- Published on
site update
So many movies ... so little time ...
On this day in 2006 (in the U.S.), the big city of New York City, New York played host for an exclusive theatrical premiere event of Night At The Museum. Directed by Shawn Levy from a story by Robert Ben Garant, Thomas Lennon, and Milan Trenc, the film starred Ben Stiller, Carla Gugino, Ricky Gervais, and others.
According to our friends at IMDB.com, here's the plot summary:
"A newly recruited night security guard at the Museum of Natural History discovers that an ancient curse causes the animals and exhibits on display to come to life and wreak havoc."
For the record:
At the 2007 Saturn Awards, Night At The Museum received a nomination in the category of 'Best Fantasy Film.'
-- EZ
On this day in 2006 (in the U.S.), the big city of New York City, New York played host for an exclusive theatrical premiere event of Night At The Museum. Directed by Shawn Levy from a story by Robert Ben Garant, Thomas Lennon, and Milan Trenc, the film starred Ben Stiller, Carla Gugino, Ricky Gervais, and others.
According to our friends at IMDB.com, here's the plot summary:
"A newly recruited night security guard at the Museum of Natural History discovers that an ancient curse causes the animals and exhibits on display to come to life and wreak havoc."
For the record:
At the 2007 Saturn Awards, Night At The Museum received a nomination in the category of 'Best Fantasy Film.'
-- EZ
- Published on
in memoriam
Argh. Just when you thought 2025 couldn't get any worse ...
Folks ... NBC's Buck Rogers In The 25th Century wasn't any groundbreaking Science Fiction and Fantasy series. What it was -- to be perfectly honest -- was that it was a fun television series. It was never smartly written (with a few exceptions, as often happens in entertainment programming); and I think it's likely safe to say that it never raised the bar on what could be accomplished with storytelling in the realms of the Fantastic. Hell, it even tried re-inventing itself from the transition from Season 1 to Season 2 -- though many of us who were there never quite understood why -- so it's safe to suggest that -- as broadcast fodder goes -- it didn't break any barriers in pop culture, certainly not in the way Gene Roddenberry's Star Trek did a decade or so earlier. It was just a meat-and-potatoes show. A little action. A little adventure. A bit of comedy. Some of those special effects to wow the kiddies. A good-looking lead. A great looking female counterpart. Voila! Make it so!
Still, when you have an actor as charismatic as was Gil Gerard who sold the sizzlel in and out over the course of one telefilm and thirty-one episodes, then at the very least you've got a solid cult property, of which I'm proud to say Buck Rogers became. Yes, its stories were largely forgettable; and, yes, much like the aforementioned Star Trek, the hours created a lot of buzz amongst the male viewers by casting some downright fetching co-stars with which to whip up some chemistry with the lead. But the truth is that Buck Rogers was -- for the most part -- about the best kind of escapism that television used to produce regularly back in the day. There were no big cultural messages even though the villains still learned their lessons; and, yet, a great time was had by all.
Sadly, none of us lives forever; and word reached the World Wide Web just this morning of actor Gil Gerard's passing from a rare type of cancer. I hate hate hate hate hate 2025 already, and now I've got only one more reason to hate hate hate hate hate it ever more.
Our warmest prayers are extended to the family, friends, and fans of Mr. Gerard.
May he rest in peace.
-- EZ
Folks ... NBC's Buck Rogers In The 25th Century wasn't any groundbreaking Science Fiction and Fantasy series. What it was -- to be perfectly honest -- was that it was a fun television series. It was never smartly written (with a few exceptions, as often happens in entertainment programming); and I think it's likely safe to say that it never raised the bar on what could be accomplished with storytelling in the realms of the Fantastic. Hell, it even tried re-inventing itself from the transition from Season 1 to Season 2 -- though many of us who were there never quite understood why -- so it's safe to suggest that -- as broadcast fodder goes -- it didn't break any barriers in pop culture, certainly not in the way Gene Roddenberry's Star Trek did a decade or so earlier. It was just a meat-and-potatoes show. A little action. A little adventure. A bit of comedy. Some of those special effects to wow the kiddies. A good-looking lead. A great looking female counterpart. Voila! Make it so!
Still, when you have an actor as charismatic as was Gil Gerard who sold the sizzlel in and out over the course of one telefilm and thirty-one episodes, then at the very least you've got a solid cult property, of which I'm proud to say Buck Rogers became. Yes, its stories were largely forgettable; and, yes, much like the aforementioned Star Trek, the hours created a lot of buzz amongst the male viewers by casting some downright fetching co-stars with which to whip up some chemistry with the lead. But the truth is that Buck Rogers was -- for the most part -- about the best kind of escapism that television used to produce regularly back in the day. There were no big cultural messages even though the villains still learned their lessons; and, yet, a great time was had by all.
Sadly, none of us lives forever; and word reached the World Wide Web just this morning of actor Gil Gerard's passing from a rare type of cancer. I hate hate hate hate hate 2025 already, and now I've got only one more reason to hate hate hate hate hate it ever more.
Our warmest prayers are extended to the family, friends, and fans of Mr. Gerard.
May he rest in peace.
-- EZ
- Published on
site update
So many movies ... so little time ...
On this day in 2010 (in the U.S.), And Soon The Darkness enjoyed a limited theatrical release. Written (in part) and directed by Marcos Efron, the film starred Amber Heard Odette Annable, Karl Urban, and others.
According to our friends at IMDB.com, here's the plot summary:
"A couple of American girls on a bike trip in a remote part of Argentina split, and one goes missing, the other must find her before her worst fears are realized."
Editor's Note:
For those of you who like this kind of trivia, it's worth noting that And Soon The Darkness is a remake of a 1970 film of the same name. Generally, what I've read is that both features lean more heavily in the Thriller aspects than they do authentic Horror, but methinks they're close enough to deserve mention in this space.
-- EZ
On this day in 2010 (in the U.S.), And Soon The Darkness enjoyed a limited theatrical release. Written (in part) and directed by Marcos Efron, the film starred Amber Heard Odette Annable, Karl Urban, and others.
According to our friends at IMDB.com, here's the plot summary:
"A couple of American girls on a bike trip in a remote part of Argentina split, and one goes missing, the other must find her before her worst fears are realized."
Editor's Note:
For those of you who like this kind of trivia, it's worth noting that And Soon The Darkness is a remake of a 1970 film of the same name. Generally, what I've read is that both features lean more heavily in the Thriller aspects than they do authentic Horror, but methinks they're close enough to deserve mention in this space.
-- EZ
- Published on
site update
So many movies ... so little time ...
On this day in 1989 (in Japan), the big man himself met a challenger much bigger than he ever was when screens were engulfed by Godzilla Vs. Biollante (aka Gojira vs. Biorante). Directed by the team of Kazuki Ômori, Kôji Hashimoto, and Kenjirô Ohmori, the monster movie starred Kunihiko Mitamura, Yoshiko Tanaka, Masanobu Takashima, and others.
According to our friends at IMDB.com, here's the plot summary:
"Desolate by the loss of his daughter, a geneticist creates a monstrous new mutation."
-- EZ
On this day in 1989 (in Japan), the big man himself met a challenger much bigger than he ever was when screens were engulfed by Godzilla Vs. Biollante (aka Gojira vs. Biorante). Directed by the team of Kazuki Ômori, Kôji Hashimoto, and Kenjirô Ohmori, the monster movie starred Kunihiko Mitamura, Yoshiko Tanaka, Masanobu Takashima, and others.
According to our friends at IMDB.com, here's the plot summary:
"Desolate by the loss of his daughter, a geneticist creates a monstrous new mutation."
-- EZ
- Published on
in memoriam
Wow. 2025 has been an awful year for Hollywood, folks.
I was only starting to check the entertainment news last night when word broke about the death of Rob Reiner. I stayed up for awhile, following some of the developments (there's a great, great, great deal of speculation out there this morning, readers, so don't believe all of it) and the press conference and whatnot; but there was very little actual facts confirmed by the authorities. Of course, I'm not learned enough to get into theories or conspiracies or anything of that nature: I will say that I've never been a fan of Reiner's politics -- some of which I didn't quite understand, to be honest -- but I rarely if ever let that get in the way of celebrating a person's life and liberty. I'm not sure he would say the same, but here we are.
Arguably, Reiner was one of the greats of his time. Being as addicted to storytelling as he was, it's only probably that a few stinkers would creep into the fold -- and they did -- but when he found the necessary synergy between a particular project, his cast and crew, and the central tale, screen magic was the result. Some of his biggest hits are regulars of the classic series for my local theater, and I suspect that'll be the case for many years ahead.
As always, our warmest prayers are extended to family, friends, and fans of Rob Reiner.
May he rest in peace.
-- EZ
I was only starting to check the entertainment news last night when word broke about the death of Rob Reiner. I stayed up for awhile, following some of the developments (there's a great, great, great deal of speculation out there this morning, readers, so don't believe all of it) and the press conference and whatnot; but there was very little actual facts confirmed by the authorities. Of course, I'm not learned enough to get into theories or conspiracies or anything of that nature: I will say that I've never been a fan of Reiner's politics -- some of which I didn't quite understand, to be honest -- but I rarely if ever let that get in the way of celebrating a person's life and liberty. I'm not sure he would say the same, but here we are.
Arguably, Reiner was one of the greats of his time. Being as addicted to storytelling as he was, it's only probably that a few stinkers would creep into the fold -- and they did -- but when he found the necessary synergy between a particular project, his cast and crew, and the central tale, screen magic was the result. Some of his biggest hits are regulars of the classic series for my local theater, and I suspect that'll be the case for many years ahead.
As always, our warmest prayers are extended to family, friends, and fans of Rob Reiner.
May he rest in peace.
-- EZ
- Published on
press release
Cult horror classic Cabin Fever ―
the feature directorial debut of iconic horror filmmaker Eli Roth (Thanksgiving, Hostel) ― makes its debut in blood-spattered 4K
Pre-orders for the exclusive Steelbook
are now live at Lionsgate Limited
Lionsgate Limited
exclusive 4K Ultra HD™ + Blu-ray™ + Digital Steelbook® Street Date: 1/13/26 SRP: $44.99
OFFICIAL SYNOPSIS
For five friends barreling down a mountain road toward a remote cabin, college is over, adulthood looms, and one last summer of decadence awaits. But when a stranger stricken with a flesh-eating virus shows up at their door, the infection spreads, terror erupts, and friend is pitted against friend in a paranoid nightmare of contagion and survival. Eli Roth’s directorial debut — presented for the first time in blood-spattered 4K — is a landmark shocker with a wicked strain of humor and a deliriously unpredictable finale…and a grisly cure for the summertime blues.
4K ULTRA HD / BLU-RAY SPECIAL FEATURES
• Scratching the Surface: A Look Back
• Establishing Shot with Eli Roth
Legacy Special Features:
• Audio Commentaries with Director Eli Roth and Cast Members Rider Strong, Jordan
Ladd, Cerina Vincent, and Joey Kern
• Director’s Shorts: The Rotten Fruit
• Beneath the Skin: The Making of Cabin Fever
• Family-Friendly Version
• Pancakes!
• Chatting On-Set with Eli
• Chatting with Eli Roth
• Exclusive Featurette with Eli Roth
• Deleted Scenes
• Mad Dog
• TV Spot
• Theatrical Trailer
CAST
PROGRAM INFORMATION
Year of Production: 2002
Title Copyright: Cabin Fever © 2002 Cabin Pictures LLC. All Rights Reserved.
Closed-Captioned: No
Feature Run Time: 98 mins.
Subtitles: English SDH, Spanish
Format: 16x9 Widescreen (2.40:1)
Audio: English Dolby Atmos
Special Features on the 4K + BD + Digital Steelbook:
Lionsgate Limited Extras:
• Scratching the Surface: A Look Back
• Establishing Shot with Eli Roth
Legacy Special Features:
• Audio Commentaries with Director Eli Roth and Cast Members Rider Strong, Jordan
Ladd, Cerina Vincent, and Joey Kern
• Director’s Shorts: The Rotten Fruit
• Beneath the Skin: The Making of Cabin Fever
• Family-Friendly Version
• Pancakes!
• Chatting On-Set with Eli
• Chatting with Eli Roth
• Exclusive Featurette with Eli Roth
• Deleted Scenes
• Mad Dog
• TV Spot
• Theatrical Trailer
For five friends barreling down a mountain road toward a remote cabin, college is over, adulthood looms, and one last summer of decadence awaits. But when a stranger stricken with a flesh-eating virus shows up at their door, the infection spreads, terror erupts, and friend is pitted against friend in a paranoid nightmare of contagion and survival. Eli Roth’s directorial debut — presented for the first time in blood-spattered 4K — is a landmark shocker with a wicked strain of humor and a deliriously unpredictable finale…and a grisly cure for the summertime blues.
4K ULTRA HD / BLU-RAY SPECIAL FEATURES
• Scratching the Surface: A Look Back
• Establishing Shot with Eli Roth
Legacy Special Features:
• Audio Commentaries with Director Eli Roth and Cast Members Rider Strong, Jordan
Ladd, Cerina Vincent, and Joey Kern
• Director’s Shorts: The Rotten Fruit
• Beneath the Skin: The Making of Cabin Fever
• Family-Friendly Version
• Pancakes!
• Chatting On-Set with Eli
• Chatting with Eli Roth
• Exclusive Featurette with Eli Roth
• Deleted Scenes
• Mad Dog
• TV Spot
• Theatrical Trailer
CAST
- Rider Strong
- Jordan Ladd
- James DeBello
- Cerina Vincent,
- Joey Kern
- Arie Verveen
- Giuseppe Andrews
PROGRAM INFORMATION
Year of Production: 2002
Title Copyright: Cabin Fever © 2002 Cabin Pictures LLC. All Rights Reserved.
Closed-Captioned: No
Feature Run Time: 98 mins.
Subtitles: English SDH, Spanish
Format: 16x9 Widescreen (2.40:1)
Audio: English Dolby Atmos
Special Features on the 4K + BD + Digital Steelbook:
Lionsgate Limited Extras:
• Scratching the Surface: A Look Back
• Establishing Shot with Eli Roth
Legacy Special Features:
• Audio Commentaries with Director Eli Roth and Cast Members Rider Strong, Jordan
Ladd, Cerina Vincent, and Joey Kern
• Director’s Shorts: The Rotten Fruit
• Beneath the Skin: The Making of Cabin Fever
• Family-Friendly Version
• Pancakes!
• Chatting On-Set with Eli
• Chatting with Eli Roth
• Exclusive Featurette with Eli Roth
• Deleted Scenes
• Mad Dog
• TV Spot
• Theatrical Trailer
- Published on
in memoriam
Sorry, folks, but I never ever got into daytime soap operas. Frankly, I'm not much of a fan of nighttime ones, either ... or, at least, stories and series which kinda/sorta loosely take the same format with which to explore the lives of the rich and famous. As it stands, I follow other pursuits, and that's just the way I'm wired.
Still, you would've have to have grown up on an island not to know the same of Anthony Geary back in the 1980's. If I remember correctly, the guy was part of the whole daytime soap craze around the love story of 'Luke & Laura.' Again, I can't give you details beyond that -- as I said, I never watched -- so you'll just have to take my word for it that even someone like me heard people talking him up for his acting on the show.
In any event ...
The talented actor did have a few genre credits deserving of mention, including stops to such projects as The Six Million Dollar Man, The Return Of Captain Nemo (1978), Project UFO, and Night Life (1989). Some might consider those few citations a bit too slim for inclusion in this space; but as I've always pointed out I do try to be as inclusive as I can be when passing along such tidbits for all discriminating readers.
Word reached the World Wide Web this morning of the man's passing, and I wanted to let you know.
Our warmest prayers are extended to the family, friends, and fans of Anthony Geary.
May he rest in peace.
-- EZ
Still, you would've have to have grown up on an island not to know the same of Anthony Geary back in the 1980's. If I remember correctly, the guy was part of the whole daytime soap craze around the love story of 'Luke & Laura.' Again, I can't give you details beyond that -- as I said, I never watched -- so you'll just have to take my word for it that even someone like me heard people talking him up for his acting on the show.
In any event ...
The talented actor did have a few genre credits deserving of mention, including stops to such projects as The Six Million Dollar Man, The Return Of Captain Nemo (1978), Project UFO, and Night Life (1989). Some might consider those few citations a bit too slim for inclusion in this space; but as I've always pointed out I do try to be as inclusive as I can be when passing along such tidbits for all discriminating readers.
Word reached the World Wide Web this morning of the man's passing, and I wanted to let you know.
Our warmest prayers are extended to the family, friends, and fans of Anthony Geary.
May he rest in peace.
-- EZ
- Published on
in memoriam
Alas, folks, we've lost another great talent.
I got up this morning and read the news that actor Peter Greene has left us. I'm not so informed on the circumstances -- the two articles I've read only state that he was found deceased in his apartment so details are understandably slim at this juncture -- but it's always sad, especially when one is so reasonably young. Perhaps he'd been struggling with some other health issues that I'm presently unaware of. Whatever the case, it definitely saddens me.
A quick glance at the man's professional profile suggests that -- as often happens -- he wasn't any brave or bold pioneer in the world of Science Fiction or Fantasy. I've been told that there are a good many actors who kinda/sorta avoid some genre entries not because they dislike them but more so over the fact that they simply prefer more tangible fare. There's absolutely nothing wrong with that, but I always try to squeeze in kudos to anyone who gets even remotely close to the stuff we cover: Greene definitely had a few roles deserving of mention.
In fact, I'd only recently reviewed Arrow Films' 4K release of 1994's The Mask. In in, Greene played a villain willing to use some dark magic to assume the high post of criminal overlord for Edge City; and he was a great baddie for Jim Carrey's Stanley Ipkiss to share the screen with. For what it's worth, Greene's menace might've even been a bit over-the-top for something that clearly felt more like a children's superhero effort; but I'll still sing praises for work well done when I see it.
it's also worth noting that -- in the same year -- Greene enjoyed a modest bit of screen time aboard Quentin Tarantino's groundbreaking Pulp Fiction. That's a curious film that I know a good many folks consider Fantasy -- essentially only because of a single item in it that's concealed in the fateful briefcase -- but I'm of two minds on the whole affair. Still, it's deserving of reminding readers that Greene was in the effort as it's a personal film favorite of so many.
Our warmest prayers are extended to the family, friends, and fans of Peter Greene.
May he rest in peace.
-- EZ
I got up this morning and read the news that actor Peter Greene has left us. I'm not so informed on the circumstances -- the two articles I've read only state that he was found deceased in his apartment so details are understandably slim at this juncture -- but it's always sad, especially when one is so reasonably young. Perhaps he'd been struggling with some other health issues that I'm presently unaware of. Whatever the case, it definitely saddens me.
A quick glance at the man's professional profile suggests that -- as often happens -- he wasn't any brave or bold pioneer in the world of Science Fiction or Fantasy. I've been told that there are a good many actors who kinda/sorta avoid some genre entries not because they dislike them but more so over the fact that they simply prefer more tangible fare. There's absolutely nothing wrong with that, but I always try to squeeze in kudos to anyone who gets even remotely close to the stuff we cover: Greene definitely had a few roles deserving of mention.
In fact, I'd only recently reviewed Arrow Films' 4K release of 1994's The Mask. In in, Greene played a villain willing to use some dark magic to assume the high post of criminal overlord for Edge City; and he was a great baddie for Jim Carrey's Stanley Ipkiss to share the screen with. For what it's worth, Greene's menace might've even been a bit over-the-top for something that clearly felt more like a children's superhero effort; but I'll still sing praises for work well done when I see it.
it's also worth noting that -- in the same year -- Greene enjoyed a modest bit of screen time aboard Quentin Tarantino's groundbreaking Pulp Fiction. That's a curious film that I know a good many folks consider Fantasy -- essentially only because of a single item in it that's concealed in the fateful briefcase -- but I'm of two minds on the whole affair. Still, it's deserving of reminding readers that Greene was in the effort as it's a personal film favorite of so many.
Our warmest prayers are extended to the family, friends, and fans of Peter Greene.
May he rest in peace.
-- EZ
- Published on
(NOTE: The following review will contain minor spoilers necessary solely for the discussion of plot and/or characters. If you’re the type of reader who prefers a review entirely spoiler-free, then I’d encourage you to skip down to the last few paragraphs for the final assessment. If, however, you’re accepting of a few modest hints at ‘things to come,’ then read on …)
The general downside to being a huge, huge, huge consumer of mysteries – both in print and filmed – is that it eventually grows downright impossible to miss the stitching on fast balls. If it’s true that there are only seven original plotlines in all of the known universe, then it’s safe to suggest that even those seven are chiseled down to maybe a good four or five that have ever been used in whodunnits. As a consequence, it’s increasingly difficult to find anything all that fresh or innovative in the genre with the exception of stand-out visuals, well-editing sequences, and break-out performances. So when none of that happens – as largely is the case with 1976’s The House With The Laughing Windows from acclaimed writer/director Pupi Avati – then watchers might grow a tad impatient here as no bodies pile up, suspense is downright disgracefully absent, and the characters are all a bit too bland for their own narrative good.
Now, I know, I know, I know: if any reader does a bit of research on his or her own, then he or she will find that House maintains a fair amount of respect amongst many who’ve watched, dissected, and written about it before, and I’m certainly not trying to make waves for the purpose of making waves. Art is and always will inspire passions amongst those who witness it; and there are a great many minds who have already penned accolades over the film and why it deserves a second, third, and/or fourth glance. I only speak for myself when I critique; and the truth is this one was a bit of a struggle to endure chiefly because I couldn’t find any appreciable hook to be drawn into what accounts for an exceptionally thin plot. In place of action, House relies on imagery: what’s here is good, but I’m arguing it just wasn’t enough to compel my interest as other films have done.
The general downside to being a huge, huge, huge consumer of mysteries – both in print and filmed – is that it eventually grows downright impossible to miss the stitching on fast balls. If it’s true that there are only seven original plotlines in all of the known universe, then it’s safe to suggest that even those seven are chiseled down to maybe a good four or five that have ever been used in whodunnits. As a consequence, it’s increasingly difficult to find anything all that fresh or innovative in the genre with the exception of stand-out visuals, well-editing sequences, and break-out performances. So when none of that happens – as largely is the case with 1976’s The House With The Laughing Windows from acclaimed writer/director Pupi Avati – then watchers might grow a tad impatient here as no bodies pile up, suspense is downright disgracefully absent, and the characters are all a bit too bland for their own narrative good.
Now, I know, I know, I know: if any reader does a bit of research on his or her own, then he or she will find that House maintains a fair amount of respect amongst many who’ve watched, dissected, and written about it before, and I’m certainly not trying to make waves for the purpose of making waves. Art is and always will inspire passions amongst those who witness it; and there are a great many minds who have already penned accolades over the film and why it deserves a second, third, and/or fourth glance. I only speak for myself when I critique; and the truth is this one was a bit of a struggle to endure chiefly because I couldn’t find any appreciable hook to be drawn into what accounts for an exceptionally thin plot. In place of action, House relies on imagery: what’s here is good, but I’m arguing it just wasn’t enough to compel my interest as other films have done.
Stefano (played by Lino Capolicchio) is an art restoration specialist who is called to a small church in a sleepy little Italian town wherein a wall mural of a man being stabbed to death by women needs a serious touchup. (I’ve read some online research into the theoretical background of the art which suggests that what’s depicted is an act of martyrdom, an important explanation for why such a violent image might be displayed in a temple of faith.) Intrigued as much by the image as he is by its location, Stefano begins the painstaking process of putting it all back together while, simultaneously, getting to know the quiet and disarming folks who live in this rarely trafficked destination. Slowly, he begins to understand that they’re hiding some secret – after all, it takes a certain mentality to live one’s life in the middle of nowhere – and, if he isn’t careful, he realizes he could be drawn into some dark business best left unexplored.
As tends to happen in narrative mysteries, everything appears to be linked to a central question – who was the artist that originally painted the frieze and what exactly was he trying to say – and the small cavalcade of semi-interested parties keep Stefano (and the audience) guessing most of the time. Screenwriter Avati clearly knew how to wrap his puzzle pieces in subterfuge and misdirection, and director Avati followed suit most of the time by draping his riddle with settings quaint enough to keep his audiences searching for clues like a tracker might watch for bread crumbs. The problem with bread crumbs, though, is that they’re not really meant to be hidden – well, except for the villain – so some of what gets rendered in House feels a bit too deliberate (i.e. a faceless hand reaching out from a dark corner suggesting an obvious hidden identity is afoot, a locked cabinet in an attic that begs to be flung open at only the right moment, etc.) – so it grows obvious far too quickly that all is not what it seems in Denmark.
One of the chief difficulties in wrapping up a murder mystery – especially when the protagonist isn’t one necessarily trained in uncovering the identity (or identities) of the grand culprit(s) – is that far too much time gets invested in the main character’s reactions to developments. Emotionally, it gives an actor/actress something to do; and this is where House feels only half-built.
As tends to happen in narrative mysteries, everything appears to be linked to a central question – who was the artist that originally painted the frieze and what exactly was he trying to say – and the small cavalcade of semi-interested parties keep Stefano (and the audience) guessing most of the time. Screenwriter Avati clearly knew how to wrap his puzzle pieces in subterfuge and misdirection, and director Avati followed suit most of the time by draping his riddle with settings quaint enough to keep his audiences searching for clues like a tracker might watch for bread crumbs. The problem with bread crumbs, though, is that they’re not really meant to be hidden – well, except for the villain – so some of what gets rendered in House feels a bit too deliberate (i.e. a faceless hand reaching out from a dark corner suggesting an obvious hidden identity is afoot, a locked cabinet in an attic that begs to be flung open at only the right moment, etc.) – so it grows obvious far too quickly that all is not what it seems in Denmark.
One of the chief difficulties in wrapping up a murder mystery – especially when the protagonist isn’t one necessarily trained in uncovering the identity (or identities) of the grand culprit(s) – is that far too much time gets invested in the main character’s reactions to developments. Emotionally, it gives an actor/actress something to do; and this is where House feels only half-built.
Capolicchio does affable job throughout most of what transpires here; but as this story is constructed the bulk of his investment doesn’t really come until the last reel. He’s good-looking. He seems modestly motivated here and there. And he certainly sells his scenes are a restoration specialist with little gestures that suggest there’s some brainpower at work behind what he’s doing in frame. Mind you: he had a few hooks earlier in the story to ramp up his performance, such as the death of a longtime friend and/or the curious disappearance of a possible love prospect, so it isn’t as if the script fell short on that front. Still, these moments gets wasted as the actor largely just stares stupidly into the distance, never much registering a bit of anger much less remorse when given the chance.
Similarly, the actor spends the second half of the picture paired up with an all-new love interest – Francesca (played by Francesca Marciano) – and even their moments are a bit too plain to earn the investment or attachment of viewers watching closely. Like him, she looks good – probably too good to be cast aside into such backwater pursuits as this dead-end job – and her youthful innocence can be said to justify any lack of interest in affairs which seem beyond her purview. But … when neither of those we’re following seems all that much affected by what’s going on, then why should we invest more than a passing glance? At least, Coppola (played by Gianni Cavina) – a heavy given over to speaking his mind when under the influence of alcohol – mustered up some multiple passions despite appearing at all times as a kinda/sorta patsy not long for this world (and he wasn’t). Had our two main players done likewise then there may’ve been different results here. As it is, it’s all just too dimensionless (until the tables are turned), and I, for one, needed more.
What does work uniquely well across the entire picture is the fact that Avati and his cast and crew manage to build a sense of impending doom for our narrators, one which suggests no one will make it out alive. From darkly lit opening sequence detailing a dark descent into torture (not unlike what’s depicted in the church mural) to the dank interiors of homes surprisingly lifeless even though occupied, House is a house that leans heavily into evoking moods that question what aenigmas this mostly uninhabited village are concealing. In a world wherein small towns might store the biggest secrets, Stefano should’ve realized that the odds were heavily stacked against him earlier – once his restoration work had been curiously undone it’s far too late to act against those who would have his soul – and he should’ve gotten “the hell out of Dodge.” He didn’t; and yet he’s no one to blame at that point but himself.
Similarly, the actor spends the second half of the picture paired up with an all-new love interest – Francesca (played by Francesca Marciano) – and even their moments are a bit too plain to earn the investment or attachment of viewers watching closely. Like him, she looks good – probably too good to be cast aside into such backwater pursuits as this dead-end job – and her youthful innocence can be said to justify any lack of interest in affairs which seem beyond her purview. But … when neither of those we’re following seems all that much affected by what’s going on, then why should we invest more than a passing glance? At least, Coppola (played by Gianni Cavina) – a heavy given over to speaking his mind when under the influence of alcohol – mustered up some multiple passions despite appearing at all times as a kinda/sorta patsy not long for this world (and he wasn’t). Had our two main players done likewise then there may’ve been different results here. As it is, it’s all just too dimensionless (until the tables are turned), and I, for one, needed more.
What does work uniquely well across the entire picture is the fact that Avati and his cast and crew manage to build a sense of impending doom for our narrators, one which suggests no one will make it out alive. From darkly lit opening sequence detailing a dark descent into torture (not unlike what’s depicted in the church mural) to the dank interiors of homes surprisingly lifeless even though occupied, House is a house that leans heavily into evoking moods that question what aenigmas this mostly uninhabited village are concealing. In a world wherein small towns might store the biggest secrets, Stefano should’ve realized that the odds were heavily stacked against him earlier – once his restoration work had been curiously undone it’s far too late to act against those who would have his soul – and he should’ve gotten “the hell out of Dodge.” He didn’t; and yet he’s no one to blame at that point but himself.
The House With The Laughing Windows (1976) was produced by A.M.A. Film. DVD distribution (for this particular release) has been coordinated by the fine folks at Arrow Films. As for the technical specifications? Wow. While I’m no trained video expert, I can still assure you that provided video and audio – restored into 4K – are damn fabulous in here: surprisingly, even the nighttime sequences are very clean, something I’ve often sounded off negatively over graininess. This one looks grand universally, so I have to give it props for excellence.
Lastly, if you’re looking for special features?
I don’t normally cover features in any great detail – this is Arrow Films, once again, and they always do a pretty spectacular job, this is no less – but I felt it necessary to add a few words on this package. Here, Arrow gives you not one but two commentaries – both very, very good – but be warned: they’re far more academic in nature than they are film and/or scene specific. A great deal of time is spent discussing the project more as an overview for its time and place in Italian cinema … and there is a lot to learn in here. Generally, I gravitate more toward commentaries that lean heavy on details involving this production: that only happens here to a middling degree, and yet I found both of these tracks pretty damn interesting. They’re both like really informative film lectures; and I give them both an enthusiastic thumbs up. In fact, I enjoyed them more than the film itself. Also, there are other extras – an expansive documentary that shouldn’t be missed by fans along with a few spoken essays – that underscore just why Arrow continues to lead the way in provided physical products highly sought after by film junkies around the world. Truly exceptional. This is truly the kind of release that deserves to win awards, in my humble opinion.
Alas … only Mildly Recommended (but these are seriously some ‘don’t miss’ extras).
About the best that The House With The Laughing Windows (1976) proves is that Giallo can come in alternate shapes and sizes but still comes with a great deal of the visual bloat common to the art from. Sadly, this one leaves even less room for nuance as director Avati occasionally inserts optical references to insure that audiences are following along the central mystery at each step along the way. Still, it’s the kind of project that film scholars, Giallo freaks, students, and academics would, could, and should get behind as some might argue that its occasional paint-by-numbers approach is textbook enough to be studied and maybe even creepy enough to get studied for debating theories over what all of it could mean. Come the ending, however, they’ll all gasp in unison about how well the whodunnit was concealed … even though there really should be little doubt to those of us who’ve been on this sort of thrill ride once before.
In the interest of fairness, I’m pleased to disclose that the fine folks at Arrow Films provided me with a complimentary Blu-ray copy of The House With The Laughing Windows (1976) 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
Lastly, if you’re looking for special features?
I don’t normally cover features in any great detail – this is Arrow Films, once again, and they always do a pretty spectacular job, this is no less – but I felt it necessary to add a few words on this package. Here, Arrow gives you not one but two commentaries – both very, very good – but be warned: they’re far more academic in nature than they are film and/or scene specific. A great deal of time is spent discussing the project more as an overview for its time and place in Italian cinema … and there is a lot to learn in here. Generally, I gravitate more toward commentaries that lean heavy on details involving this production: that only happens here to a middling degree, and yet I found both of these tracks pretty damn interesting. They’re both like really informative film lectures; and I give them both an enthusiastic thumbs up. In fact, I enjoyed them more than the film itself. Also, there are other extras – an expansive documentary that shouldn’t be missed by fans along with a few spoken essays – that underscore just why Arrow continues to lead the way in provided physical products highly sought after by film junkies around the world. Truly exceptional. This is truly the kind of release that deserves to win awards, in my humble opinion.
Alas … only Mildly Recommended (but these are seriously some ‘don’t miss’ extras).
About the best that The House With The Laughing Windows (1976) proves is that Giallo can come in alternate shapes and sizes but still comes with a great deal of the visual bloat common to the art from. Sadly, this one leaves even less room for nuance as director Avati occasionally inserts optical references to insure that audiences are following along the central mystery at each step along the way. Still, it’s the kind of project that film scholars, Giallo freaks, students, and academics would, could, and should get behind as some might argue that its occasional paint-by-numbers approach is textbook enough to be studied and maybe even creepy enough to get studied for debating theories over what all of it could mean. Come the ending, however, they’ll all gasp in unison about how well the whodunnit was concealed … even though there really should be little doubt to those of us who’ve been on this sort of thrill ride once before.
In the interest of fairness, I’m pleased to disclose that the fine folks at Arrow Films provided me with a complimentary Blu-ray copy of The House With The Laughing Windows (1976) 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 2020 (in a whole host of countries around the world), a whole host of countries around the world descended into some Dystopian madness with the Information Superhighway release of Songbird. Written (in part) and directed by Adam Mason, the film starred KJ Apa, Sofia Carson, Demi Moore, and others.
According to our friends at IMDB.com, here's the plot summary:
"In 2024 a pandemic ravages the world and its cities. Centering on a handful of people as they navigate the obstacles currently hindering society: disease, martial law, quarantine, and vigilantes."
-- EZ
On this day in 2020 (in a whole host of countries around the world), a whole host of countries around the world descended into some Dystopian madness with the Information Superhighway release of Songbird. Written (in part) and directed by Adam Mason, the film starred KJ Apa, Sofia Carson, Demi Moore, and others.
According to our friends at IMDB.com, here's the plot summary:
"In 2024 a pandemic ravages the world and its cities. Centering on a handful of people as they navigate the obstacles currently hindering society: disease, martial law, quarantine, and vigilantes."
-- EZ