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So many movies ... so much to celebrate!!!
On this day in 2002 (in the U.S.), the good people of Hollywood, California were treated to the silver screen premiere of Star Trek: Nemesis -- the film that ended the somewhat uninspired theatrical run of Star Trek: The Next Generation! Directed by Stuart Baird from a story by John Logan, Rick Berman, and Brent Spiner, the film starred Patrick Stewart, Jonathan Frakes, Tom Hardy, and others.
According to our friends at IMDB.com, here's the plot summary:
"The Enterprise is diverted to the Romulan homeworld Romulus, supposedly because they want to negotiate a peace treaty. Captain Picard and his crew discover a serious threat to the Federation once Praetor Shinzon plans to attack Earth."
For the record:
"He's dead, Jim" -- a popular Star Trek quotation -- was quite possibly never more correct than when applied to Star Trek: Nemesis as the film pretty much killed what had been a fairly respectable run for the Gene Roddenberry franchise on the silver screen. Still, the Academy Of Science Fiction, Fantasy, And Horror Films churned out four nominations (but no wins) in the categories of 'Best Make-up,' 'Best Costumes,' 'Best Supporting Actor,' and 'Best Science Fiction Film.'
-- EZ
On this day in 2002 (in the U.S.), the good people of Hollywood, California were treated to the silver screen premiere of Star Trek: Nemesis -- the film that ended the somewhat uninspired theatrical run of Star Trek: The Next Generation! Directed by Stuart Baird from a story by John Logan, Rick Berman, and Brent Spiner, the film starred Patrick Stewart, Jonathan Frakes, Tom Hardy, and others.
According to our friends at IMDB.com, here's the plot summary:
"The Enterprise is diverted to the Romulan homeworld Romulus, supposedly because they want to negotiate a peace treaty. Captain Picard and his crew discover a serious threat to the Federation once Praetor Shinzon plans to attack Earth."
For the record:
"He's dead, Jim" -- a popular Star Trek quotation -- was quite possibly never more correct than when applied to Star Trek: Nemesis as the film pretty much killed what had been a fairly respectable run for the Gene Roddenberry franchise on the silver screen. Still, the Academy Of Science Fiction, Fantasy, And Horror Films churned out four nominations (but no wins) in the categories of 'Best Make-up,' 'Best Costumes,' 'Best Supporting Actor,' and 'Best Science Fiction Film.'
-- EZ
- Published on
So many movies ... so much to celebrate!!!
See there? You kids got The Transformers. My generation? We had ... Christine!
On this day in 1983 (in Turkey, Canada, and the U.S.), Christine drove itself to box office heights. Directed by John Carpenter and based on the novel by Stephen King, the Horror feature starred Keith Gordon, John Stockwell, Alexandra Paul, and others.
According to our friends at IMDB.com, here's the plot summary:
"A nerdish boy buys a strange car with an evil mind of its own and his nature starts to change to reflect it."
For the record:
At the 1984 Saturn Awards (sponsored by the Academy Of Science Fiction, Fantasy, And Horror Films), Christine enjoyed a nomination in the category of 'Best Horror Film.'
-- EZ
See there? You kids got The Transformers. My generation? We had ... Christine!
On this day in 1983 (in Turkey, Canada, and the U.S.), Christine drove itself to box office heights. Directed by John Carpenter and based on the novel by Stephen King, the Horror feature starred Keith Gordon, John Stockwell, Alexandra Paul, and others.
According to our friends at IMDB.com, here's the plot summary:
"A nerdish boy buys a strange car with an evil mind of its own and his nature starts to change to reflect it."
For the record:
At the 1984 Saturn Awards (sponsored by the Academy Of Science Fiction, Fantasy, And Horror Films), Christine enjoyed a nomination in the category of 'Best Horror Film.'
-- EZ
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So many movies ... so much to celebrate!!!
On this day in 1957 (in the United Kingdom), The Monolith Monsters enjoyed its very first theatrical experience ever. Directed by John Sherwood from a story by Norman Jolley, Robert M. Fresco, and Jack Arnold, the SciFi feature starred Grant Williams, Lola Albright, Les Tremayne, and others.
According to our friends at IMDB.com, here's the plot summary:
"Rocks from a meteor which grow when in contact with water threaten a sleepy Southwestern desert community."
-- EZ
From Google.com:
The Monolith Monsters is a 1957 American black-and-white science-fiction disaster film about a small desert community threatened by growing, skyscraper-sized alien crystals. The film is noted for its original premise and effective special effects.
Plot Summary
A large meteor crashes in the Southern California desert, scattering fragments across the landscape. These seemingly harmless black rocks have an unusual property: when they come into contact with water, they absorb silicon from their surroundings (including human bodies, turning them to stone) and grow into massive, towering obelisks. Geologist Dave Miller and local schoolteacher Cathy Barrett must race against time with Professor Arthur Flanders to find a way to stop the rapidly multiplying monoliths before they overrun the town of San Angelo and ultimately the world. The heroes eventually discover that saltwater can neutralize the growth process, and they use explosives to breach a dam and flood the incoming monoliths with a saline solution to stop the threat.
Key Details
On this day in 1957 (in the United Kingdom), The Monolith Monsters enjoyed its very first theatrical experience ever. Directed by John Sherwood from a story by Norman Jolley, Robert M. Fresco, and Jack Arnold, the SciFi feature starred Grant Williams, Lola Albright, Les Tremayne, and others.
According to our friends at IMDB.com, here's the plot summary:
"Rocks from a meteor which grow when in contact with water threaten a sleepy Southwestern desert community."
-- EZ
From Google.com:
The Monolith Monsters is a 1957 American black-and-white science-fiction disaster film about a small desert community threatened by growing, skyscraper-sized alien crystals. The film is noted for its original premise and effective special effects.
Plot Summary
A large meteor crashes in the Southern California desert, scattering fragments across the landscape. These seemingly harmless black rocks have an unusual property: when they come into contact with water, they absorb silicon from their surroundings (including human bodies, turning them to stone) and grow into massive, towering obelisks. Geologist Dave Miller and local schoolteacher Cathy Barrett must race against time with Professor Arthur Flanders to find a way to stop the rapidly multiplying monoliths before they overrun the town of San Angelo and ultimately the world. The heroes eventually discover that saltwater can neutralize the growth process, and they use explosives to breach a dam and flood the incoming monoliths with a saline solution to stop the threat.
Key Details
- Release Date: December 6, 1957.
- Director: John Sherwood.
- Story by: Jack Arnold and Robert M. Fresco.
- Starring: Grant Williams, Lola Albright, and Les Tremayne.
- Running Time: 77 minutes.
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So many movies ... so much to celebrate!!!
On this day in 1995 (in the U.S.), the good people of New York City, New York were treated to the big screen theatrical debut of 12 Monkeys. Directed by Terry Gilliam from a story by Chris Marker, David Webb Peoples, and Janet Peoples, the SciFi/Drama starred Bruce Willis, Brad Pitt, Madeleine Stowe, and others.
According to our friends at IMDB.com, here's the plot summary:
"In a future world devastated by disease, a convict is sent back in time to gather information about the man-made virus that wiped out most of the human population on the planet."
For the record:
To the film's credit, 12 Monkeys received a lot of praise both during its original run in theaters as well as recognition for its ongoing contribution to both film history as well as Science Fiction in general.
ExtraExtra Alert:
In 2021, I was offered a complimentary Blu-ray of a new release of 12 Monkeys from the good people at Arrow Films in exchange for a review. Interested in knowing my thoughts on this iconic Science Fiction film? Readers can find my review right here.
-- EZ
On this day in 1995 (in the U.S.), the good people of New York City, New York were treated to the big screen theatrical debut of 12 Monkeys. Directed by Terry Gilliam from a story by Chris Marker, David Webb Peoples, and Janet Peoples, the SciFi/Drama starred Bruce Willis, Brad Pitt, Madeleine Stowe, and others.
According to our friends at IMDB.com, here's the plot summary:
"In a future world devastated by disease, a convict is sent back in time to gather information about the man-made virus that wiped out most of the human population on the planet."
For the record:
To the film's credit, 12 Monkeys received a lot of praise both during its original run in theaters as well as recognition for its ongoing contribution to both film history as well as Science Fiction in general.
- At the 1996 Saturn Awards (sponsored by the Academy Of Science Fiction, Fantasy, And Horror Films), the picture scored three big wins in the categories of 'Best Costumes,' 'Best Supporting Actor,' and 'Best Science Fiction Film' while settling for nominations alone in the categories of 'Best Writing,' 'Best Actor,' 'Best Actress,' and 'Best Director.'
- At the 1996 Academy Awards, actor Brad Pitt enjoyed a nomination in the category of 'Best Actor In A Supporting Role,' and Julie Weiss enjoyed a nomination in the category of 'Best Costume Design.'
- Lastly, the film was honored with a nomination in the category of 'Best Dramatic Presentation' at the 1996 Hugo Awards.
ExtraExtra Alert:
In 2021, I was offered a complimentary Blu-ray of a new release of 12 Monkeys from the good people at Arrow Films in exchange for a review. Interested in knowing my thoughts on this iconic Science Fiction film? Readers can find my review right here.
-- EZ
- Published on
So many movies ... so much to celebrate!
On this day in 1990 (in Germany), Bad Girls From Mars brought a bit a randy delights from the Red Planet to Earth via a home video release. Written (in part) and directed by Fred Olen Ray, the SciFi/Adult film starred Edy Williams, Oliver Darrow, Brinke Stevens, and others.
According to our friends at IMDB.com, here's the plot summary:
"There's a killer on the set of a sci-fi cheapie, and the new leading lady could be next."
-- EZ
From Google.com:
"Bad Girls from Mars" is a 1990 low-budget comedy/sci-fi slasher B-movie directed by Fred Olen Ray. The film is a spoof of the filmmaking industry and centers on a murder mystery that unfolds during the production of a fictional sci-fi film also titled Bad Girls from Mars.
Plot Summary
The plot revolves around the set of a cheap sci-fi flick where a string of leading actresses are mysteriously murdered one by one. The producers, eager to cash in on the insurance policies and publicity, continue the production and hire a notorious, voluptuous European sex symbol named Emanuelle (played by Edy Williams) as the new lead. As Emanuelle arrives in Hollywood and begins her wild lifestyle, the killings continue, and detectives attempt to identify the masked killer among the cast and crew. The film is known for its meta-fictional style, campy tone, and significant amount of nudity, typical of the "B" movie genre.
Key Details
Reception
The movie has been described as "hilarious trash" by some B-movie fans, while others found it to be below average even for its genre. It is generally considered a low-budget spoof that doesn't take itself seriously, with its primary appeal being to fans of campy, exploitation-style films. The film was financially successful for its distributor, Lionsgate, reportedly tripling its money.
You can watch the official trailer on IMDb or stream the movie on services like Fandango at Home or Apple TV.
On this day in 1990 (in Germany), Bad Girls From Mars brought a bit a randy delights from the Red Planet to Earth via a home video release. Written (in part) and directed by Fred Olen Ray, the SciFi/Adult film starred Edy Williams, Oliver Darrow, Brinke Stevens, and others.
According to our friends at IMDB.com, here's the plot summary:
"There's a killer on the set of a sci-fi cheapie, and the new leading lady could be next."
-- EZ
From Google.com:
"Bad Girls from Mars" is a 1990 low-budget comedy/sci-fi slasher B-movie directed by Fred Olen Ray. The film is a spoof of the filmmaking industry and centers on a murder mystery that unfolds during the production of a fictional sci-fi film also titled Bad Girls from Mars.
Plot Summary
The plot revolves around the set of a cheap sci-fi flick where a string of leading actresses are mysteriously murdered one by one. The producers, eager to cash in on the insurance policies and publicity, continue the production and hire a notorious, voluptuous European sex symbol named Emanuelle (played by Edy Williams) as the new lead. As Emanuelle arrives in Hollywood and begins her wild lifestyle, the killings continue, and detectives attempt to identify the masked killer among the cast and crew. The film is known for its meta-fictional style, campy tone, and significant amount of nudity, typical of the "B" movie genre.
Key Details
- Genre: B-Movie, Cult Film, Comedy, Slasher Film
- Director: Fred Olen Ray
- Starring: Edy Williams, Brinke Stevens, Jay Richardson
- Release Year: 1990 (video premiere in 1991 in the US)
- Content Rating: R (Rated)
Reception
The movie has been described as "hilarious trash" by some B-movie fans, while others found it to be below average even for its genre. It is generally considered a low-budget spoof that doesn't take itself seriously, with its primary appeal being to fans of campy, exploitation-style films. The film was financially successful for its distributor, Lionsgate, reportedly tripling its money.
You can watch the official trailer on IMDb or stream the movie on services like Fandango at Home or Apple TV.
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So many movies ... so little time ...
On this day in 2017 (in the U.S.), those dastardly Socialists were up to no good yet again when they unleashed Werewolves Of The Third Reich onto all of mankind! (Well, maybe not so much "all of mankind," but they did muster up the wolves for a home video release.) Written and directed by Andrew Jones, the film starred Lee Bane, Derek Nelson, Suzanne Dallaway, and others.
According to our friends at IMDB.com, here's the plot summary:
"In Germany at the height of World War II, a ragtag group of American soldiers discover Doctor Mengele's diabolical plan to create an unstoppable army of Nazi werewolves."
-- EZ
On this day in 2017 (in the U.S.), those dastardly Socialists were up to no good yet again when they unleashed Werewolves Of The Third Reich onto all of mankind! (Well, maybe not so much "all of mankind," but they did muster up the wolves for a home video release.) Written and directed by Andrew Jones, the film starred Lee Bane, Derek Nelson, Suzanne Dallaway, and others.
According to our friends at IMDB.com, here's the plot summary:
"In Germany at the height of World War II, a ragtag group of American soldiers discover Doctor Mengele's diabolical plan to create an unstoppable army of Nazi werewolves."
-- EZ
- Published on
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So many movies ... so little time ...
On this day in 1972 (in France), passion and Horror came face-to-face for the theatrical release of The Demoniacs (aka Les démoniaques). Written and directed by Jean Rollin, the film starred Joëlle Coeur, Patricia Hermenier, John Rico, and others.
According to our friends at IMDB.com, here's the plot summary:
"A gang of pirates rape the two sole survivors of a ship wreck. The violated girls are rescued by the strange inhabitants of a supposedly haunted island, where they are granted supernatural powers to strike revenge against the pirates."
Editor's Note:
Despite some diligent searching, I've been unable to locate a promotional trailer for the film. This isn't necessarily all that uncommon given the fact that it appears to be a smaller / independent production which likely had very little advertising anywhere.
-- EZ
On this day in 1972 (in France), passion and Horror came face-to-face for the theatrical release of The Demoniacs (aka Les démoniaques). Written and directed by Jean Rollin, the film starred Joëlle Coeur, Patricia Hermenier, John Rico, and others.
According to our friends at IMDB.com, here's the plot summary:
"A gang of pirates rape the two sole survivors of a ship wreck. The violated girls are rescued by the strange inhabitants of a supposedly haunted island, where they are granted supernatural powers to strike revenge against the pirates."
Editor's Note:
Despite some diligent searching, I've been unable to locate a promotional trailer for the film. This isn't necessarily all that uncommon given the fact that it appears to be a smaller / independent production which likely had very little advertising anywhere.
-- EZ
- Published on
site update
So many movies ... so little time ...
On this day in 1919 (in Germany), the big city of Berlin played host for the exclusive theatrical premiere of The Doll (aka Die Puppe) for Projektions-AG Union. Written (in part) and directed by Ernst Lubitsch, the film starred Ossi Oswalda, Hermann Thimig, Victor Janson, and others.
According to our friends at IMDB.com, here's the plot summary:
"Forced into marriage by his uncle, a man decides to fool him by marrying a life-like mechanical doll instead."
-- EZ
On this day in 1919 (in Germany), the big city of Berlin played host for the exclusive theatrical premiere of The Doll (aka Die Puppe) for Projektions-AG Union. Written (in part) and directed by Ernst Lubitsch, the film starred Ossi Oswalda, Hermann Thimig, Victor Janson, and others.
According to our friends at IMDB.com, here's the plot summary:
"Forced into marriage by his uncle, a man decides to fool him by marrying a life-like mechanical doll instead."
-- EZ
- Published on
site update
So many movies ... so little time ...
On this day in 2008 (in Spain), La raíz del mal (translated: The Root Of Evil) was first screened for audiences in attendance of the Semana de Cine Independiente y Fantástico de Toledo. Written and directed for the screen by Adrián Cardona, the film starred Adrian Baslino, Eva Puerta, El Pirata, and others.
According to our friends at IMDB.com, here's the plot summary:
"Men are brutally murdered, while the women are kidnapped and taken to the depths of the forest where they take part in a bloody ritual."
-- EZ
On this day in 2008 (in Spain), La raíz del mal (translated: The Root Of Evil) was first screened for audiences in attendance of the Semana de Cine Independiente y Fantástico de Toledo. Written and directed for the screen by Adrián Cardona, the film starred Adrian Baslino, Eva Puerta, El Pirata, and others.
According to our friends at IMDB.com, here's the plot summary:
"Men are brutally murdered, while the women are kidnapped and taken to the depths of the forest where they take part in a bloody ritual."
-- EZ
- Published on
Why say it myself when Google.com can say it more succinctly:
“Giallo films are a distinctive genre of Italian murder mystery movies known for their stylish visuals, over-the-top violence, and mystery elements. Originating in the 1960s, this genre reached its peak in the 1970s and is characterized by a black-gloved killer, gruesome murders, and often features an amateur investigator piecing together clues. Popular examples include Deep Red, Blood and Black Lace, and The Bird with the Crystal Plumage.”
Now … what I can add to that is that I’ve seen enough Giallo films to assure readers that I’m no huge advocate of them.
Certainly, I don’t dislike them; and there are a handful which I find compelling yarns with some fabulous actors and actresses elevating the material to the point wherein I, too, can get swept up in the flick’s momentum. They’re rare, yes, but they are out there. Chiefly, I struggle with the majority of them – even the better ones – largely because directors rather obviously prefer aesthetics over plot dynamics. In other words, I think too many storytellers will take great pains to cinematically render a scene or a sequence in exhausting detail, allowing the visuals to go on far longer than was necessary. Occasionally, it works and works wonderfully; but, more often than not for this watcher, it grinds the pace down and turns a bit tedious.
So I, of course, approaching a little something-something like The Blade Cuts Deeper (2024) with a wealth of trepidation. Written (in part) and directed by Gene Dolders, the release – from what I’ve read online – has been promoted by many as being an impressive homage to the palate that’s been set by so many Giallo practitioners; and I can assure you that it most definitely embraces the genre from start-to-finish with some surprisingly delicate precision. However, the downside to any paint-by-numbers approach (not intended as an insult, just a turn of phrase) is that creators also bring a good degree of potential bagged with it. What kills a good Giallo thriller (snicker snicker) might also kill a Giallo tribute; and I’m not convinced that there’s enough else left over that’ll make Deeper resonate deeper and longer with novice audiences.
No film will ever be widely successful when it caters to what some might define as a niche audience. I suspect Deeper will suffer the same tragic fate.
“Giallo films are a distinctive genre of Italian murder mystery movies known for their stylish visuals, over-the-top violence, and mystery elements. Originating in the 1960s, this genre reached its peak in the 1970s and is characterized by a black-gloved killer, gruesome murders, and often features an amateur investigator piecing together clues. Popular examples include Deep Red, Blood and Black Lace, and The Bird with the Crystal Plumage.”
Now … what I can add to that is that I’ve seen enough Giallo films to assure readers that I’m no huge advocate of them.
Certainly, I don’t dislike them; and there are a handful which I find compelling yarns with some fabulous actors and actresses elevating the material to the point wherein I, too, can get swept up in the flick’s momentum. They’re rare, yes, but they are out there. Chiefly, I struggle with the majority of them – even the better ones – largely because directors rather obviously prefer aesthetics over plot dynamics. In other words, I think too many storytellers will take great pains to cinematically render a scene or a sequence in exhausting detail, allowing the visuals to go on far longer than was necessary. Occasionally, it works and works wonderfully; but, more often than not for this watcher, it grinds the pace down and turns a bit tedious.
So I, of course, approaching a little something-something like The Blade Cuts Deeper (2024) with a wealth of trepidation. Written (in part) and directed by Gene Dolders, the release – from what I’ve read online – has been promoted by many as being an impressive homage to the palate that’s been set by so many Giallo practitioners; and I can assure you that it most definitely embraces the genre from start-to-finish with some surprisingly delicate precision. However, the downside to any paint-by-numbers approach (not intended as an insult, just a turn of phrase) is that creators also bring a good degree of potential bagged with it. What kills a good Giallo thriller (snicker snicker) might also kill a Giallo tribute; and I’m not convinced that there’s enough else left over that’ll make Deeper resonate deeper and longer with novice audiences.
No film will ever be widely successful when it caters to what some might define as a niche audience. I suspect Deeper will suffer the same tragic fate.
(NOTE: The following review will contain minor spoilers necessary solely for the discussion of plot and/or characters. If you’re the type of reader who prefers a review entirely spoiler free, then I’d encourage you to skip down to the last few paragraphs for the final assessment. If, however, you’re accepting of a few modest hints at ‘things to come,’ then read on …)
From the film’s IMDB.com page citation:
“Follows a narcissistic TV host who becomes trapped in his own nightmare of televised cruelty and revenge. Content has consequences.”
Debatably, The Blade Cuts Deeper is a story all of us have seen in one way or shape before. It’s the kinda/sorta ‘fall from grace’ that a creative and self-absorbed intellectual who thinks he’s better than everyone else around him ultimately endures. A great many installments of classic genre television programming from Rod Serling (The Twilight Zone), Gene Levitt (Fantasy Island), Alfred Hitchcock (Alfred Hitchcock Presents), or Roald Dahl (Tales Of The Unexpected) built huge, huge television audiences on the shoulders of such riveting storytelling; and even contemporary attempts – like Black Mirror or Philip K. Dick’s Electric Dreams – are solid derivatives. In universes where fate (or karma) lend a hand, tales like this will always – always – find watchers; and that probably says more about us culturally than it does the writers.
In short: we love to see someone suffer a good and deserving comeuppance.
To be fair, Deeper doesn’t fit perfectly into the typical mold. John Abbott (played by John Tueart) is a contemporary content creator who was forced to pursue an independent path to greatness when Hollywood suits were unconvinced that his pet project – ‘Lights, Camera, KILL,’ serialized adaptations of true-life crimes – could be the next big thing. As a result, the auteur allows success to go straight to his head (as can happen) when audiences willingly line-up for one bloody, tragedy-filled episode after another. What the man doesn’t anticipate, however, is that one of his dramatizations might inspire real world consequences when a survivor (Peter Durr) finds his psyche eventually cracked by having to relive the death of his beloved wife over and over and over again on video.
From the film’s IMDB.com page citation:
“Follows a narcissistic TV host who becomes trapped in his own nightmare of televised cruelty and revenge. Content has consequences.”
Debatably, The Blade Cuts Deeper is a story all of us have seen in one way or shape before. It’s the kinda/sorta ‘fall from grace’ that a creative and self-absorbed intellectual who thinks he’s better than everyone else around him ultimately endures. A great many installments of classic genre television programming from Rod Serling (The Twilight Zone), Gene Levitt (Fantasy Island), Alfred Hitchcock (Alfred Hitchcock Presents), or Roald Dahl (Tales Of The Unexpected) built huge, huge television audiences on the shoulders of such riveting storytelling; and even contemporary attempts – like Black Mirror or Philip K. Dick’s Electric Dreams – are solid derivatives. In universes where fate (or karma) lend a hand, tales like this will always – always – find watchers; and that probably says more about us culturally than it does the writers.
In short: we love to see someone suffer a good and deserving comeuppance.
To be fair, Deeper doesn’t fit perfectly into the typical mold. John Abbott (played by John Tueart) is a contemporary content creator who was forced to pursue an independent path to greatness when Hollywood suits were unconvinced that his pet project – ‘Lights, Camera, KILL,’ serialized adaptations of true-life crimes – could be the next big thing. As a result, the auteur allows success to go straight to his head (as can happen) when audiences willingly line-up for one bloody, tragedy-filled episode after another. What the man doesn’t anticipate, however, is that one of his dramatizations might inspire real world consequences when a survivor (Peter Durr) finds his psyche eventually cracked by having to relive the death of his beloved wife over and over and over again on video.
That truly is all the story to Deeper, and – to his credit – writer/director Dolders makes it work reasonably well throughout what looks to be his major motion picture debut. Capturing a great deal of the action through the perspective of ‘The Maniac,’ the audience follows along as a heartbeat – with its rate constantly mimicking the onscreen mania (or lack thereof, in some parts – plays like a drum in their ears. We see firsthand what Abbott’s recounting of the terror he experienced firsthand has led him to, from confusing the actress with his lost sweetheart and wanting to elicit any measure on retribution on those who brought his greatest misfortune to life, seemingly all for clicks and giggles. While I would’ve appreciated just a wee bit of exposition – even a minor confession or something with a bit of emotional heartache might’ve been a welcome diversion from such cinematic technique – The Maniac utters not a single word. His is a world of doing, not saying, and he stays true even up to his closing moments.
If anything, Deeper hints at the usual indictments of a society that’s turned its back on compassion in pursuit of commerce. Abbott is cast as an opportunist – one who’ll use and abuse every single person around him, from the accomplished editors down to a lowly security guard – and winds up being about as stereotypical a villain as ever to grace the frame. (Again, that’s not a complete but an honest observation. Giallos aren’t exactly revered for being original in any way other than elegant visuals.) Nothing more is learned of him – his background is as sketchy as is his adversary, mostly because that’s how these kinds of chillers are built – but viewers get just enough to know he’s functionally no different than either ‘The Widowmaker’ (the assassin who makes The Maniac) or the killer pursuing cast and crew.
But because Abbott and The Maniac do manage to eventually swap places – the learner becomes the master in more ways than one here – some might applaud Dolders’ ability to stick the landing on his first big try. That fact alone is cause for modest celebration as I’ve personally sat through a great many big budget and independent entrances that have muddied the waters so poorly along the way that finales – even good ones – couldn’t quite salvage the affair. The worst that could (and should) be said is that perhaps sticking so fervently to recapturing the magic of what’s come before might’ve robbed Deeper of the ability to stand on its own two legs. Here’s hoping that the storyteller’s next outing might bring something different to the screen as there’s talent enough in this to warrant more projects behind the lens.
If anything, Deeper hints at the usual indictments of a society that’s turned its back on compassion in pursuit of commerce. Abbott is cast as an opportunist – one who’ll use and abuse every single person around him, from the accomplished editors down to a lowly security guard – and winds up being about as stereotypical a villain as ever to grace the frame. (Again, that’s not a complete but an honest observation. Giallos aren’t exactly revered for being original in any way other than elegant visuals.) Nothing more is learned of him – his background is as sketchy as is his adversary, mostly because that’s how these kinds of chillers are built – but viewers get just enough to know he’s functionally no different than either ‘The Widowmaker’ (the assassin who makes The Maniac) or the killer pursuing cast and crew.
But because Abbott and The Maniac do manage to eventually swap places – the learner becomes the master in more ways than one here – some might applaud Dolders’ ability to stick the landing on his first big try. That fact alone is cause for modest celebration as I’ve personally sat through a great many big budget and independent entrances that have muddied the waters so poorly along the way that finales – even good ones – couldn’t quite salvage the affair. The worst that could (and should) be said is that perhaps sticking so fervently to recapturing the magic of what’s come before might’ve robbed Deeper of the ability to stand on its own two legs. Here’s hoping that the storyteller’s next outing might bring something different to the screen as there’s talent enough in this to warrant more projects behind the lens.
The Blade Cuts Deeper (2024) was produced by Feisty Film, Barber Green Digital CIC, and Gatton Films. DVD distribution (for this particular release) has been coordinated by the fine folks at Leomark Studios and Black Mandala (via Allied Vaughn). As for the technical specifications? While I’m no trained video expert, I can assure readers that the provided sights-and-sounds are exceptional: there are – as mentioned – aesthetics common to Giallo films – things like quick and interspersed edits along with curious sound effects and creative usage of music – that some might find a bit jarring. (FYI: you’re supposed to.) Lastly, if you’re looking for special features? Alas … not a one. A big miss … but this happens quite a bit with smaller, indie style releases, so I’ve grown used to it. Sigh.
Recommended. Giallo fans will likely love this one, as will a great number of film academics and students, but casual viewers might lose interest over the delayed gratification.
The risk of structuring an entire movie as little more than an homage to a particular thematic style – i.e. Giallo – is that storytellers might lose an audience that would otherwise be interested in the plot, circumstances, characters, and settings. As good as The Blade Cuts Deeper (2024) is as a tribute, the end result brings along a chief complaint about genre filmmaking: it’s all style and little story. It’s all structure and little substance. And because it adheres arguably too specifically to the Giallo mold, its big finish – like a great many entries of that categorization – is entirely predictable. While some might not consider that a bad thing by itself, Deeper cut a path that few will tolerate much less appreciate over the long term. Good? Yes! Great? Well … we’ve seen it all before …
In the interest of fairness, I’m pleased to disclose that the fine folks at Black Mandala (via Allied Vaughn) provided me with a complimentary Blu-ray of The Blade Cuts Deeper (2024) by request for the expressed purpose of completing this review. Their contribution to me in no way, shape, or form influenced my opinion of it.
-- EZ
Recommended. Giallo fans will likely love this one, as will a great number of film academics and students, but casual viewers might lose interest over the delayed gratification.
The risk of structuring an entire movie as little more than an homage to a particular thematic style – i.e. Giallo – is that storytellers might lose an audience that would otherwise be interested in the plot, circumstances, characters, and settings. As good as The Blade Cuts Deeper (2024) is as a tribute, the end result brings along a chief complaint about genre filmmaking: it’s all style and little story. It’s all structure and little substance. And because it adheres arguably too specifically to the Giallo mold, its big finish – like a great many entries of that categorization – is entirely predictable. While some might not consider that a bad thing by itself, Deeper cut a path that few will tolerate much less appreciate over the long term. Good? Yes! Great? Well … we’ve seen it all before …
In the interest of fairness, I’m pleased to disclose that the fine folks at Black Mandala (via Allied Vaughn) provided me with a complimentary Blu-ray of The Blade Cuts Deeper (2024) by request for the expressed purpose of completing this review. Their contribution to me in no way, shape, or form influenced my opinion of it.
-- EZ