- Published on
press release
From the director of Eraser, The Blob and A Nightmare on Elm Street Part 3: Dream Warriors comes The Mask, a wildly inventive live-action comic book adaptation with Looney Tunes flair, and one of the most iconic comedy films of the 1990s.
Stanley Ipkiss (Jim Carrey), a mild-mannered bank clerk in Edge City, can't bring himself to approach Tina Carlyle (Cameron Diaz), a stunning nightclub singer who's captured his heart. Everything changes when Stanley discovers an ancient mask with supernatural abilities, unleashing a bold, unstoppable and uncontrollable version of himself: the Mask. With reality-bending powers and boundless cartoon energy, Stanley becomes a whirlwind of mischief, soon attracting the attention of both the police and a crew of dangerous criminals.
With groundbreaking visual effects, off-the-wall humor and non-stop energy, The Mask is now available in a stunning new director-approved 4K restoration and packed with smokin' bonus features!
When his face turns green and his limbs get limber, Carrey's pretty much unstoppable. This cartoon-y creation is an amazing fusion of physical comedy and state-of-the- art cinema illusion
—Steven Rea, Philadelphia Inquirer
The design is bright as a button and the transformation scenes real eye-poppers, but the film's best special effect is putty-faced Carrey with his razzle-dazzle star turn as the affable Stanley and his manic alter ego
—Derek Adams, Time Out
Seems to have found a story and character that work together with manic energy.
—Roger Ebert, Chicago Sun-Times
Not only is he adept at physical humor, the kind of knockabout stuff that recalls the classic silent clowns, but Carrey also has a bright and likable screen presence, a lost puppy quality that is surprisingly endearing
—Kenneth Turan, Los Angeles Times
Stanley Ipkiss (Jim Carrey), a mild-mannered bank clerk in Edge City, can't bring himself to approach Tina Carlyle (Cameron Diaz), a stunning nightclub singer who's captured his heart. Everything changes when Stanley discovers an ancient mask with supernatural abilities, unleashing a bold, unstoppable and uncontrollable version of himself: the Mask. With reality-bending powers and boundless cartoon energy, Stanley becomes a whirlwind of mischief, soon attracting the attention of both the police and a crew of dangerous criminals.
With groundbreaking visual effects, off-the-wall humor and non-stop energy, The Mask is now available in a stunning new director-approved 4K restoration and packed with smokin' bonus features!
- LIMITED EDITION BLU-RAY CONTENTS
- 4K restoration of the film from the original camera negative by Arrow Films approved by director Chuck Russell
- High Definition Blu-ray (1080p) presentation
- Original DTS-HD MA 5.1 audio and lossless stereo audio
- Optional English subtitles for the deaf and hard of hearing
- Archive audio commentary with Chuck Russell
- Archive audio commentary with Chuck Russell, New Line co-chairman Bob Shaye, screenwriter Mike Werb, executive producer Mike Richardson, producer Bob Engelman, ILM VFX supervisor Scott Squires, animation supervisor Tom Bertino and cinematographer John R.
- The Man Behind the Mask, a newly filmed interview with Chuck Russell
- From Strip to Screen, a newly filmed interview with Mike Richardson, Mike Werb and Mark Verheiden
- Green Faces Blue Screens, a newly filmed interview with visual effects supervisor Scott Squires
- Sssssssplicin’!, a newly filmed interview with editor Arthur Coburn
- Ask Peggy, a newly filmed interview with actor Amy Yasbeck
- Toeing the Conga Line, a newly filmed interview with choreographer Jerry Evans featuring never-before-seen rehearsal footage
- Terriermania, a new video essay by critic Elizabeth Purchell on canine sidekick Milo
- Archival featurettes Return to Edge City, Introducing Cameron Diaz, Cartoon Logic, What Makes Fido Run, The Making Of, on-set interview bites with the cast and director and B-Roll footage
- Deleted scenes, with optional commentary by director Chuck Russell
- Theatrical trailer
- Image gallery
- Reversible sleeve featuring two original artwork options
- Illustrated collector’s booklet featuring new writing on the film by Alexandra Heller-Nicholas and original production notes
- Double-sided fold-out poster featuring two original artwork options
- Six postcard-sized reproduction artcards
When his face turns green and his limbs get limber, Carrey's pretty much unstoppable. This cartoon-y creation is an amazing fusion of physical comedy and state-of-the- art cinema illusion
—Steven Rea, Philadelphia Inquirer
The design is bright as a button and the transformation scenes real eye-poppers, but the film's best special effect is putty-faced Carrey with his razzle-dazzle star turn as the affable Stanley and his manic alter ego
—Derek Adams, Time Out
Seems to have found a story and character that work together with manic energy.
—Roger Ebert, Chicago Sun-Times
Not only is he adept at physical humor, the kind of knockabout stuff that recalls the classic silent clowns, but Carrey also has a bright and likable screen presence, a lost puppy quality that is surprisingly endearing
—Kenneth Turan, Los Angeles Times
- Published on
press release
Outland [Limited Edition]
Writer-director Peter Hyams (Capricorn One, 2010, The Relic) takes classic Western tropes off-world and into the future in sci-fi thriller Outland, starring Sean Connery as a federal marshall assigned to keep the peace on a distant moon.
Con-Am 27 is a mining facility on Io, one of Jupiter's largest moons. Six hundred million miles away, the gravity there is one sixth of what it is on Earth, and there is no breathable atmosphere. The work is hard, the bonuses big and productivity is breaking all records. But people are dying. Every so often they just snap. The secret? A drug that can keep its miners working days on end, but over time results in burn-out and psychosis. When new Marshall William O'Niel (Sean Connery) investigates, he uncovers a deadly conspiracy and finds his life under threat from a company that will stop at nothing to keep him quiet.
A chillingly prophetic depiction of corporate greed and exploitation with muscular direction from Hyams, and a stellar performance from Connery, Outland arrives on 4K UHD in a brand new restoration that is out of this world.
- 4K ULTRA HD LIMITED EDITION CONTENTS
- Brand new 4K restoration from the original 35mm camera negative by Arrow Films
- 4K (2160p) UHD Blu-ray™ presentation in Dolby Vision (HDR10 compatible)
- Original lossless stereo 2.0 and DTS-HD MA 5.1 surround audio options
- Optional English subtitles for the deaf and hard of hearing
- Archive audio commentary by writer-director Peter Hyams
- Brand new audio commentary by film critic Chris Alexander
- A Corridor of Accidents, a newly filmed interview with writer-director Peter Hyams
- Outlandish, a newly filmed interview with director of photography Stephen Goldblatt
- Introvision: William Mesa on Outland, a newly filmed interview with visual effects artist William Mesa
- No Place for Heroes, a brand new appreciation by film scholar Josh Nelson
- Hollywoodland Outland, a brand new visual essay by film historian Howard S. Berger
- Theatrical trailer
- Image gallery
- Reversible sleeve featuring original and newly commissioned artwork by Pye Parr
- Double-sided foldout poster featuring original and newly commissioned artwork by Pye Parr
- Illustrated collector’s booklet featuring new writing by film critics Priscilla Page and Brandon Streussnig
Emerges as a tight, intriguing old-fashioned drama that gives audiences a hero worth rooting for
--Variety
A movie of unexpected pleasures
—Vincent Canby, New York Times
Synthesises and repositions the corporate malfeasance of the Alien franchise, but distils it into one potent idea; that things in the future are likely to get worse, and standing strong against it is what real heroes do - prime real estate for a reboot
—Eddie Harrison, Film-Authority
A gripping, taut thriller
—David Nusair, Reel Film Reviews
- Published on
site update
So many movies ... so little time ...
On this day in 2004 (in the U.S.), Frankenfish surfaced from the murky depths for its broadcast television debut. Directed by Mark A.Z. Dippé from a story by Simon Barrett and Scott Clevenger, the film starred Tory Kittles, K.D. Aubert, China Chow, and others.
According to our friends at IMDB.com, here's the plot summary:
"A genetically-altered fish wreaks havoc on a small fishing town."
-- EZ
On this day in 2004 (in the U.S.), Frankenfish surfaced from the murky depths for its broadcast television debut. Directed by Mark A.Z. Dippé from a story by Simon Barrett and Scott Clevenger, the film starred Tory Kittles, K.D. Aubert, China Chow, and others.
According to our friends at IMDB.com, here's the plot summary:
"A genetically-altered fish wreaks havoc on a small fishing town."
-- EZ
- Published on
I was chatting online the other day with a friend who pointed out that he’d stopped being interested in JJ Abrams’ version of Star Trek precisely because it became especially clear with the release of Star Trek Into Darkness that the franchise was no longer interested in exploring “ideas.” Since its inception, Gene Roddenberry’s space franchise wasn’t all that concerned with depicted war (per se) as it was interested in depicted the circumstances that caused it, the psychology that kept it going, and the emotional aftermath of having waged it. Unlike Star Wars, Trek was always about life and death, who we are and where we were headed, and the current incarnation seems far more infatuated with galaxy-spanning car chases and fisticuffs than it is the human condition.
That’s why a motion picture like Debug (2014) probably won’t win many converts to the genre of Science Fiction: it’s an idea-based flick that requires a bit of cerebral investment instead of the proliferation of flashy special effects and silver screen do-goodery. Written and directed (actor) David Hewlett, it’s a journey into the mind as well as it is into the fate of characters who’ve fallen from grace. Sure, maybe it won’t be for everyone’s jaundiced tastes … but it whet my whistle just fine.
(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 three paragraphs for my final assessment. If, however, you’re accepting of a few modest hints at ‘things to come,’ then read on …)
From the product packaging:
“In this tale of deep space cyberhorror, six young computer hackers are sent to work on a derelict space freighter as part of a work release program. They quickly fall prey to the ship’s vengeful artificial intelligence, a program that would kill to be human …”
There’s more, but – in fairness – I suspect that that lean premise is enough to know whether or not you’re seriously interested in what Debug has to offer. In the hands of creative folks who cared less about these ideas, it’s easy to predict how such a tale might’ve spiraled into B-movie-whackery; still, in Hewlett’s hands what audiences are given is a cerebral ‘what if’ pitting some flawed human beings racing against hope to save themselves from that which they’ve committed their lives to understanding best. Namely, artificial intelligence.
That alone makes Debug a vastly more interesting proposition that a handful of studio tentpole feature films I’ve had the misfortune of paying to see at the box office in the last few years, and I find it a lowdown dirty shame that some suit somewhere couldn’t have ponied up just a bit more scratch to give this film a bit less gloss in its hospital-like interiors along with a bit more utility. Hewlett and his merry band of pranksters didn’t let that stand in the way of their pursuits, and – in the end – perhaps Debug is better because of it. (Alas, we’ll probably never know … until this gets a studio reboot in ten to twenty years.)
As for the players?
Jason Momoa electronically drones his way through some oft muddled dialogue as the ship’s A.I., IAM. (Say THAT ten times fast!) It’s a perfunctory performance as a villain at best. The reliable Adrian Holmes could’ve had a bit more to do as the chain gang’s space warden, but he hits all of the necessary marks. Kerr Hewitt, Kyle Mac, (hubba hubba!) Sidney Leeder, and Jadyn Wong largely succeed in fleshing out a group of young cynics, each with their own cross to bear. But the real stand-outs here are relative newcomers Adam Butcher (as James) and Jeananne Goossen (as Kaida): together, they’re like a JV version of ‘Ripley & Hicks’ (from James Cameron’s Aliens) though their predicament isn’t as internally motivated nor textually nuanced. Basically, they’re in a good old-fashioned fight for their lives against some cyber concoction that won’t go away, not that there’s anything wrong with it. And I suspect Goossen’s exotic beauty will keep fanboys swooning in the seats (if not their bunks).
Debug (2014) is produced by Copperheart Entertainment and Monkeys & Parrots. DVD distribution is being handled by Ketchup Entertainment. As for the technical specifications? Momoa’s computerized entity could’ve used a mildly less grating technical enhancement (occasionally, I found his speeches a bit hard to decipher), but the flick is filled with quality cinematography, proving that much more care was given than lesser pictures receive. Lastly, if you’re looking for special features, there is a 20-minute(ish) behind-the-scenes featurette that I heartily give an enthusiastic thumbs up; in fact, I would’ve liked more!
Recommended.
In short, “I.T., Therefore I Am” is the overriding concept driving so very much of Debug. Parts of it feels far too derivative to really stand on its own merits (shades of some of the substance already expanded upon in 1968’s 2001: A Space Odyssey, 1979’s Alien, and 1997’s Event Horizon), but that doesn’t mean it isn’t worth a meager price for admission. Performances work; set production is quite impressive (with a few minor quibbles); and director Hewlett’s almost (John) Carpenter-esque sequences with the camera make stick it just above B-movie fare but still well below big budget excess. See it for the heck of it … and stay for the visuals.
In the interests of fairness, I’m pleased to disclose that the fine folks at Ketchup Entertainment provided me with a DVD of Debug (2014) by request for the expressed purposes of completing this review; and their contribution to me in no way, shape, or form influenced my opinion of it.
-- EZ
That’s why a motion picture like Debug (2014) probably won’t win many converts to the genre of Science Fiction: it’s an idea-based flick that requires a bit of cerebral investment instead of the proliferation of flashy special effects and silver screen do-goodery. Written and directed (actor) David Hewlett, it’s a journey into the mind as well as it is into the fate of characters who’ve fallen from grace. Sure, maybe it won’t be for everyone’s jaundiced tastes … but it whet my whistle just fine.
(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 three paragraphs for my final assessment. If, however, you’re accepting of a few modest hints at ‘things to come,’ then read on …)
From the product packaging:
“In this tale of deep space cyberhorror, six young computer hackers are sent to work on a derelict space freighter as part of a work release program. They quickly fall prey to the ship’s vengeful artificial intelligence, a program that would kill to be human …”
There’s more, but – in fairness – I suspect that that lean premise is enough to know whether or not you’re seriously interested in what Debug has to offer. In the hands of creative folks who cared less about these ideas, it’s easy to predict how such a tale might’ve spiraled into B-movie-whackery; still, in Hewlett’s hands what audiences are given is a cerebral ‘what if’ pitting some flawed human beings racing against hope to save themselves from that which they’ve committed their lives to understanding best. Namely, artificial intelligence.
That alone makes Debug a vastly more interesting proposition that a handful of studio tentpole feature films I’ve had the misfortune of paying to see at the box office in the last few years, and I find it a lowdown dirty shame that some suit somewhere couldn’t have ponied up just a bit more scratch to give this film a bit less gloss in its hospital-like interiors along with a bit more utility. Hewlett and his merry band of pranksters didn’t let that stand in the way of their pursuits, and – in the end – perhaps Debug is better because of it. (Alas, we’ll probably never know … until this gets a studio reboot in ten to twenty years.)
As for the players?
Jason Momoa electronically drones his way through some oft muddled dialogue as the ship’s A.I., IAM. (Say THAT ten times fast!) It’s a perfunctory performance as a villain at best. The reliable Adrian Holmes could’ve had a bit more to do as the chain gang’s space warden, but he hits all of the necessary marks. Kerr Hewitt, Kyle Mac, (hubba hubba!) Sidney Leeder, and Jadyn Wong largely succeed in fleshing out a group of young cynics, each with their own cross to bear. But the real stand-outs here are relative newcomers Adam Butcher (as James) and Jeananne Goossen (as Kaida): together, they’re like a JV version of ‘Ripley & Hicks’ (from James Cameron’s Aliens) though their predicament isn’t as internally motivated nor textually nuanced. Basically, they’re in a good old-fashioned fight for their lives against some cyber concoction that won’t go away, not that there’s anything wrong with it. And I suspect Goossen’s exotic beauty will keep fanboys swooning in the seats (if not their bunks).
Debug (2014) is produced by Copperheart Entertainment and Monkeys & Parrots. DVD distribution is being handled by Ketchup Entertainment. As for the technical specifications? Momoa’s computerized entity could’ve used a mildly less grating technical enhancement (occasionally, I found his speeches a bit hard to decipher), but the flick is filled with quality cinematography, proving that much more care was given than lesser pictures receive. Lastly, if you’re looking for special features, there is a 20-minute(ish) behind-the-scenes featurette that I heartily give an enthusiastic thumbs up; in fact, I would’ve liked more!
Recommended.
In short, “I.T., Therefore I Am” is the overriding concept driving so very much of Debug. Parts of it feels far too derivative to really stand on its own merits (shades of some of the substance already expanded upon in 1968’s 2001: A Space Odyssey, 1979’s Alien, and 1997’s Event Horizon), but that doesn’t mean it isn’t worth a meager price for admission. Performances work; set production is quite impressive (with a few minor quibbles); and director Hewlett’s almost (John) Carpenter-esque sequences with the camera make stick it just above B-movie fare but still well below big budget excess. See it for the heck of it … and stay for the visuals.
In the interests of fairness, I’m pleased to disclose that the fine folks at Ketchup Entertainment provided me with a DVD of Debug (2014) by request for the expressed purposes of completing this review; and their contribution to me in no way, shape, or form influenced my opinion of it.
-- EZ
- Published on
site update
So many movies ... so little time ...
On this day in 2004 (in the U.S.), audiences in attendance of the Cine-Macabre Film Festival were treated to the theatrical premiere of Subhuman (aka Shelf Life). Written and directed by Mark Tuit, the film starred William MacDonald, Paralee Cook, Peter Bryant, and others.
According to our friends at IMDB.com, here's the plot summary:
"Martin's job is to hunt and destroy human like parasites who feast on mankind."
For the record:
To the film's credit, Subhuman earned a wee bit of praise from a screening on the film festival circuit.
-- EZ
On this day in 2004 (in the U.S.), audiences in attendance of the Cine-Macabre Film Festival were treated to the theatrical premiere of Subhuman (aka Shelf Life). Written and directed by Mark Tuit, the film starred William MacDonald, Paralee Cook, Peter Bryant, and others.
According to our friends at IMDB.com, here's the plot summary:
"Martin's job is to hunt and destroy human like parasites who feast on mankind."
For the record:
To the film's credit, Subhuman earned a wee bit of praise from a screening on the film festival circuit.
-- EZ
- Published on
Cult films are considered cult precisely because not everyone who sees them gets them.
Fundamentally, what this means is nothing more than the fact that some stories are presented in such a way they resonate with a select few while meaning little to nothing to the majority of the moviegoing public. This could be because a particular story deals with a subject long considered taboo, and those who respond to its characters, situations, and message believe it’s high time that the topic get a bit of cultural examination. It could be that a certain tale is produced in such a way as to make it unusual when compared to more conventional fare. The feature’s colors could be vivid and splashy when dealing with some dark or dour issue, or its characters could ‘take the long way home’ through some theatrical adventure when competitors would’ve made short business of such an abnormal journey. The sad but sorry truth may be that we’ll never quite know what elevates one specific picture to cult status; but we’ll celebrate it all the same if it tickles our fancy in just the right unexpected manner.
Even within the catalogue of flicks long said to be ‘cult,’ there remains a unique subset that pretty much sticks to the classification of “they’re so bad that they’re good,” and that’s the label which might be most aptly applied to 1991’s The Cat. Based on just one installment of the widely popular Chinese-language Wisely novels, The Cat is about as chaotic thrill ride as they come, never quite stopping long enough to hammer out all of the details required for its people, places, and circumstances to make perfect sense. Yet – under Ngai Choi Lam’s direction – it takes off in every conceivable direction possible, spinning a SciFi/Fantasy about a trio of extraterrestrials coming face-to-face with an alien enemy seeking their eradication from the cosmos. In the process, our trio will make a few Earthly friends, steal a few museum artifacts, and probably diminish the property values of some real estate along the way.
(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 …)
Fundamentally, what this means is nothing more than the fact that some stories are presented in such a way they resonate with a select few while meaning little to nothing to the majority of the moviegoing public. This could be because a particular story deals with a subject long considered taboo, and those who respond to its characters, situations, and message believe it’s high time that the topic get a bit of cultural examination. It could be that a certain tale is produced in such a way as to make it unusual when compared to more conventional fare. The feature’s colors could be vivid and splashy when dealing with some dark or dour issue, or its characters could ‘take the long way home’ through some theatrical adventure when competitors would’ve made short business of such an abnormal journey. The sad but sorry truth may be that we’ll never quite know what elevates one specific picture to cult status; but we’ll celebrate it all the same if it tickles our fancy in just the right unexpected manner.
Even within the catalogue of flicks long said to be ‘cult,’ there remains a unique subset that pretty much sticks to the classification of “they’re so bad that they’re good,” and that’s the label which might be most aptly applied to 1991’s The Cat. Based on just one installment of the widely popular Chinese-language Wisely novels, The Cat is about as chaotic thrill ride as they come, never quite stopping long enough to hammer out all of the details required for its people, places, and circumstances to make perfect sense. Yet – under Ngai Choi Lam’s direction – it takes off in every conceivable direction possible, spinning a SciFi/Fantasy about a trio of extraterrestrials coming face-to-face with an alien enemy seeking their eradication from the cosmos. In the process, our trio will make a few Earthly friends, steal a few museum artifacts, and probably diminish the property values of some real estate along the way.
(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 adaptation of the novel Old Cat, by Ni Kuang. A cat from outer space teams up with a young alien girl and her knight, along with an adventure novelist named Wisely, to fight a murderous alien that possesses people.”
While that synopsis is respectfully adequate, there’s truly a great deal more to even beginning to grasp exactly what’s going on aboard The Cat.
Yes, it has Science Fiction elements, largely the idea of aliens coming to Earth and – somehow – taking on human and feline form in order to fit in undetected amongst the masses. Also, there are clearly some Fantasy and Horror pieces that bubble to the surface, namely the idea that a competing species also shows up with the possible ability to assume similar human shape as well as critters and creatures and blips and blobs which aren’t easily described. The reality is that there’s a great deal of … of … well … of stuff taking place between the opening and closing credits; and – without no disrespect to anyone involved – not a lot of it makes sense.
Where does one begin?
Well, for starters, Lam’s film opens with the suggestion that it’s likely going to be about the trials of a rather ordinary man – Li Tung (played by Lawrence Lau) – who’s having trouble sleeping at night because of the incessant noises made by an upstairs neighbor. Li does what any of us would do – he goes to complain and witnesses developments which further confuse him – only to then learn that those pesky residents are departing to reside elsewhere. However, after Li shares these events with his friend – author Wisely (Waise Lee) – he essentially disappears from the film, rarely to be seen again.
At this point, Wisely and his lovely girlfriend – Pai So (Christine Ng) – inherit the task of headlining the next segment of the picture. Obviously, they’re a loving pair – she with her daytime hours spent playing tennis and he constantly narrating his thoughts about these mystery neighbors to the soundtrack while scribbling in a notebook – but they reside in a mansion apparently without enough money to invest in bookshelves. Every single room is stacked floor-to-ceiling with books for – ahem – no discernible reason. Sometime later in the flick, the two share a curious softcore fetish-porn timeout which include scenes of Wisely studying intimate close-ups of Pai’s sweaty armpits.
“An adaptation of the novel Old Cat, by Ni Kuang. A cat from outer space teams up with a young alien girl and her knight, along with an adventure novelist named Wisely, to fight a murderous alien that possesses people.”
While that synopsis is respectfully adequate, there’s truly a great deal more to even beginning to grasp exactly what’s going on aboard The Cat.
Yes, it has Science Fiction elements, largely the idea of aliens coming to Earth and – somehow – taking on human and feline form in order to fit in undetected amongst the masses. Also, there are clearly some Fantasy and Horror pieces that bubble to the surface, namely the idea that a competing species also shows up with the possible ability to assume similar human shape as well as critters and creatures and blips and blobs which aren’t easily described. The reality is that there’s a great deal of … of … well … of stuff taking place between the opening and closing credits; and – without no disrespect to anyone involved – not a lot of it makes sense.
Where does one begin?
Well, for starters, Lam’s film opens with the suggestion that it’s likely going to be about the trials of a rather ordinary man – Li Tung (played by Lawrence Lau) – who’s having trouble sleeping at night because of the incessant noises made by an upstairs neighbor. Li does what any of us would do – he goes to complain and witnesses developments which further confuse him – only to then learn that those pesky residents are departing to reside elsewhere. However, after Li shares these events with his friend – author Wisely (Waise Lee) – he essentially disappears from the film, rarely to be seen again.
At this point, Wisely and his lovely girlfriend – Pai So (Christine Ng) – inherit the task of headlining the next segment of the picture. Obviously, they’re a loving pair – she with her daytime hours spent playing tennis and he constantly narrating his thoughts about these mystery neighbors to the soundtrack while scribbling in a notebook – but they reside in a mansion apparently without enough money to invest in bookshelves. Every single room is stacked floor-to-ceiling with books for – ahem – no discernible reason. Sometime later in the flick, the two share a curious softcore fetish-porn timeout which include scenes of Wisely studying intimate close-ups of Pai’s sweaty armpits.
Still later in the feature, the Princess (Gloria Yip), Errol (Lau Siu Ling), and the infamous cat – the aforementioned neighbors – take over the narrative, dribbling out some whimsical exposition which tells their woeful story of escaping their planet for Earth some time ago. Hiding out from some menace which apparently has finally discovered them on our world has taken its toll, but the signs in the universe are just right to signal an opportunity for a return to their ancestral home. It will take some work on their part – basically, the theft of a few mysterious artifacts which both serve as a weapon (at one point) as well as a means of transport (in another) – and it was about this time when I realized The Cat – as a whole – was missing most of its nine lives.
Like the little engine that could, the film just never stops. It’s that snowball rolling downhill! The one that keeps getting bigger and bigger, rolling faster and faster, until it’s crossed the Rubicon, and there’s absolutely no way back to sanity! None of the decisions made by any of its principals make a lick of sense, starting with why one alien decided a cat body was a good choice to inhabit (when vastly more humans were available) up to Wisely deciding to hire a dog (named Lao Pu) to hunt down and face-off against the film’s black mouser. Yes, our two animals do eventually earn a showdown, but don’t get me started on the unbridled lunacy that unfolds before our eyes in a junkyard as the dog and cat shake off their mammalian ways … and everybody was kung-fu fighting!
When the audience reaches a level of understanding, a new twist or turn enters the fray – be it the Princess’ sudden ability to fly (which never figures prominently into the plot whatsoever) or the cat’s seemingly improbable talent to fight karate-style or why no one seems to take significant notice when a police character of the first half uncharacteristically turns to the dark side (once ‘infested’ by the bad alien) – simply spools out and changes the story’s direction. As a consequence, The Cat isn’t a tale that ever becomes unpredictable mostly because there’s no way to know which way it’s going next! Just about when you think you have it minorly under control, Lam steers it into then beyond left field … and suddenly police headquarters is being overrun by an omnipresent pile of gelatin that won’t stop growing!
Like the little engine that could, the film just never stops. It’s that snowball rolling downhill! The one that keeps getting bigger and bigger, rolling faster and faster, until it’s crossed the Rubicon, and there’s absolutely no way back to sanity! None of the decisions made by any of its principals make a lick of sense, starting with why one alien decided a cat body was a good choice to inhabit (when vastly more humans were available) up to Wisely deciding to hire a dog (named Lao Pu) to hunt down and face-off against the film’s black mouser. Yes, our two animals do eventually earn a showdown, but don’t get me started on the unbridled lunacy that unfolds before our eyes in a junkyard as the dog and cat shake off their mammalian ways … and everybody was kung-fu fighting!
When the audience reaches a level of understanding, a new twist or turn enters the fray – be it the Princess’ sudden ability to fly (which never figures prominently into the plot whatsoever) or the cat’s seemingly improbable talent to fight karate-style or why no one seems to take significant notice when a police character of the first half uncharacteristically turns to the dark side (once ‘infested’ by the bad alien) – simply spools out and changes the story’s direction. As a consequence, The Cat isn’t a tale that ever becomes unpredictable mostly because there’s no way to know which way it’s going next! Just about when you think you have it minorly under control, Lam steers it into then beyond left field … and suddenly police headquarters is being overrun by an omnipresent pile of gelatin that won’t stop growing!
The tremendous upside to enduring something as bizarre at The Cat is remains the fact that – regardless of what one might make of the plot, the acting, and the premise – it’s entirely ambitious, probably to a fault. Lam packs the picture with everything – including the kitchen sink – with some gonzo action and effects sequences – some optical trickery but a great deal of it is rendered practically (meaning ‘in camera’) – so much so that the audience can’t look away for fear of missing something. Granted, the majority of it might be laughable if not downright cringe-inducing; and yet every conceivable blemish of what would otherwise be considered sub-standard pyrotechnics and narratively incredulous remains intact. When something this curiously peculiar might signal the end for any other working collaborator, Lam goes ‘balls to the wall’ nutty with one oddball vignette after another, delivering what I’ve read was his last cinematic frenzy before retiring from the industry entirely. And why not? Who or what could – ahem – possibly top this performance?
Surprisingly, The Cat still manages to resemble an awful lot of actioners coming out of Hong Kong in that era. John Woo and Ringo Lam were achieving something relatively special at the time, and the global video explosion had American video stores stocking an assortment of their very best efforts. Downright brazenly, Ngai Choi Lam stocks his fare with sequences meant to correspondingly boggle the senses – like choreographed gunplay and pyrotechnics whether they’re coherent or not – and he even throws in curiously obtuse close-ups and slow-motion sideshows because – Hell – they’re pretty, right? In fact, The Cat practically showcases two big shoot-em-up sequences in its second half – both similarly devoid of logic – almost as if to say, “Everyone else is doing this, so I’m going to do it to, even if it’s equally gratuitous and superfluous at the same time.” Rarely does such gusto go unnoticed, so hats of to Lam and his crew for sticking to their vision, even though Science Fiction and Fantasy rarely gets such wonder.
Now, I don’t want to feel as if I’m been too harsh on the project.
As I’ve said, the film has an audience faithful to its wicked, wicked ways; and there’s absolutely nothing wrong with that. Some of their fascination is likely owed to insatiable curiosity always getting the better of our species, so why shouldn’t a benign galactic potboiler starring a cat, a princess, and some book-smart writer receive anything less? In spite of never understanding exactly where Lam was going with all of this, I just couldn’t look away – just couldn’t tear myself from it – not so much like the customary rubbernecking at a car crash so much as it was abject horror at how the progression just never stopped, the genuine befuddlement over how I was still watching this. Even at points wherein characters kinda/sorta come and go freely, they showed up later in the sequences, acting as if they’d been there the whole time; and that’s mostly how I come to look at myself – on the couch – watching the film unfold.
Surprisingly, The Cat still manages to resemble an awful lot of actioners coming out of Hong Kong in that era. John Woo and Ringo Lam were achieving something relatively special at the time, and the global video explosion had American video stores stocking an assortment of their very best efforts. Downright brazenly, Ngai Choi Lam stocks his fare with sequences meant to correspondingly boggle the senses – like choreographed gunplay and pyrotechnics whether they’re coherent or not – and he even throws in curiously obtuse close-ups and slow-motion sideshows because – Hell – they’re pretty, right? In fact, The Cat practically showcases two big shoot-em-up sequences in its second half – both similarly devoid of logic – almost as if to say, “Everyone else is doing this, so I’m going to do it to, even if it’s equally gratuitous and superfluous at the same time.” Rarely does such gusto go unnoticed, so hats of to Lam and his crew for sticking to their vision, even though Science Fiction and Fantasy rarely gets such wonder.
Now, I don’t want to feel as if I’m been too harsh on the project.
As I’ve said, the film has an audience faithful to its wicked, wicked ways; and there’s absolutely nothing wrong with that. Some of their fascination is likely owed to insatiable curiosity always getting the better of our species, so why shouldn’t a benign galactic potboiler starring a cat, a princess, and some book-smart writer receive anything less? In spite of never understanding exactly where Lam was going with all of this, I just couldn’t look away – just couldn’t tear myself from it – not so much like the customary rubbernecking at a car crash so much as it was abject horror at how the progression just never stopped, the genuine befuddlement over how I was still watching this. Even at points wherein characters kinda/sorta come and go freely, they showed up later in the sequences, acting as if they’d been there the whole time; and that’s mostly how I come to look at myself – on the couch – watching the film unfold.
The Cat (1991) was produced by Tokuma Shoten, Nippon Television Network (NTV), Diagonal Pictures, Golden Harvest Company, and Paragon Films Ltd. DVD distribution (for this particular release) has been coordinated by the fine folks at 88 Films. As for the technical specifications? While I’m no trained video expert, I can still comfortably assure readers that this reported 2K restoration both looks and sounds very good: and I can’t imagine it looking or sounding any better. Frankly, some of the crispness really damages the impact of some inferior effects work, but – as they say – it is what it is. Lastly, if you’re looking for special features? The disc boasts an audio commentary (a bit dry and dreary, if you ask me) along with an alternate Japanese cut of the flick, an interview, and the usual stills and trailer stuff. The physical collection includes a nice collector’s booklet (with essays) and a reproduction of the theatrical poster. It’ll likely be treasured by fans of such fare.
Recommended, but …
If anything, it really should go without saying (yet again) that The Cat (1991) will most definitely not be to everyone’s liking. I’ve read that the picture has long been a favorite – for various reasons – of those who worship Chinese ‘underground’ flicks; and – even though I’m unfamiliar with such products – it isn’t hard to see why. Still, there’s a bit of big screen charm in there for those of us who both recognize and appreciate schlock for what it is and can be. What emerges one of the weirdest outings I can say I’ve ever undertaken; and I vacillated between laughing and questioning what the Hell I’d just seen throughout its modest 90-minute running time. While I’m okay with that, you – faithful reader – will have to decide if you’re even remotely interested.
In the interests of fairness, I’m pleased to disclose that the fine folks at 88 Films provided me with a complimentary Blu-ray of The Cat (1991) 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, but …
If anything, it really should go without saying (yet again) that The Cat (1991) will most definitely not be to everyone’s liking. I’ve read that the picture has long been a favorite – for various reasons – of those who worship Chinese ‘underground’ flicks; and – even though I’m unfamiliar with such products – it isn’t hard to see why. Still, there’s a bit of big screen charm in there for those of us who both recognize and appreciate schlock for what it is and can be. What emerges one of the weirdest outings I can say I’ve ever undertaken; and I vacillated between laughing and questioning what the Hell I’d just seen throughout its modest 90-minute running time. While I’m okay with that, you – faithful reader – will have to decide if you’re even remotely interested.
In the interests of fairness, I’m pleased to disclose that the fine folks at 88 Films provided me with a complimentary Blu-ray of The Cat (1991) 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 people to celebrate ... so little time ...
As I often point out, a great number of actors, actresses, and the like from the bygone era don't have as many genre citations as contemporary faces mostly because there just wasn't a great deal of Science Fiction, Fantasy, and Horror being produced back in their time. Still, I persevere to shine a little light on these smilers if for no other reason that I think it's a shame that their body of works would be forgotten.
Such is the case with the much revered George Sanders. Even though most of his resume falls in mainstream efforts, he does have a few items deserving of mention in this space.
Though he's no longer with us, Sanders was born on this day in 1906.
[Source: IMDB.com]
ExtraExtra Alert:
In 2025, I received an all-new home video release of The Strange Woman (1946) -- in which Sanders played a role -- from the fine folks at Allied Vaughn in exchange for review coverage on SciFiHistory.Net. Interested readers can find my review right here.
-- EZ
As I often point out, a great number of actors, actresses, and the like from the bygone era don't have as many genre citations as contemporary faces mostly because there just wasn't a great deal of Science Fiction, Fantasy, and Horror being produced back in their time. Still, I persevere to shine a little light on these smilers if for no other reason that I think it's a shame that their body of works would be forgotten.
Such is the case with the much revered George Sanders. Even though most of his resume falls in mainstream efforts, he does have a few items deserving of mention in this space.
- In 1936, he had an uncredited role aboard Things To Come for London Film Productions.
- That same year, he enjoyed a bit of screen time in The Man Who Could Work Miracles also for London Film.
- In 1939, he found work in The Saint Strikes Back and The Saint In London for RKO Radio Pictures as well as The Saint's Double Trouble in 1940.
- In 1945, he truly entered the realms of the Fantastic with a big role in The Picture Of Dorian Gray for Metro-Goldwyn-Mayer.
- In 1947, things turned a bit spooky -- in a charming way -- for his part in The Ghost And Mrs. Muir for Twentieth Century Fox.
- In 1958, he explored the final frontier with work in From The Earth To The Moon again working with RKO Radio Pictures.
- At this point, the actor enjoyed some TV appearances, including stops to Voyage To The Bottom Of The Sea, The Man From U.N.C.L.E., Batman, and Mission: Impossible.
- Late in his career, he was gainfully employed in such projects as The Body Stealers (1969), Doomwatch (1972), and The Death Wheelers (1973).
Though he's no longer with us, Sanders was born on this day in 1906.
[Source: IMDB.com]
ExtraExtra Alert:
In 2025, I received an all-new home video release of The Strange Woman (1946) -- in which Sanders played a role -- from the fine folks at Allied Vaughn in exchange for review coverage on SciFiHistory.Net. Interested readers can find my review right here.
-- EZ
- Published on
As I’ve often opined, there’s a vast disagreement over what truly accounts for a good film noir as opposed to something only mildly similar.
Honestly, I’ll never pretend to understand the how’s and why’s of precisely how such a controversy developed over the years. Frankly, I honestly think a good amount of it really boils down a the differing of professional opinions – one person’s expertise is another person’s bloated valuation of self – so I do tend to avoid such murky waters. I can say that – as a casual viewer and reader of films – I accept a great deal of input at face value: I’ll then do my own research, mull over the facts and opinions, and try to stand logically on my own two feet, but even that process doesn’t always work out wonderfully. More often than not, I have better luck deciphering older flicks – classics that have a good degree of scholarly writing and reviews to substantiate their quality – and sometimes even those let me down. Such is the case today.
You see, I’d been assured that 1946’s The Strange Woman was a bona fide Film Noir; and – once again – I’m coming up short in grasping how such a verdict could possibly be so. Yes, the picture arguably has a great deal in common with other releases from the corresponding era, but – for my tastes – far too much of what’s in this story (based on the novel by Ben Ames Williams) really resembles far more traditional Hollywood melodramas of the 1940’s. Hell, I’ve even read that many ‘in the know’ suggest Woman remains an overlooked gem chiefly because it resembles so many other projects of the day; and – lacking the expertise to know with certainty otherwise – I don’t find that conclusion a stretch at all. If you’ve seen it all before, then why show up for simply more of the same? It’s a good flick – a bit clever in spots but largely celebrated for being one of Hedy Lamarr’s signature outings – but I just don’t see it as ‘noir’ as others have.
Principally, it probably gets the label attached because Lamarr’s character – the lovely Jenny Hager – is about as ‘femme fatale’ as one gets on the silver screen; and that’s saying something. However, the lack of any supporting material and/or secondary plotlines kinda/sorta leaves this one a bit of a ‘one trick pony’ so far as I’d say … but when the pony looks as good as Lamarr does in it you might want to saddle up for a single viewing because she definitely showcases her reputation as ‘the most beautiful woman in the world.’
(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 …)
Honestly, I’ll never pretend to understand the how’s and why’s of precisely how such a controversy developed over the years. Frankly, I honestly think a good amount of it really boils down a the differing of professional opinions – one person’s expertise is another person’s bloated valuation of self – so I do tend to avoid such murky waters. I can say that – as a casual viewer and reader of films – I accept a great deal of input at face value: I’ll then do my own research, mull over the facts and opinions, and try to stand logically on my own two feet, but even that process doesn’t always work out wonderfully. More often than not, I have better luck deciphering older flicks – classics that have a good degree of scholarly writing and reviews to substantiate their quality – and sometimes even those let me down. Such is the case today.
You see, I’d been assured that 1946’s The Strange Woman was a bona fide Film Noir; and – once again – I’m coming up short in grasping how such a verdict could possibly be so. Yes, the picture arguably has a great deal in common with other releases from the corresponding era, but – for my tastes – far too much of what’s in this story (based on the novel by Ben Ames Williams) really resembles far more traditional Hollywood melodramas of the 1940’s. Hell, I’ve even read that many ‘in the know’ suggest Woman remains an overlooked gem chiefly because it resembles so many other projects of the day; and – lacking the expertise to know with certainty otherwise – I don’t find that conclusion a stretch at all. If you’ve seen it all before, then why show up for simply more of the same? It’s a good flick – a bit clever in spots but largely celebrated for being one of Hedy Lamarr’s signature outings – but I just don’t see it as ‘noir’ as others have.
Principally, it probably gets the label attached because Lamarr’s character – the lovely Jenny Hager – is about as ‘femme fatale’ as one gets on the silver screen; and that’s saying something. However, the lack of any supporting material and/or secondary plotlines kinda/sorta leaves this one a bit of a ‘one trick pony’ so far as I’d say … but when the pony looks as good as Lamarr does in it you might want to saddle up for a single viewing because she definitely showcases her reputation as ‘the most beautiful woman in the world.’
(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:
“In 1820s New England beautiful but poor and manipulative Jenny Hager marries rich old man Isaiah Poster but also seduces his son and his company foreman.”
There’s no denying the fact that Hedy Lamarr was a beautiful woman; and – equally – there’s no denying the reality that such ravishing beauty was pivotal to the role she played aboard The Strange Woman.
In this 1946 tragedy, Jenny Hager rises to the top of the social circuit of Bangor, Maine. Throwing off the shackles of an oppressive and alcoholic father, she – of her own volition – marries into wealth by securing the attentions of a town elder – timber merchant Isaiah Poster (played by Gene Lockhart) – with the intent to reshape the small town into the personal paradise she always dreamed possible. As such, Jenny engages in spending the Poster fortune on charitable deeds not so much because of a big heart but because she’s driven to find a love that’s escaped her over the years; and why not get it from everyone when love from a single man is never enough?
In the course of this rise to fame and shame, our antiheroine still stops at nothing to corrupt the hearts of those she desires even superficially. First, she entices her own stepson – a boyhood crush Ephraim Poster (Louis Hayward) – to murder her husband (his own father); and, then, she leads the young man to suicide when she spurns him as undeserving of her womanly love. Later, she woos her best friend’s fiancé – John Evered (George Sanders) – right out of that woman’s arms into her own; but theirs is a love that ultimately leads to a downfall staged both figuratively and literally off the side of a small cliff.
I guess it ain’t so easy being beautiful after all.
Of course, there’s a bit more to the story than just a few bullet points. Bangor, Maine isn’t exactly all that it’s cracked up to be with or without Jenny spending someone else’s money to spruce the place up a bit; and this figures largely into the social dynamics our femme fatale rolls up her sleeves to confront. The adaptation – chiefly attributed to Herb Meadow – occasionally tries balancing out discussion on men’s and women’s roles – albeit lightly – and even dabbles in darker subjects – incent, suicide, etc. – but nothing in here gets the serious dressing down it deserves. The last reel introduces how a traveling evangelist’s fiery sermons eventually forces Jenny to loosely take stock of her life, unintentionally putting her on a path to even greater self-destruction if such a thing were possible. Still, because so much of the drama is handled casually, many in the audience will likely dismiss this as a good period piece that crosses over into ‘chick lit.’
“In 1820s New England beautiful but poor and manipulative Jenny Hager marries rich old man Isaiah Poster but also seduces his son and his company foreman.”
There’s no denying the fact that Hedy Lamarr was a beautiful woman; and – equally – there’s no denying the reality that such ravishing beauty was pivotal to the role she played aboard The Strange Woman.
In this 1946 tragedy, Jenny Hager rises to the top of the social circuit of Bangor, Maine. Throwing off the shackles of an oppressive and alcoholic father, she – of her own volition – marries into wealth by securing the attentions of a town elder – timber merchant Isaiah Poster (played by Gene Lockhart) – with the intent to reshape the small town into the personal paradise she always dreamed possible. As such, Jenny engages in spending the Poster fortune on charitable deeds not so much because of a big heart but because she’s driven to find a love that’s escaped her over the years; and why not get it from everyone when love from a single man is never enough?
In the course of this rise to fame and shame, our antiheroine still stops at nothing to corrupt the hearts of those she desires even superficially. First, she entices her own stepson – a boyhood crush Ephraim Poster (Louis Hayward) – to murder her husband (his own father); and, then, she leads the young man to suicide when she spurns him as undeserving of her womanly love. Later, she woos her best friend’s fiancé – John Evered (George Sanders) – right out of that woman’s arms into her own; but theirs is a love that ultimately leads to a downfall staged both figuratively and literally off the side of a small cliff.
I guess it ain’t so easy being beautiful after all.
Of course, there’s a bit more to the story than just a few bullet points. Bangor, Maine isn’t exactly all that it’s cracked up to be with or without Jenny spending someone else’s money to spruce the place up a bit; and this figures largely into the social dynamics our femme fatale rolls up her sleeves to confront. The adaptation – chiefly attributed to Herb Meadow – occasionally tries balancing out discussion on men’s and women’s roles – albeit lightly – and even dabbles in darker subjects – incent, suicide, etc. – but nothing in here gets the serious dressing down it deserves. The last reel introduces how a traveling evangelist’s fiery sermons eventually forces Jenny to loosely take stock of her life, unintentionally putting her on a path to even greater self-destruction if such a thing were possible. Still, because so much of the drama is handled casually, many in the audience will likely dismiss this as a good period piece that crosses over into ‘chick lit.’
Critics suggest that Lamarr’s work in the best reason to see The Strange Woman, and I’ve no reason to argue otherwise. Director Edgar G. Ulmer certainly makes the most of her range here, capturing the actress in some wonderful lighting, costumes, and cinematography; and the resulting flick is exceptionally easy on the eyes as anyone could hope. In a world where good looks matter, Lamarr had that to offer in spades … but it would’ve been nice for the supporting cast to be given something significant to do as well in this 100-minute drama. Sadly, they’re little more than pawns on Jenny’s board; and, while that was to be expected mostly, I’ll always argue that one central performance rarely works as often as it gets tried.
Curiously, Woman ends on a note that mildly suggests that Jenny somehow (???) found a bit of redemption in her demise. Some of this could be my misreading it, but I have read some commentary online implying the same. Should a life spent both expanding and destroying lives of others be granted a note of grace even if the good deeds were still performed in an attempt to fill a whole in one’s life? Meh. I’ll leave such arguments to the saints to argue. Me? I saw a manipulative shrew brought down by her own inability to control desire, and I’ll leave it at that.
The Strange Woman (1946) was produced by Hunt Stromberg Productions and Mars Film Corporation. DVD distribution (for this particular release) has been coordinated by the fine folks at The Film Masters. As for the technical specifications? While I’m no trained video expert, I can still assure readers that the provided sights-and-sounds are mostly satisfactory in here: I’ve read that the film has long been in public domain, so I can’t speak to whether or not the best source material was used and can only assume. Lastly, if you’re looking for special features? The disc boasts an audio commentary from Professor Bernard M. Prokop … and, yeah, it’s reasonably dry the way a scholarly lecture might be. Occasionally interesting but nothing riveting at all.
Alas … only Mildly Recommended.
As I stated above, The Strange Woman (1946) is revered amongst the works of the late Hedy Lamarr and given how lovingly she’s captured on film throughout this picture it isn’t hard to see why. While her acting skills weren’t exactly top of the line here, the woman still chews scenery when and if required with the right aplomb. Of course, there’s no denying the sexiness of her presence; and, yes, that’s probably what she accomplished best in all of this. Those scenes resonates like she clearly new what she was doing … and probably damn well liked it, too.
In the interests of fairness, I’m pleased to disclose that the fine folks at the Film Masters (via Allied Vaughn) provided me with a complimentary Blu-ray of The Strange Woman (1946) 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
Curiously, Woman ends on a note that mildly suggests that Jenny somehow (???) found a bit of redemption in her demise. Some of this could be my misreading it, but I have read some commentary online implying the same. Should a life spent both expanding and destroying lives of others be granted a note of grace even if the good deeds were still performed in an attempt to fill a whole in one’s life? Meh. I’ll leave such arguments to the saints to argue. Me? I saw a manipulative shrew brought down by her own inability to control desire, and I’ll leave it at that.
The Strange Woman (1946) was produced by Hunt Stromberg Productions and Mars Film Corporation. DVD distribution (for this particular release) has been coordinated by the fine folks at The Film Masters. As for the technical specifications? While I’m no trained video expert, I can still assure readers that the provided sights-and-sounds are mostly satisfactory in here: I’ve read that the film has long been in public domain, so I can’t speak to whether or not the best source material was used and can only assume. Lastly, if you’re looking for special features? The disc boasts an audio commentary from Professor Bernard M. Prokop … and, yeah, it’s reasonably dry the way a scholarly lecture might be. Occasionally interesting but nothing riveting at all.
Alas … only Mildly Recommended.
As I stated above, The Strange Woman (1946) is revered amongst the works of the late Hedy Lamarr and given how lovingly she’s captured on film throughout this picture it isn’t hard to see why. While her acting skills weren’t exactly top of the line here, the woman still chews scenery when and if required with the right aplomb. Of course, there’s no denying the sexiness of her presence; and, yes, that’s probably what she accomplished best in all of this. Those scenes resonates like she clearly new what she was doing … and probably damn well liked it, too.
In the interests of fairness, I’m pleased to disclose that the fine folks at the Film Masters (via Allied Vaughn) provided me with a complimentary Blu-ray of The Strange Woman (1946) 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
So many movies ... so much to celebrate!!!
Despite a relatively low-budget presentation, Alien Nation -- which premiered on this day in 1988 (in Canada and the U.S.) -- is actually a nice little film. It takes that 'fish out of water' formula -- an aging Earth cop who's no good with partners and a newly relocated alien from another world trying to find his place in human society -- and fleshes it out quite expertly. Also, the film helped to launched a television incarnation which enjoyed both a full season's commitment as well as a small series of telefilms to further explore and wrap up the mythology.
Directed by Graham Baker from a story by Rockne S. O'Bannon, the film starred James Caan, Mandy Patinkin, Terence Stamp, and others. According to our friends at IMDB.com, here's the plot summary:
"A few years from now, Earth will have the first contact with an alien civilization. These aliens, known as Newcomers, slowly begin to be integrated into human society after years of quarantine."
For the record:
As well as launching a new franchise for Science Fiction fans to enjoy, the first film enjoyed a reasonable amount of attention from the professional organizations.
Editor's Note:
For those of you who'd like to know even more about Alien Nation (1988), SciFiHistory.Net's Alien Nation Page is currently under construction, but it can be accessed right here.
-- EZ
Despite a relatively low-budget presentation, Alien Nation -- which premiered on this day in 1988 (in Canada and the U.S.) -- is actually a nice little film. It takes that 'fish out of water' formula -- an aging Earth cop who's no good with partners and a newly relocated alien from another world trying to find his place in human society -- and fleshes it out quite expertly. Also, the film helped to launched a television incarnation which enjoyed both a full season's commitment as well as a small series of telefilms to further explore and wrap up the mythology.
Directed by Graham Baker from a story by Rockne S. O'Bannon, the film starred James Caan, Mandy Patinkin, Terence Stamp, and others. According to our friends at IMDB.com, here's the plot summary:
"A few years from now, Earth will have the first contact with an alien civilization. These aliens, known as Newcomers, slowly begin to be integrated into human society after years of quarantine."
For the record:
As well as launching a new franchise for Science Fiction fans to enjoy, the first film enjoyed a reasonable amount of attention from the professional organizations.
- In 1990, the Academy Of Science Fiction, Fantasy, And Horror Films awarded it their Saturn Award in the category of 'Best Science Fiction Film.' (The feature had to settle for nominations alone in the categories of 'Best Make-Up' and 'Best Supporting Actor.')
- Also, in 1989 it enjoyed the Hugo Award nomination in the category of 'Best Dramatic Presentation.'
Editor's Note:
For those of you who'd like to know even more about Alien Nation (1988), SciFiHistory.Net's Alien Nation Page is currently under construction, but it can be accessed right here.
-- EZ
- Published on
site update
So many movies ... so little time ...
On this day in 1954 (in Mexico), someone was up to their bewitching ways for the theatrical release of The Witch (aka La Bruja). Written (in part) and directed by Chano Urueta, the film starred Lilia del Valle, Ramón Gay, Julio Villarreal, and others.
According to our friends at IMDB.com, here's the plot summary:
"Thieves break into a scientist's laboratory to steal a secret formula, and in the process they kill his daughter. Enraged, he develops a formula that will turn an extremely ugly woman into a spectacular beauty, and then uses the woman to take his revenge on those responsible for his daughter's murder."
-- EZ
On this day in 1954 (in Mexico), someone was up to their bewitching ways for the theatrical release of The Witch (aka La Bruja). Written (in part) and directed by Chano Urueta, the film starred Lilia del Valle, Ramón Gay, Julio Villarreal, and others.
According to our friends at IMDB.com, here's the plot summary:
"Thieves break into a scientist's laboratory to steal a secret formula, and in the process they kill his daughter. Enraged, he develops a formula that will turn an extremely ugly woman into a spectacular beauty, and then uses the woman to take his revenge on those responsible for his daughter's murder."
-- EZ