product packaging:
“A couple embarks on a weekend getaway only to find the island curiously deserted. After stumbling upon the town’s dark secret, they trigger a time loop, forcing them to relive a demented cycle of terror with seemingly no means of escape.”
Occasionally I like to use this space to be as specific as possible because what follows may lead readers to a different conclusion. So – right up front – here it is: I didn’t dislike 6:45. It may’ve disappointed me – much of which is owed to the way it's constructed and marketed – but that there’s them apples.
Whut?!?!
I know, I know, I know. To be as precise as I can, it wasn’t that he thought it was a bad show, because that wasn’t the case at all. His position – as best I can state it – is that the entire program’s catalogue relied on a kind of narrative trickery that almost always led to what he dubbed “the same conclusion.” He contended that if you’d seen one episode you’d – in reality – seen them all because they stuck to the formula so closely that viewers needn’t invest in understanding or appreciating the characters because what mattered most was the last scene. Then, the truth would be revealed, and it was always some ‘spin’ few could logically anticipate because to see it sooner would destroy the work as presented.
Yeah, yeah, yeah. That’s a mouthful. I know.
But it was an opinion I could certainly understand. When you go into any film knowing that the ending involves such a dramatic shift of perception then you do begin to watch everything – the players, the settings, even the props – a bit differently. Naturally, you’re looking for the seams, as it were: you want to be able to identify exactly when and where the storyteller positioned clues (if any) pointing you in the direction of a conclusion. Whether you found them or not never detracted from your enjoyment unless you solved the unspoken mystery from the beginning, at which point you’d turn to the person next to you and say, “I saw that coming.”
Director Craig Singer’s 6:45 (2021) suffers from an ample amount of creative overkill. He and screenwriter Robert Dean Klein have fashioned a kinda/sorta whodunit within what audiences were promised to be a Groundhog Day time loop; but what they deliver is an entirely different animal, one we’ve seen all-too-often in stories involving a descent (or is that ascent?) from madness.
You be the judge.
(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 product packaging:
“A couple embarks on a weekend getaway only to find the island curiously deserted. After stumbling upon the town’s dark secret, they trigger a time loop, forcing them to relive a demented cycle of terror with seemingly no means of escape.”
Occasionally I like to use this space to be as specific as possible because what follows may lead readers to a different conclusion. So – right up front – here it is: I didn’t dislike 6:45. It may’ve disappointed me – much of which is owed to the way it's constructed and marketed – but that there’s them apples.
Bobby (played by Michael Reed) and Jules (the lovely Augie Duke) have curiously found themselves trapped on a resort island somehow caught up in what appears to be a temporal hiccup: one day – a particularly good yet increasingly bloody one – keeps happening to them over and over and over again, with Bobby magically the only player aware of this existential reboot. Setting aside the reality that – much like in other films or television shows that have toyed with time loops – all narrative weight rests on a single person’s shoulders to carry said burden, it’s only human to begin watching him closer and closer. As one does – and his psyche begins to necessarily fracture – I found it pretty clear early on that what 6:45 truly was is more parlor tricks than it was Science Fiction.
As such, stories like this have been done since the golden days of television, many of which appeared in episodes of The Twilight Zone, The Outer Limits, and Night Gallery. There’s nothing new here – heck, it’s the kind of thing that even M. Night Shyamalan is still writing checks off of – and I think that’s a disservice to the onscreen talent. Reed is good – he conveys the increasing paranoia of being stuck on repeat very well, and he even manages to wring a bit of pathos to moments where he does absolutely nothing to save himself and his alleged soulmate from the assault of an always-out-of-focus attacker. I felt that Duke was given a bit too little to do here – many of her emotional ‘beats’ are mild rehashes with little new information gleaned – but she’s a budding master at conveying the commonplace intimacy of everyday relationships. Mousy yet resolved, she’s the quintessential ‘girl next door’ you always rooted for who couldn’t quite escape a bad match-up, and your heart breaks every single time her life comes to its end time and time again. (Dammit, Jules, you're perfect! He doesn't know a good thing when he's got it! Don't listen to him! Call me!)
To the film’s credit, 6:45 has garnered an impressive number of festival trophies – all of them essentially tied to Singer’s ability to flesh out the story – and I’d heartily agree that such praise is well earned. The film has an efficiency to spinning the tale onward – even through its most repetitive sequences, though I was put off by so much post-production camera trickery in the second half. (Sorry, folks, but I’m never a fan of any stylistic technique that reminds me this is no organic experience, and this one uses it far too often.) As I’ve tried to be clear, my hesitation on granting the feature an enthusiastic thumbs up rests on the fact that we’ve all ‘been there, done that’ with the story. While I’ll concede there’s always an audience for this kind of thing, most of the times it's film nerds, critics, and academics … folks who don’t see flicks the same way the masses do … and I tend to be a bit more ‘blue color’ than most who blog these days.
Call me old-fashioned, but I like my lunatics properly diagnosed.
6:45 (2021) is produced by Birds Fly Dogs Bark Wind Blows Productions. DVD distribution (for this particular release) is being coordinated by the reliable Well Go USA Entertainment. As for the technical specifications? This all looks and sounds delightful, though there’s a modest amount of gore for those who prefer to be warned about that sort of thing. As for the special features? Gasp! None! Zip! Nada! Zilch! C’mon, folks, it would’ve been nice for a little something extra.
(Mildly) Recommended. Sigh. The chief problem I have with films like 6:45 is that we’ve all seen this kinda/sorta thing before – sometimes better, sometimes not – and this one honestly brings nothing new to the table, no matter how well directed, acted, or produced. At 93 minutes, it’s too long for ‘the twist’ ending, and it ends up feeling bloated by a lot of post-production camera trickery that increasingly reminds you that you’re watching a movie. (Hello, split screens! Multiple camera views! Artistic crossfades!) At some point I stopped caring for the characters and just started watching for ‘the twist,’ and that’s never a good development.
In the interests of fairness, I’m pleased to disclose that the fine folks at Well Go USA Entertainment provided me with a complimentary Blu-ray of 6:45 (2021) by request for the expressed purposes of completing this review; and their contribution to me in no way, shape, or form influenced my opinion of it.
-- EZ
As such, stories like this have been done since the golden days of television, many of which appeared in episodes of The Twilight Zone, The Outer Limits, and Night Gallery. There’s nothing new here – heck, it’s the kind of thing that even M. Night Shyamalan is still writing checks off of – and I think that’s a disservice to the onscreen talent. Reed is good – he conveys the increasing paranoia of being stuck on repeat very well, and he even manages to wring a bit of pathos to moments where he does absolutely nothing to save himself and his alleged soulmate from the assault of an always-out-of-focus attacker. I felt that Duke was given a bit too little to do here – many of her emotional ‘beats’ are mild rehashes with little new information gleaned – but she’s a budding master at conveying the commonplace intimacy of everyday relationships. Mousy yet resolved, she’s the quintessential ‘girl next door’ you always rooted for who couldn’t quite escape a bad match-up, and your heart breaks every single time her life comes to its end time and time again. (Dammit, Jules, you're perfect! He doesn't know a good thing when he's got it! Don't listen to him! Call me!)
To the film’s credit, 6:45 has garnered an impressive number of festival trophies – all of them essentially tied to Singer’s ability to flesh out the story – and I’d heartily agree that such praise is well earned. The film has an efficiency to spinning the tale onward – even through its most repetitive sequences, though I was put off by so much post-production camera trickery in the second half. (Sorry, folks, but I’m never a fan of any stylistic technique that reminds me this is no organic experience, and this one uses it far too often.) As I’ve tried to be clear, my hesitation on granting the feature an enthusiastic thumbs up rests on the fact that we’ve all ‘been there, done that’ with the story. While I’ll concede there’s always an audience for this kind of thing, most of the times it's film nerds, critics, and academics … folks who don’t see flicks the same way the masses do … and I tend to be a bit more ‘blue color’ than most who blog these days.
Call me old-fashioned, but I like my lunatics properly diagnosed.
6:45 (2021) is produced by Birds Fly Dogs Bark Wind Blows Productions. DVD distribution (for this particular release) is being coordinated by the reliable Well Go USA Entertainment. As for the technical specifications? This all looks and sounds delightful, though there’s a modest amount of gore for those who prefer to be warned about that sort of thing. As for the special features? Gasp! None! Zip! Nada! Zilch! C’mon, folks, it would’ve been nice for a little something extra.
(Mildly) Recommended. Sigh. The chief problem I have with films like 6:45 is that we’ve all seen this kinda/sorta thing before – sometimes better, sometimes not – and this one honestly brings nothing new to the table, no matter how well directed, acted, or produced. At 93 minutes, it’s too long for ‘the twist’ ending, and it ends up feeling bloated by a lot of post-production camera trickery that increasingly reminds you that you’re watching a movie. (Hello, split screens! Multiple camera views! Artistic crossfades!) At some point I stopped caring for the characters and just started watching for ‘the twist,’ and that’s never a good development.
In the interests of fairness, I’m pleased to disclose that the fine folks at Well Go USA Entertainment provided me with a complimentary Blu-ray of 6:45 (2021) by request for the expressed purposes of completing this review; and their contribution to me in no way, shape, or form influenced my opinion of it.
-- EZ
- Published on
One of the things I've always wanted to do with SciFiHistory.Net -- but have yet to truly find the time required -- is to create a specific page within the site wherein I can post content (reviews, articles, interviews, screencaps, etc.) involving titles that I've chosen to spend a bit more time with. Granted, this certainly wouldn't involve all films in the vast Science Fiction and Fantasy library, but just a few of those extra special titles -- the ones fans over the years have truly rewarded with their time, sweat, effort, and money. When I find myself with some free time, then I do make an attempt ... but as I said this would be more time than a single person in a single lifetime might have to invest.
So ...
As I've mentioned elsewhere on the site, I recently purchased the Shout Factory 4K release of Albert Pyun's The Sword And The Sorcerer (1982); and I spent a bit of time with it over the past few days pulled some screen images from this version. As you can imagine, it's very hard to get anything of value from action sequences (the quick movements practically prohibit anything worth of posting), so fans familiar with the film will notice only a smattering of snips from the intense battle moments. Also, there are only a few pics from several long passages Pyun and company filmed in a relatively dark castle interiors (the dungeons, the nighttime hallways and corridors, etc.). I've reviewed these pics at some length and chosen to share only those I think are the very best. So forgive my jaundiced old eyes if you don't like them!
Folks interested in checking out the assortment of images pulled from the transfer can find them right here.
As always, thanks for reading ... and live long and prosper!
-- EZ
So ...
As I've mentioned elsewhere on the site, I recently purchased the Shout Factory 4K release of Albert Pyun's The Sword And The Sorcerer (1982); and I spent a bit of time with it over the past few days pulled some screen images from this version. As you can imagine, it's very hard to get anything of value from action sequences (the quick movements practically prohibit anything worth of posting), so fans familiar with the film will notice only a smattering of snips from the intense battle moments. Also, there are only a few pics from several long passages Pyun and company filmed in a relatively dark castle interiors (the dungeons, the nighttime hallways and corridors, etc.). I've reviewed these pics at some length and chosen to share only those I think are the very best. So forgive my jaundiced old eyes if you don't like them!
Folks interested in checking out the assortment of images pulled from the transfer can find them right here.
As always, thanks for reading ... and live long and prosper!
-- EZ
- Published on
Good grief: I’ve lost count of the number of times I’ve witnessed our big blue marble – and all of its people – decimated by an alien invasion.
I guess the first of which – and still one of the very best – was the George Pal produced adaptation of H.G. Wells The War Of The Worlds (1953) from Paramount Pictures. That outing proved so popular with audiences that studios were naturally happy to start ponying up more cinematic depictions of the inevitable loss or near-loss of the planet. While the aliens have come in all shapes and sizes – including plant life and even viruses – the end result has often been much the same: some small platoon of plucky Earthlings somehow manages to rise to the occasion, defy the odds, and save (what remains of) life as we know it. There’s typically a lot lost in the process, true, but viewers are assured before the credits roll that the survivors will rebuild … and it’ll no doubt be a better place.
More than a century after Mr. Wells crafted that first invasion in print, storytellers are proud to continue the tradition; and one cinematic incarnation that completely escaped me was Occupation (2018). This Australian release – written and directed by Luke Sparke – took the approach of having the heroes chosen not from one of the world’s biggest and boldest military apparatuses but rather from the ranks of you and I: regular Joes who quickly grow tired with the invading forces and decide to strike back. After winning the ‘Best Feature Film’ prize from the Australian Screen Industry Network Awards, a follow-up was probably inevitable … so Sparke and company dipped back into that well with the release of Occupation: Rainfall … or as it’s titled in the film itself, “Occupation: Rainfall – Chapter 1.”
Since I missed the set-up picture, I waded into this one a bit slowly at first, not entirely certain I’d understand all that was going on. Thankfully, there’s a brief set-up that sets the film’s events into motion, and I can assure anyone reading that you do not need to have seen the earlier flick to understand what’s going on here. (It would help clarify some of the particulars, but it isn’t entirely necessary.) But as “Rainfall – Chapter 2” does not as of yet appear to have materialized nor be on the calendar (so far as IMDB.com suggests), I think it’s fair to point out that this one ends on a massive cliffhanger … a bit of a disappointment so far as this reviewer is concerned.
I guess the first of which – and still one of the very best – was the George Pal produced adaptation of H.G. Wells The War Of The Worlds (1953) from Paramount Pictures. That outing proved so popular with audiences that studios were naturally happy to start ponying up more cinematic depictions of the inevitable loss or near-loss of the planet. While the aliens have come in all shapes and sizes – including plant life and even viruses – the end result has often been much the same: some small platoon of plucky Earthlings somehow manages to rise to the occasion, defy the odds, and save (what remains of) life as we know it. There’s typically a lot lost in the process, true, but viewers are assured before the credits roll that the survivors will rebuild … and it’ll no doubt be a better place.
More than a century after Mr. Wells crafted that first invasion in print, storytellers are proud to continue the tradition; and one cinematic incarnation that completely escaped me was Occupation (2018). This Australian release – written and directed by Luke Sparke – took the approach of having the heroes chosen not from one of the world’s biggest and boldest military apparatuses but rather from the ranks of you and I: regular Joes who quickly grow tired with the invading forces and decide to strike back. After winning the ‘Best Feature Film’ prize from the Australian Screen Industry Network Awards, a follow-up was probably inevitable … so Sparke and company dipped back into that well with the release of Occupation: Rainfall … or as it’s titled in the film itself, “Occupation: Rainfall – Chapter 1.”
Since I missed the set-up picture, I waded into this one a bit slowly at first, not entirely certain I’d understand all that was going on. Thankfully, there’s a brief set-up that sets the film’s events into motion, and I can assure anyone reading that you do not need to have seen the earlier flick to understand what’s going on here. (It would help clarify some of the particulars, but it isn’t entirely necessary.) But as “Rainfall – Chapter 2” does not as of yet appear to have materialized nor be on the calendar (so far as IMDB.com suggests), I think it’s fair to point out that this one ends on a massive cliffhanger … a bit of a disappointment so far as this reviewer is concerned.
(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 promotional materials:
“The highly anticipated follow-up to Occupation (2018) picks up two years into an intergalactic invasion of Earth where survivors in Sydney, Australia are fighting back in a desperate ground war. As casualties mount by the day, the resistance and their unexpected allies uncover a plot that could see the war come to a decisive end. With the alien invaders hell-bent on making Earth their new home, the race is on to save mankind.”
One of the blessings (or is that a curse?) to having been treated to so many alien invasions is that there are ample comparisons that can be drawn to, literally, hundreds of properties. I suspect anyone who has ever watched any movies has seen at least one invasion feature; and, yes, that truth likely applies to folks who don’t consider themselves much a fan of Science Fiction or Fantasy. But because storytellers have seen these films and television shows ad infinitum, I think there’s a latent tendency to inadvertently ‘recreate’ some of what’s been done before without realizing it’s been done (to death!) already.
For example, the armor-protected aliens of Occupation: Rainfall bear a striking resemblance to those from Fox TV’s stellar 1995-1996 SciFi/Action series Space: Above And Beyond. Their fighter craft? Well, upon closer inspection I found them to look an awful lot like those already soaring onto silver screens worldwide in Roland Emmerich’s popular Independence Day (1996). And a handful of the film’s action sequences? Again, I’m not trying to point fingers, but didn’t I see some of this – or snippets very similar – in Jonathan Liebesman’s Battle Los Angeles (2011)? Though I’m not trying to pick a fight or start a war with anyone, my chief concern in trying to approach Rainfall independently is difficult because so very, very, very much of it felt derivative.
Now, this isn’t to say the picture isn’t well done.
From the film’s promotional materials:
“The highly anticipated follow-up to Occupation (2018) picks up two years into an intergalactic invasion of Earth where survivors in Sydney, Australia are fighting back in a desperate ground war. As casualties mount by the day, the resistance and their unexpected allies uncover a plot that could see the war come to a decisive end. With the alien invaders hell-bent on making Earth their new home, the race is on to save mankind.”
One of the blessings (or is that a curse?) to having been treated to so many alien invasions is that there are ample comparisons that can be drawn to, literally, hundreds of properties. I suspect anyone who has ever watched any movies has seen at least one invasion feature; and, yes, that truth likely applies to folks who don’t consider themselves much a fan of Science Fiction or Fantasy. But because storytellers have seen these films and television shows ad infinitum, I think there’s a latent tendency to inadvertently ‘recreate’ some of what’s been done before without realizing it’s been done (to death!) already.
For example, the armor-protected aliens of Occupation: Rainfall bear a striking resemblance to those from Fox TV’s stellar 1995-1996 SciFi/Action series Space: Above And Beyond. Their fighter craft? Well, upon closer inspection I found them to look an awful lot like those already soaring onto silver screens worldwide in Roland Emmerich’s popular Independence Day (1996). And a handful of the film’s action sequences? Again, I’m not trying to point fingers, but didn’t I see some of this – or snippets very similar – in Jonathan Liebesman’s Battle Los Angeles (2011)? Though I’m not trying to pick a fight or start a war with anyone, my chief concern in trying to approach Rainfall independently is difficult because so very, very, very much of it felt derivative.
Now, this isn’t to say the picture isn’t well done.
Mr. Sparke has put together what could be a crowd-pleaser, though I wonder if it won’t end up having an audience a bit more ‘cult’ in size after all is said and done. (Again, that’s not a bad thing, per se.) The action is exceedingly well crafted; though I’ll admit I chuckled aloud at a handful of scenes that were obviously computer-generated (and not exactly what I’d classify as ‘motion picture caliber’), the pace relents only in a few select places. When it does take a breath, it even occasionally has a few good character moments between our two leading ‘men’: soldier Matt Simmons (Dan Ewing) and – snicker – ‘Garry the Alien’ (Lawrence Makoare). Their relationship – one Earthling and a rebel alien – hits to the core of what the film’s underlying message could be – that collaboration and cooperation is all that’ll save both species now – and the script admirably keeps banging that drum whenever the two share the screen.
The downside to that? Well, their best moments are lost in a helluva lot of noise.
The relationships in the film aren’t exactly very well spelled out, and the result ends up producing a wide array of players who spend most of their time running, shooting, screaming, flying, fighting, etc. Multiple alien species were involved in this original assault on the Earth, but – as some of them have paired up with humans wishing to bring the fighting to an end – even they don’t get the kind of explanation required to make sense of who they are, why they’re necessary, and what role they could inevitably play in all of this. The script even introduces a secret American project – tied closely to the title – that ends up being more of a distraction here when it should feel organic to the saga. Nothing quite gels together the way it should, and the result kept me asking a lot of questions that apparently have no answers.
The aforementioned Independence Day – as a solo picture – accomplished great balance with its impressively large cast because everyone had a singular purpose. Some were rather obviously meant to be victims in the alien onslaught, but their deaths were necessary in order to stir the remaining significant survivors on a call-to-arms. (That’s damn near fundamental in films of this type.) But Rainfall – even at its midpoint – is still introducing characters (some from the first film), and they’re never quite doing anything other than reacting to the story as plotted. A vastly more interesting film could’ve been achieved by slimming down this cast and focusing on that central relationship (Matt and Garry) and maybe a second subplot; what we’re left with instead feels like a conclusion rushed (and a bit unclear) for the sake of tying this installment up, getting it in theaters, and securing funding for a third. Very little is brought to effective closure here – well, I’m sure the former population of Sydney, Australia might disagree, were they still alive – and I’m left wondering why.
The downside to that? Well, their best moments are lost in a helluva lot of noise.
The relationships in the film aren’t exactly very well spelled out, and the result ends up producing a wide array of players who spend most of their time running, shooting, screaming, flying, fighting, etc. Multiple alien species were involved in this original assault on the Earth, but – as some of them have paired up with humans wishing to bring the fighting to an end – even they don’t get the kind of explanation required to make sense of who they are, why they’re necessary, and what role they could inevitably play in all of this. The script even introduces a secret American project – tied closely to the title – that ends up being more of a distraction here when it should feel organic to the saga. Nothing quite gels together the way it should, and the result kept me asking a lot of questions that apparently have no answers.
The aforementioned Independence Day – as a solo picture – accomplished great balance with its impressively large cast because everyone had a singular purpose. Some were rather obviously meant to be victims in the alien onslaught, but their deaths were necessary in order to stir the remaining significant survivors on a call-to-arms. (That’s damn near fundamental in films of this type.) But Rainfall – even at its midpoint – is still introducing characters (some from the first film), and they’re never quite doing anything other than reacting to the story as plotted. A vastly more interesting film could’ve been achieved by slimming down this cast and focusing on that central relationship (Matt and Garry) and maybe a second subplot; what we’re left with instead feels like a conclusion rushed (and a bit unclear) for the sake of tying this installment up, getting it in theaters, and securing funding for a third. Very little is brought to effective closure here – well, I’m sure the former population of Sydney, Australia might disagree, were they still alive – and I’m left wondering why.
Thankfully, this thing was filmed before COVID as the script genuinely risks putting a pretty negative spin on what remained of the Australian government. (Hint: it goes pretty Fascist pretty damn fast.) There are some obvious, humorous, and lazy cheap shots lobbed against America – it’s fallen, don’t you know? – but methinks I’ve grown used to those. But at a time when that great nation down under has been reduced to some ugly talking points in the press about how they’ve been treating their own citizens in defiance of some arguably totalitarian policies, who’d have thought a military officer embracing the genocide of multiple alien species was still possible in this day and age? I never would’ve imagined it would’ve been an Aussie.
Sigh.
Dare I say it makes me long for the days of Crocodile Dundee?
Occupation: Rainfall (2020) was produced by Occupation Two Productions and Sparke Films. The feature is currently available around the world on various streaming platforms as well as Cable VOD.
Recommended. You know, at some point the worldwide Liberals and Progressives who push even the mildest politically-driven stories really ought to put-up or shut-up: since our world only has ten years left due to the “damage” we’ve inflicted on it with the burning of fossil fuels, maybe these invading aliens would be better served by taking some other planet? Certainly, these aggressors don’t seem all that concerned with the amount of soot and ash they’re releasing in our atmosphere, so I really think the solution practically writes itself.
In the interests of fairness, I’m pleased to disclose that the fine folks at Saban Films provided me with a complimentary streaming link for Occupation: Rainfall (2020) by request for the expressed purposes of completing this review; and their contribution to me in no way, shape, or form influenced my opinion of it.
-- EZ
Sigh.
Dare I say it makes me long for the days of Crocodile Dundee?
Occupation: Rainfall (2020) was produced by Occupation Two Productions and Sparke Films. The feature is currently available around the world on various streaming platforms as well as Cable VOD.
Recommended. You know, at some point the worldwide Liberals and Progressives who push even the mildest politically-driven stories really ought to put-up or shut-up: since our world only has ten years left due to the “damage” we’ve inflicted on it with the burning of fossil fuels, maybe these invading aliens would be better served by taking some other planet? Certainly, these aggressors don’t seem all that concerned with the amount of soot and ash they’re releasing in our atmosphere, so I really think the solution practically writes itself.
In the interests of fairness, I’m pleased to disclose that the fine folks at Saban Films provided me with a complimentary streaming link for Occupation: Rainfall (2020) by request for the expressed purposes of completing this review; and their contribution to me in no way, shape, or form influenced my opinion of it.
-- EZ
- Published on
Ok, ok, ok …
It’s 1982. Summer. I’m at the height of my teenage years – not too old but just old enough, you know – so hanging out with friends and catching the latest hits at the box office was all there was to do in our one-horse town. Like so many men of a certain age, we naturally gravitated toward Science Fiction and Fantasy films – Starlog was in publication, and it was practically required reading amongst my social set – and we’d risk our hard-earned cash on any flick that looked like it had even the most modest opportunity offered. With those few qualifiers, you can trust me when I say we saw just about anything.
Now, I can’t say if it’s uniquely common or not amongst all American towns and American youths, but after taking in a particular stunning piece of silver screen glory my group might spend the better part of an afternoon dissecting it. We’d talk about the actors, the actresses, our favorite sequences, etc. We’d spend a bit of time trying to figure out what worked and what didn’t. We weren’t budding filmmakers of any type, but having seen so many flicks together I think we figured we were just as good as anyone at figuring out what could make a production work. As you might imagine, such energy made for what we deemed pretty fascinating debate.
Maybe not all that surprisingly, we agreed more than we disagreed. Oh, we may’ve squabbled over essentially minor issues from time-to-time – such is the nature of life, after all – but being of the same age and similar mindset pretty much insured that we saw the world through a fairly common set of small-town eyes. If anything, casting issues were the most contentious confrontations; though we may’ve disagreed over a Tom Selleck lead – always preferring Harrison Ford when given the chance – we still tried to see past those faces to appreciate whatever goodness we could find in any individual motion picture.
Alas …
There was one film where I found myself far outside the group. Oh my God, they loved this one particular flick; and – for the love of Pete (whoever that is) – I couldn’t bring myself anywhere near the same level of adoration. Mind you, I didn’t hate the picture; I just didn’t and couldn’t see it the same way they did, namely being one of the very best escapist journeys our small group had ever seen.
It’s 1982. Summer. I’m at the height of my teenage years – not too old but just old enough, you know – so hanging out with friends and catching the latest hits at the box office was all there was to do in our one-horse town. Like so many men of a certain age, we naturally gravitated toward Science Fiction and Fantasy films – Starlog was in publication, and it was practically required reading amongst my social set – and we’d risk our hard-earned cash on any flick that looked like it had even the most modest opportunity offered. With those few qualifiers, you can trust me when I say we saw just about anything.
Now, I can’t say if it’s uniquely common or not amongst all American towns and American youths, but after taking in a particular stunning piece of silver screen glory my group might spend the better part of an afternoon dissecting it. We’d talk about the actors, the actresses, our favorite sequences, etc. We’d spend a bit of time trying to figure out what worked and what didn’t. We weren’t budding filmmakers of any type, but having seen so many flicks together I think we figured we were just as good as anyone at figuring out what could make a production work. As you might imagine, such energy made for what we deemed pretty fascinating debate.
Maybe not all that surprisingly, we agreed more than we disagreed. Oh, we may’ve squabbled over essentially minor issues from time-to-time – such is the nature of life, after all – but being of the same age and similar mindset pretty much insured that we saw the world through a fairly common set of small-town eyes. If anything, casting issues were the most contentious confrontations; though we may’ve disagreed over a Tom Selleck lead – always preferring Harrison Ford when given the chance – we still tried to see past those faces to appreciate whatever goodness we could find in any individual motion picture.
Alas …
There was one film where I found myself far outside the group. Oh my God, they loved this one particular flick; and – for the love of Pete (whoever that is) – I couldn’t bring myself anywhere near the same level of adoration. Mind you, I didn’t hate the picture; I just didn’t and couldn’t see it the same way they did, namely being one of the very best escapist journeys our small group had ever seen.
As I said, it’s 1982. Spring. And the film was Albert Pyun’s The Sword And The Sorcerer.
Forty years later: now that I’m much older and vastly wiser (less hair, though), maybe I’ll concede that I was a little hard on the feature. I still have some issues – ones I’m more than happy to discuss in a moment – but for now I’m willing to admit to any one of the friends of my youth still reading that, “Ok, you were right. I was wrong.”
(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 product packaging:
“Meet Talon, a daring mercenary who conquers castles and dungeons alike with his lethal three-bladed sword. But when Talon learns that he is the prince of a kingdom controlled by an evil sorcerer, he is thrust into the wildest fight of his life. Can Talon rescue the beautiful princess and slay the warlock, or will he fall prey to the black magic of medieval mayhem?”
Alright, let’s get this straight right up front: it’s entirely inaccurate to say I never liked The Sword And The Sorcerer. Simply put, I’ve always found it passable fare. Not great. Not awful. An interesting cast. A mediocre story. I would argue that it’s probably the best genre director Albert Pyun has ever done – certainly the most fulfilling visual meal – a B-Movie feature that never quite revels in its excesses mostly because it doesn’t have them. All one need do is look at its sets, props, and costumes to know that it was a modestly budgeted affair, a film that possibly could’ve delivered even more if it had a little extra in the spending tank.
My issues with the film have always been (and remain today) some of its stylistic choices. Storytelling considerations. Casting missteps. Those kinds of drawbacks. And I’ll try to iron them out as specifically as I can … once and for all.
First, it’s important to put Sword in its proper historical context.
Pyun and company were smart to get the thing into theaters when they did because 1982 saw the emergence of big Fantasy on the silver screen with not only their feature but also John Milius’ adaptation of Robert E. Howard’s titular character Conan The Barbarian. 1984 would offer up the vastly inferior sequel – Conan The Destroyer, a bit of a cinematic tragedy by my estimation; and 1985 served up another slice of cheese from the Howard library – Red Sonja – with Arnold Schwarzenegger involved in a smaller, secondary role.
Forty years later: now that I’m much older and vastly wiser (less hair, though), maybe I’ll concede that I was a little hard on the feature. I still have some issues – ones I’m more than happy to discuss in a moment – but for now I’m willing to admit to any one of the friends of my youth still reading that, “Ok, you were right. I was wrong.”
(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 product packaging:
“Meet Talon, a daring mercenary who conquers castles and dungeons alike with his lethal three-bladed sword. But when Talon learns that he is the prince of a kingdom controlled by an evil sorcerer, he is thrust into the wildest fight of his life. Can Talon rescue the beautiful princess and slay the warlock, or will he fall prey to the black magic of medieval mayhem?”
Alright, let’s get this straight right up front: it’s entirely inaccurate to say I never liked The Sword And The Sorcerer. Simply put, I’ve always found it passable fare. Not great. Not awful. An interesting cast. A mediocre story. I would argue that it’s probably the best genre director Albert Pyun has ever done – certainly the most fulfilling visual meal – a B-Movie feature that never quite revels in its excesses mostly because it doesn’t have them. All one need do is look at its sets, props, and costumes to know that it was a modestly budgeted affair, a film that possibly could’ve delivered even more if it had a little extra in the spending tank.
My issues with the film have always been (and remain today) some of its stylistic choices. Storytelling considerations. Casting missteps. Those kinds of drawbacks. And I’ll try to iron them out as specifically as I can … once and for all.
First, it’s important to put Sword in its proper historical context.
Pyun and company were smart to get the thing into theaters when they did because 1982 saw the emergence of big Fantasy on the silver screen with not only their feature but also John Milius’ adaptation of Robert E. Howard’s titular character Conan The Barbarian. 1984 would offer up the vastly inferior sequel – Conan The Destroyer, a bit of a cinematic tragedy by my estimation; and 1985 served up another slice of cheese from the Howard library – Red Sonja – with Arnold Schwarzenegger involved in a smaller, secondary role.
Certainly there were a few others, but those were, indeed, the big ones from the period; and it’s clear that comparing solely these titles alone that Sword comes in easily in last place with respect to its sets, props, costumes, etc. This is not to suggest that all films must begin from the same starting point: I offer it up only to underscore how in my mind it just wasn’t given ‘the goods’ to compete alongside like-minded fare. While even Red Sonja doesn’t near the visual clout reserved for the two Conan films, it still retains a decidedly cinematic flare that Sword lacks. While some might argue that’s picky on my part, I’d counter it’s still a weakness Pyun and his backers needed to overcome. In short, they didn’t.
Second, it’s important to examine just how much story needed to be told.
From a narrative point of view alone, Conan The Barbarian and Sword tell nearly identical tales. (Again, that’s not an insult; it’s just an observation.) Both films present a parentless youth forced to grow up surrounded by hardship, and both men are rewarded with larger-than-life careers once their respective backstories have been dispensed. But a significant difference between the two is that Sword also traffics heavily in parallel journeys, namely the villainous undead Xusia (Richard Moll) and royal baddie would-be-king Cromwell (Richard Lynch). In contrast, Conan’s Thulsa Doom’s screentime is mostly limited to his experience with the film’s hero; but Sword invests several scenes and sequences with its rogues much in the same way the Tim Burton Batman films serve almost as ‘origin stories’ for the Dark Knight’s arch enemies.
Now, to a point, there’s absolutely nothing wrong with this. Audiences can be drawn into any good yarn by ample exploration of multiple characters: my issue with the protracted time spent in Sword is that nothing new is learned from it. What Pyun’s script (the director collaborated with Tom Karnowski and John V. Stuckmeyer on it) does – to its detriment – is merely re-establish who the bad guys are even though it had already been established. While some may chalk this up to ‘world building,’ I see some of it as redundant, meaning that I’d question why any storyteller felt it necessary to remind me.
Also – and this has always been my sticking point – it’s very clear early on that Pyun and his partners had crafted a wide, wide world for which all of these characters were to come into conflict. Similar to J.R.R. Tolkien’s The Lord Of The Rings (but not nearly as expansive), there are multiple kingdoms and multiple dynasties at play in the political and social structure. Though I’ve never plotted it out on paper, I suspect if I wanted to there could be enough material crammed into the film’s twenty-minute set-up – Talon’s youth – that another complete film could be spun off! (FYI: Sword ends with the promise of a follow-up, so I’ve no doubt this team crafted their own fictional universe to play in.) Because I had some trouble following these various relationships, I see this film individually as ‘biting off more than it could chew’ in a few critical areas. (Sometimes less is more.)
Lastly, it’s important to consider Lee Horsley as the lead.
Second, it’s important to examine just how much story needed to be told.
From a narrative point of view alone, Conan The Barbarian and Sword tell nearly identical tales. (Again, that’s not an insult; it’s just an observation.) Both films present a parentless youth forced to grow up surrounded by hardship, and both men are rewarded with larger-than-life careers once their respective backstories have been dispensed. But a significant difference between the two is that Sword also traffics heavily in parallel journeys, namely the villainous undead Xusia (Richard Moll) and royal baddie would-be-king Cromwell (Richard Lynch). In contrast, Conan’s Thulsa Doom’s screentime is mostly limited to his experience with the film’s hero; but Sword invests several scenes and sequences with its rogues much in the same way the Tim Burton Batman films serve almost as ‘origin stories’ for the Dark Knight’s arch enemies.
Now, to a point, there’s absolutely nothing wrong with this. Audiences can be drawn into any good yarn by ample exploration of multiple characters: my issue with the protracted time spent in Sword is that nothing new is learned from it. What Pyun’s script (the director collaborated with Tom Karnowski and John V. Stuckmeyer on it) does – to its detriment – is merely re-establish who the bad guys are even though it had already been established. While some may chalk this up to ‘world building,’ I see some of it as redundant, meaning that I’d question why any storyteller felt it necessary to remind me.
Also – and this has always been my sticking point – it’s very clear early on that Pyun and his partners had crafted a wide, wide world for which all of these characters were to come into conflict. Similar to J.R.R. Tolkien’s The Lord Of The Rings (but not nearly as expansive), there are multiple kingdoms and multiple dynasties at play in the political and social structure. Though I’ve never plotted it out on paper, I suspect if I wanted to there could be enough material crammed into the film’s twenty-minute set-up – Talon’s youth – that another complete film could be spun off! (FYI: Sword ends with the promise of a follow-up, so I’ve no doubt this team crafted their own fictional universe to play in.) Because I had some trouble following these various relationships, I see this film individually as ‘biting off more than it could chew’ in a few critical areas. (Sometimes less is more.)
Lastly, it’s important to consider Lee Horsley as the lead.
I grew up as a fan of Peplum features. Such swords-and-sandals pictures were heavy in TV syndication markets of a certain era, and I’ve probably seen more of them than any person should. The singular uniting similarity to almost all of these is that the hero – the swarthy man among men sent out of his heroic quest – was almost always a beefcake. (Sad, but true.) He was the big, hulking, musclebound brute who would rescue the damsel and slay the dragon without so much as breaking a sweat. Though the Sinbad pictures tend to get wrapped up in discussion of Peplum, I always saw them as a bit inferior, mostly because the lead was less a tough guy and more of a swashbuckler.
Sword’s Talon comes off more as Sinbad than he does Hercules. (Hell, even David Whitaker’s score reminds me of pirate epics!) Again, this isn’t a bad thing, but when we’re given his backstory – that being one structurally similar to Conan – then why doesn’t he look the same? Talon only dressed bigger-than-life – with shoulder pads stacked up by various animal hides – but once you see him in his sweaty glory he’s a relatively average. Tall, yes, but otherwise pretty average. (Sorry to any of the ladies – or the men – who feel otherwise. I realize the actor did some modeling work, but I gotta call it how I see it.) Sure, he’s athletic, but he definitely doesn’t carry the same physique Schwarzenegger brought to his films; given the similarities between the characters, I’ve never been able to quite reconcile those two disparate forms.
Now … here’s where I’m willing to eat a bit of crow.
After watching it last night for review … I kinda/sorta liked it a lot more than I ever recall. Due to ownership issues, it’s a title that’s been very short in supply. A few years back, I remember picking up what I was told was the best release (a foreign cut), and I was decidedly underwhelmed. While much of that experience was owed to the fact that I found the transfer disappointing, it was still hard to ‘get into the spirit’ of adventure while wading through so much grain. But Shout Company’s excellent 4K Bluray really took me back to the days of my youth; instead of tossing and turning over the storytelling shortcomings, I dipped into B-Movie waters and had a great swim. My issues were still there; I just set them aside and enjoyed the action … camp and all.
In fact, I’m looking forward to spending some more time with it as it’s loaded with some extras. I might even pen a follow-up or two once I’ve digested them all.
In the interests of fairness … no, no, no! I purchased this one all of my own, peeps. Though I’ve tried to get into Shout Factory’s good graces, I’ve yet to be offered any complimentary screeners from them. This one was all my doing … and I’m glad I did it.
-- EZ
Sword’s Talon comes off more as Sinbad than he does Hercules. (Hell, even David Whitaker’s score reminds me of pirate epics!) Again, this isn’t a bad thing, but when we’re given his backstory – that being one structurally similar to Conan – then why doesn’t he look the same? Talon only dressed bigger-than-life – with shoulder pads stacked up by various animal hides – but once you see him in his sweaty glory he’s a relatively average. Tall, yes, but otherwise pretty average. (Sorry to any of the ladies – or the men – who feel otherwise. I realize the actor did some modeling work, but I gotta call it how I see it.) Sure, he’s athletic, but he definitely doesn’t carry the same physique Schwarzenegger brought to his films; given the similarities between the characters, I’ve never been able to quite reconcile those two disparate forms.
Now … here’s where I’m willing to eat a bit of crow.
After watching it last night for review … I kinda/sorta liked it a lot more than I ever recall. Due to ownership issues, it’s a title that’s been very short in supply. A few years back, I remember picking up what I was told was the best release (a foreign cut), and I was decidedly underwhelmed. While much of that experience was owed to the fact that I found the transfer disappointing, it was still hard to ‘get into the spirit’ of adventure while wading through so much grain. But Shout Company’s excellent 4K Bluray really took me back to the days of my youth; instead of tossing and turning over the storytelling shortcomings, I dipped into B-Movie waters and had a great swim. My issues were still there; I just set them aside and enjoyed the action … camp and all.
In fact, I’m looking forward to spending some more time with it as it’s loaded with some extras. I might even pen a follow-up or two once I’ve digested them all.
In the interests of fairness … no, no, no! I purchased this one all of my own, peeps. Though I’ve tried to get into Shout Factory’s good graces, I’ve yet to be offered any complimentary screeners from them. This one was all my doing … and I’m glad I did it.
-- EZ
- Published on
As can happen from time-to-time, I'll learn about a forthcoming release, but the information will be lacking a bit of context ... such as ... a release date? I mean ... c'mon, man! Who puts out a film's promotional info without letting readers know precisely when they'll be able to snag a closer look at the property? I guess (maybe) an inferior P.R. rep might -- though it can be shown to amp up a potential audience's curiosity -- and maybe that's what the buzz is for this one.
Presently, it's called Outsiders, though IMDB.com reports it has screened previously in 2021 under its original title No Running. (I suspect that's film festival appearances and not a theatrical run.) Directed by Delmar Washington, the SciFi/Thriller stars Taryn Manning, Cooper van Grootel, and Clark Backo; and here's the plot summary as provided by our friends at IMDB.com:
"A Black high school student finds himself under suspicion after his classmate's mysterious disappearance."
In any event, I stumbled across the film based on an article at a competing website, which put me in the position to do a bit of digging into its prospects. Though I've found no scheduled release, its festival plays have garnered a kinda/sorta low 4.1 review rating on IMDB.com (not awful, but not good, either); and I read a brief interview piece with the director who apparently wants to talk about "racial tensions in America" rather than tell me anything substantive about the work. Yeah, it's a bit nebulous, but in an era when soundbytes can make or break a project I'm hoping the production actually delivers a solid story instead of pushing a storyteller's political agenda.
The trailer is good, but as always I'll caution that I never make too much of coming attractions as they're crafted to stir up interest. I'll post it below, and you folks know what to do about that.
Presently, it's called Outsiders, though IMDB.com reports it has screened previously in 2021 under its original title No Running. (I suspect that's film festival appearances and not a theatrical run.) Directed by Delmar Washington, the SciFi/Thriller stars Taryn Manning, Cooper van Grootel, and Clark Backo; and here's the plot summary as provided by our friends at IMDB.com:
"A Black high school student finds himself under suspicion after his classmate's mysterious disappearance."
In any event, I stumbled across the film based on an article at a competing website, which put me in the position to do a bit of digging into its prospects. Though I've found no scheduled release, its festival plays have garnered a kinda/sorta low 4.1 review rating on IMDB.com (not awful, but not good, either); and I read a brief interview piece with the director who apparently wants to talk about "racial tensions in America" rather than tell me anything substantive about the work. Yeah, it's a bit nebulous, but in an era when soundbytes can make or break a project I'm hoping the production actually delivers a solid story instead of pushing a storyteller's political agenda.
The trailer is good, but as always I'll caution that I never make too much of coming attractions as they're crafted to stir up interest. I'll post it below, and you folks know what to do about that.
As always, thanks for reading ... and live long and prosper!
-- EZ
-- EZ
- Published on
Well ... at the risk of sounding remotely sexist, if it stars Elisha Cuthbert -- good or bad -- then count me in!
I remember reading a clickbait article a few years back regarding the actress in her early projects, and the author contended that she was "difficult" to work with. There really wasn't much substance to the piece -- heck, I even did a search for it a few minutes ago, and I can't seem to find the original text any longer -- so maybe a wise editor finally had it pulled down. Generally speaking -- when I see articles like that -- I pass them up, but this was during the zenith of Fox TV's stellar action series 24's popularity ... and I couldn't resist. Kim Bauer (played by Cuthbert) was a poorly developed character -- no fault of the actress -- and kudos to the various screenwriters who tried to find something to do with her. Alas, methinks she ended up being little more than eye candy -- and she deserved better -- but them there's the breaks in serialized storytelling, I've been told.
In any event ...
I'd seen some minor reportage regarding 2022's The Cellar earlier in the week (or maybe it was late last week), so I'd done some searching for it and came up short. If I remember correctly, it has screened at South By Southwest (film festival); it didn't exactly create a buzz based on the articles I've read, but who among us doesn't appreciate even a mediocre haunted house story from time-to-time? Well, if you don't, then you've no business hanging around these parts, as I'll shuck them when I see them on SciFiHistory.Net's MainPage for good measure.
This one is written and directed by Brendan Muldowney, and it looks to be his first legitimate genre entry, though I could be wrong on that point. His previous works do appear to have some solid reviews via IMDB.com, which bodes well; given that The Cellar has only screened for festival audiences, I'm not inclined to make too much of those write-ups ... I rarely agree with festival folks. The film stars Cuthbert, Abby Fitz, Eoin Macken, and a few others; and here's the plot summary as provided by the aforementioned IMDB.com:
"Keira Woods' daughter mysteriously vanishes in the cellar of their new house. She soon discovers "there is an ancient and powerful entity controlling their home that she will have to face or risk losing her family's souls forever."
I finally found a trailer for the release, though I'm still not seeing any specific U.S. date attached to the materials I've reviewed. Let's hope it comes out sooner as opposed to later, eh?
I remember reading a clickbait article a few years back regarding the actress in her early projects, and the author contended that she was "difficult" to work with. There really wasn't much substance to the piece -- heck, I even did a search for it a few minutes ago, and I can't seem to find the original text any longer -- so maybe a wise editor finally had it pulled down. Generally speaking -- when I see articles like that -- I pass them up, but this was during the zenith of Fox TV's stellar action series 24's popularity ... and I couldn't resist. Kim Bauer (played by Cuthbert) was a poorly developed character -- no fault of the actress -- and kudos to the various screenwriters who tried to find something to do with her. Alas, methinks she ended up being little more than eye candy -- and she deserved better -- but them there's the breaks in serialized storytelling, I've been told.
In any event ...
I'd seen some minor reportage regarding 2022's The Cellar earlier in the week (or maybe it was late last week), so I'd done some searching for it and came up short. If I remember correctly, it has screened at South By Southwest (film festival); it didn't exactly create a buzz based on the articles I've read, but who among us doesn't appreciate even a mediocre haunted house story from time-to-time? Well, if you don't, then you've no business hanging around these parts, as I'll shuck them when I see them on SciFiHistory.Net's MainPage for good measure.
This one is written and directed by Brendan Muldowney, and it looks to be his first legitimate genre entry, though I could be wrong on that point. His previous works do appear to have some solid reviews via IMDB.com, which bodes well; given that The Cellar has only screened for festival audiences, I'm not inclined to make too much of those write-ups ... I rarely agree with festival folks. The film stars Cuthbert, Abby Fitz, Eoin Macken, and a few others; and here's the plot summary as provided by the aforementioned IMDB.com:
"Keira Woods' daughter mysteriously vanishes in the cellar of their new house. She soon discovers "there is an ancient and powerful entity controlling their home that she will have to face or risk losing her family's souls forever."
I finally found a trailer for the release, though I'm still not seeing any specific U.S. date attached to the materials I've reviewed. Let's hope it comes out sooner as opposed to later, eh?
As always, thanks for reading ... and live long and prosper!
-- EZ
-- EZ
- Published on
Ryan Reynolds continues his streak of irrepressible smarm with The Adam Project (2022), perhaps his most family-friendly vehicle since his guest visit to The Wonderful World Of Disney back in 1998. This time out, Reynolds appears as crack hotshot timeship pilot Adam Reed: after stealing the craft from his temporal overlords, he zaps back to 2022 where he comes face-to-face with the younger version of himself (played by newcomer Walker Scobell), and they join forces in a bid to destroy the very technology that made their meeting possible … an invention by no less than their dear ol’ dad Louis Reed (the politically insufferable Mark Ruffalo). Their quest takes them a bit further back in time (to 2018) where they’re soon confronted by Maya Sorian (Catherine Keener), the scheming (but female) Bill-Gates-like tycoon responsible for funding daddy Reed’s research that inevitably led to time travel’s invention. She’ll stop at nothing to maintain control of the science behind manipulating the future as it’s largely responsible for the bulk of her personal fortune.
Springing from the minds of Jonathan Tropper, T.S. Nowlin, and Jennifer Flackett, The Adam Project feels largely like a film crafted in the vastly simpler times of the 1980’s – a decade wherein Science Fiction and Fantasy largely embraced a feel-good vibe to the delight of audiences. Steven Spielberg was at his storytelling zenith, and features like The Last Starfighter, Back To The Future, and Flight Of The Navigator largely put a young face to some of the genre’s more memorable flights of fancy. Similarly, Adam works best when you don’t think too deeply about the mechanics and sit back to enjoy the ride; all of its players – even the reliable Jennifer Garner (though a bit underused here) – hit their crowd-pleasing marks exactly as plotted out on the drawing board.
Alas, it’s the kind of film not requiring a longer review as there’s not a lot of substance there. The humor – while effective – is all a bit predictable, as are a few of the character relationships (i.e. a death in the family, a strained father/son dynamic, the doting single mother just wanting what’s best for her incessantly precocious son, etc.); that’s no insult to the crew as they’re apparently very comfortable in these waters. If anything, the greatest risk taken here is by Reynolds: this isn’t an acting stretch by any measurable metric for the Thespian (he’s been in this mildly snarky mode since fairly early in his career), and he might want to think about trying on a different suit from time-to-time. It could be good for his future, though audiences are evidently still showing up for this shtick.
Like most features this saccharin, it all goes down easily, so much so that perhaps the creators will put their heads together to see if there isn’t a road to a sequel … even though this one ties up handily (and thankfully) in its closing scenes.
As always, thanks for reading ... and live long and prosper!
-- EZ
Springing from the minds of Jonathan Tropper, T.S. Nowlin, and Jennifer Flackett, The Adam Project feels largely like a film crafted in the vastly simpler times of the 1980’s – a decade wherein Science Fiction and Fantasy largely embraced a feel-good vibe to the delight of audiences. Steven Spielberg was at his storytelling zenith, and features like The Last Starfighter, Back To The Future, and Flight Of The Navigator largely put a young face to some of the genre’s more memorable flights of fancy. Similarly, Adam works best when you don’t think too deeply about the mechanics and sit back to enjoy the ride; all of its players – even the reliable Jennifer Garner (though a bit underused here) – hit their crowd-pleasing marks exactly as plotted out on the drawing board.
Alas, it’s the kind of film not requiring a longer review as there’s not a lot of substance there. The humor – while effective – is all a bit predictable, as are a few of the character relationships (i.e. a death in the family, a strained father/son dynamic, the doting single mother just wanting what’s best for her incessantly precocious son, etc.); that’s no insult to the crew as they’re apparently very comfortable in these waters. If anything, the greatest risk taken here is by Reynolds: this isn’t an acting stretch by any measurable metric for the Thespian (he’s been in this mildly snarky mode since fairly early in his career), and he might want to think about trying on a different suit from time-to-time. It could be good for his future, though audiences are evidently still showing up for this shtick.
Like most features this saccharin, it all goes down easily, so much so that perhaps the creators will put their heads together to see if there isn’t a road to a sequel … even though this one ties up handily (and thankfully) in its closing scenes.
As always, thanks for reading ... and live long and prosper!
-- EZ
- Published on
It definitely gets a bit dicey on the Information Superhighway on the occasion of trying to cover the death of a celebrity who may’ve had a somewhat checkered past, but I do respectfully try to steer clear of many of those topics when possible. If a simple ‘in memoriam’ post offends you, then please keep in mind that you are responsible for your triggers, just as I’m responsible for mine.
William Hurt was definitely one of the more celebrated actors of his generation. Certainly, the lion’s share of his acclaim came in the 1980’s – perhaps when he was searching after and securing work in some of that decade’s meatier projects, but he leaves behind a legacy of over one hundred different screen credits for students who like to delve deeper into his craft.
So far as genre projects go, Hurt was no slouch.
His career certainly took off from its earliest days with a big role in Altered States, a 1980’s Science Fiction film from acclaimed director Ken Russell. Hurt played ‘Eddie Jessup,’ a scientist who used sensory deprivation experiments to tap into what he believed were memories tied to his earlier genetic states, hence the film’s title. (Though I’ve seen the film, it was years ago, and I don’t have much recollection of it other than a bit of confusion; this is one I probably need to rewatch before saying anything further about it.) In 1981, the feature won the Saturn Award for ‘Best Make-up’ while having to settle for nominations only in the categories of ‘Best Writing,’ ‘Best Director,’ and ‘Best Science Fiction Film.’
After roughly a decade of work in conventional fare, genre called Hurt back to its influences with Wim Wenders Until The End Of The World (1991), another flick I’ve no problem admitting I found a bit confusing. (In my opinion, the films of Wim Wenders are an acquired taste.) The technological hook to the feature is that scientists have tapped into a means of recording dreams and other visions, and Hurt’s character is on-the-run from the CIA on what he insists are trumped up charges. If this all sounds a bit elusive, then this might be the reason: director Wenders’ original rough cut of the film was twenty hours long! Multiple cuts (obviously shorter) exist, but perhaps the perfect version still escapes mankind to this day.
1998 was a big year for Hurt’s immersion in Science Fiction and Fantasy as he enjoyed screen time in two big projects: Alex Proyas’ Dark City continues to enjoy a massive cult following to this day (one that this reviewer doesn’t quite understand), and Stephen Hopkins and New Line Cinema sought to re-invigorate a franchise with the silver screen incarnation of Irwin Allen’s Lost In Space. Though neither feature really found the kind of acclaim studios hope for, I think it’s safe to conclude that the actor showed the strength of his versatility by appearing in two vastly different worlds in the same year.
Are there any more?
You bet.
Syfy funded (in part) one of the better attempts to bring Frank Herbert’s Dune to life with its 2000 mini-series; and Hurt turned up as no less than ‘Duke Leto Atreides’ in the effort. In 2001, the actor enjoyed a small but important role aboard Steven Spielberg’s half-baked A.I. Artificial Intelligence for Dreamworks Pictures. 2008 saw the man’s first appearance in the Marvel Cinematic Universe in the role of ‘General Ross’ for the poorly-received The Incredible Hulk incarnation. (Honestly, that’s been the only Hulk film I’ve enjoyed, take that for what it’s worth.) And, in 2015, Hurt turned in some great work on the small screen as the inventor of synthetic people in the AMC production of Humans, a series that deserved far more love than it got.
Alas, none of us last forever, and word reached us this weekend of Hurt’s passing. Though the man is gone, his work survives, and here’s hoping it gets the attention it deserves. May he rest in peace.
Prayers to the family and friends.
-- EZ
William Hurt was definitely one of the more celebrated actors of his generation. Certainly, the lion’s share of his acclaim came in the 1980’s – perhaps when he was searching after and securing work in some of that decade’s meatier projects, but he leaves behind a legacy of over one hundred different screen credits for students who like to delve deeper into his craft.
So far as genre projects go, Hurt was no slouch.
His career certainly took off from its earliest days with a big role in Altered States, a 1980’s Science Fiction film from acclaimed director Ken Russell. Hurt played ‘Eddie Jessup,’ a scientist who used sensory deprivation experiments to tap into what he believed were memories tied to his earlier genetic states, hence the film’s title. (Though I’ve seen the film, it was years ago, and I don’t have much recollection of it other than a bit of confusion; this is one I probably need to rewatch before saying anything further about it.) In 1981, the feature won the Saturn Award for ‘Best Make-up’ while having to settle for nominations only in the categories of ‘Best Writing,’ ‘Best Director,’ and ‘Best Science Fiction Film.’
After roughly a decade of work in conventional fare, genre called Hurt back to its influences with Wim Wenders Until The End Of The World (1991), another flick I’ve no problem admitting I found a bit confusing. (In my opinion, the films of Wim Wenders are an acquired taste.) The technological hook to the feature is that scientists have tapped into a means of recording dreams and other visions, and Hurt’s character is on-the-run from the CIA on what he insists are trumped up charges. If this all sounds a bit elusive, then this might be the reason: director Wenders’ original rough cut of the film was twenty hours long! Multiple cuts (obviously shorter) exist, but perhaps the perfect version still escapes mankind to this day.
1998 was a big year for Hurt’s immersion in Science Fiction and Fantasy as he enjoyed screen time in two big projects: Alex Proyas’ Dark City continues to enjoy a massive cult following to this day (one that this reviewer doesn’t quite understand), and Stephen Hopkins and New Line Cinema sought to re-invigorate a franchise with the silver screen incarnation of Irwin Allen’s Lost In Space. Though neither feature really found the kind of acclaim studios hope for, I think it’s safe to conclude that the actor showed the strength of his versatility by appearing in two vastly different worlds in the same year.
Are there any more?
You bet.
Syfy funded (in part) one of the better attempts to bring Frank Herbert’s Dune to life with its 2000 mini-series; and Hurt turned up as no less than ‘Duke Leto Atreides’ in the effort. In 2001, the actor enjoyed a small but important role aboard Steven Spielberg’s half-baked A.I. Artificial Intelligence for Dreamworks Pictures. 2008 saw the man’s first appearance in the Marvel Cinematic Universe in the role of ‘General Ross’ for the poorly-received The Incredible Hulk incarnation. (Honestly, that’s been the only Hulk film I’ve enjoyed, take that for what it’s worth.) And, in 2015, Hurt turned in some great work on the small screen as the inventor of synthetic people in the AMC production of Humans, a series that deserved far more love than it got.
Alas, none of us last forever, and word reached us this weekend of Hurt’s passing. Though the man is gone, his work survives, and here’s hoping it gets the attention it deserves. May he rest in peace.
Prayers to the family and friends.
-- EZ
- Published on
I know, I know, I know. I can hear each and every one of your voices crying out to me over the Information Superhighway this morning, and they're collectively saying, "But dad ... but dad ... but dad ... why do you insist on shucking us these independent titles?"
Well, listen up, kiddies.
First, it's because I can. It's my site. You just read here. So I'll shuck what I wanna shuck.
Second, well that's because -- as I've always said -- I tend to enjoy features made outside of the studio system more than most. They're a bit fresher, and they're definitely a bit rawer than most; as a consequence, I can usually find more to love in them than I do the big studio stuff. Besides, you folks read what titles I write about here, and it's pretty clear that I enjoy more out-of-the-mainstream than do most scribblers.
In any event, I stumbled across a little press blurb this morning about a forthcoming creature feature that I thought worth the share. It's for a little something something titled Reed's Point which -- at first blush -- looks to pull the wool off the homegrown legend of the Jersey Devil. X-Files fans might recall that show also had an episode -- early on, I believe -- that dealt with it, though I don't recall it being one of the program's finest hours.
Here's the film's plot summary as provided by IMDB.com:
"A vehicle crash in the Pine Barrens leads to a missing teen which raises conspiracy theories about the infamous Jersey Devil legend. On the anniversary of the crash, Sarah Franklin, convinced her cousin Kelsey is alive, goes out to the crash site with Alex, Kelsey's boyfriend, to investigate. Things go downhill quickly as Sarah and Alex uncover what really lurks in the woods."
While that has all the hallmarks of being crafted by a publicity suit, it does underscore the fundamentals of what audiences can expect: this is a monster movie ... and longtime readers of this space should know of my fondness for them.
Want a bit more? Well, I found the trailer up on the reliable YouTube.com, so take a gander at that.
Well, listen up, kiddies.
First, it's because I can. It's my site. You just read here. So I'll shuck what I wanna shuck.
Second, well that's because -- as I've always said -- I tend to enjoy features made outside of the studio system more than most. They're a bit fresher, and they're definitely a bit rawer than most; as a consequence, I can usually find more to love in them than I do the big studio stuff. Besides, you folks read what titles I write about here, and it's pretty clear that I enjoy more out-of-the-mainstream than do most scribblers.
In any event, I stumbled across a little press blurb this morning about a forthcoming creature feature that I thought worth the share. It's for a little something something titled Reed's Point which -- at first blush -- looks to pull the wool off the homegrown legend of the Jersey Devil. X-Files fans might recall that show also had an episode -- early on, I believe -- that dealt with it, though I don't recall it being one of the program's finest hours.
Here's the film's plot summary as provided by IMDB.com:
"A vehicle crash in the Pine Barrens leads to a missing teen which raises conspiracy theories about the infamous Jersey Devil legend. On the anniversary of the crash, Sarah Franklin, convinced her cousin Kelsey is alive, goes out to the crash site with Alex, Kelsey's boyfriend, to investigate. Things go downhill quickly as Sarah and Alex uncover what really lurks in the woods."
While that has all the hallmarks of being crafted by a publicity suit, it does underscore the fundamentals of what audiences can expect: this is a monster movie ... and longtime readers of this space should know of my fondness for them.
Want a bit more? Well, I found the trailer up on the reliable YouTube.com, so take a gander at that.
Based on the publicity materials I've looked at this morning, it looks like this one is going direct to DVD and streaming on April 12th ... so everyone is encouraged to mark your calendars.
As always, thanks for reading ... and live long and prosper!
-- EZ
As always, thanks for reading ... and live long and prosper!
-- EZ