- Published on
site update
So many movies ... so little time ...
On this day in 2015 (in Canada), audiences of the Fantasia International Film Festival were the very first folks in the world to see a theatrical screening of Extinction. Written (in part) and directed by Miguel Ángel Vivas, the film starred Matthew Fox, Jeffrey Donovan, Quinn McColgan, and others.
According to our friends at IMDB.com, here's the plot summary:
"And suddenly, overnight, the world came to a halt. Two men, two survivors, one kid, and hatred that separates them. A place forgotten by everyone, including the creatures that inhabit the Earth... until now."
-- EZ
On this day in 2015 (in Canada), audiences of the Fantasia International Film Festival were the very first folks in the world to see a theatrical screening of Extinction. Written (in part) and directed by Miguel Ángel Vivas, the film starred Matthew Fox, Jeffrey Donovan, Quinn McColgan, and others.
According to our friends at IMDB.com, here's the plot summary:
"And suddenly, overnight, the world came to a halt. Two men, two survivors, one kid, and hatred that separates them. A place forgotten by everyone, including the creatures that inhabit the Earth... until now."
-- EZ
- Published on
site update
So many movies ... so little time ...
On this day in 2008 (in Canada), Repo! The Genetic Opera enjoyed its first theatrical screening ever when it was played for audiences of the Fantasia Film Festival. Directed by Darren Lynn Bousman from a story by Darren Smith and Terrance Zdunich, the film starred Paul Sorvino, Anthony Head, Alexa PenaVega, and others. According to our friends at IMDB.com, here's the plot summary:
"A worldwide epidemic encourages a biotech company to launch an organ-financing program similar in nature to a standard car loan. The repossession clause is a killer, however."
For the record:
To the film's credit, Repo! The Genetic Opera earned a wee bit of praise from a screening on the film festival circuit.
Post script observation:
Now, I didn't mention this in SciFiHistory.Net's official posting for Repo! -- which does appear on the July 18th Citation Page -- but "actress" Paris Hilton earned a bit of notoriety for her work in the film. In fact, she was -- ahem -- reviled so much for her work in the picture that the 2009 Razzie Awards sent her home that evening with the coveted trophy for 'Worst Supporting Actress.'
That honor alone might seem a bit trivial ... but -- as can happen -- it gets worse. The very next year, the 2010 Razzie Awards gifted the young celebrity with their 'Worst Actress Of The Decade' specifically honoring her contribution to filmdom in this flick as well as 2005's House Of Wax (remake) and 2008's The Hottie & The Nottie.
Ouch. That's gonna leave a mark!
-- EZ
On this day in 2008 (in Canada), Repo! The Genetic Opera enjoyed its first theatrical screening ever when it was played for audiences of the Fantasia Film Festival. Directed by Darren Lynn Bousman from a story by Darren Smith and Terrance Zdunich, the film starred Paul Sorvino, Anthony Head, Alexa PenaVega, and others. According to our friends at IMDB.com, here's the plot summary:
"A worldwide epidemic encourages a biotech company to launch an organ-financing program similar in nature to a standard car loan. The repossession clause is a killer, however."
For the record:
To the film's credit, Repo! The Genetic Opera earned a wee bit of praise from a screening on the film festival circuit.
Post script observation:
Now, I didn't mention this in SciFiHistory.Net's official posting for Repo! -- which does appear on the July 18th Citation Page -- but "actress" Paris Hilton earned a bit of notoriety for her work in the film. In fact, she was -- ahem -- reviled so much for her work in the picture that the 2009 Razzie Awards sent her home that evening with the coveted trophy for 'Worst Supporting Actress.'
That honor alone might seem a bit trivial ... but -- as can happen -- it gets worse. The very next year, the 2010 Razzie Awards gifted the young celebrity with their 'Worst Actress Of The Decade' specifically honoring her contribution to filmdom in this flick as well as 2005's House Of Wax (remake) and 2008's The Hottie & The Nottie.
Ouch. That's gonna leave a mark!
-- EZ
- Published on
site update
So many movies ... so little time ...
On this day in 2017 (in the U.S.), Bonejangles enjoyed its only release of record -- according to IMDB.com -- with a U.S. internet release. Directed by Brett DeJager from a story by Keith Melcher, the film starred Reggie Bannister, Elissa Dowling, Julia Cavanaugh, and others. According to our friends at IMDB.com, here's the plot summary:
"While transporting serial killer Bonejangles, police officers break down in a town plagued by demonic zombies. To survive the night and save the town, they must release Bonejangles to help fight the curse, risking an even greater threat."
-- EZ
On this day in 2017 (in the U.S.), Bonejangles enjoyed its only release of record -- according to IMDB.com -- with a U.S. internet release. Directed by Brett DeJager from a story by Keith Melcher, the film starred Reggie Bannister, Elissa Dowling, Julia Cavanaugh, and others. According to our friends at IMDB.com, here's the plot summary:
"While transporting serial killer Bonejangles, police officers break down in a town plagued by demonic zombies. To survive the night and save the town, they must release Bonejangles to help fight the curse, risking an even greater threat."
-- EZ
- Published on
Generally speaking, I don't post a good deal of theatrical trailers or coming attractions on the MainPage of SciFiHistory.Net.
Now, this isn't because I don't want to or I don't like them. I've often warned readers to not get all that excited about them because -- in many instances -- the masterminds who compose a trailer aren't necessarily 'on the inside' to what the full story is going to be. (I know, I know, but hear me out.) My point is that trailers are made to both generate interest and sell tickets well in advance, so I usually apply the same critical eye to them that I do to completed films. That's just how I'm wired, folks, so don't hate.
Furthermore, I've found that when I do post a handful of them in succession (or roughly close to one another in a week or two), then I'm inundated with emails from studios and independents wanting me to post theirs as well. In some cases, these forthcoming pictures don't have anything to do with the realms of the Fantastic, so I politely decline. In other cases, I let them know that -- as a practice -- I only post promotional material at the request of folks I have an established relationship with: if they'd like to purchase a post, then I offer them a chance to do so (and, again, trust me when I say that my blog is far more affordable than are most). At this point, they decline. Far too many "professionals" expect work on their behalf to be done for free; and that's just not how I roll. I'm flexible, but I'm not stupid.
In any event ...
I did see the new trailer drop this morning for TRON: Ares, and I wanted to share it for the readership. The TRON franchise is one near and dear to me. I enjoy the first film -- having seen it in theaters back in the day, my fondness for it is probably more nostalgic than anything else -- and I loved TRON: Legacy though I understand it kinda/sorta missed the mark with so many. Sadly, that TRON: Uprising TV show (animated) was a little half-baked -- never really had a coherent central thread from what I recall -- so I'm not surprised it gained little traction. Just about the time when you think TRON is over and done with, the folks at Disney have ponied up yet one more chapter. Think what you will, but I have respect for returning to the well of inspiration if you've something different to offer ... and this definitely looks like that may be the case.
Trailer is below. You know you like to watch.
-- EZ
Now, this isn't because I don't want to or I don't like them. I've often warned readers to not get all that excited about them because -- in many instances -- the masterminds who compose a trailer aren't necessarily 'on the inside' to what the full story is going to be. (I know, I know, but hear me out.) My point is that trailers are made to both generate interest and sell tickets well in advance, so I usually apply the same critical eye to them that I do to completed films. That's just how I'm wired, folks, so don't hate.
Furthermore, I've found that when I do post a handful of them in succession (or roughly close to one another in a week or two), then I'm inundated with emails from studios and independents wanting me to post theirs as well. In some cases, these forthcoming pictures don't have anything to do with the realms of the Fantastic, so I politely decline. In other cases, I let them know that -- as a practice -- I only post promotional material at the request of folks I have an established relationship with: if they'd like to purchase a post, then I offer them a chance to do so (and, again, trust me when I say that my blog is far more affordable than are most). At this point, they decline. Far too many "professionals" expect work on their behalf to be done for free; and that's just not how I roll. I'm flexible, but I'm not stupid.
In any event ...
I did see the new trailer drop this morning for TRON: Ares, and I wanted to share it for the readership. The TRON franchise is one near and dear to me. I enjoy the first film -- having seen it in theaters back in the day, my fondness for it is probably more nostalgic than anything else -- and I loved TRON: Legacy though I understand it kinda/sorta missed the mark with so many. Sadly, that TRON: Uprising TV show (animated) was a little half-baked -- never really had a coherent central thread from what I recall -- so I'm not surprised it gained little traction. Just about the time when you think TRON is over and done with, the folks at Disney have ponied up yet one more chapter. Think what you will, but I have respect for returning to the well of inspiration if you've something different to offer ... and this definitely looks like that may be the case.
Trailer is below. You know you like to watch.
-- EZ
- Published on
A bit of film history, folks:
A quick search of Google.com states that filmmaker Lamberto Bava reached the height of his commercial and critical success on the Italian scene during the 1980’s; and – lo and behold – it was at this time when producers hired the storyteller to make four telefilms that would serve as the foundation for an all-new television anthology. And why not? Bava had just completed Demons (1985), Demons 2 (1986), and Delirium (1987) – a Horror trifecta that won over audiences and clearly established his particular style of cinematic paranoia along with immersing viewers into such dark plights imaginable. Breaking out of the shadow of his father’s footsteps – the much-lauded Mario Bava – here the son was trying to expand the genre by both returning to basics and ratcheting up the realism. Giving him the opportunity to continue to explore such haunts on television probably seemed like a good idea at the time, but hindsight – as they say – is always 20/20.
What happened was that Bava produced content that broadcasters found these four installments – The Prince Of Terror, The Man Who Wouldn’t Die, School Of Fear, and Eye Witness – a bit too shocking, a bit too graphic, and a bit too over-the-top for their regular viewing audiences. As a consequence, the titles fell into obscurity as some do, some seeing the light of day with limited releases on home video (VHS) here and there. Languishing as either bootlegs or choppily edited fodder, the stories were mostly forgotten except by a few who continued to champion whatever airings they could muster. It was about as grave an oversight that’s ever happened; but now, thankfully, circumstances have changed.
Severin Films has once again come to filmdom’s rescue.
Plucking these features from obscurity, the distributor has put together High Tension: Four Films By Lamberto Bava for everyone’s consumption. It’s a four-disc Blu-ray set – along with an accompanying CD Soundtrack reflecting these flicks and others from the greater Bava catalogue – and it’s set to hit the marketplace in late August 2025. They’ve gracious provided me with an advance copy, so over the next few days or so I’ll be making my way through such filmic goodness, sharing my thoughts and observations on these true originals.
(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 …)
A quick search of Google.com states that filmmaker Lamberto Bava reached the height of his commercial and critical success on the Italian scene during the 1980’s; and – lo and behold – it was at this time when producers hired the storyteller to make four telefilms that would serve as the foundation for an all-new television anthology. And why not? Bava had just completed Demons (1985), Demons 2 (1986), and Delirium (1987) – a Horror trifecta that won over audiences and clearly established his particular style of cinematic paranoia along with immersing viewers into such dark plights imaginable. Breaking out of the shadow of his father’s footsteps – the much-lauded Mario Bava – here the son was trying to expand the genre by both returning to basics and ratcheting up the realism. Giving him the opportunity to continue to explore such haunts on television probably seemed like a good idea at the time, but hindsight – as they say – is always 20/20.
What happened was that Bava produced content that broadcasters found these four installments – The Prince Of Terror, The Man Who Wouldn’t Die, School Of Fear, and Eye Witness – a bit too shocking, a bit too graphic, and a bit too over-the-top for their regular viewing audiences. As a consequence, the titles fell into obscurity as some do, some seeing the light of day with limited releases on home video (VHS) here and there. Languishing as either bootlegs or choppily edited fodder, the stories were mostly forgotten except by a few who continued to champion whatever airings they could muster. It was about as grave an oversight that’s ever happened; but now, thankfully, circumstances have changed.
Severin Films has once again come to filmdom’s rescue.
Plucking these features from obscurity, the distributor has put together High Tension: Four Films By Lamberto Bava for everyone’s consumption. It’s a four-disc Blu-ray set – along with an accompanying CD Soundtrack reflecting these flicks and others from the greater Bava catalogue – and it’s set to hit the marketplace in late August 2025. They’ve gracious provided me with an advance copy, so over the next few days or so I’ll be making my way through such filmic goodness, sharing my thoughts and observations on these true originals.
(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:
“The Master of Terror is the director Vincent Omen, originally from Romania, who made his fortune by directing horror films. He lives with his wife and daughter in a beautiful, isolated villa. But when he gets writer Paul fired, strange things start to happen. While playing golf, the ball disappears, returned home the garage door is blocked, receives a mysterious phone call and during the dinners with the guests there is no light, a small fire breaks out and he finds the golf ball lost in the afternoon. Do they just want to scare him? And who?”
I’ve remarked before that there are some films in Horror that are difficult to talk about to a great deal because some element of the plot needs to remain hidden or else the experience itself can be destroyed. For example, damn near the entire cinematic library of M. Night Shylaman is nearly off-limits critically because – in order to dissect a good deal of the action – one has to practically spoil the ending. In other words, once you know what’s happening then the magic of what came before gets examined differently; and The Prince Of Terro kinda/sorta falls into that same category. When you know who the true Prince is, you look back at the film differently than when you didn’t realize there was a secret identity … so – ahem – buckle up because it will be very strongly hinted at.
Famed Horror director Victor Omen (played by Tomas Arana) is in the midst of shooting a zombie picture when he realizes that the script from his longtime contributor Paul Hilary (David Brandon) just doesn’t work. Exasperated over the way the film’s big sequence is proceeding, he calls a halt to the action and gives Hilary an earful on the set, warning him that their partnership has come to an end and a new screenwriter will be conscripted to fix the narrative mess. The producer (Pascal Druant) ties to intervene, but before the scene is over it’s very clear that Omen will have nothing more to do with the scribe if it’s the last thing he does.
After a round of golf to wind down, Omen heads home, where his wife Betty (Carole André) has prepared their estate for a business dinner with the producer and the actress Magda (Marina Viro) he’s currently bedding. However, the evening comes to an abrupt ending when a golf ball – one emblazoned with the numbers 666 that Omen had lost on the course earlier that day – smashes through the window and plunks down onto the dining room table. The director suspects he’s being delivered some dire message – the threat that he’s being stalked – yet he has no idea of who could be behind such a campaign.
“The Master of Terror is the director Vincent Omen, originally from Romania, who made his fortune by directing horror films. He lives with his wife and daughter in a beautiful, isolated villa. But when he gets writer Paul fired, strange things start to happen. While playing golf, the ball disappears, returned home the garage door is blocked, receives a mysterious phone call and during the dinners with the guests there is no light, a small fire breaks out and he finds the golf ball lost in the afternoon. Do they just want to scare him? And who?”
I’ve remarked before that there are some films in Horror that are difficult to talk about to a great deal because some element of the plot needs to remain hidden or else the experience itself can be destroyed. For example, damn near the entire cinematic library of M. Night Shylaman is nearly off-limits critically because – in order to dissect a good deal of the action – one has to practically spoil the ending. In other words, once you know what’s happening then the magic of what came before gets examined differently; and The Prince Of Terro kinda/sorta falls into that same category. When you know who the true Prince is, you look back at the film differently than when you didn’t realize there was a secret identity … so – ahem – buckle up because it will be very strongly hinted at.
Famed Horror director Victor Omen (played by Tomas Arana) is in the midst of shooting a zombie picture when he realizes that the script from his longtime contributor Paul Hilary (David Brandon) just doesn’t work. Exasperated over the way the film’s big sequence is proceeding, he calls a halt to the action and gives Hilary an earful on the set, warning him that their partnership has come to an end and a new screenwriter will be conscripted to fix the narrative mess. The producer (Pascal Druant) ties to intervene, but before the scene is over it’s very clear that Omen will have nothing more to do with the scribe if it’s the last thing he does.
After a round of golf to wind down, Omen heads home, where his wife Betty (Carole André) has prepared their estate for a business dinner with the producer and the actress Magda (Marina Viro) he’s currently bedding. However, the evening comes to an abrupt ending when a golf ball – one emblazoned with the numbers 666 that Omen had lost on the course earlier that day – smashes through the window and plunks down onto the dining room table. The director suspects he’s being delivered some dire message – the threat that he’s being stalked – yet he has no idea of who could be behind such a campaign.
From this point forward, Prince segways into the main thrust of the plot, a loose hostage yarn reminiscent of The Desperate Hours (1955) but a bit closer in structure to The Strangers (2008): a man invades the Omen family’s idyllic paradise in order to essentially terrorize them initially for purposes unknown. Eventually, the man’s identity is revealed to be Eddie Felsen (Ulisse Minervini) – an actor who was professionally scorned by the director in a previous project – and we learn he’s worked in concert with Hilary, who shows up on the scene to announce the evening’s events are meant to exact a form of revenge for him, too, being jilted by his former partner.
Structurally, the narrative works to put the entire Omen family through a series of jeopardy, the lion’s share of which ties to having the man of the house utter defenseless while forced to watch what Felsen and Hilary do to the wife and daughter. Betty – a former actress – was supposed to have some sex scene with Eddie in an earlier project – a sequence that apparently Omen had removed for obvious reasons – and this hostage situation gives the actor the chance to make good on that old script in more ways than one as well as with threatening to sexually violate the daughter. Sure, it’s all very Cape Fear (1991), but those bits aren’t handled with the kind of nuance a director like Scorsese employed. There’s still a great degree of restraint, but the implications of rape are clear on two occasions.
Director Bava keeps all of the action moving efficiently, staging the usual heightening of tension with protracted sequences of faceless villains moving about the house broken up by manic sequences of Omen and his wife running to the aide of their young daughter. Because this is Horror, there are a few bloody bits thrown in for good measure – the fate of the family dog is equal parts gory and (ahem) funny – and the practical effects work about as good as anything else did back in the day. The script attributed to Ira Goldman and Dardano Sacchetti knows what it is and where it’s heading, often utilizing a good degree of homage to things done theatrically before mostly because it’s a movie loosely poking fun at the entertainment industry and the folks who work in it; so, I encourage viewers to watch for those bits that serve as callbacks to other flicks.
Where I struggle with defining Prince as a bad, good, or great picture is the fact that – even as the title suggests – there’s a concealed identity here working on a few levels, so much so that come to big reveal one might find the secret a bit distracting.
Structurally, the narrative works to put the entire Omen family through a series of jeopardy, the lion’s share of which ties to having the man of the house utter defenseless while forced to watch what Felsen and Hilary do to the wife and daughter. Betty – a former actress – was supposed to have some sex scene with Eddie in an earlier project – a sequence that apparently Omen had removed for obvious reasons – and this hostage situation gives the actor the chance to make good on that old script in more ways than one as well as with threatening to sexually violate the daughter. Sure, it’s all very Cape Fear (1991), but those bits aren’t handled with the kind of nuance a director like Scorsese employed. There’s still a great degree of restraint, but the implications of rape are clear on two occasions.
Director Bava keeps all of the action moving efficiently, staging the usual heightening of tension with protracted sequences of faceless villains moving about the house broken up by manic sequences of Omen and his wife running to the aide of their young daughter. Because this is Horror, there are a few bloody bits thrown in for good measure – the fate of the family dog is equal parts gory and (ahem) funny – and the practical effects work about as good as anything else did back in the day. The script attributed to Ira Goldman and Dardano Sacchetti knows what it is and where it’s heading, often utilizing a good degree of homage to things done theatrically before mostly because it’s a movie loosely poking fun at the entertainment industry and the folks who work in it; so, I encourage viewers to watch for those bits that serve as callbacks to other flicks.
Where I struggle with defining Prince as a bad, good, or great picture is the fact that – even as the title suggests – there’s a concealed identity here working on a few levels, so much so that come to big reveal one might find the secret a bit distracting.
Scaring people silly has been said to be the Devil’s business; and – yes – that’s what we do learn about one character. He is the definitive Prince of Darkness, but he’s taken human form for no reason disclosed. (I won’t say which, but I’ll not be surprised if you’ve already figured it out without having seen this one.) Once you know what you know, if you’ve put any measure of thought into the story then you’ll likely find yourself asking, “Why? Why would the Devil – arguably one of the universe’s most powerful beings – allow himself to be subjected to such chicanery at the hands of mere mortals?” While there is a possible answer or two or three, that impasse gets in the way of Prince’s ending perhaps being as impact or as moving or as inciteful as Bava probably intended. Was he – Lucifer himself – just screwing around for giggles? Or was there some deeper motivation in mind? You’re left to decide … and it was something that I just couldn’t reconcile.
Quibbles aside, Prince is still a rather good picture.
Allegedly produced as a telefilm for Italian television but intended for possible theatrical distribution aboard, it looks respectable, has an impressive cast, and makes use of exceptional production details to weave what minor spell it conjures. (There are some great props from Bava’s previous efforts used in Omen’s personal study, and they’re wonderful to gawk at.) No, the torture sequences aren’t really all that striking or elaborate – something that the Saw franchise has redefined for the modern age – but the talent manages to give all of it just enough gumption to make them as real as they need be. The daughter – Susan Omen (Joyce Pitti) – feels somewhat miscast only so much as the role feels and sounds like it was written for a much younger actress: given the repeated nature of the sex and violence, Bava and producers likely decided instead on a young(ish) teenager to fill those shoes without reworking the dialogue, and it definitely (sometimes painfully) shows.
The downside to being almost entirely committed to the world of Giallo – as some might suggest Bava was (though I think they’d be wrong) – is that, inevitably, the stitches on even the best thrown fastballs begin to show. It’s hard to keep any genre (or subgenre) fueled by freshness and originality, so by the mid- to late-1980’s even an auteur as respected as he may have been likely struggling to bring anything new to the table. Thankfully, Prince is far more semi-conventional Horror than it is pure Giallo (as is a great deal of the storyteller’s output); and the film succeeds even though it sticks mostly to some predictable thrills and chills while offering a bit of twist in the closing moments. It isn’t a grand reveal – certainly not as big as Hollywood competitors would’ve staged with bigger and bolder theatrics – and it might have viewers rethinking some of what came in the first half to see if they might’ve missed some of the possible clues sprinkled lightly along the way.
Quibbles aside, Prince is still a rather good picture.
Allegedly produced as a telefilm for Italian television but intended for possible theatrical distribution aboard, it looks respectable, has an impressive cast, and makes use of exceptional production details to weave what minor spell it conjures. (There are some great props from Bava’s previous efforts used in Omen’s personal study, and they’re wonderful to gawk at.) No, the torture sequences aren’t really all that striking or elaborate – something that the Saw franchise has redefined for the modern age – but the talent manages to give all of it just enough gumption to make them as real as they need be. The daughter – Susan Omen (Joyce Pitti) – feels somewhat miscast only so much as the role feels and sounds like it was written for a much younger actress: given the repeated nature of the sex and violence, Bava and producers likely decided instead on a young(ish) teenager to fill those shoes without reworking the dialogue, and it definitely (sometimes painfully) shows.
The downside to being almost entirely committed to the world of Giallo – as some might suggest Bava was (though I think they’d be wrong) – is that, inevitably, the stitches on even the best thrown fastballs begin to show. It’s hard to keep any genre (or subgenre) fueled by freshness and originality, so by the mid- to late-1980’s even an auteur as respected as he may have been likely struggling to bring anything new to the table. Thankfully, Prince is far more semi-conventional Horror than it is pure Giallo (as is a great deal of the storyteller’s output); and the film succeeds even though it sticks mostly to some predictable thrills and chills while offering a bit of twist in the closing moments. It isn’t a grand reveal – certainly not as big as Hollywood competitors would’ve staged with bigger and bolder theatrics – and it might have viewers rethinking some of what came in the first half to see if they might’ve missed some of the possible clues sprinkled lightly along the way.
The Prince Of Terror (1996) was produced by Hamster Productions, La Cinq (La 5), and Reteitalia. DVD distribution (for this particular release) has been handled by the fine folks at Severin Films. As for the technical specifications? While I’m no trained video expert, I’ll still attest that the provided sights and sounds are pretty damn exceptional: the packaging insists that this has been scanned in 2K from the original camera negative and this is the first time the production has been given an English-language track. (Impressive, indeed!). Lastly, if you’re looking for special features? The disc boasts a commentary track from Nathaniel Thompson and Troy Howarth that’s respectably chatty throughout but having listened to Thompson before many times he still speaks far too quickly for me to understand a great deal of what he’s saying. There’s also two interviews with Bava himself, the better one being “We Call Him Maestro” where he gives a nice bit of insight into this film in particular as well as the cast and crew. A good assortment.
Recommended.
Though The Prince Of Terror may not have the kind of rewatchability I prefer in productions, I did actually enjoy it visually more when I sat through it again via the audio commentary. As a director, Bava definitely had a way with visuals, vividly staging several bits much like some of his contemporaries or even American counterparts would do and yet none of it feels derivative. While the story may not have been as fresh, there’s still as aesthetic here that fires on all cylinders – with a few blemishes – making Prince not so much ‘regal’ as it is just plain ‘royal.’ If this is truly its worldwide launch on disc, then there’s no better reason to watch something that harkens back to when Horror worked very hard to stick the landing before computer wizardry took hold of the industry … and everything gets rendered in post.
In the interests of fairness, I’m pleased to disclose that the fine folks at Severin Films provided me with a physical Blu-ray of The Prince Of Terror (aka Il maestro del terrore) (1988) as part of their High Tension: Four Films By Lamberto Bava release by request for the expressed purpose of completing this review. This contribution to me in no way, shape, or form influenced my opinion of it.
-- EZ
Recommended.
Though The Prince Of Terror may not have the kind of rewatchability I prefer in productions, I did actually enjoy it visually more when I sat through it again via the audio commentary. As a director, Bava definitely had a way with visuals, vividly staging several bits much like some of his contemporaries or even American counterparts would do and yet none of it feels derivative. While the story may not have been as fresh, there’s still as aesthetic here that fires on all cylinders – with a few blemishes – making Prince not so much ‘regal’ as it is just plain ‘royal.’ If this is truly its worldwide launch on disc, then there’s no better reason to watch something that harkens back to when Horror worked very hard to stick the landing before computer wizardry took hold of the industry … and everything gets rendered in post.
In the interests of fairness, I’m pleased to disclose that the fine folks at Severin Films provided me with a physical Blu-ray of The Prince Of Terror (aka Il maestro del terrore) (1988) as part of their High Tension: Four Films By Lamberto Bava release by request for the expressed purpose of completing this review. This 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 1956 (in the U.S.), It Conquered The World waged its campaign for global domination on the silver screen. Directed by Roger Corman from a story by Lou Rusoff and Charles B. Griffith, the film starred Peter Graves, Beverly Garland, Lee Van Cleef, and others. According to our friends at IMDB.com, here's the plot summary:
"A well meaning scientist guides an alien monster to Earth from Venus, so that he can rid mankind of feelings and emotions - but only death and sorrow results."
-- EZ
On this day in 1956 (in the U.S.), It Conquered The World waged its campaign for global domination on the silver screen. Directed by Roger Corman from a story by Lou Rusoff and Charles B. Griffith, the film starred Peter Graves, Beverly Garland, Lee Van Cleef, and others. According to our friends at IMDB.com, here's the plot summary:
"A well meaning scientist guides an alien monster to Earth from Venus, so that he can rid mankind of feelings and emotions - but only death and sorrow results."
-- EZ
- Published on
site update
So many movies ... so little time ...
On this day in 1976 (in the United Kingdom), Fantasy went more than a little subterranean for the big screen release of At The Earth's Core. Directed by Kevin Connor from a story by Edgar Rice Burroughs and Milton Subotsky, the film starred Doug McClure, Peter Cushing, Caroline Munro, and others. According to our friends at IMDB.com, here's the plot summary:
"A Victorian era scientist and his assistant take a test run in their Iron Mole drilling machine and end up in a strange underground labyrinth ruled by a species of giant telepathic bird and full of prehistoric monsters and cavemen."
For the record:
At the 1977 Saturn Awards, At The Earth's Core received a nomination in the category of 'Best Fantasy Film.' Alas, Core lost out on the big win to the French-language Fantasy/Comedy The Down-In-The-Hole Gang (1974).
-- EZ
On this day in 1976 (in the United Kingdom), Fantasy went more than a little subterranean for the big screen release of At The Earth's Core. Directed by Kevin Connor from a story by Edgar Rice Burroughs and Milton Subotsky, the film starred Doug McClure, Peter Cushing, Caroline Munro, and others. According to our friends at IMDB.com, here's the plot summary:
"A Victorian era scientist and his assistant take a test run in their Iron Mole drilling machine and end up in a strange underground labyrinth ruled by a species of giant telepathic bird and full of prehistoric monsters and cavemen."
For the record:
At the 1977 Saturn Awards, At The Earth's Core received a nomination in the category of 'Best Fantasy Film.' Alas, Core lost out on the big win to the French-language Fantasy/Comedy The Down-In-The-Hole Gang (1974).
-- EZ
- Published on
There’s a weird circularity to the plot of 1977’s The Island Of Dr. Moreau that I’m not entirely convinced serves the narrative all that well.
From what I know, the film is, structurally, reasonably similar to that of the H.G. Wells 1896 novel. Andrew Braddock (played by Michael York, renamed from ‘Edward Prendick’ in the book) finds himself – along with another – lost at sea in a lifeboat after the Lady Vain sinks. After a grueling few weeks drifting under the blazing sun, Braddock and the other survivor – don’t worry, he isn’t long for this world – spot a lush island nearby and manage to make it ashore. From here, the events involving the discovery of Moreau’s compound and his work unfold; but – briefly – it’s important to note that the film bookends itself with the image of the rescue boat nestled in a vast expanse of ocean blue, seemingly homeless in the middle of absolute nowhere.
So clearly director Don Taylor and screenwriters Al Ramrus, John Herman Shaner, and Richard Alan Simmons intended to suggest some message or ‘moral of the story’ by staging their interpretation of the classic Moreau tale in such a visual manner. Could it be that no matter where man goes or what he does in the pursuit of knowledge, perfection, and/or science that he’ll always risk such perpetual homelessness? That no matter what one learns and no matter what efforts are made along the way we’ll always wind up exactly where it is we began, bobbing to and fro at the mercy of elements we can neither understand nor control? What’s that old adage? “No matter how far you travel, in the end that’s still just where are?”
The only thing different – so far as the script goes – is that Braddock has returned to his former human self, no longer wrestling with the genetic mutations Dr. Moreau (Burt Lancaster) introduced into his body against his will. Braddock is now accompanied by the lovely Maria (Barbara Carrera), who herself is undergoing what appears to be her own transformation into something … well … let’s just say something other than what he had known her to be. Yet, because our storytellers chose to render this tale in such a fashion – with the grim spectacle of seclusion on an endless ocean – I suspect they wanted to dish a cautionary reminder that mankind will always be insignificant when compared to the insurmountable breadth of what we face in our travels.
(NOTE: The following review will contain minor spoilers necessary solely for the discussion of plot and/or characters. If you’re the type of reader who prefers a review entirely spoiler-free, then I’d encourage you to skip down to the last few paragraphs for the final assessment. If, however, you’re accepting of a few modest hints at ‘things to come,’ then read on …)
From the film’s IMDB.com page citation:
“A shipwrecked survivor discovers a remote island owned by a crazed scientist who is carrying out sinister experiments on the island's inhabitants.”
From what I know, the film is, structurally, reasonably similar to that of the H.G. Wells 1896 novel. Andrew Braddock (played by Michael York, renamed from ‘Edward Prendick’ in the book) finds himself – along with another – lost at sea in a lifeboat after the Lady Vain sinks. After a grueling few weeks drifting under the blazing sun, Braddock and the other survivor – don’t worry, he isn’t long for this world – spot a lush island nearby and manage to make it ashore. From here, the events involving the discovery of Moreau’s compound and his work unfold; but – briefly – it’s important to note that the film bookends itself with the image of the rescue boat nestled in a vast expanse of ocean blue, seemingly homeless in the middle of absolute nowhere.
So clearly director Don Taylor and screenwriters Al Ramrus, John Herman Shaner, and Richard Alan Simmons intended to suggest some message or ‘moral of the story’ by staging their interpretation of the classic Moreau tale in such a visual manner. Could it be that no matter where man goes or what he does in the pursuit of knowledge, perfection, and/or science that he’ll always risk such perpetual homelessness? That no matter what one learns and no matter what efforts are made along the way we’ll always wind up exactly where it is we began, bobbing to and fro at the mercy of elements we can neither understand nor control? What’s that old adage? “No matter how far you travel, in the end that’s still just where are?”
The only thing different – so far as the script goes – is that Braddock has returned to his former human self, no longer wrestling with the genetic mutations Dr. Moreau (Burt Lancaster) introduced into his body against his will. Braddock is now accompanied by the lovely Maria (Barbara Carrera), who herself is undergoing what appears to be her own transformation into something … well … let’s just say something other than what he had known her to be. Yet, because our storytellers chose to render this tale in such a fashion – with the grim spectacle of seclusion on an endless ocean – I suspect they wanted to dish a cautionary reminder that mankind will always be insignificant when compared to the insurmountable breadth of what we face in our travels.
(NOTE: The following review will contain minor spoilers necessary solely for the discussion of plot and/or characters. If you’re the type of reader who prefers a review entirely spoiler-free, then I’d encourage you to skip down to the last few paragraphs for the final assessment. If, however, you’re accepting of a few modest hints at ‘things to come,’ then read on …)
From the film’s IMDB.com page citation:
“A shipwrecked survivor discovers a remote island owned by a crazed scientist who is carrying out sinister experiments on the island's inhabitants.”
It seems as though – roughly once a generation – some studio, filmmaker, or producer gets the bright idea to tap the wide, wide works of H.G. Wells as an inspiration; and audiences get treated to any number of new incarnations on the classic stories. Be it The Time Machine (1895), The Invisible Man (1897), or The War Of The Worlds (1898), new productions try to re-interpret these older tomes, occasionally even hoping to inject a bit of contemporary freshness into the mix in order to demonstrate that – architecturally – they’re timeless foundations around which to explore even modern science. While it doesn’t always prove successful, those of us who worship All Things SciFi still appreciate the effort if for no other reason than it gives us more food for thought when we’re debating the highs and lows with like-minded souls.
One of Wells’ other stories that hasn’t quite found the level of accomplishment that it’s owed remains The Island Of Dr. Moreau. While the source novel has been used as inspiration for other stories, Wells’ yarn has really only had three major theatrical incarnations that I know of: 1932’s Island Of Lost Souls, 1996’s The Island Of Dr. Moreau, and 1977’s picture of the same name that mostly fizzled at the box office. Precisely why it underperformed so deeply is a mystery to me, chiefly because I’ve now seen it and found it a respectable attempt to remain faithful to the beats of the original tale while incorporating some solid creature effects – make-up and prosthetics, mostly – fans would expect. Having the Academy Award winning technical expertise of John Chambers – who brought the apes to life in 1968’s groundbreaking Planet Of The Apes – was about as good as a studio could hope for in that era, and the man’s work did garner a 1978 Saturn Awards nomination in the category of ‘Best Make-Up.’
Shipwreck survivor Braddock finds himself in the company of the famed Dr. Moreau when his boat washes ashore on the tropical island. The scientist’s hospitality definitely puts the failed ship’s engineer at ease until he begins realizing that there are increasingly curious creatures roaming the grounds outside Moreau’s mostly cozy estate. Eventually, Braddock ignores the advice of Moreau’s right-hand man Montgomery (Nigel Davenport); and he risks a bit of travel outside the walls, often in the company of Maria, the doctor’s platonic companion. Over time, the sailor and the lady develop a romantic relationship that only increases their jeopardy as Braddock longs to sweep her up in his arms and take her away from the sanctuary of the mostly deserted island.
What the man learns is that the jungle creatures are in fact experiments that the good doctor has undertaken in hopes of proving he can master control over genetic sequencing. Moreau believes he has tapped the ability to turn animals into human beings – indeed, he’s built a small society of hybrids and even gone to great lengths to civilize them with strictly enforced codes of conduct. Braddock’s arrival means that now the scientist can actually attempt the inverse: using the sailor as a test subject, he hopes to transform him from man to beast. Because Braddock can speak, he can share what he’s feeling throughout such a transformation, greatly benefitting Moreau’s emerging scientific knowledge in the process.
One of Wells’ other stories that hasn’t quite found the level of accomplishment that it’s owed remains The Island Of Dr. Moreau. While the source novel has been used as inspiration for other stories, Wells’ yarn has really only had three major theatrical incarnations that I know of: 1932’s Island Of Lost Souls, 1996’s The Island Of Dr. Moreau, and 1977’s picture of the same name that mostly fizzled at the box office. Precisely why it underperformed so deeply is a mystery to me, chiefly because I’ve now seen it and found it a respectable attempt to remain faithful to the beats of the original tale while incorporating some solid creature effects – make-up and prosthetics, mostly – fans would expect. Having the Academy Award winning technical expertise of John Chambers – who brought the apes to life in 1968’s groundbreaking Planet Of The Apes – was about as good as a studio could hope for in that era, and the man’s work did garner a 1978 Saturn Awards nomination in the category of ‘Best Make-Up.’
Shipwreck survivor Braddock finds himself in the company of the famed Dr. Moreau when his boat washes ashore on the tropical island. The scientist’s hospitality definitely puts the failed ship’s engineer at ease until he begins realizing that there are increasingly curious creatures roaming the grounds outside Moreau’s mostly cozy estate. Eventually, Braddock ignores the advice of Moreau’s right-hand man Montgomery (Nigel Davenport); and he risks a bit of travel outside the walls, often in the company of Maria, the doctor’s platonic companion. Over time, the sailor and the lady develop a romantic relationship that only increases their jeopardy as Braddock longs to sweep her up in his arms and take her away from the sanctuary of the mostly deserted island.
What the man learns is that the jungle creatures are in fact experiments that the good doctor has undertaken in hopes of proving he can master control over genetic sequencing. Moreau believes he has tapped the ability to turn animals into human beings – indeed, he’s built a small society of hybrids and even gone to great lengths to civilize them with strictly enforced codes of conduct. Braddock’s arrival means that now the scientist can actually attempt the inverse: using the sailor as a test subject, he hopes to transform him from man to beast. Because Braddock can speak, he can share what he’s feeling throughout such a transformation, greatly benefitting Moreau’s emerging scientific knowledge in the process.
Like a great many stories, Island chiefly coasts on the energy created by two men in opposition to one another physically, emotionally, and morally. Braddock and Moreau engage in some lesser debates on the bastardization of man and his genetic components; but it’s never anything all that grand or eloquent. As an engineer, Braddock would be largely out of his league as an intellectual foil to Moreau and his genius: for this reason, the script mostly sticks to issues of right and wrong, postulating that even in separation from the world-at-large mankind must strive to attain a kind of existential purity, a strict adherence to improving (not altering) ‘the self.’ It doesn’t always work – Lancaster remains a bit subdued consistently, especially when compared to York’s propensity for speechifying some dialogue – but the two do serve as clear polar opposites when the melodrama sticks to simplicity.
If anything, it would be easy to criticize Island for never quite refining its creature effects to the point wherein the hybrids looked like they were anything other than men concealed under latex and wigs; but – as I said above – I found the work more than sufficient to convey the idea of genetic misfits trapped somewhere between man and beast. Perhaps if there had been a few more scenes showing how this burgeoning society communicated and/or existed in such a troublesome domain physically and culturally then the flick might’ve resonated more strongly with audiences. Frankly, it’s hard to say given that they’re all depicted as simple creatures, and maybe that just didn’t work for 1970’s audiences. Thematically, I believe the tone worked quite well for genre productions of the day, and I think it rests comfortably alongside those who embrace the aforementioned Apes picture as it feels as if drawn from the same vein.
The Island Of Dr. Moreau (1977) was produced by Cinema 77 and Major Productions. At present, the film shows available for digital streaming on a variety of entertainment platforms. As for the technical specifications? While I’m no trained video expert, I’ll still attest to the fact that Moreau looks and sounds mostly fabulous: the cinematography might not always be the kind of didactic symbolism our cultural betters desire, but I thought it worked wonderfully from start to finish. Lastly, if you’re wondering about special features? As I viewed this one via streaming, there were no special features under consideration.
Highly Recommended.
I have read that some familiar with the H.G. Wells’ novel might take issue with the theatrical interpretation of 1977’s The Island Of Dr. Moreau. Frankly, it’s been years since I read it – I did read a graphic novel version of it a year or two back – so my two cents could be a bit misaligned … but I was pretty smitten with the flick as is. Chambers’ make-up work is about as good as it comes especially for the mid-1970’s; and the pairing of Lancaster and York work well enough as narrative adversaries to captivate me just long enough so that some subpar scenes and effects here and there are inconsequential. While I’m not entirely certain that the bookend structure delivered what the storytellers wanted, I’ll admit that it still gives one something to think about.
In the interests of fairness, I’m pleased to disclose that I’m beholden to no one for this review of The Island Of Dr. Moreau (1977) as I viewed it via one of my very own internet subscriptions.
-- EZ
If anything, it would be easy to criticize Island for never quite refining its creature effects to the point wherein the hybrids looked like they were anything other than men concealed under latex and wigs; but – as I said above – I found the work more than sufficient to convey the idea of genetic misfits trapped somewhere between man and beast. Perhaps if there had been a few more scenes showing how this burgeoning society communicated and/or existed in such a troublesome domain physically and culturally then the flick might’ve resonated more strongly with audiences. Frankly, it’s hard to say given that they’re all depicted as simple creatures, and maybe that just didn’t work for 1970’s audiences. Thematically, I believe the tone worked quite well for genre productions of the day, and I think it rests comfortably alongside those who embrace the aforementioned Apes picture as it feels as if drawn from the same vein.
The Island Of Dr. Moreau (1977) was produced by Cinema 77 and Major Productions. At present, the film shows available for digital streaming on a variety of entertainment platforms. As for the technical specifications? While I’m no trained video expert, I’ll still attest to the fact that Moreau looks and sounds mostly fabulous: the cinematography might not always be the kind of didactic symbolism our cultural betters desire, but I thought it worked wonderfully from start to finish. Lastly, if you’re wondering about special features? As I viewed this one via streaming, there were no special features under consideration.
Highly Recommended.
I have read that some familiar with the H.G. Wells’ novel might take issue with the theatrical interpretation of 1977’s The Island Of Dr. Moreau. Frankly, it’s been years since I read it – I did read a graphic novel version of it a year or two back – so my two cents could be a bit misaligned … but I was pretty smitten with the flick as is. Chambers’ make-up work is about as good as it comes especially for the mid-1970’s; and the pairing of Lancaster and York work well enough as narrative adversaries to captivate me just long enough so that some subpar scenes and effects here and there are inconsequential. While I’m not entirely certain that the bookend structure delivered what the storytellers wanted, I’ll admit that it still gives one something to think about.
In the interests of fairness, I’m pleased to disclose that I’m beholden to no one for this review of The Island Of Dr. Moreau (1977) as I viewed it via one of my very own internet subscriptions.
-- EZ
- Published on
site update
So many movies ... so little time ...
On this day in 2019 (in the U.S.), the good people of Beverly Hills, California hosted the big screen theatrical debut of Blind. Directed by Marcel Walz from a story by Joe Knetter, the film starred Sarah French, Caroline Williams, Tyler Gallant, and others. According to our friends at IMDB.com, here's the plot summary:
"A former actress, left blind after a botched surgery, struggles to put her life back together but realizes she isn't as alone as she thinks after meeting a few new friends."
For the record:
To the film's credit, Blind garnered a great deal of positive praise from screenings on the film festival circuit.
On this day in 2019 (in the U.S.), the good people of Beverly Hills, California hosted the big screen theatrical debut of Blind. Directed by Marcel Walz from a story by Joe Knetter, the film starred Sarah French, Caroline Williams, Tyler Gallant, and others. According to our friends at IMDB.com, here's the plot summary:
"A former actress, left blind after a botched surgery, struggles to put her life back together but realizes she isn't as alone as she thinks after meeting a few new friends."
For the record:
To the film's credit, Blind garnered a great deal of positive praise from screenings on the film festival circuit.
- Published on
site update
So many movies ... so little time ...
On this day in 2020 (in Australia), An Ideal Host enjoyed its theatrical debut when it was first screened for audiences in attendance of the Revelation Perth International Film Festival. Directed by Robert Woods from a story by Tyler Jacob Jones, the film starred Nadia Collins, Evan Williams, Naomi Brockwell, and others.
According to our friends at IMDB.com, here's the plot summary:
"Liz just wants to host the perfect dinner party but an unexpected guest sends the evening into chaos, with potentially apocalyptic consequences."
For the record:
To the film's credit, An Ideal Host earned a good bit of extra attention from screenings on the film festival circuit.
-- EZ
On this day in 2020 (in Australia), An Ideal Host enjoyed its theatrical debut when it was first screened for audiences in attendance of the Revelation Perth International Film Festival. Directed by Robert Woods from a story by Tyler Jacob Jones, the film starred Nadia Collins, Evan Williams, Naomi Brockwell, and others.
According to our friends at IMDB.com, here's the plot summary:
"Liz just wants to host the perfect dinner party but an unexpected guest sends the evening into chaos, with potentially apocalyptic consequences."
For the record:
To the film's credit, An Ideal Host earned a good bit of extra attention from screenings on the film festival circuit.
-- EZ