- Published on
(NOTE: The following review will contain minor spoilers necessary 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 my 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 citation:
“A woman and her brother seek revenge against a mysterious stalker.”
I’m always cautious – always – about how I interpret stories involving ‘broken’ narrators, so I did take some extra steps in devouring When I Consume You for review. I don’t offer that statement as any kind of judgment on its characters or their creation for this particular story; it’s just that ‘broken’ people tend to tell stories in a fashion almost automatically that evokes my sympathy, and I do try as often as I can to stay as detached from these fictional people as is humanly possible.
That’s a tough sell with Consume, and I say that as a huge compliment: though Daphne Shaw (played by Libby Ewing) and Wilson Shaw (Evan Dumouchel) are fictitious, they’re presented so authentically you might believe you’ve somehow been transported into an independent drama (in lieu of a Horror/Fantasy). These are intended to be real-world types with (most decidedly) real-world issues; just because you may not identify with their particular struggles (pain, addiction, depression, etc.) doesn’t mean you won’t be affected by their plight. Remove all elements of the fantastic from this film, and writer/director Perry Blackshear’s overall effort still has legs. That, alone, is incredibly impressive.
The disconnect for me – as a viewer – comes in knowing that, inevitably, the fantastic does intrude on their already broken reality; and it does so a bit too sparingly for my tastes. While there are significant hints placed at narrative crossroads, there’s still an awful lot of mileage that’s given over to far more conventional dramatic material; and I can’t help but wonder if audiences might think they’ve stumbled back into the 1990’s when independent features were all about troubled souls … with very little emphasis (if any) on subjects like hunting down and dispensing of a soul eater.
Though indie Horror has certainly come a long way since its inception, Consume felt as though it was trying to push the story back into the realm of dire emotional conflict. Everyone’s emphasis here seemed to be structured around achieving acclaim for their humanity … but what draws watchers to films of this type is the inhuman. It’s the supernatural. It’s the spiritual. It’s all of those things that exist outside “authentic human moments,” and that ends up creating a lethargic pace to so much of these events. When we arrive at the scary bits, yes, they’re well done. Just don’t be expecting them to come along all that often.
In fact, I could argue that there are minor bits that even dismiss the Horror as ‘lesser’ than the dramatic: our film’s villainous soul eater David Castille (MacLeod Andrews) finally shows his face but he’s dressed damn near in the exact same costume as the fictional John Constantine (of the 2005 movie of the same name along with a TV show incarnation as well as being a character as part of The CW’s now-cancelled DC’s Legends Of Tomorrow). Trench coat. Tie. Slump shoulders. Smoking cigarette. All the same. In fact, for a moment I thought I might have stumbled – as he did – into the wrong picture!
I hate to sound like I’m nitpicking … but was there any consideration given to how similar an established and reasonably well-known genre character might look showing up in your drama-heavy independent feature? For me, it felt like Freddy Krueger had just walked onscreen into a moment of Terms Of Endearment (1983) and fully broke the dark, dreary mood of the piece. While anyone could easily dismiss that criticism by suggesting I watch too many films, I’d still argue the dress code alone leaned very heartily into the predictable, and maybe that complaint alone should’ve been a cause to reconsider.
From the film’s IMDB.com citation:
“A woman and her brother seek revenge against a mysterious stalker.”
I’m always cautious – always – about how I interpret stories involving ‘broken’ narrators, so I did take some extra steps in devouring When I Consume You for review. I don’t offer that statement as any kind of judgment on its characters or their creation for this particular story; it’s just that ‘broken’ people tend to tell stories in a fashion almost automatically that evokes my sympathy, and I do try as often as I can to stay as detached from these fictional people as is humanly possible.
That’s a tough sell with Consume, and I say that as a huge compliment: though Daphne Shaw (played by Libby Ewing) and Wilson Shaw (Evan Dumouchel) are fictitious, they’re presented so authentically you might believe you’ve somehow been transported into an independent drama (in lieu of a Horror/Fantasy). These are intended to be real-world types with (most decidedly) real-world issues; just because you may not identify with their particular struggles (pain, addiction, depression, etc.) doesn’t mean you won’t be affected by their plight. Remove all elements of the fantastic from this film, and writer/director Perry Blackshear’s overall effort still has legs. That, alone, is incredibly impressive.
The disconnect for me – as a viewer – comes in knowing that, inevitably, the fantastic does intrude on their already broken reality; and it does so a bit too sparingly for my tastes. While there are significant hints placed at narrative crossroads, there’s still an awful lot of mileage that’s given over to far more conventional dramatic material; and I can’t help but wonder if audiences might think they’ve stumbled back into the 1990’s when independent features were all about troubled souls … with very little emphasis (if any) on subjects like hunting down and dispensing of a soul eater.
Though indie Horror has certainly come a long way since its inception, Consume felt as though it was trying to push the story back into the realm of dire emotional conflict. Everyone’s emphasis here seemed to be structured around achieving acclaim for their humanity … but what draws watchers to films of this type is the inhuman. It’s the supernatural. It’s the spiritual. It’s all of those things that exist outside “authentic human moments,” and that ends up creating a lethargic pace to so much of these events. When we arrive at the scary bits, yes, they’re well done. Just don’t be expecting them to come along all that often.
In fact, I could argue that there are minor bits that even dismiss the Horror as ‘lesser’ than the dramatic: our film’s villainous soul eater David Castille (MacLeod Andrews) finally shows his face but he’s dressed damn near in the exact same costume as the fictional John Constantine (of the 2005 movie of the same name along with a TV show incarnation as well as being a character as part of The CW’s now-cancelled DC’s Legends Of Tomorrow). Trench coat. Tie. Slump shoulders. Smoking cigarette. All the same. In fact, for a moment I thought I might have stumbled – as he did – into the wrong picture!
I hate to sound like I’m nitpicking … but was there any consideration given to how similar an established and reasonably well-known genre character might look showing up in your drama-heavy independent feature? For me, it felt like Freddy Krueger had just walked onscreen into a moment of Terms Of Endearment (1983) and fully broke the dark, dreary mood of the piece. While anyone could easily dismiss that criticism by suggesting I watch too many films, I’d still argue the dress code alone leaned very heartily into the predictable, and maybe that complaint alone should’ve been a cause to reconsider.
But moving so much as the film does from one dark setting to another (both physically and emotionally), Consume is occasionally difficult to swallow. A great deal of the story unfolds with characters walking down dark city streets – the kind most of us have been brought up told to avoid – so these are places easily associated with violence. However, too much darkness aesthetically tends to slacken the pace; whether intentional or not, the film feels far too heavy (heady?) for where it finally delivers those who stuck with it until the bitter(sweet) end … and I assure you that those seconds spent on that park bench in the finale were indeed poignant. Fulfilling? Not so much. Touching? You bet.
Still – and because of that – I’d be a fool if I didn’t circle back to the performances here because – story weaknesses and pacing aside – Ewing and Dumouchel turn in solid work. Their brother/sister pairing smacks of an incredible level of authenticity – from sharing moments lying on their backs in the park staring up at the sky to time spent trying to both coach and counsel one another through life’s various ups and downs – and their collaboration gives Consume many of its best moments. Even when they’re making bad choices, it’s easy to cheer for them, because each of us knows someone whose walked in these shoes, swung for the fences, and had to pick themselves up after life kicked them in the teeth.
And, yes, for the record: both siblings do lose teeth in this picture.
When I Consume You (2021) was produced by Ahab And The Dark. The film is presently available for pre-order with a general release being scheduled for August 16th, 2022. As for the technical specifications? Well, it is an independent feature, which I’ve learned can be occasionally testing one’s patience at times. Generally speaking, the sights and sounds are good, though there are sequences shot in an awful lot of darkness and some captured in extreme close-up that I found a bit hard to identify in small spots. Also, some of the dialogue was a bit muddled in a few passages. Most of the time, these weren’t distractions, but they were minor annoyances to someone who likes to hear and see everything clearly (as I do).
Recommended …
… but using the backdrop of a broken family with broken relationships really isn’t all that new in the fields of Horror and Fantasy. It’s certainly been proven in reality and fiction that damaged people end up living in the stomping grounds for evil spirits, demons, and other various apparitions … so the ultimate question of whether or not When I Consume You truly offers up anything fresh, vibrant, and new is easy to answer. It’s a sound “no.” There are things to like in here – some solid performances, some great settings, along with some respectable production work (especially for low budget, independent filmmaking – yet this tale needed a sharper edit … unless it wanted to be a drama.
In the interests of fairness, I’m pleased to disclose that the fine folks at Yellow Veil Pictures provided me with complimentary streaming access to When I Consume You (2021) 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
Important Links:
Genius link
Still – and because of that – I’d be a fool if I didn’t circle back to the performances here because – story weaknesses and pacing aside – Ewing and Dumouchel turn in solid work. Their brother/sister pairing smacks of an incredible level of authenticity – from sharing moments lying on their backs in the park staring up at the sky to time spent trying to both coach and counsel one another through life’s various ups and downs – and their collaboration gives Consume many of its best moments. Even when they’re making bad choices, it’s easy to cheer for them, because each of us knows someone whose walked in these shoes, swung for the fences, and had to pick themselves up after life kicked them in the teeth.
And, yes, for the record: both siblings do lose teeth in this picture.
When I Consume You (2021) was produced by Ahab And The Dark. The film is presently available for pre-order with a general release being scheduled for August 16th, 2022. As for the technical specifications? Well, it is an independent feature, which I’ve learned can be occasionally testing one’s patience at times. Generally speaking, the sights and sounds are good, though there are sequences shot in an awful lot of darkness and some captured in extreme close-up that I found a bit hard to identify in small spots. Also, some of the dialogue was a bit muddled in a few passages. Most of the time, these weren’t distractions, but they were minor annoyances to someone who likes to hear and see everything clearly (as I do).
Recommended …
… but using the backdrop of a broken family with broken relationships really isn’t all that new in the fields of Horror and Fantasy. It’s certainly been proven in reality and fiction that damaged people end up living in the stomping grounds for evil spirits, demons, and other various apparitions … so the ultimate question of whether or not When I Consume You truly offers up anything fresh, vibrant, and new is easy to answer. It’s a sound “no.” There are things to like in here – some solid performances, some great settings, along with some respectable production work (especially for low budget, independent filmmaking – yet this tale needed a sharper edit … unless it wanted to be a drama.
In the interests of fairness, I’m pleased to disclose that the fine folks at Yellow Veil Pictures provided me with complimentary streaming access to When I Consume You (2021) 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
Important Links:
Genius link
- Published on
Like so many, I followed the announcement earlier this week regarding the automobile crash that as of now has claimed the life of actress Anne Heche.
Also, I'll admit that I followed a bit of the web controversy involving the event, its reporting, and maybe a rather obvious misstep or two about the lady's publicist as well as the examination of the events leading up to (and right after) the crash. Honestly, there's been a fair amount written and speculated about these events; and the bottom line so far as this human being is concerned is that none of us truly know what's going on in the private lives of anyone other than ourselves. While, yes, her behavior sounds as though she was a person in a major crisis in her life -- one that ultimately may have led to this tragic ending -- but none of us knows with any degree of certainty. All we really do is watch from afar ...
In that respect, Heche wasn't exactly one who trafficked in much by way of genre projects. I think she's far more well known for appearances in conventional dramas and comedies, of which I do recall a very, very good lead performance in TV's Life In Trees. (I watched that one with the wifey, and we got a good chuckle out of much of it, though it kinda/sorta veered into strange areas before concluding.)
Still, here's a review of the highlights I found in reviewing her IMDB.com resume.
In 1993, she certainly made a grand entrance into the realm of Fantasy with a guest role aboard TV's The Young Indiana Jones Chronicles. She was part of the adventure titled, "Young Indiana Jones And The Scandal Of 1920."
In 1997, she stepped even deeper into the realm of genre projects with a starring role opposite Tommy Lee Jones in the SciFi-lite Adventure/Thriller Volcano for Twentieth Century Fox. I recall seeing this one in theaters, not being all that impressed with it, but it was a serviceable enough flick that delivered on its promise.
In 2007, Heche voiced the seminal character of 'Lois Lane' for the first animated adaptation of the somewhat controversial Superman: Doomsday storyline. Though I think a lot of folks dismiss the whole Doomsday affair as a bit of a cash grab (i.e. killing off a main character only to resurrect him shortly thereafter), I've always enjoyed it ... and I think Heche did great work with Lane.
Also in 2007, the actress made a guest appearance in the single-season anthology program Masters Of Science Fiction. Her outing was titled "Jerry Was A Man," a tale that was adapted from a story by Robert Heinlein.
In 2008, she brought her brains and beauty to the role of a government doctor trying to uncover the secret behind an epidemic. Toxic Skies was written (in part) and directed by Andrew C. Erin, and it looks like this one had its first airing in Canada.
In 2016, Heche headlined a SciFi serial titled Aftermath. If I remember this correctly, I believe this was billed a one of those Syfy Originals TV series, and it explored a family in crisis now that Earth had been transformed by an apocalypse of almost Biblical proportions. Alas, it would seem that the show lasted only a single season, so I've no way of knowing if its characters truly made it out okay.
As is always the case when talent pass along, I find it refreshing that we'll always have the work to both discover and re-discover the marks made along the way.
Thoughts and prayers are extended to the family, friends, and fans of Anne Heche.
-- EZ
Also, I'll admit that I followed a bit of the web controversy involving the event, its reporting, and maybe a rather obvious misstep or two about the lady's publicist as well as the examination of the events leading up to (and right after) the crash. Honestly, there's been a fair amount written and speculated about these events; and the bottom line so far as this human being is concerned is that none of us truly know what's going on in the private lives of anyone other than ourselves. While, yes, her behavior sounds as though she was a person in a major crisis in her life -- one that ultimately may have led to this tragic ending -- but none of us knows with any degree of certainty. All we really do is watch from afar ...
In that respect, Heche wasn't exactly one who trafficked in much by way of genre projects. I think she's far more well known for appearances in conventional dramas and comedies, of which I do recall a very, very good lead performance in TV's Life In Trees. (I watched that one with the wifey, and we got a good chuckle out of much of it, though it kinda/sorta veered into strange areas before concluding.)
Still, here's a review of the highlights I found in reviewing her IMDB.com resume.
In 1993, she certainly made a grand entrance into the realm of Fantasy with a guest role aboard TV's The Young Indiana Jones Chronicles. She was part of the adventure titled, "Young Indiana Jones And The Scandal Of 1920."
In 1997, she stepped even deeper into the realm of genre projects with a starring role opposite Tommy Lee Jones in the SciFi-lite Adventure/Thriller Volcano for Twentieth Century Fox. I recall seeing this one in theaters, not being all that impressed with it, but it was a serviceable enough flick that delivered on its promise.
In 2007, Heche voiced the seminal character of 'Lois Lane' for the first animated adaptation of the somewhat controversial Superman: Doomsday storyline. Though I think a lot of folks dismiss the whole Doomsday affair as a bit of a cash grab (i.e. killing off a main character only to resurrect him shortly thereafter), I've always enjoyed it ... and I think Heche did great work with Lane.
Also in 2007, the actress made a guest appearance in the single-season anthology program Masters Of Science Fiction. Her outing was titled "Jerry Was A Man," a tale that was adapted from a story by Robert Heinlein.
In 2008, she brought her brains and beauty to the role of a government doctor trying to uncover the secret behind an epidemic. Toxic Skies was written (in part) and directed by Andrew C. Erin, and it looks like this one had its first airing in Canada.
In 2016, Heche headlined a SciFi serial titled Aftermath. If I remember this correctly, I believe this was billed a one of those Syfy Originals TV series, and it explored a family in crisis now that Earth had been transformed by an apocalypse of almost Biblical proportions. Alas, it would seem that the show lasted only a single season, so I've no way of knowing if its characters truly made it out okay.
As is always the case when talent pass along, I find it refreshing that we'll always have the work to both discover and re-discover the marks made along the way.
Thoughts and prayers are extended to the family, friends, and fans of Anne Heche.
-- EZ
- Published on
As tends to happen these days more and more, this one just snuck right up on me: I've never heard a single word about Wifelike, a little something something that appears ready to hit the masses-at-large via a limited theatrical run as well as streaming digitally on August 12th. The trailer is up on YouTube.com (link) for those who want to go and check it out.
So far as I'm concerned, you really can't go wrong with a drama involving synthetics. There have been so many good ones, and I've even found some positive attributes I can assign to the weaker entries as well. For me, these flicks are almost as reliable as Horror fans find zombie pictures: there's always a market for one more story set within those confines, and even the cheap imitators have something to offer.
I did a quick scan of the Information Superhighway, and it does look like this one has been screening in advance for critics (typically a good sign). While I've only read two reviews, the verdict looks promising, though this one might not have the level of special effects and visual spectacle most audiences expect from Science Fiction and Fantasy releases these days. While I find that stuff a bit too overwhelming at times, I do realize you folks tend to disagree with me on that front. To each his own ...
In any event, this motion picture was hatched from James Bird. He wrote and directed it for SP Media Group. I've reached out to them via their website but not yet heard back. If I can get access to a screener, this is exactly the kind of thing I'd love to review. (Keep your fingers crossed.) It stars Jonathan Rhys Meyers, Elena Kampouris, Doron Bell, and Agam Darshi. Here's the film's plot summary as provided by IMDB.com:
"When artificial human Meredith is assigned as a companion to grieving widower William, she is designed to behave like his late wife. But in the fight to end AI exploitation, an organization attempts to sabotage her programming."
So far as I'm concerned, you really can't go wrong with a drama involving synthetics. There have been so many good ones, and I've even found some positive attributes I can assign to the weaker entries as well. For me, these flicks are almost as reliable as Horror fans find zombie pictures: there's always a market for one more story set within those confines, and even the cheap imitators have something to offer.
I did a quick scan of the Information Superhighway, and it does look like this one has been screening in advance for critics (typically a good sign). While I've only read two reviews, the verdict looks promising, though this one might not have the level of special effects and visual spectacle most audiences expect from Science Fiction and Fantasy releases these days. While I find that stuff a bit too overwhelming at times, I do realize you folks tend to disagree with me on that front. To each his own ...
In any event, this motion picture was hatched from James Bird. He wrote and directed it for SP Media Group. I've reached out to them via their website but not yet heard back. If I can get access to a screener, this is exactly the kind of thing I'd love to review. (Keep your fingers crossed.) It stars Jonathan Rhys Meyers, Elena Kampouris, Doron Bell, and Agam Darshi. Here's the film's plot summary as provided by IMDB.com:
"When artificial human Meredith is assigned as a companion to grieving widower William, she is designed to behave like his late wife. But in the fight to end AI exploitation, an organization attempts to sabotage her programming."
The trailer and synopsis don't give away too much information. It looks like the idea is inspired (perhaps in some small way) by the SciFi classic The Stepford Wives (1975), but there's more of a mystery involving this synthetic, it would seem. It very well might be a plotline similar to what TV viewers were treated to in the first season of Humans (an AMC/BBC joint production), a program I think is one of the best of its type in recent times.
Whatever the case, I'll keep plugging away to see if I can screen this one for review purposes. Naturally, I'll let you know should I find anything positive from it.
As always, thanks for reading ... and live long and prosper!
-- EZ
Whatever the case, I'll keep plugging away to see if I can screen this one for review purposes. Naturally, I'll let you know should I find anything positive from it.
As always, thanks for reading ... and live long and prosper!
-- EZ
- Published on
I know, I know, I know: you might be surprised to hear this, folks, but here's another one where I diverge with the majority thinking.
See, I recall watching the curiously-named The Adventures Of Buckaroo Banzai Across The 8th Dimension in theaters, and I distinctly remember being bored silly with it. As is often the case with genre flicks, I loved the premise -- the whole idea of this band of adventurers headlined by a super-genius, super-scientist, super-rock-star -- and I was totally into the kinda/sorta whacked out possibilities of differing dimensions and the like. But somehow I just thought the sum of the parts never quite equalled a whole.
I know, I know, I know. "But how can you ...? But why don't you ...? But won't you just ...?"
What can I say? It is what it is.
Directed by W.D. Richter with a script from Earl Mac Rauch, the film boasts one of the most talented ensembles one could imagine for its day. Peter Weller. Jeff Goldblum. John Lithgow. Ellen Barkin (before she got all bitter with politics and was just one of the hottest actresses on the planet). Christopher Lloyd. Clancy Brown. Those and a whole host of familiar faces. Here's the plot summary as provided by IMDB.com:
"Adventurer, brain surgeon, rock musician Buckaroo Banzai and his crime-fighting team, the Hong Kong Cavaliers, must stop evil alien invaders from the eighth dimension who are planning to conquer Earth."
Heck, you know what? I can even remember giving this one a second chance when it came out on home video, something I almost never do. My sentiment at the time was maybe I'd seen it theatrically on a bad day or something, and -- given the strength of the idea and the line-up -- I'd watch it again and be entirely surprised. Two hours later? Nope. Nothing. No change. In fact, I may've even had trouble staying awake through all of it that second time. It just never stuck. Can't say why.
Banzai is also famous for promising a sequel well before it had achieved any measure of legitimate box office success (that never came). I believe someone shared with me recently that the sequel did see the light of day in book format (comic book? novel?), but -- my opinion of the original being what it is -- I've no compunction to see out and explore that. God bless those of you with the stones to do it. Maybe a follow-up could've been something special.
See, I recall watching the curiously-named The Adventures Of Buckaroo Banzai Across The 8th Dimension in theaters, and I distinctly remember being bored silly with it. As is often the case with genre flicks, I loved the premise -- the whole idea of this band of adventurers headlined by a super-genius, super-scientist, super-rock-star -- and I was totally into the kinda/sorta whacked out possibilities of differing dimensions and the like. But somehow I just thought the sum of the parts never quite equalled a whole.
I know, I know, I know. "But how can you ...? But why don't you ...? But won't you just ...?"
What can I say? It is what it is.
Directed by W.D. Richter with a script from Earl Mac Rauch, the film boasts one of the most talented ensembles one could imagine for its day. Peter Weller. Jeff Goldblum. John Lithgow. Ellen Barkin (before she got all bitter with politics and was just one of the hottest actresses on the planet). Christopher Lloyd. Clancy Brown. Those and a whole host of familiar faces. Here's the plot summary as provided by IMDB.com:
"Adventurer, brain surgeon, rock musician Buckaroo Banzai and his crime-fighting team, the Hong Kong Cavaliers, must stop evil alien invaders from the eighth dimension who are planning to conquer Earth."
Heck, you know what? I can even remember giving this one a second chance when it came out on home video, something I almost never do. My sentiment at the time was maybe I'd seen it theatrically on a bad day or something, and -- given the strength of the idea and the line-up -- I'd watch it again and be entirely surprised. Two hours later? Nope. Nothing. No change. In fact, I may've even had trouble staying awake through all of it that second time. It just never stuck. Can't say why.
Banzai is also famous for promising a sequel well before it had achieved any measure of legitimate box office success (that never came). I believe someone shared with me recently that the sequel did see the light of day in book format (comic book? novel?), but -- my opinion of the original being what it is -- I've no compunction to see out and explore that. God bless those of you with the stones to do it. Maybe a follow-up could've been something special.
No, no, no. Of course, I don't think less of anyone for enjoying its charms. If you dig it, then you dig it. Nothing more needs to be said about that. It just failed to connect with me. Such is the life of the occasional film fan.
As always, thanks for reading ... and live long and prosper!
-- EZ
As always, thanks for reading ... and live long and prosper!
-- EZ
- Published on
"Like the scene of a car crash I can't turn away from" is the best way to describe my continuing love affair with Roger Corman's Battle Beyond The Stars.
And I think right there is the issue: for all intents and purposes, when I saw this film at the drive-in back in 1980, it was the first time I can recall specifically going to a flick and watching it for the sole purpose of enjoying what I had read was about as great as any Roger Corman picture was going to be. I was young; I had been reading the news and whatever entertainment magazines we had back in the day (which was slim pickings, my friends); and I had just kinda/sorta come into a wider appreciation of following specific filmmakers. George Lucas had made an imprint, naturally, as did Steven Spielberg, but those of us hungry to really attach ourselves to the movers and shakers of the 1970's and 80's were limited. Back in those days, it was far more common for screenwriters and directors to bounce from project to project -- from genre to genre -- so it was difficult to find folks we could sink our teeth into, study their stylistic predilections, and learn something from these repeat efforts. Corman was a known commodity, and that put him in a league with the purveyors of Star Wars, Close Encounters, and the like.
So, yes, I'm fully aware of all of Battle's blemishes. Hell, I probably even know a few more than most do 'cause I've spent time picking apart elements of this flick in an attempt to discover why it 'ticks' the way it does with me. I can't say why specifically ... other than Corman's name being so closely aligned with it. That and the fact that -- you have to admit -- the film has a whole lot of interesting ideas chocked in it compliments of yarnspinners Anne Dyer and John Sayles. The film -- flawed though it may be -- has a fabulous undercurrent that few can deny.
Directed by Jimmy T. Murakami, the film boasts a fabulous assortment of names and relative unknowns from the era. Richard Thomas -- who had build a career around playing 'John Boy' on TV's family-centric The Waltons -- brought that same rural vibe to this project as young 'Shad,' a farmer on a quest to free his people from tyranny. And ... can I say these three names without getting goosebumps? Robert Vaughn, John Saxon, and George freaking Peppard in the same motion picture?!?! That's some big name and B-Movie magic right there. Top is off with Sybil Danning at the top of her game -- along with Darlanne Fluegel and the fetching Julia Duffy in a small role -- what more could any fan want for a single film?
Here's the premise as provided by IMDB.com:
"A young farmer sets out to recruit mercenaries to defend his peaceful planet, which is under threat of invasion by the evil tyrant Sador and his armada of aggressors."
And I think right there is the issue: for all intents and purposes, when I saw this film at the drive-in back in 1980, it was the first time I can recall specifically going to a flick and watching it for the sole purpose of enjoying what I had read was about as great as any Roger Corman picture was going to be. I was young; I had been reading the news and whatever entertainment magazines we had back in the day (which was slim pickings, my friends); and I had just kinda/sorta come into a wider appreciation of following specific filmmakers. George Lucas had made an imprint, naturally, as did Steven Spielberg, but those of us hungry to really attach ourselves to the movers and shakers of the 1970's and 80's were limited. Back in those days, it was far more common for screenwriters and directors to bounce from project to project -- from genre to genre -- so it was difficult to find folks we could sink our teeth into, study their stylistic predilections, and learn something from these repeat efforts. Corman was a known commodity, and that put him in a league with the purveyors of Star Wars, Close Encounters, and the like.
So, yes, I'm fully aware of all of Battle's blemishes. Hell, I probably even know a few more than most do 'cause I've spent time picking apart elements of this flick in an attempt to discover why it 'ticks' the way it does with me. I can't say why specifically ... other than Corman's name being so closely aligned with it. That and the fact that -- you have to admit -- the film has a whole lot of interesting ideas chocked in it compliments of yarnspinners Anne Dyer and John Sayles. The film -- flawed though it may be -- has a fabulous undercurrent that few can deny.
Directed by Jimmy T. Murakami, the film boasts a fabulous assortment of names and relative unknowns from the era. Richard Thomas -- who had build a career around playing 'John Boy' on TV's family-centric The Waltons -- brought that same rural vibe to this project as young 'Shad,' a farmer on a quest to free his people from tyranny. And ... can I say these three names without getting goosebumps? Robert Vaughn, John Saxon, and George freaking Peppard in the same motion picture?!?! That's some big name and B-Movie magic right there. Top is off with Sybil Danning at the top of her game -- along with Darlanne Fluegel and the fetching Julia Duffy in a small role -- what more could any fan want for a single film?
Here's the premise as provided by IMDB.com:
"A young farmer sets out to recruit mercenaries to defend his peaceful planet, which is under threat of invasion by the evil tyrant Sador and his armada of aggressors."
I know, I know, I know. But this is a case wherein all I can say is, "So sue me!"
I do recall -- back in the days when message board debates were all the rage -- really getting into a keyboard throwdown with a few blokes over whether Battle was the kind of film we should be endorsing as fans of Science Fiction and Fantasy. I won't trouble you with the bulk of their points -- honestly, a lot of their posturing was just downright silly if you ask me given the fact that Battle itself is more than silly in spots. It all boiled down to the fact that they thought Corman's films -- in particular -- capitalized on the campiness of intellectual properties and ended up giving fandom a bad name.
My reply was that anyone with any understanding of Science Fiction since its inception and expansion into film knows full well that camp -- like it or not -- has often been part and parcel of how these stories are presented and is, arguably, why they endure subsequent showings and are embraced by increasing generations of viewers. Rocky Horror? Beloved for its camp. Barbarella? Beloved for its camp. Little Shop Of Horrors? Same thing.
Why should Battle Beyond The Stars deserve no less?
As always, thanks for reading ... and live long and prosper!
-- EZ
I do recall -- back in the days when message board debates were all the rage -- really getting into a keyboard throwdown with a few blokes over whether Battle was the kind of film we should be endorsing as fans of Science Fiction and Fantasy. I won't trouble you with the bulk of their points -- honestly, a lot of their posturing was just downright silly if you ask me given the fact that Battle itself is more than silly in spots. It all boiled down to the fact that they thought Corman's films -- in particular -- capitalized on the campiness of intellectual properties and ended up giving fandom a bad name.
My reply was that anyone with any understanding of Science Fiction since its inception and expansion into film knows full well that camp -- like it or not -- has often been part and parcel of how these stories are presented and is, arguably, why they endure subsequent showings and are embraced by increasing generations of viewers. Rocky Horror? Beloved for its camp. Barbarella? Beloved for its camp. Little Shop Of Horrors? Same thing.
Why should Battle Beyond The Stars deserve no less?
As always, thanks for reading ... and live long and prosper!
-- EZ
- Published on
Confession time, folks: yes, I'm one of them.
You've heard of us. We're almost mythical. We're very hard to find. You can't exactly spot us quickly in a crowd, and you'd most likely fail if you were trying to pick us out in a line-up. But I thought today would be the perfect day to come clean with all of you.
Yes: I'm one of the very few who watched the original Star Wars: The Clone Wars movie in the theater.
And ... I loved it.
Truth be told, I didn't love all of it. The introduction of Ahsoka Tano was more than a bit clumsy, as was the whole logic behind giving a Padawan to a Padawan (that was the subject of some controversy online at the time. It was a small point -- so far as this viewer is concerned -- but given that it came down with approval from the Jedi Master himself (aka George Lucas) who was I to authentically debate the issue? If it was good enough for George, then it was good enough for me.
Though I'm quite fond of the Prequel Trilogy, I did agree with those who said it kinda/sorta missed the boat on having some of the kid-friendly fun atmosphere of the Original Trilogy, and that's part of why I think I embraced this movie so much: it clearly put Star Wars back in the minds and hearts of the youngest among us without resorting to JarJar level antics. With The Clone Wars, Star Wars had found its way back to the place it occupied in my heart when I was 12 years old seeing it for the first time; and I was thrilled to have it back.
Here's the film's plot summary as provided by IMDB.com:
"After the Republic's victory on Christophsis, Anakin and his new apprentice, Ahsoka Tano, must rescue the kidnapped son of Jabba the Hutt. Political intrigue complicates their mission."
You've heard of us. We're almost mythical. We're very hard to find. You can't exactly spot us quickly in a crowd, and you'd most likely fail if you were trying to pick us out in a line-up. But I thought today would be the perfect day to come clean with all of you.
Yes: I'm one of the very few who watched the original Star Wars: The Clone Wars movie in the theater.
And ... I loved it.
Truth be told, I didn't love all of it. The introduction of Ahsoka Tano was more than a bit clumsy, as was the whole logic behind giving a Padawan to a Padawan (that was the subject of some controversy online at the time. It was a small point -- so far as this viewer is concerned -- but given that it came down with approval from the Jedi Master himself (aka George Lucas) who was I to authentically debate the issue? If it was good enough for George, then it was good enough for me.
Though I'm quite fond of the Prequel Trilogy, I did agree with those who said it kinda/sorta missed the boat on having some of the kid-friendly fun atmosphere of the Original Trilogy, and that's part of why I think I embraced this movie so much: it clearly put Star Wars back in the minds and hearts of the youngest among us without resorting to JarJar level antics. With The Clone Wars, Star Wars had found its way back to the place it occupied in my heart when I was 12 years old seeing it for the first time; and I was thrilled to have it back.
Here's the film's plot summary as provided by IMDB.com:
"After the Republic's victory on Christophsis, Anakin and his new apprentice, Ahsoka Tano, must rescue the kidnapped son of Jabba the Hutt. Political intrigue complicates their mission."
Because the film received a bit of hate with its original release -- and precisely because the Clone Wars has gone on to be one of the property's highest regarded incarnations -- I think those who kinda/sorta trashed it at the time really ought to go back and look at it now, years later, and perhaps reconsider what made it a singularly unique vision added to that galaxy far, far away. Sure -- as even I'll admit -- it had some problems and maybe upset the narrative apple cart in ways fandom hadn't anticipated, but it definitely paved the way for some incredible suspenseful storytelling as well as more than a few characters who've risen to the top of favorites in no small fashion.
I even dragged an old college buddy of mine to the theater to watch this one with me as the wife wasn't much interested. However, once I introduced her to the subsequent television series, she's gone on to love this one as much as I do.
As always, thanks for reading ... and may the Force be with us!
-- EZ
I even dragged an old college buddy of mine to the theater to watch this one with me as the wife wasn't much interested. However, once I introduced her to the subsequent television series, she's gone on to love this one as much as I do.
As always, thanks for reading ... and may the Force be with us!
-- EZ
- Published on
It would seem that author Dana Hammer – born and raised in Aberdeen, Washington but now residing in Long Beach, California – has definitely answered her calling: she happily refers to herself a full-time writer, and she’s got the goods to prove it.
In fact, in a recent chat with SciFiHistory.Net Ms. Hammer confessed that she can’t remember a time when she wasn’t writing. “When I young, I was always walking around with the pad of paper or a journal or something that I could write on. I was always writing stories and skits and dialogue … and I’d have my siblings act out the parts.”
Take note: she comes from a family of six siblings … so crafting dialogue for the many and multiple voices is something that now comes easy. And – by her own admission – the yarns she spins do vary but she almost always finds her way back to the world of Horror Comedy.
“With as much as I’ve written,” she says, “and no matter the subject matter, I think I always find the humor in Dystopian-style settings.”
It would seem that her unique voice has certainly put her on the literary map.
According to her website, one of her first published short stories – “The Unpleasantness In Room 27A” – appeared in It’s All In The Story, a 2017 anthology of short fiction centered on California. Other tales – “Ali And Amy,” “The Story Of Lorelei,” “The Difference A Thousand Dollars Can Make,” “Tom The Ghost” – followed not long thereafter in other outlets. For her, 2019 saw the publication of not one but two novels – Dead Viking Rehab and Pazuzu Versus The F***ing Fairies. Lastly, in 2020, Hammer and fellow author Joanna Ramos crafted The Retreat, the story of a mother and son forced to spend a weekend with a religious cult … and it’s a work that went on to win the 13Horror.Com Film and Screenplay Contest in 2020.
With those accolades behind her, Hammer is now focused on her latest project: her novel, The Cannibal’s Guide To Fasting, is set to be released in hardcover and digitally on September 6th from Cinnabar Moth Publishing, LLC. While she describes it equally as much a Horror Comedy as anything she’s written, she confessed that it ultimately started out for her as a meditation on the topic of addiction.
“Having known a few addicts in my life, I started to think about what’s the best way to combat addiction,” she explains. “Instead of writing directly about drugs, I instead substituted a form of viral cannibalism, and then went about figuring out how we’d tackle that as a society. Is it control? Is it punishment? Maybe it’s a little of both, but – in the end – I wanted there to be a cure, and that’s what the story is … as told through the eyes of an unlikely hero. I love stories with unlikely heroes.”
Her hero?
Well, scientist Igor Fenenko looks very little like your carbon-copy bookish brainiac.
Towering over six feet tall and built like a Mr. Universe contender (whom she imagines John Cena would be perfect in a movie adaptation, if you’re reading this, Mr. Cena), Fenenko sports the tattoo of a spider etched into the lines on his face. Like so many who were infected by Pestis Manducans, he inevitably succumbed to the taste of human flesh and – as a consequence – winds up being corralled against his wishes into the government’s relocation facilities. Though he’s finally controlled his hunger for his fellow man, he’s startled to find out that there are others out there privately seeking to make full-blown cannibalism a way of life … and the secret mastermind behind it all turns out to be his very own brother!
“I love gentle giants, but there’s nothing autobiographical about this one,” she assures me with a laugh. “Well, except maybe how Igor interacts with Elli (a young player the scientist befriends in the novel). I drew a bit of inspiration on Elli from my daughter, but that’s all.”
Though the book has not seen wide release at this point, Hammer says that her publisher – Cinnabar Moth Publishing, LLC – indicates that it’s pre-selling well. As is the case often when novels are on-the-horizon, several media outlets have been provided advance review copies, and a few notices have already appeared on the Information Superhighway. As of today’s date, the book has 13 ratings on the popular Goodreads.com website with an aggregate score of 4.77 (out of 5.00).
(SciFiHistory.Net has received an advance copy, and our review will be appearing on the site very soon.)
Hammer remains hopeful regarding the success of Fasting and has even taken steps to prepare should further opportunities present themselves. “I’ve written a pilot for a series, if anyone’s interested, and I’m thinking of ways to expand the story.”
Important links:
Pre-order your copy of The Cannibal’s Guide To Fasting on Amazon.com (link)
Dana Hammer website https://www.danahammer.com/
Cinnabar Moth Publishing LLC (link)
In fact, in a recent chat with SciFiHistory.Net Ms. Hammer confessed that she can’t remember a time when she wasn’t writing. “When I young, I was always walking around with the pad of paper or a journal or something that I could write on. I was always writing stories and skits and dialogue … and I’d have my siblings act out the parts.”
Take note: she comes from a family of six siblings … so crafting dialogue for the many and multiple voices is something that now comes easy. And – by her own admission – the yarns she spins do vary but she almost always finds her way back to the world of Horror Comedy.
“With as much as I’ve written,” she says, “and no matter the subject matter, I think I always find the humor in Dystopian-style settings.”
It would seem that her unique voice has certainly put her on the literary map.
According to her website, one of her first published short stories – “The Unpleasantness In Room 27A” – appeared in It’s All In The Story, a 2017 anthology of short fiction centered on California. Other tales – “Ali And Amy,” “The Story Of Lorelei,” “The Difference A Thousand Dollars Can Make,” “Tom The Ghost” – followed not long thereafter in other outlets. For her, 2019 saw the publication of not one but two novels – Dead Viking Rehab and Pazuzu Versus The F***ing Fairies. Lastly, in 2020, Hammer and fellow author Joanna Ramos crafted The Retreat, the story of a mother and son forced to spend a weekend with a religious cult … and it’s a work that went on to win the 13Horror.Com Film and Screenplay Contest in 2020.
With those accolades behind her, Hammer is now focused on her latest project: her novel, The Cannibal’s Guide To Fasting, is set to be released in hardcover and digitally on September 6th from Cinnabar Moth Publishing, LLC. While she describes it equally as much a Horror Comedy as anything she’s written, she confessed that it ultimately started out for her as a meditation on the topic of addiction.
“Having known a few addicts in my life, I started to think about what’s the best way to combat addiction,” she explains. “Instead of writing directly about drugs, I instead substituted a form of viral cannibalism, and then went about figuring out how we’d tackle that as a society. Is it control? Is it punishment? Maybe it’s a little of both, but – in the end – I wanted there to be a cure, and that’s what the story is … as told through the eyes of an unlikely hero. I love stories with unlikely heroes.”
Her hero?
Well, scientist Igor Fenenko looks very little like your carbon-copy bookish brainiac.
Towering over six feet tall and built like a Mr. Universe contender (whom she imagines John Cena would be perfect in a movie adaptation, if you’re reading this, Mr. Cena), Fenenko sports the tattoo of a spider etched into the lines on his face. Like so many who were infected by Pestis Manducans, he inevitably succumbed to the taste of human flesh and – as a consequence – winds up being corralled against his wishes into the government’s relocation facilities. Though he’s finally controlled his hunger for his fellow man, he’s startled to find out that there are others out there privately seeking to make full-blown cannibalism a way of life … and the secret mastermind behind it all turns out to be his very own brother!
“I love gentle giants, but there’s nothing autobiographical about this one,” she assures me with a laugh. “Well, except maybe how Igor interacts with Elli (a young player the scientist befriends in the novel). I drew a bit of inspiration on Elli from my daughter, but that’s all.”
Though the book has not seen wide release at this point, Hammer says that her publisher – Cinnabar Moth Publishing, LLC – indicates that it’s pre-selling well. As is the case often when novels are on-the-horizon, several media outlets have been provided advance review copies, and a few notices have already appeared on the Information Superhighway. As of today’s date, the book has 13 ratings on the popular Goodreads.com website with an aggregate score of 4.77 (out of 5.00).
(SciFiHistory.Net has received an advance copy, and our review will be appearing on the site very soon.)
Hammer remains hopeful regarding the success of Fasting and has even taken steps to prepare should further opportunities present themselves. “I’ve written a pilot for a series, if anyone’s interested, and I’m thinking of ways to expand the story.”
Important links:
Pre-order your copy of The Cannibal’s Guide To Fasting on Amazon.com (link)
Dana Hammer website https://www.danahammer.com/
Cinnabar Moth Publishing LLC (link)
- Published on
(NOTE: The following review will contain minor spoilers necessary solely for the discussion of plot and/or characters. If you’re the type of reader who prefers a review entirely spoiler-free, then I’d encourage you to skip down to the last few paragraphs for my final assessment. If, however, you’re accepting of a few modest hints at ‘things to come,’ then read on …)
From the product packaging:
“From the height of the Italian sci-fi craze comes Battle Of The Worlds, a creepy thriller about a runaway asteroid dubbed ‘The Outsider.’ Scientists are puzzled as it begins orbiting the Earth before intentions are made clear with an unleashed fleet of lethal flying saucers!”
Yes, yes, and yes: I’ve most definitely seen Battle Of The Worlds somewhere sometime in the TV days of my youth.
While others might have their very own reasons for remembering it – some goofy special effects, maybe some stiff acting here and there – I can tell you mine without hesitation: actor Claude Rains has a big part in it, and I’ve always thought he was one of his era’s finest character actors. He was the original Invisible Man (1933); he was more than a bit angelic in Here Comes Mr. Jordan (1941); and he put a likeable face on what could’ve been a dark turn in filmdom’s highwater mark, Casablanca (1942). So I can assure you that I’d seen this particular Battle, though I may not have had fully appreciated what director Antonio Margheriti accomplished with it when I was a young boy.
For those who don’t know the name, it could be for one of two reasons. One: he was an Italian filmmaker – a bit of a second-tier one, at that – so it’s entirely possible his career may’ve passed you by. Second: in the U.S. (and abroad, often times) he appeared in the credits under the name Anthony Dawson. I’ve been told that there were several reasons why he went under a pseudonym, but the one most often cited is that ‘Dawson’ was a surname that audiences wouldn’t likely associate with Italian features, perhaps giving a more (ahem) international hint to his motion pictures.
From the product packaging:
“From the height of the Italian sci-fi craze comes Battle Of The Worlds, a creepy thriller about a runaway asteroid dubbed ‘The Outsider.’ Scientists are puzzled as it begins orbiting the Earth before intentions are made clear with an unleashed fleet of lethal flying saucers!”
Yes, yes, and yes: I’ve most definitely seen Battle Of The Worlds somewhere sometime in the TV days of my youth.
While others might have their very own reasons for remembering it – some goofy special effects, maybe some stiff acting here and there – I can tell you mine without hesitation: actor Claude Rains has a big part in it, and I’ve always thought he was one of his era’s finest character actors. He was the original Invisible Man (1933); he was more than a bit angelic in Here Comes Mr. Jordan (1941); and he put a likeable face on what could’ve been a dark turn in filmdom’s highwater mark, Casablanca (1942). So I can assure you that I’d seen this particular Battle, though I may not have had fully appreciated what director Antonio Margheriti accomplished with it when I was a young boy.
For those who don’t know the name, it could be for one of two reasons. One: he was an Italian filmmaker – a bit of a second-tier one, at that – so it’s entirely possible his career may’ve passed you by. Second: in the U.S. (and abroad, often times) he appeared in the credits under the name Anthony Dawson. I’ve been told that there were several reasons why he went under a pseudonym, but the one most often cited is that ‘Dawson’ was a surname that audiences wouldn’t likely associate with Italian features, perhaps giving a more (ahem) international hint to his motion pictures.
Whatever the case may ultimately be, Margheriti crafted stories in a variety of genres, but I believe it’s his genre features which have more strongly stood the test of time. Battle Of The Worlds was a vastly stronger SciFi picture than was his previous effort, Assignment: Outer Space (1960), a film that comes off a bit stoic if not downright dull. 1964’s Castle Of Blood is a well-regarded Horror that gave Barbara Steele (from 1960’s Italian masterpiece Black Sunday) another great entry in chills and thrills. Then came Margheriti’s ‘Gamma One Quadrilogy:’ The Wild Wild Planet (1966), The War Of The Planets (1966), War Between The Planets (1966), and Snow Devils (1967) created a whole universe around the Gamma One Space Station, allowing the storyteller to maximize four different plots around a central setting and shared casts.
Although there are more films in the man’s resume (he was making pictures into the late 1990’s, including the 1983’s schlocky Yor: The Hunter From The Future), I’ll leave it there as I think these mentions crystalize where he was at this time in his career and demonstrate his affinity for Science Fiction in general. Drawn to the realms of the fantastic, Margheriti was a pioneer in affordable filmmaking; and it’s easy to see why something like Ennio Di Concini’s script for Battle Of The Worlds might very well have tickled his fancy. (FYI: Di Concini would go on to win the 1963 Oscar for ‘Best Writing, Story, And Screenplay – Written Directly For The Screen’ with his Comedy/Drama Divorce Italian Style, so let’s just agree that the writer ‘had the goods.’)
For what it’s worth, Battle Of The Worlds plays out largely very similar thematically and structurally to Roland Emmerich and Dean Devlin’s commercially successful popcorn flick, Independence Day (1996), but obviously without all of the visual pomp and circumstance. Special effects for the early 1960’s involved mostly smoke and mirrors (and a healthy amount of fishing line or wire), and there are plenty of those on display amply throughout this Battle. While modern audiences have been indoctrinated to expect only the best in their SciFi operas, Margheriti and his crew – production designer Giorgio Giovannini, art director Umberta Cesarano, and set decorator Massimo Tavazzi – clearly had to make do with far less; and yet the film never suffers the way other low budget tales did under the weight of inferior efforts. Their solutions work well enough to convey the intent of a scene – space battles rely on heavily re-used shots, and the alien environments make use of colored plastic tubing and what looks to be aluminum foil to convey the otherworldly. If anything, there are a few awkward pieces of obvious animation – faux laser beams and explosive effects – that don’t serve the story as well as they should, but those are small potatoes in the scope of the meal as dished.
Although there are more films in the man’s resume (he was making pictures into the late 1990’s, including the 1983’s schlocky Yor: The Hunter From The Future), I’ll leave it there as I think these mentions crystalize where he was at this time in his career and demonstrate his affinity for Science Fiction in general. Drawn to the realms of the fantastic, Margheriti was a pioneer in affordable filmmaking; and it’s easy to see why something like Ennio Di Concini’s script for Battle Of The Worlds might very well have tickled his fancy. (FYI: Di Concini would go on to win the 1963 Oscar for ‘Best Writing, Story, And Screenplay – Written Directly For The Screen’ with his Comedy/Drama Divorce Italian Style, so let’s just agree that the writer ‘had the goods.’)
For what it’s worth, Battle Of The Worlds plays out largely very similar thematically and structurally to Roland Emmerich and Dean Devlin’s commercially successful popcorn flick, Independence Day (1996), but obviously without all of the visual pomp and circumstance. Special effects for the early 1960’s involved mostly smoke and mirrors (and a healthy amount of fishing line or wire), and there are plenty of those on display amply throughout this Battle. While modern audiences have been indoctrinated to expect only the best in their SciFi operas, Margheriti and his crew – production designer Giorgio Giovannini, art director Umberta Cesarano, and set decorator Massimo Tavazzi – clearly had to make do with far less; and yet the film never suffers the way other low budget tales did under the weight of inferior efforts. Their solutions work well enough to convey the intent of a scene – space battles rely on heavily re-used shots, and the alien environments make use of colored plastic tubing and what looks to be aluminum foil to convey the otherworldly. If anything, there are a few awkward pieces of obvious animation – faux laser beams and explosive effects – that don’t serve the story as well as they should, but those are small potatoes in the scope of the meal as dished.
Also, it bears mentioning that – whereas Independence Day delivered a full ensemble of wonderfully fleshed out primary and secondary characters – Di Concini’s script falls more than a bit short. The lion’s share of the characterization was heavily piled on to Rains’ Professor Benson. (Hired as a marquee actor meant to boast both the film’s credibility and bankability, I suspect this was done so that the production could get its money’s worth.) His irascible curmudgeon of a leading authority on all things associated with the Final Frontier is a big, big performance in what could’ve been an otherwise small movie; and the actor rather easily elevates the work whenever he’s front-and-center. The end result, however, is that the viewers are treated to a handful of secondary relationships that get little to know development; and perhaps a great deal of nuance gets implied when it should’ve been spelled out in greater detail. Obviously, there’s some tension between these various people – estrangement gets hinted at here and there, and a great deal of it appears to have been tied to Benson and his tenure – but, alas, nothing gets the kind of exposure it deserves.
Still, I stop short of christening Battle as a truly great film. It’s good – sometimes very good – and it incorporates both harder elements alongside some of cinema’s pulpier sensibilities with grace and conviction. I think it rather ably demonstrates both what a good Science Fiction film of its era ‘was’ and ‘was becoming.’ Studios weren’t investing much capital in SciFi and Fantasy, so those hired to give them life had to create workable and practical solutions at a time wherein effects studios didn’t exist. This would change – and change dramatically – in the next decade; and – in some ways – that was owed to the kind of bigger-than-the-sum-of-us stories represented by Battle’s finer moments. Questions about how we might not be alone in the universe were pushing for bigger and bigger spectacles; what Margheriti and crew accomplished on a budget wouldn’t be possible when Stanley Kubrick’s groundbreaking 2001: A Space Odyssey (1968) threw open cinema’s doors to a whole new world.
Still, I stop short of christening Battle as a truly great film. It’s good – sometimes very good – and it incorporates both harder elements alongside some of cinema’s pulpier sensibilities with grace and conviction. I think it rather ably demonstrates both what a good Science Fiction film of its era ‘was’ and ‘was becoming.’ Studios weren’t investing much capital in SciFi and Fantasy, so those hired to give them life had to create workable and practical solutions at a time wherein effects studios didn’t exist. This would change – and change dramatically – in the next decade; and – in some ways – that was owed to the kind of bigger-than-the-sum-of-us stories represented by Battle’s finer moments. Questions about how we might not be alone in the universe were pushing for bigger and bigger spectacles; what Margheriti and crew accomplished on a budget wouldn’t be possible when Stanley Kubrick’s groundbreaking 2001: A Space Odyssey (1968) threw open cinema’s doors to a whole new world.
Battle Of The Worlds (1961) – aka Planet Of The Extinct Men – was produced by Ultra Film and Sicilia Cinematografica. DVD distribution (for this particular release) is being coordinated by the good folks at The Film Detective. As for the technical specifications? Though I’m no trained video expert, the packaging boasts that this version is an all-new 4K scan from an original 35mm archival print; and I thought it looked and sounded very solid, though there are clearly a few frames missing here and there which might add to a bit of viewing frustration (for those offput by such things).
As for the special features? The Film Detective has certainly given interested viewers a package worth considering. There’s a solid featurette (from Ballyhoo Motion Pictures) that looks back at the films of director Margheriti – I found it good though a bit dry. There’s an original essay (collector’s booklet) from Don Stradley which also reexamines the director’s contributions to Italian film history – it’s a good read. But the high point is (film historian) Justin Humphreys’ commentary track: it’s equally inspired and persuasive, so much so that the speaker might very well turn even Battle’s harshest critics into mild fans of the production. Well done, indeed!
Recommended.
Look, kids: older Science Fiction flicks are not for everyone, but for those of us who can strip away modern sensibilities, turn off the contemporary noise, and appreciate a good effort made for its day then Battle Of The Worlds feels like a 1960’s attempt to celebrate their Independence Day but on a vastly more affordable budget. Yes, performances here and there might be a bit stiff, and the script may meander a bit too loosely here and there, but what remains is perhaps a great misunderstood lead role delivered by one of Hollywood’s greats that transcends the usual muck and mire of the B-Movie in a way few others could match.
In the interests of fairness, I’m pleased to disclose that the fine folks at The Film Detective provided me with a complimentary Blu-ray of Battle Of The Worlds (1961) 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
As for the special features? The Film Detective has certainly given interested viewers a package worth considering. There’s a solid featurette (from Ballyhoo Motion Pictures) that looks back at the films of director Margheriti – I found it good though a bit dry. There’s an original essay (collector’s booklet) from Don Stradley which also reexamines the director’s contributions to Italian film history – it’s a good read. But the high point is (film historian) Justin Humphreys’ commentary track: it’s equally inspired and persuasive, so much so that the speaker might very well turn even Battle’s harshest critics into mild fans of the production. Well done, indeed!
Recommended.
Look, kids: older Science Fiction flicks are not for everyone, but for those of us who can strip away modern sensibilities, turn off the contemporary noise, and appreciate a good effort made for its day then Battle Of The Worlds feels like a 1960’s attempt to celebrate their Independence Day but on a vastly more affordable budget. Yes, performances here and there might be a bit stiff, and the script may meander a bit too loosely here and there, but what remains is perhaps a great misunderstood lead role delivered by one of Hollywood’s greats that transcends the usual muck and mire of the B-Movie in a way few others could match.
In the interests of fairness, I’m pleased to disclose that the fine folks at The Film Detective provided me with a complimentary Blu-ray of Battle Of The Worlds (1961) 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
Ach. As I've said all too often as of late, these posts really and truly hurt. This one cuts particularly deep.
Full disclosure: I know I've mentioned 'round these parts before that I absolutely hate musicals, but there's one voice I just can't resist. Olivia Newton-John has always had the voice of an angel -- so far as this red-blooded adult male is concerned -- and I can't tell you the number of times I've sat through Grease (1978) just to hear her sing. Yes, I've even sat through the tepid cinematic Fantasy Xanadu (1980) once or twice (or maybe three times) just to appreciate her incredible pipes. And I think the wifey and I had the good fortune of seeing her in concert either two or three times when she made it through our respective part of the country. No one quite knew how to light up a room the way she did, and my heart is breaking over the announcement of her passing today.
Though I've not read deeply into the obituaries, I know that she's had a long struggle with cancer. A few years back, I recall that she had to cancel her concert dates in and around the U.S. with the word that her cancer had returned; and I'm suspecting that perhaps this last bout was more than the lady could endure.
Because I'm a genre junkie like few other on the web today, I can tell you that she definitely dipped her toes into the realm of Science Fiction with a top starring role in a little something something called Toomorrow (1970) from Lowndes Productions Limited. Though I've never seen this one, I've long been aware that it involved the lady's band being kidnapped by a group of dying aliens who found strength from the good vibrations of the pop band she headlined in the film; and I'll likely have to search that flick out now that the good lady has left us.
Thoughts and prayers to the family, frends, and fans of the lady.
-- EZ
Full disclosure: I know I've mentioned 'round these parts before that I absolutely hate musicals, but there's one voice I just can't resist. Olivia Newton-John has always had the voice of an angel -- so far as this red-blooded adult male is concerned -- and I can't tell you the number of times I've sat through Grease (1978) just to hear her sing. Yes, I've even sat through the tepid cinematic Fantasy Xanadu (1980) once or twice (or maybe three times) just to appreciate her incredible pipes. And I think the wifey and I had the good fortune of seeing her in concert either two or three times when she made it through our respective part of the country. No one quite knew how to light up a room the way she did, and my heart is breaking over the announcement of her passing today.
Though I've not read deeply into the obituaries, I know that she's had a long struggle with cancer. A few years back, I recall that she had to cancel her concert dates in and around the U.S. with the word that her cancer had returned; and I'm suspecting that perhaps this last bout was more than the lady could endure.
Because I'm a genre junkie like few other on the web today, I can tell you that she definitely dipped her toes into the realm of Science Fiction with a top starring role in a little something something called Toomorrow (1970) from Lowndes Productions Limited. Though I've never seen this one, I've long been aware that it involved the lady's band being kidnapped by a group of dying aliens who found strength from the good vibrations of the pop band she headlined in the film; and I'll likely have to search that flick out now that the good lady has left us.
Thoughts and prayers to the family, frends, and fans of the lady.
-- EZ
- Published on
Find love ...
Control the hunger ...
Save the world ...
Maybe not in that order ...
Dana Hammer's
The Cannibal's Guide To Fasting
Hits Shelves This September!
Control the hunger ...
Save the world ...
Maybe not in that order ...
Dana Hammer's
The Cannibal's Guide To Fasting
Hits Shelves This September!
One of the distinct honors I get out of both maintaining SciFiHistory.Net as well as working hard behind-the-scenes to bring new content to the website is – believe it or not – I get to meet a lot of movers and shakers online.
Well, it isn’t as if I’m meeting hundreds of thousands of folks, people. But it’s a growing number. Because SciFiHistory.Net has been ‘round the block a few times, I’ve kinda/sorta established the brand (just a bit), and I’m occasionally asked to highlight things just coming to the marketplace … be they films, television shows, podcasts, and even novels. I’ve always had an open mind to this whole ‘share and share alike’ mentality that has become the worldwide Information Superhighway, so when time permits I’m more than happy to hop aboard that bandwagon and use this space to help put you – the reader – in that arena as well … which is the purpose of today’s post.
Author Dana Hammer has what looks to be a pretty impressive debut novel quickly speeding toward the horizon.
For those who’ve never heard the name, Hammer is a playwright, screenwriter, short story writer, and novelist. Her screenplay, Red Wings, has been optioned by EMA Films; and her novel, The Cannibal’s Guide To Fasting, will be released (in hardcover and digitally) this upcoming September 6, 2022, from Cinnabar Moth Publishing LLC. Additionally, Hammer was a Writer in Residence Hypatia in the Woods in the summer of 2022. To date, she has received over sixty awards and honors for her writing, with even a few of them generating income, all of which were deeply appreciated. Her works have been and will be published in many anthologies, journals, and magazines.
Furthermore, I’m pleased to share that she’s provided me with an advance review copy in exchange for a review on SciFiHistory.Net. Readers can look forward to my sharing a few thoughts on her latest and greatest a bit closer to the book’s release date.
In the meantime ... how can I describe The Cannibal’s Guide To Fasting?
Well, in short, Hammer’s story rather deftly combines a few of Science Fiction and Fantasy’s more popular sub-genres. Set in the aftermath of a cannibal-themed Apocalypse (don’t worry, mankind survives), her hero – disgraced yet recovered scientist Igor Fenenko – races against time to both find a cure for Pestis Manducans (the cannibal virus) and stop his nefarious brother from bringing back the good ol’ days of eating your neighbor. And it’s all told with a good sense of humor … because who wouldn’t appreciate a good laugh after the cannibal apocalypse?
About Cinnabar Moth Publishing LLC
Cinnabar Moth Publishing LLC is an independent traditional publisher of novels. Located in Sante Fe, New Mexico, the company can be found online at www.CinnabarMoth.com. For general inquiries, they may be contacted at info@cinnabarmoth.com. Media inquiries are to be directed to media@cinnabarmoth.com. The company can be found on Twitter at @CinnabarMothPub.
Well, it isn’t as if I’m meeting hundreds of thousands of folks, people. But it’s a growing number. Because SciFiHistory.Net has been ‘round the block a few times, I’ve kinda/sorta established the brand (just a bit), and I’m occasionally asked to highlight things just coming to the marketplace … be they films, television shows, podcasts, and even novels. I’ve always had an open mind to this whole ‘share and share alike’ mentality that has become the worldwide Information Superhighway, so when time permits I’m more than happy to hop aboard that bandwagon and use this space to help put you – the reader – in that arena as well … which is the purpose of today’s post.
Author Dana Hammer has what looks to be a pretty impressive debut novel quickly speeding toward the horizon.
For those who’ve never heard the name, Hammer is a playwright, screenwriter, short story writer, and novelist. Her screenplay, Red Wings, has been optioned by EMA Films; and her novel, The Cannibal’s Guide To Fasting, will be released (in hardcover and digitally) this upcoming September 6, 2022, from Cinnabar Moth Publishing LLC. Additionally, Hammer was a Writer in Residence Hypatia in the Woods in the summer of 2022. To date, she has received over sixty awards and honors for her writing, with even a few of them generating income, all of which were deeply appreciated. Her works have been and will be published in many anthologies, journals, and magazines.
Furthermore, I’m pleased to share that she’s provided me with an advance review copy in exchange for a review on SciFiHistory.Net. Readers can look forward to my sharing a few thoughts on her latest and greatest a bit closer to the book’s release date.
In the meantime ... how can I describe The Cannibal’s Guide To Fasting?
Well, in short, Hammer’s story rather deftly combines a few of Science Fiction and Fantasy’s more popular sub-genres. Set in the aftermath of a cannibal-themed Apocalypse (don’t worry, mankind survives), her hero – disgraced yet recovered scientist Igor Fenenko – races against time to both find a cure for Pestis Manducans (the cannibal virus) and stop his nefarious brother from bringing back the good ol’ days of eating your neighbor. And it’s all told with a good sense of humor … because who wouldn’t appreciate a good laugh after the cannibal apocalypse?
About Cinnabar Moth Publishing LLC
Cinnabar Moth Publishing LLC is an independent traditional publisher of novels. Located in Sante Fe, New Mexico, the company can be found online at www.CinnabarMoth.com. For general inquiries, they may be contacted at info@cinnabarmoth.com. Media inquiries are to be directed to media@cinnabarmoth.com. The company can be found on Twitter at @CinnabarMothPub.