- Published on
in memoriam
During my stewardship of SciFiHistory.Net, I've tried to do my best to celebrate even the smallest contributions made to the worlds of Science Fiction, Fantasy, and Horror if for no other reason than the fact that I personally believe fandom is one of the best places to be. Each of us has a cause to celebrate, and that should always be used to bring us together instead of pushing us further and further apart. Granted, this doesn't always happen, but at the very least I feel we should celebrate the folks who made impressions on us while they were around to see it.
While Jennifer Runyon wasn't exactly the kind of talent considered a trailblazer, she still manages to squeeze in work here and there that should be a cause for celebration.
In 1984, she graced the silver screen with one of the funniest bits in all of the Ghostbusters saga, playing a fetching study participant whose electricity caught the eye of one Dr. Peter Venkman. And ... electric it was, indeed!
In 1985, she enjoyed a recurring role aboard the television miniseries event that was Space, an Emmy-winning project from Paramount Television.
In 1989, she visited the wonderful world of NBC's Quantum Leap for a pair of episodes.
In 1993, the sometimes twisted universe of Roger Corman knocked on her door, and she enjoyed a bit of screen time aboard Carnosaur.
In 2015, she returned to acting with a role in Silent Night, Bloody Night 2: Revival for 42nd Street Films. She followed that up -- in 2017 -- with another descent into madness that was Bloodsucka Jones Vs. The Creeping Death for The Nitwit Consortium.
Lastly, in 2025, she received another small role in the Horror titled Spectral Squad: The Haunting Of Sophie Lawson for IDS Entertainment.
Our warmest prayers are extended to the family, friends, and fans of Jennifer Runyon.
May she rest in peace ...
-- EZ
While Jennifer Runyon wasn't exactly the kind of talent considered a trailblazer, she still manages to squeeze in work here and there that should be a cause for celebration.
In 1984, she graced the silver screen with one of the funniest bits in all of the Ghostbusters saga, playing a fetching study participant whose electricity caught the eye of one Dr. Peter Venkman. And ... electric it was, indeed!
In 1985, she enjoyed a recurring role aboard the television miniseries event that was Space, an Emmy-winning project from Paramount Television.
In 1989, she visited the wonderful world of NBC's Quantum Leap for a pair of episodes.
In 1993, the sometimes twisted universe of Roger Corman knocked on her door, and she enjoyed a bit of screen time aboard Carnosaur.
In 2015, she returned to acting with a role in Silent Night, Bloody Night 2: Revival for 42nd Street Films. She followed that up -- in 2017 -- with another descent into madness that was Bloodsucka Jones Vs. The Creeping Death for The Nitwit Consortium.
Lastly, in 2025, she received another small role in the Horror titled Spectral Squad: The Haunting Of Sophie Lawson for IDS Entertainment.
Our warmest prayers are extended to the family, friends, and fans of Jennifer Runyon.
May she rest in peace ...
-- EZ
- Published on
In memoriam
A quick glance at the career profile of Corey Parker suggests that, clearly, he wasn't exactly well known in genre circles; and, yet, I'll always try to point out those entries that likely matter to most to fans of the realms of the Fantastic.
Alas, none of us lasts forever ... and I just noticed via the World Wide Web an announcement of his passing.
Our warmest prayers are extended to the family, friends, and fans of Corey Parker.
May he rest in peace ...
-- EZ
- In 1984, he enjoyed a role aboard Scream For Help, a Horror/Thriller produced by the fine folks at Videoform.
- In 1985, he stepped deep into the world of Horror Proper -- if you ask me -- with a role in Friday The 13th: A New Beginning for Paramount Pictures.
- While I don't much remember I'm Dangerous Tonight (1990), I recall watching the Horror/Thriller mostly because it starred a few actresses (of the day) that I had some interest in. Parker also appeared in the modest potboiler.
- Lastly, the actor enjoyed a guest spot in a 1996 installment of Touched By An Angel.
Alas, none of us lasts forever ... and I just noticed via the World Wide Web an announcement of his passing.
Our warmest prayers are extended to the family, friends, and fans of Corey Parker.
May he rest in peace ...
-- EZ
- Published on
site update
So many movies ... so little time ...
On this day in 2015 (in Germany), Playing With Dolls terrorized audiences with its general release on home video. Written (in part) and directed by Rene Perez, the film starred Natasha Blasick, Richard Tyson, Charlie Glackin, and others.
According to our friends at IMDB.com, here's the plot summary:
"A serial killer is purposely released from an asylum for the criminally insane so that he can continue his rampage."
-- EZ
On this day in 2015 (in Germany), Playing With Dolls terrorized audiences with its general release on home video. Written (in part) and directed by Rene Perez, the film starred Natasha Blasick, Richard Tyson, Charlie Glackin, and others.
According to our friends at IMDB.com, here's the plot summary:
"A serial killer is purposely released from an asylum for the criminally insane so that he can continue his rampage."
-- EZ
From Google.com:
Playing with Dolls (2015) is a low-budget, independent slasher film directed by Rene Perez. It follows a struggling woman who takes a remote, high-paying caretaking job, only to be hunted by a masked killer, often referred to as ""Metalface," for the amusement of a shadowy figure. The film is noted for its focus on a "cat-and-mouse" dynamic rather than high-gore, featuring a unique, barbed-wire-wrapped mask for the killer.
Key Details
The film is sometimes referred to by the alternative title Metalface.
Playing with Dolls (2015) is a low-budget, independent slasher film directed by Rene Perez. It follows a struggling woman who takes a remote, high-paying caretaking job, only to be hunted by a masked killer, often referred to as ""Metalface," for the amusement of a shadowy figure. The film is noted for its focus on a "cat-and-mouse" dynamic rather than high-gore, featuring a unique, barbed-wire-wrapped mask for the killer.
Key Details
- Plot: A woman named Cindy (Natasha Blasick) is stalked in a secluded cabin by a killer released by her employer.
- Production: The film is characterized by low-budget, independent production values, with many scenes focusing on surveillance.
- Tone: It is described as a "neo-slasher" or "thriller" that leans heavily on suspense and the menacing presence of the killer, rather than excessive blood.
- Reception: Reviews are generally mixed to negative, with critics pointing to poor acting and a weak, underdeveloped storyline.
- Sequels: The movie spawned two follow-ups: Playing with Dolls: Bloodlust (2016) and Playing with Dolls: Havoc (2017).
The film is sometimes referred to by the alternative title Metalface.
- Published on
site update
So many movies ... so little time ...
On this day in 2015 (in the U.S.), Hayride 2 -- the sequel to 2012's Hayride -- enjoyed a limited theatrical release. Written and directed by Terron R. Parsons, the film starred Sherri Eakin, Jeremy Sande, Richard Tyson, and others.
According to our friends at IMDB.com, here's the plot summary:
"The end of one journey only marks the beginning of another as Detective Loomis returns to uncover the truth behind the Legend of Pitchfork."
-- EZ
On this day in 2015 (in the U.S.), Hayride 2 -- the sequel to 2012's Hayride -- enjoyed a limited theatrical release. Written and directed by Terron R. Parsons, the film starred Sherri Eakin, Jeremy Sande, Richard Tyson, and others.
According to our friends at IMDB.com, here's the plot summary:
"The end of one journey only marks the beginning of another as Detective Loomis returns to uncover the truth behind the Legend of Pitchfork."
-- EZ
From Google.com:
Key Details and Plot
Availability
Key Details and Plot
- Synopsis: Picking up directly after the first film, survivors Amanda, Steven, and Corey are in the hospital when the seemingly invincible Pitchfork returns to continue his rampage.
- Cast: The film features Sherri Eakin (Amanda), Jeremy Sande (Corey), Jeremy Ivy (Steven), and Corlandos Scott (Detective Loomis).
- Setting: Much of the film takes place in a hospital, similar to Halloween II.
- Tone: It is described as a "B-horror" flick with significant, often graphic, gore and violence.
- Reception: Critics and viewers have found it to be a low-budget, sometimes clichéd slasher that, while featuring better horror elements than the first, often focuses heavily on dialogue.
Availability
- Platforms: The movie is available for viewing on platforms like Amazon Prime Video and
Netflix.. - Rating: Rated R for "bloody horror violence throughout and language".
- Published on
One of the downsides to researching and reviewing so many older films – especially those with rather sterling reputations amongst the cultural elite – is that the road is treacherous with disappointment.
Academics, film historians, and others have propped up a great many productions because of their lasting relevance and impact. In other words, these notable experts earn their professional bona fides by knowing which releases were the ‘very first’ to do something memorable in the medium or are considered the finest examples of early craftmanship that would evolve into industry trends in the years to come. When they spy something groundbreaking, they draw attention to it necessarily, some times to the point of fatiguing readers who just want to know the bullet points over what works or what doesn’t. The use of a new lens or the prevalence of crossfades and jump cuts don’t typically mean much to casual viewers, and yet there are a number of diehard aficionados who call point to the exact time stamp when a director or cinematographer doesn’t something revolutionary in any given reel. Such minutiae – while interesting scholastically – doesn’t always translate into primetime experiences for everyone; and – more often than not – I’ve found myself a bit underwhelmed with productions the best and brightest assure me are worth my time.
Now, none of this is to say that Stranger On The Third Floor (1940) isn’t laudable. Artistically, director Boris Ingster clearly had a gameplan that approached a reasonably conventional murder mystery in a manner that would elevate certain psychological aspects of the tale; and – in those instances – Stranger definitely achieves something entirely deserving of praise. Still, the script from Frank Partos and Nathanael West feels a bit too chipper and leaves a few questions unanswered, leaving a bit of gap in plot logic for those of us who show up expecting full disclosure as part of the experience. Stars Peter Lorre, John McGuire, Margaret Tallichet, Charles Halton, Ethel Griffies, and Elisha Cook Jr. do what they can – with varied results – but for the life of me I still can’t quite wrap my hands around motive and opportunity when the villain is finally revealed.
(NOTE: The following review will contain minor spoilers necessary solely for the discussion of plot and/or characters. If you’re the type of reader who prefers a review entirely spoiler-free, then I’d encourage you to skip down to the last few paragraphs for the final assessment. If, however, you’re accepting of a few modest hints at ‘things to come,’ then read on …)
From the film’s IMDB.com page citation:
“An aspiring reporter is the key witness at the murder trial of a young man accused of cutting a café owner's throat and is soon accused of a similar crime himself.”
Though some might insist that Stranger On The Third Floor is gripped with paranoia from start to finish, nothing could be further from the truth.
In fact, reasonable minds might even believe they’ve put on the wrong film – the one they’ve heard so much about with its earliest examples of Film Noir up in black-and-white – because, tonally, it’s way too upbeat. Opening scenes featuring the recently promoted crack newspaper reporter Michael Ward (played McGuire) and his lovely fiancé Jane (Tallichet) resonate with playful delight – the easily dreamy stuff of far too many typical Hollywood flicks of the era when marital bliss existed (A) without any notable effort and (B) in spite of separate beds. Granted, this was a sign of the times, but methinks director Ingster went a bit overboard in his narrative set-up.
Structurally, there’s no denying what he was trying to do: Stranger sought to juxtapose some kind of idyllic pretense of everyday existence alongside the stark reality that sometimes Lady Justice wasn’t only blind but also seemed ‘on the take’ when it came to sending innocent men and women ‘to the big house’ on convictions stemming entirely from circumstantial evidence. It’s these sequences – i.e. Joe Briggs’ (Cook Jr.) screaming denial of committing a crime to the entire courtroom; Ward’s nightmarish descent with pangs of guilt when doubting whether or not he’s done the right thing in testifying; the unnamed Stranger’s (Peter Lorre) cray-cray verbal meanderings shared with Jane on the dark city streets; etc. – that give the film its power. Anyone telling you otherwise is clearly watching a different picture.
Thankfully, Ingster – in his debut work – captured the right level of visual expression necessary to elevate what was an otherwise rather pedestrian caper, the kind that falls apart upon any serious dissection. In fact, the film essentially ignores giving its signature somewhat-serial-killer any foundational compunction for committing either of the murders featured in it: basically, he’s just a lunatic – there are references that he’s ‘escaped’ from an asylum – who abides by no moral code. Apparently, he just likes the act of killing, serving as a counterpart to Ward (who just likes being a reporter and in love); and these two characters adequately serve as polar opposites as if that’s all the audience really needed to prop up the chronicle. There’s not even an explanation offered as to why he found himself on the title’s third floor and did what he did to poor but nosey Albert Meng (Halton); but his presence was needed to give Ward enough of the heebie jeebies to set the nightmare in motion.
Though some might disagree, I’d offer up the opinion that Stranger’s obsessive use of voiceovers – across a great deal of Ward’s character moments – could’ve been curtailed just a bit. As an actor, McGuire gave enough of a performance to convey a good portion of what the budding reporter was going through psychologically that a bit ‘less might’ve provided ‘more’ for viewers. The constant verbal reminding of exactly what the man was thinking grew redundant, much in the same way Harrison Ford’s detective Rick Deckard speechifies a bit too much in 1982’s Blade Runner (the studio cut predicating on the suits thinking audiences were too stupid to understand what was happening before their eyes). Granted, it’s a small complaint, but I think the end result could’ve been achieved with a bit of trimming of the audio track, leaving individuals to interpret the vastly superior visuals for what they truly were.
Stranger On The Third Floor (1940) was produced by RKO Radio Pictures. DVD distribution (for this particular release) has been coordinated by the fine folks at Warner Archive. As for the technical specifications? While I’m no trained video expert, I can still assure readers that the provided sights and sounds are quite good as the release is reported to have been remastered into 4K from the feature’s original nitrate camera negative. (Shadows are particularly effective in the dream sequences.) Lastly, if you’re looking for special features? Well, the disc boasts some other fodder related to the era – cartoons and three radio shows starring Lorre – but there’s sadly nothing film-specific in here; and it would’ve been nice to learn a bit more about Stranger as it’s been heralded as groundbreaking by so many.
Recommended.
While some of elements of Stranger On The Third Floor (1940) are a bit quizzical, there’s no denying the film’s visual prowess once it truly finds its groove. Granted, that does take a bit and viewers might find themselves shackled with something far too conventionally presented especially given the film’s reputation for being one of the earliest examples of Film Noir: but it is worth the wait when it comes to its stark, meaningful visuals. Those showing up expecting it to be a Peter Lorre project? Well … the talent is sadly relegated to an incredibly small portion of the running time (a brisk 64 minutes), and it does soften the blow knowing that reality going in. Chiefly, Lorre was cast here for his appearance (in my opinion), and that arguably might be as important as Ingster’s aesthetics.
In the interests of fairness, I’m pleased to disclose that the fine folks at Warner Archive (via Allied Vaughn) provided me with a complimentary Blu-ray of Stranger On The Third Floor (1940) by request for the expressed purpose of completing this review. Their contribution to me in no way, shape, or form influenced my opinion of it.
-- EZ
Academics, film historians, and others have propped up a great many productions because of their lasting relevance and impact. In other words, these notable experts earn their professional bona fides by knowing which releases were the ‘very first’ to do something memorable in the medium or are considered the finest examples of early craftmanship that would evolve into industry trends in the years to come. When they spy something groundbreaking, they draw attention to it necessarily, some times to the point of fatiguing readers who just want to know the bullet points over what works or what doesn’t. The use of a new lens or the prevalence of crossfades and jump cuts don’t typically mean much to casual viewers, and yet there are a number of diehard aficionados who call point to the exact time stamp when a director or cinematographer doesn’t something revolutionary in any given reel. Such minutiae – while interesting scholastically – doesn’t always translate into primetime experiences for everyone; and – more often than not – I’ve found myself a bit underwhelmed with productions the best and brightest assure me are worth my time.
Now, none of this is to say that Stranger On The Third Floor (1940) isn’t laudable. Artistically, director Boris Ingster clearly had a gameplan that approached a reasonably conventional murder mystery in a manner that would elevate certain psychological aspects of the tale; and – in those instances – Stranger definitely achieves something entirely deserving of praise. Still, the script from Frank Partos and Nathanael West feels a bit too chipper and leaves a few questions unanswered, leaving a bit of gap in plot logic for those of us who show up expecting full disclosure as part of the experience. Stars Peter Lorre, John McGuire, Margaret Tallichet, Charles Halton, Ethel Griffies, and Elisha Cook Jr. do what they can – with varied results – but for the life of me I still can’t quite wrap my hands around motive and opportunity when the villain is finally revealed.
(NOTE: The following review will contain minor spoilers necessary solely for the discussion of plot and/or characters. If you’re the type of reader who prefers a review entirely spoiler-free, then I’d encourage you to skip down to the last few paragraphs for the final assessment. If, however, you’re accepting of a few modest hints at ‘things to come,’ then read on …)
From the film’s IMDB.com page citation:
“An aspiring reporter is the key witness at the murder trial of a young man accused of cutting a café owner's throat and is soon accused of a similar crime himself.”
Though some might insist that Stranger On The Third Floor is gripped with paranoia from start to finish, nothing could be further from the truth.
In fact, reasonable minds might even believe they’ve put on the wrong film – the one they’ve heard so much about with its earliest examples of Film Noir up in black-and-white – because, tonally, it’s way too upbeat. Opening scenes featuring the recently promoted crack newspaper reporter Michael Ward (played McGuire) and his lovely fiancé Jane (Tallichet) resonate with playful delight – the easily dreamy stuff of far too many typical Hollywood flicks of the era when marital bliss existed (A) without any notable effort and (B) in spite of separate beds. Granted, this was a sign of the times, but methinks director Ingster went a bit overboard in his narrative set-up.
Structurally, there’s no denying what he was trying to do: Stranger sought to juxtapose some kind of idyllic pretense of everyday existence alongside the stark reality that sometimes Lady Justice wasn’t only blind but also seemed ‘on the take’ when it came to sending innocent men and women ‘to the big house’ on convictions stemming entirely from circumstantial evidence. It’s these sequences – i.e. Joe Briggs’ (Cook Jr.) screaming denial of committing a crime to the entire courtroom; Ward’s nightmarish descent with pangs of guilt when doubting whether or not he’s done the right thing in testifying; the unnamed Stranger’s (Peter Lorre) cray-cray verbal meanderings shared with Jane on the dark city streets; etc. – that give the film its power. Anyone telling you otherwise is clearly watching a different picture.
Thankfully, Ingster – in his debut work – captured the right level of visual expression necessary to elevate what was an otherwise rather pedestrian caper, the kind that falls apart upon any serious dissection. In fact, the film essentially ignores giving its signature somewhat-serial-killer any foundational compunction for committing either of the murders featured in it: basically, he’s just a lunatic – there are references that he’s ‘escaped’ from an asylum – who abides by no moral code. Apparently, he just likes the act of killing, serving as a counterpart to Ward (who just likes being a reporter and in love); and these two characters adequately serve as polar opposites as if that’s all the audience really needed to prop up the chronicle. There’s not even an explanation offered as to why he found himself on the title’s third floor and did what he did to poor but nosey Albert Meng (Halton); but his presence was needed to give Ward enough of the heebie jeebies to set the nightmare in motion.
Though some might disagree, I’d offer up the opinion that Stranger’s obsessive use of voiceovers – across a great deal of Ward’s character moments – could’ve been curtailed just a bit. As an actor, McGuire gave enough of a performance to convey a good portion of what the budding reporter was going through psychologically that a bit ‘less might’ve provided ‘more’ for viewers. The constant verbal reminding of exactly what the man was thinking grew redundant, much in the same way Harrison Ford’s detective Rick Deckard speechifies a bit too much in 1982’s Blade Runner (the studio cut predicating on the suits thinking audiences were too stupid to understand what was happening before their eyes). Granted, it’s a small complaint, but I think the end result could’ve been achieved with a bit of trimming of the audio track, leaving individuals to interpret the vastly superior visuals for what they truly were.
Stranger On The Third Floor (1940) was produced by RKO Radio Pictures. DVD distribution (for this particular release) has been coordinated by the fine folks at Warner Archive. As for the technical specifications? While I’m no trained video expert, I can still assure readers that the provided sights and sounds are quite good as the release is reported to have been remastered into 4K from the feature’s original nitrate camera negative. (Shadows are particularly effective in the dream sequences.) Lastly, if you’re looking for special features? Well, the disc boasts some other fodder related to the era – cartoons and three radio shows starring Lorre – but there’s sadly nothing film-specific in here; and it would’ve been nice to learn a bit more about Stranger as it’s been heralded as groundbreaking by so many.
Recommended.
While some of elements of Stranger On The Third Floor (1940) are a bit quizzical, there’s no denying the film’s visual prowess once it truly finds its groove. Granted, that does take a bit and viewers might find themselves shackled with something far too conventionally presented especially given the film’s reputation for being one of the earliest examples of Film Noir: but it is worth the wait when it comes to its stark, meaningful visuals. Those showing up expecting it to be a Peter Lorre project? Well … the talent is sadly relegated to an incredibly small portion of the running time (a brisk 64 minutes), and it does soften the blow knowing that reality going in. Chiefly, Lorre was cast here for his appearance (in my opinion), and that arguably might be as important as Ingster’s aesthetics.
In the interests of fairness, I’m pleased to disclose that the fine folks at Warner Archive (via Allied Vaughn) provided me with a complimentary Blu-ray of Stranger On The Third Floor (1940) by request for the expressed purpose of completing this review. Their contribution to me in no way, shape, or form influenced my opinion of it.
-- EZ
- Published on
site update
So many movies ... so little time ...
On this day in 2002 (in the U.S.), Severed cut its way toward the top of the home video release marketplace. Written (in part) and directed by Matt Green, the film starred Peter Reh, Vanessa Sanchez, Mark Harris, and others.
According to our friends at IMDB.com, here's the plot summary:
"A ritualistic serial killer is beheading victims all over a city, and those surrounding the case are pulled into his world as they try and stop him."
-- EZ
On this day in 2002 (in the U.S.), Severed cut its way toward the top of the home video release marketplace. Written (in part) and directed by Matt Green, the film starred Peter Reh, Vanessa Sanchez, Mark Harris, and others.
According to our friends at IMDB.com, here's the plot summary:
"A ritualistic serial killer is beheading victims all over a city, and those surrounding the case are pulled into his world as they try and stop him."
-- EZ
From Google.com:
Severed (2002) is a low-budget, R-rated horror/slasher film directed by Matt Greent hat follows a ritualistic serial killer who decapitates victims in a city. It is noted for its amateurish "shot on video" style, poor audio quality, and thin plot, often categorized as a "so-bad-it's-good" film.
Key details about the 2002 movie Severed:
Severed (2002) is a low-budget, R-rated horror/slasher film directed by Matt Greent hat follows a ritualistic serial killer who decapitates victims in a city. It is noted for its amateurish "shot on video" style, poor audio quality, and thin plot, often categorized as a "so-bad-it's-good" film.
Key details about the 2002 movie Severed:
- Synopsis: The plot centers on a bald, sword-wielding serial killer, and the people drawn into his world while trying to stop him.
- Cast: The movie stars Peter Reh, Vanessa Sanchez, and Mark Harris.
- Production: It has a runtime of approximately 89–92 minutes.
- Reception: Reviews often highlight its extremely low production value, with one reviewer rating it 1/10 but noting it as a "riot to watch" for fans of bad cinema.
- Published on
site update
So many movies ... so little time ...
On March 3rd in 2011 (in Malaysia), Beastly brought its beastly appearance to the silver screen. Written (in part) and directed by Daniel Barnz, the film starred Alex Pettyfer, Vanessa Hudgens, Mary-Kate Olsen, and others.
According to our friends at IMDB.com, here's the plot summary:
"A modern-day take on the "Beauty and the Beast" tale where a New York teen is transformed into a hideous monster in order to find true love."
-- EZ
From Google.com:
Key Details
On March 3rd in 2011 (in Malaysia), Beastly brought its beastly appearance to the silver screen. Written (in part) and directed by Daniel Barnz, the film starred Alex Pettyfer, Vanessa Hudgens, Mary-Kate Olsen, and others.
According to our friends at IMDB.com, here's the plot summary:
"A modern-day take on the "Beauty and the Beast" tale where a New York teen is transformed into a hideous monster in order to find true love."
-- EZ
From Google.com:
Key Details
- Plot: Wealthy, arrogant Kyle (Pettyfer) humiliates a goth classmate, Kendra (Olsen), who is secretly a witch. She transforms him, and he must find someone to love him despite his appearance within a year to reverse the spell. He falls for classmate Lindy (Hudgens) while trying to hide his identity.
- Cast: Alex Pettyfer (Kyle), Vanessa Hudgens (Lindy), Mary-Kate Olsen (Kendra), and Neil Patrick Harris (as a blind tutor).
- Reception: The film received generally poor reviews, holding a 20% rating on Rotten Tomatoes. Critics found it to be a "near miss" with little chemistry between leads.
- Production: Directed by Daniel Barnz and based on the 2007 novel by Alex Flinn. It was released in March 2011 and grossed approximately $43 million worldwide.
- Theme: The story focuses on looking past superficial beauty for inner character.
- Published on
site update
So many movies ... so little time ...
On February 1st in 1994 (in Portugal), A.P.E.X. enjoyed its big screen debut when it was first screened for audiences of the Fantasporto Film Festival held in the city of Porto from February 1 through February 20, 1994. Written (in part) and directed by Philip J. Roth, the film starred Richard Keats, Lisa Ann Russell, Kristin Norton, and others.
According to our friends at IMDB.com, here's the plot summary:
"In postapocalyptic war-torn 2073, a scientist from another timeline must help a resistance group stop the army of indestructible A.P.E.X. terminator robots he'd mistakenly created, even if it means risking erasing himself from existence."
For the record:
To the film's credit, A.P.E.X. was a bit of a sensation at the Fantasporto Film Festival as it was nominated in the category of 'Best Film.'
From Google.com:
A.P.E.X. (1994) is a low-budget science fiction film that, despite its obscurity, features some unique elements and trivia:
On February 1st in 1994 (in Portugal), A.P.E.X. enjoyed its big screen debut when it was first screened for audiences of the Fantasporto Film Festival held in the city of Porto from February 1 through February 20, 1994. Written (in part) and directed by Philip J. Roth, the film starred Richard Keats, Lisa Ann Russell, Kristin Norton, and others.
According to our friends at IMDB.com, here's the plot summary:
"In postapocalyptic war-torn 2073, a scientist from another timeline must help a resistance group stop the army of indestructible A.P.E.X. terminator robots he'd mistakenly created, even if it means risking erasing himself from existence."
For the record:
To the film's credit, A.P.E.X. was a bit of a sensation at the Fantasporto Film Festival as it was nominated in the category of 'Best Film.'
From Google.com:
A.P.E.X. (1994) is a low-budget science fiction film that, despite its obscurity, features some unique elements and trivia:
- The Iconic "Landmaster" Vehicle: The film features the famous 12-wheeled "Landmaster" vehicle, which was originally built for the 1977 film Damnation Alley at a cost of $300,000. The vehicle, which weighs over 10 tons and features a unique "tristar" wheel arrangement, was restored and is currently in a private collection.
- Award-Winning Recognition: Despite its direct-to-video, B-movie status, A.P.E.X. was nominated for the Best International Fantasy Film Award at the 1994 Fantasporto film festival in Portugal.
- Intriguing Premise: The plot centers on a researcher, Nicholas Sinclair, who travels from 2073 to 1973 to correct a time-travel anomaly, only to return to a post-apocalyptic future where a virus has ravaged humanity, and he must fight the very robots he created.
- Innovative Elements: Some critics noted that while the film is a, Terminator-esque clone, it has a "dose of imagination". This includes an inventive scene where a musical CD is used to fight one of the robots.
- Production Context: Directed by Philip J. Roth, who is known for low-budget sci-fi, the film was released in early 1994 following a brief theatrical run.
- Published on
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So many movies ... so little time ...
On February 15th in 1950 (in the U.S.), the big city of Boston, Massachusetts hosted an exclusive theatrical premiere event of Walt Disney's Cinderella. Directed by Clyde Geronimi, Wilfred Jackson, and Hamilton Luske, the film featured the voice talents of Ilene Woods, Eleanor Audley, Verna Felton, and others.
According to our friends at IMDB.com, here's the plot summary:
"When Cinderella's cruel stepmother prevents her from attending the Royal Ball, she gets some unexpected help from the lovable mice Gus and Jaq and from her Fairy Godmother."
For the record:
On February 15th in 1950 (in the U.S.), the big city of Boston, Massachusetts hosted an exclusive theatrical premiere event of Walt Disney's Cinderella. Directed by Clyde Geronimi, Wilfred Jackson, and Hamilton Luske, the film featured the voice talents of Ilene Woods, Eleanor Audley, Verna Felton, and others.
According to our friends at IMDB.com, here's the plot summary:
"When Cinderella's cruel stepmother prevents her from attending the Royal Ball, she gets some unexpected help from the lovable mice Gus and Jaq and from her Fairy Godmother."
For the record:
- At the 1951 Academy Awards, Cinderella received nominations in the categories of 'Best Music - Original Song,' 'Best Music - Scoring Of A Musical Picture,' and 'Best Sound - Recording.'
- At the 2001 Hugo Awards, Cinderella received a nomination in the category of 'Best Dramatic Presentation' in the organization's Retro Hugo Awards category.
- In 2018, Cinderella was inducted into the National Film Registry, that organization which seeks to preserve pictures that have demonstrated a lasting aesthetic contribution to the film industry.
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(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:
“A woman planning to testify against the mob must be protected against potential assassins on the train trip from Chicago to Los Angeles.”
The chief complaint often railed against seminal Film Noirs and their hard-boiled prose is that – in the real world – people just don’t talk like this.
Well, the truth is they’re films anyway. On that level, fans show up with full knowledge that while these stories are sometimes based on real events the pictures have no doubt been jazzed up a bit here and there to make them cinematic. Generally, the characters are archetypes; and though many of them might be more than a bit cynical they help establish a recognizable foundation around which tales of not-necessarily-good versus evil can unfold. The private eyes pursue justice more than they do adhere coldly to the law. The femme fatales will stop at nothing to see their desires satiated. The corrupted hordes rarely give an honest impulse a second thought. Such is the world in which these players come together. It’s vivid. It’s theatrical. And it’s damned interesting.
1952’s The Narrow Margin might be one of the finest examples of noir done to perfection, especially given the fact that it does contain one reasonably uncharacteristic addition: Ann Sinclair (played by Jacqueline White in her final screen role) arguably comes across as being a bit too far beyond ‘pure as the wind-driven snow,’ what with her on-the-run former mob moll who came to her senses once she realized what her husband did occupying to much of the film’s central premise. Thankfully, director Richard Fleischer rarely allows the story (credited to Earl Felton, Martin Goldsmith, and Jack Leonard) to slow down long enough for viewers to give such innocence a second thought. Margin hums wonderfully the entire length of its seventy-minute running time, only allowing watchers to catch their breath in a sequence or two.
Cops Brown (Charles McGraw) and Forbes (Don Beddoe) are tasked with transporting a witness – Mrs. Frankie Neall (Marie Windsor) – in federal custody from Chicago to Los Angeles via train. It’s rumored that the lady carries with her a list of all her dead ex-husband’s cronies and collaborators, and there are those who would stop at nothing to see the woman and her list eliminated. In fact, before the trio can reach the departing train, Forbes is shot dead, leaving Brown the last man standing between the former moll and an entire criminal syndicate. Even though the two remaining don’t trust one another, they’re committed to seeing the mission through to the end, so that chase is on.
Essentially, what plays out is a sometimes elaborate cat-and-mouse affair on the rails. When hoping to conceal their identities runs afoul, Brown is left with constantly distracting operatives of ill pursuits from uncovering precisely where he’s hidden the lady Neall in the several cars. In his attempt to keep the lady safe, he swaps blows and barbs with some nefarious characters, all the while unaware that there’s another plot afoot, one privately hatched by his superiors to even account for greater distraction. In the end, it’ll come down to some fast thinking that spares both his and her lives from a bullet; but – rest assured – there’s a surprise reveal nestled in the film that keeps viewers guessing up until the last reel.
On one level, Margin shouldn’t work.
It’s a story that relies heavily on the convention of locking the cast aboard a barreling train from start to finish, so everyone likely expected few narrative twists along the way. Its tight and cramped spaces don’t leave room for a great amount of action, nor are its sets all that riveting or artistic enough to give audiences all that much to ogle. But – rather deceptively – Fleischer uses these weaknesses to help bring the world alive, trapping men, women, and children alike within such claustrophobic confines with the suggestion that perhaps even a few innocents might not get out alive. Where can you go when there’s literally nowhere to run? It’s these tight quarters that help make Margin tick, giving new life to noir’s most predictable shadows.
The Narrow Margin (1952) was produced by RKO Radio Pictures. DVD distribution (for this particular release) has been coordinated by the fine folks at Warner Archive. As for the technical specifications? While I’m no trained video expert, I can still assure readers that the provided sights and sounds are exceptional. Lastly, if you’re looking for special features? The disc boasts an audio commentary from director William Friedkin that’s pretty solid – it’s intercut with interview segments featuring director Fleischer – along with some other theatrical fodder from the era. It’s a good assortment.
Highest Recommendation Possible.
Rarely does hard-boiled hum as so criminally well as it does with The Narrow Margin (1952). McGraw is a delight, chewing scenery the way only a jilted and tired knight does in Film Noir; and Windsor proves herself a capable foil throughout so much of the story. They practically spit insults at one another, never allowing their characters so much as a rest stop over the rails from Chicago to L.A. White – for what it’s worth – has one of the sexiest voices ever to grace noir – odd given the fact that her character is portrayed so Puritanically – and the setting aboard a streaming locomotive helps keep the pace almost at a fever pitch when needed. It’s easy to see why the film is one of the most fondly regarded flicks of the genre if for no other reason than the fact it can be viewed over and over and over again. A true undisputable classic.
In the interests of fairness, I’m pleased to disclose that the fine folks at Warner Archive (via Allied Vaughn) provided me with a complimentary Blu-ray of The Narrow Margin (1952) by request for the expressed purpose of completing this review. Their contribution to me in no way, shape, or form influenced my opinion of it.
-- EZ
From the film’s IMDB.com page citation:
“A woman planning to testify against the mob must be protected against potential assassins on the train trip from Chicago to Los Angeles.”
The chief complaint often railed against seminal Film Noirs and their hard-boiled prose is that – in the real world – people just don’t talk like this.
Well, the truth is they’re films anyway. On that level, fans show up with full knowledge that while these stories are sometimes based on real events the pictures have no doubt been jazzed up a bit here and there to make them cinematic. Generally, the characters are archetypes; and though many of them might be more than a bit cynical they help establish a recognizable foundation around which tales of not-necessarily-good versus evil can unfold. The private eyes pursue justice more than they do adhere coldly to the law. The femme fatales will stop at nothing to see their desires satiated. The corrupted hordes rarely give an honest impulse a second thought. Such is the world in which these players come together. It’s vivid. It’s theatrical. And it’s damned interesting.
1952’s The Narrow Margin might be one of the finest examples of noir done to perfection, especially given the fact that it does contain one reasonably uncharacteristic addition: Ann Sinclair (played by Jacqueline White in her final screen role) arguably comes across as being a bit too far beyond ‘pure as the wind-driven snow,’ what with her on-the-run former mob moll who came to her senses once she realized what her husband did occupying to much of the film’s central premise. Thankfully, director Richard Fleischer rarely allows the story (credited to Earl Felton, Martin Goldsmith, and Jack Leonard) to slow down long enough for viewers to give such innocence a second thought. Margin hums wonderfully the entire length of its seventy-minute running time, only allowing watchers to catch their breath in a sequence or two.
Cops Brown (Charles McGraw) and Forbes (Don Beddoe) are tasked with transporting a witness – Mrs. Frankie Neall (Marie Windsor) – in federal custody from Chicago to Los Angeles via train. It’s rumored that the lady carries with her a list of all her dead ex-husband’s cronies and collaborators, and there are those who would stop at nothing to see the woman and her list eliminated. In fact, before the trio can reach the departing train, Forbes is shot dead, leaving Brown the last man standing between the former moll and an entire criminal syndicate. Even though the two remaining don’t trust one another, they’re committed to seeing the mission through to the end, so that chase is on.
Essentially, what plays out is a sometimes elaborate cat-and-mouse affair on the rails. When hoping to conceal their identities runs afoul, Brown is left with constantly distracting operatives of ill pursuits from uncovering precisely where he’s hidden the lady Neall in the several cars. In his attempt to keep the lady safe, he swaps blows and barbs with some nefarious characters, all the while unaware that there’s another plot afoot, one privately hatched by his superiors to even account for greater distraction. In the end, it’ll come down to some fast thinking that spares both his and her lives from a bullet; but – rest assured – there’s a surprise reveal nestled in the film that keeps viewers guessing up until the last reel.
On one level, Margin shouldn’t work.
It’s a story that relies heavily on the convention of locking the cast aboard a barreling train from start to finish, so everyone likely expected few narrative twists along the way. Its tight and cramped spaces don’t leave room for a great amount of action, nor are its sets all that riveting or artistic enough to give audiences all that much to ogle. But – rather deceptively – Fleischer uses these weaknesses to help bring the world alive, trapping men, women, and children alike within such claustrophobic confines with the suggestion that perhaps even a few innocents might not get out alive. Where can you go when there’s literally nowhere to run? It’s these tight quarters that help make Margin tick, giving new life to noir’s most predictable shadows.
The Narrow Margin (1952) was produced by RKO Radio Pictures. DVD distribution (for this particular release) has been coordinated by the fine folks at Warner Archive. As for the technical specifications? While I’m no trained video expert, I can still assure readers that the provided sights and sounds are exceptional. Lastly, if you’re looking for special features? The disc boasts an audio commentary from director William Friedkin that’s pretty solid – it’s intercut with interview segments featuring director Fleischer – along with some other theatrical fodder from the era. It’s a good assortment.
Highest Recommendation Possible.
Rarely does hard-boiled hum as so criminally well as it does with The Narrow Margin (1952). McGraw is a delight, chewing scenery the way only a jilted and tired knight does in Film Noir; and Windsor proves herself a capable foil throughout so much of the story. They practically spit insults at one another, never allowing their characters so much as a rest stop over the rails from Chicago to L.A. White – for what it’s worth – has one of the sexiest voices ever to grace noir – odd given the fact that her character is portrayed so Puritanically – and the setting aboard a streaming locomotive helps keep the pace almost at a fever pitch when needed. It’s easy to see why the film is one of the most fondly regarded flicks of the genre if for no other reason than the fact it can be viewed over and over and over again. A true undisputable classic.
In the interests of fairness, I’m pleased to disclose that the fine folks at Warner Archive (via Allied Vaughn) provided me with a complimentary Blu-ray of The Narrow Margin (1952) by request for the expressed purpose of completing this review. Their contribution to me in no way, shape, or form influenced my opinion of it.
-- EZ