- Published on
As I've long said, one of the great joys in maintaining a website on the cutting edge of Science Fiction and Fantasy is that I've built a handful of relationships with the movers and shakers who work twice as hard as I do in promoting genre projects new and old. When they see something coming down the pike that they believe all of reading mankind believes to know more about, they'll send me an alert ... which I, in turn, then get to pass along to you, faithful readers. It's an incredible symbiotic relationship that bears fruit every time it's tried.
That's why I'm thrilled to announce that I've just learned that the good people at The Film Detective are feverishly working behind-the-scenes to bring a Special Edition (Blu-ray and DVD) release to 1961's Battle Of The Worlds to the consuming public. It's set to hit the shelves (as they say) on August 9th ... and I'll be copying and pasting the relevant publicity materials below in just a few precious moments.
Here's the film's plot summary as provided by our friends at IMDB.com:
"A runaway asteroid dubbed 'The Outsider' mysteriously begins orbiting the Earth and threatens it with lethal flying saucers."
For what it's worth, this is a release I'm particularly excited to report upon today for a few key reasons. First, I've never seen a complete cut of it. Yes -- like so many -- I've seen the usual chopped up bits and pieces and a vastly truncated cut on syndication television from back in the days of my reckless youth; so I do have a vague recollection of it. But second -- much more important -- I've always been a fan of screed legend Claude Rains. Though this was made toward the late end of the actor's career -- and I've read he was largely 'stuck' into this picture solely to serve as a box office name draw -- I'm nonetheless interested in seeing what he can do with this material in the full unvarnished glory. That's a 'Battle' worth the price of admission, so far as this viewer is concerned.
And yes, yes, yes: I've done my homework. I'm aware that the film isn't exactly highly regarded (much less respected) amongst the cinema intelligentsia of today; but longtime readers of this space know of my fondness for these bygone features. I just find them more entertaining -- even the half-baked entries -- than I do so much of what I see today. Call me an 'old soul' if you must, but I've earned it.
In any event, details are below. Read 'em and weep tears of joy, my friends!
As always, thanks for reading ... and live long and prosper!
-- EZ
That's why I'm thrilled to announce that I've just learned that the good people at The Film Detective are feverishly working behind-the-scenes to bring a Special Edition (Blu-ray and DVD) release to 1961's Battle Of The Worlds to the consuming public. It's set to hit the shelves (as they say) on August 9th ... and I'll be copying and pasting the relevant publicity materials below in just a few precious moments.
Here's the film's plot summary as provided by our friends at IMDB.com:
"A runaway asteroid dubbed 'The Outsider' mysteriously begins orbiting the Earth and threatens it with lethal flying saucers."
For what it's worth, this is a release I'm particularly excited to report upon today for a few key reasons. First, I've never seen a complete cut of it. Yes -- like so many -- I've seen the usual chopped up bits and pieces and a vastly truncated cut on syndication television from back in the days of my reckless youth; so I do have a vague recollection of it. But second -- much more important -- I've always been a fan of screed legend Claude Rains. Though this was made toward the late end of the actor's career -- and I've read he was largely 'stuck' into this picture solely to serve as a box office name draw -- I'm nonetheless interested in seeing what he can do with this material in the full unvarnished glory. That's a 'Battle' worth the price of admission, so far as this viewer is concerned.
And yes, yes, yes: I've done my homework. I'm aware that the film isn't exactly highly regarded (much less respected) amongst the cinema intelligentsia of today; but longtime readers of this space know of my fondness for these bygone features. I just find them more entertaining -- even the half-baked entries -- than I do so much of what I see today. Call me an 'old soul' if you must, but I've earned it.
In any event, details are below. Read 'em and weep tears of joy, my friends!
As always, thanks for reading ... and live long and prosper!
-- EZ
1961’s Battle of the Worlds, Starring Claude Rains
on Special-Edition Blu-Ray & DVD, August 9th
Independent Sci-Fi Classic Returns With Beautiful, Out-of-This-World Scan
From Original, Archival Elements
on Special-Edition Blu-Ray & DVD, August 9th
Independent Sci-Fi Classic Returns With Beautiful, Out-of-This-World Scan
From Original, Archival Elements
LOS ANGELES — July 13, 2022 — For Immediate Release: Cinedigm announced today that The Film Detective (TFD), the classic film restoration and streaming company, will release the 1960s, sci-fi classic, Battle of the Worlds (1961), on special-edition Blu-ray and DVD, August 9.
A runaway asteroid dubbed “The Outsider” mysteriously begins orbiting the Earth and threatens it with lethal flying saucers. Filmed in Italy at the height of the country’s sci-fi craze, this independent classic stars Golden Age-star Claude Rains (Casablanca, The Invisible Man, Notorious), Bill Carter, Umberto Orsini, Maya Brent, Jaqueline Derval and Renzo Palmer. Cinematography by Marcello Masciocchi.
Noted in Science Fiction: The Complete Film Sourcebook (1984), Battle of The Worlds was praised as, “an astonishing piece of cinema … uncannily beautiful and garish.”
Esteemed director Antonio Margheriti blesses viewers with his ‘60s thriller, ripe from the period of such Italian filmmakers as Sergio Leone, Mario Bava and Dario Argento.
Coming to special-edition Blu-ray and DVD, Battle of the Worlds is a highly anticipated release from TFD, presented from a 4k scan of an original 35mm archival print.
BONUS FEATURES:
Battle of the Worlds will be available on Blu-ray ($29.95) and DVD ($19.95) on August 9 or fans can secure a copy by pre-ordering now at: https://www.thefilmdetective.com/world
About The Film Detective:
The Film Detective (TFD) is a leading distributor of restored classic programming, including feature films, television, foreign imports and documentaries and is a division of Cinedigm. Launched in 2014, TFD has distributed its extensive library of 3,000+ hours of film on DVD and Blu-ray and through leading broadcast and streaming platforms such as Turner Classic Movies, NBC, EPIX, Pluto TV, Amazon, MeTV, PBS and more. With a strong focus on increasing the digital reach of its content, TFD has released its classic movie app on web, Android, iOS, Roku, Amazon Fire TV and Apple TV. TFD is also available live with a 24/7 linear channel available on Sling TV, STIRR, Plex, Local Now, Rakuten TV and DistroTV. For more information, visit www.thefilmdetective.com.
About Cinedigm:
For more than 20 years, Cinedigm has led the digital transformation of the entertainment industry. Today, Cinedigm entertains hundreds of millions of consumers around the globe by providing premium content, streaming channels and technology services to the world's largest media, technology and retail companies.
Battle of the Worlds
The Film Detective
Genre: Sci-Fi
Original Release: 1961 (Color)
Not Rated
Running Time: 84 Minutes
Discs: 1
Language: English
Subtitles: English/Spanish
SRP: $29.95 (Blu-ray) / $19.95 (DVD)
Release Date: August 9, 2022 (Pre-order Now)
UPC Code: #760137105008 (Blu-ray) / #760137105015 (DVD)
Catalog #: FB1022 (Blu-ray) / FD1022 (DVD)
A runaway asteroid dubbed “The Outsider” mysteriously begins orbiting the Earth and threatens it with lethal flying saucers. Filmed in Italy at the height of the country’s sci-fi craze, this independent classic stars Golden Age-star Claude Rains (Casablanca, The Invisible Man, Notorious), Bill Carter, Umberto Orsini, Maya Brent, Jaqueline Derval and Renzo Palmer. Cinematography by Marcello Masciocchi.
Noted in Science Fiction: The Complete Film Sourcebook (1984), Battle of The Worlds was praised as, “an astonishing piece of cinema … uncannily beautiful and garish.”
Esteemed director Antonio Margheriti blesses viewers with his ‘60s thriller, ripe from the period of such Italian filmmakers as Sergio Leone, Mario Bava and Dario Argento.
Coming to special-edition Blu-ray and DVD, Battle of the Worlds is a highly anticipated release from TFD, presented from a 4k scan of an original 35mm archival print.
BONUS FEATURES:
- Original essay by author Don Stradley, Margheriti’s World;
- Full-length commentary track by film historian Justin Humphreys;
- All-new original production, A Cinematic Outsider: The Fantastical Worlds of Antonio Margheriti by Ballyhoo Motion Pictures; and
- An insert with a special surprise for TFD fans.
Battle of the Worlds will be available on Blu-ray ($29.95) and DVD ($19.95) on August 9 or fans can secure a copy by pre-ordering now at: https://www.thefilmdetective.com/world
About The Film Detective:
The Film Detective (TFD) is a leading distributor of restored classic programming, including feature films, television, foreign imports and documentaries and is a division of Cinedigm. Launched in 2014, TFD has distributed its extensive library of 3,000+ hours of film on DVD and Blu-ray and through leading broadcast and streaming platforms such as Turner Classic Movies, NBC, EPIX, Pluto TV, Amazon, MeTV, PBS and more. With a strong focus on increasing the digital reach of its content, TFD has released its classic movie app on web, Android, iOS, Roku, Amazon Fire TV and Apple TV. TFD is also available live with a 24/7 linear channel available on Sling TV, STIRR, Plex, Local Now, Rakuten TV and DistroTV. For more information, visit www.thefilmdetective.com.
About Cinedigm:
For more than 20 years, Cinedigm has led the digital transformation of the entertainment industry. Today, Cinedigm entertains hundreds of millions of consumers around the globe by providing premium content, streaming channels and technology services to the world's largest media, technology and retail companies.
Battle of the Worlds
The Film Detective
Genre: Sci-Fi
Original Release: 1961 (Color)
Not Rated
Running Time: 84 Minutes
Discs: 1
Language: English
Subtitles: English/Spanish
SRP: $29.95 (Blu-ray) / $19.95 (DVD)
Release Date: August 9, 2022 (Pre-order Now)
UPC Code: #760137105008 (Blu-ray) / #760137105015 (DVD)
Catalog #: FB1022 (Blu-ray) / FD1022 (DVD)
- Published on
If there's one thing that the Steven Spielberg Horror/Classic Jaws (1975) taught those of us both watching and willing to take to heart, then it would be that the days of fun in the sun were over. You couldn't risk going back out into the water for fear of a massive line of sharply-pointed teeth closing down over any and every available part of your meaty body. Within seconds, you were little more than chum in the water ... and storytellers have been seeking to recapture that frightening thrill for decades now.
Well, it looks like there's another one coming ashore very soon: writer/director Justin Lee seeks to hatch his fish story - Maneater -- into our collective consciousness, and it's being released both in theaters and digitally on August 26th ... just in time to give you nightmares before you return to school, kids. Mom and dad will be all too happy to foot the bills for your impending therapy sessions.
Here's the plot summary as provided by the good people at IMDB.com:
"After an accident during their vacations on a paradisiac island, a group of friends is stalked by a large shark."
Also according to the website, it looks like this one stars the reliable Jeff Fahey, Shane West, Trace Adkins, and a bevy of bikini-clad women, each one more lovely than the last. Let's just hope that some of those good-lookin' people make it out of this one alive.
Trailer is below. You know what to do about that.
Well, it looks like there's another one coming ashore very soon: writer/director Justin Lee seeks to hatch his fish story - Maneater -- into our collective consciousness, and it's being released both in theaters and digitally on August 26th ... just in time to give you nightmares before you return to school, kids. Mom and dad will be all too happy to foot the bills for your impending therapy sessions.
Here's the plot summary as provided by the good people at IMDB.com:
"After an accident during their vacations on a paradisiac island, a group of friends is stalked by a large shark."
Also according to the website, it looks like this one stars the reliable Jeff Fahey, Shane West, Trace Adkins, and a bevy of bikini-clad women, each one more lovely than the last. Let's just hope that some of those good-lookin' people make it out of this one alive.
Trailer is below. You know what to do about that.
As always, thanks for reading ... and live long and prosper!
-- EZ
-- EZ
- Published on
Hmm.
I have a vague recollection about being asked in a college film class (many moons ago) about whether or not I believe there was redemption available from exacting revenge. While I don't recall my specific answer, I'm pretty sure I said something to the effect of the act of revenge not being about redemption in the slightest. Revenge is more payback than anything else, and -- like beauty -- it's up to the eyes of the beholder to determine just how sweet it is ... or was.
Sound profound?
Well, I never was a profound kind of guy. I think I've always been more of a literal thinker, especially when it comes to storytelling ... but I can appreciate the visceral thrills that come with any tightly paced motion picture as much as the next person. That's why I'm sharing this trailer for what looks to be a largely conventional Horror release: The Retaliators has found solid acclaim on the film festival circuit (which it looks to have screened of chiefly in 2021), and now it looks to take its own bite out of crime via its full release theatrically on September 14th. Though I've always cautioned readers never to put too much stake in coming attractions, this one definitely looks like it intends to up-the-ante in the violence department.
Curious, the trailer seems to give away an awful lot of the plot, even up to what I suspect might be the last big reveal or twist. While I can't predict that -- who knows what's yet to be uncovered with a full screening -- it certainly begs the question of what's left to experience but the promised violence. I'll keep my eye out for reviews on this one before I decide if it's worth the box office ticket.
In the meantime, trailer is below. You know what to do.
I have a vague recollection about being asked in a college film class (many moons ago) about whether or not I believe there was redemption available from exacting revenge. While I don't recall my specific answer, I'm pretty sure I said something to the effect of the act of revenge not being about redemption in the slightest. Revenge is more payback than anything else, and -- like beauty -- it's up to the eyes of the beholder to determine just how sweet it is ... or was.
Sound profound?
Well, I never was a profound kind of guy. I think I've always been more of a literal thinker, especially when it comes to storytelling ... but I can appreciate the visceral thrills that come with any tightly paced motion picture as much as the next person. That's why I'm sharing this trailer for what looks to be a largely conventional Horror release: The Retaliators has found solid acclaim on the film festival circuit (which it looks to have screened of chiefly in 2021), and now it looks to take its own bite out of crime via its full release theatrically on September 14th. Though I've always cautioned readers never to put too much stake in coming attractions, this one definitely looks like it intends to up-the-ante in the violence department.
Curious, the trailer seems to give away an awful lot of the plot, even up to what I suspect might be the last big reveal or twist. While I can't predict that -- who knows what's yet to be uncovered with a full screening -- it certainly begs the question of what's left to experience but the promised violence. I'll keep my eye out for reviews on this one before I decide if it's worth the box office ticket.
In the meantime, trailer is below. You know what to do.
As always, thanks for reading ... and live long and prosper!
-- EZ
-- EZ
- Published on
Some of the best films in genre entertainment put the youngest among us front-and-center.
E.T. The Extraterrestrial (1982) showcased a bevy of terrific young talent in a tale set in suburban America wherein the kids took an Earthbound alien botanist under their protective wings. Gremlins (1984) delivered a dark holiday-themed Fantasy wherein one local teenager had to save his neighbors from the devilish antics of a group of … well … Gremlins. The Last Starfighter (1984) saw hotshot video game player Alex Rogan recruited by an alien defense organization to save their world from an oppressive star lord. Honestly, I could go on and on and on with this trend, but I think you get the point: these pre-pubescent explorers often represent ‘the best of us’ because they’ve not yet been molded, shaped, and worn down by a life lived, making them much more capable of acceptable subject matter that falls between the ordinary and the extraordinary.
Granted, writer/director Jake Wachtel’s Karmalink may not be quite as kid-friendly – much less accessible to young viewers the way those American counterparts are – but it’s cut from similar cloth. Its youthful protagonists are adventurers on a similar quest of discovery, one that promises a potential buried treasure that’s equally within and just beyond their grasp.
(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 film’s IMDB.com citation:
“In this Buddhist sci-fi mystery set in the near-future Phnom Penh, a young Cambodian detective untangles a link between her friend’s past-life dreams of a lost gold artifact and a neuroscientist’s determination to attain digital enlightenment.”
E.T. The Extraterrestrial (1982) showcased a bevy of terrific young talent in a tale set in suburban America wherein the kids took an Earthbound alien botanist under their protective wings. Gremlins (1984) delivered a dark holiday-themed Fantasy wherein one local teenager had to save his neighbors from the devilish antics of a group of … well … Gremlins. The Last Starfighter (1984) saw hotshot video game player Alex Rogan recruited by an alien defense organization to save their world from an oppressive star lord. Honestly, I could go on and on and on with this trend, but I think you get the point: these pre-pubescent explorers often represent ‘the best of us’ because they’ve not yet been molded, shaped, and worn down by a life lived, making them much more capable of acceptable subject matter that falls between the ordinary and the extraordinary.
Granted, writer/director Jake Wachtel’s Karmalink may not be quite as kid-friendly – much less accessible to young viewers the way those American counterparts are – but it’s cut from similar cloth. Its youthful protagonists are adventurers on a similar quest of discovery, one that promises a potential buried treasure that’s equally within and just beyond their grasp.
(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 film’s IMDB.com citation:
“In this Buddhist sci-fi mystery set in the near-future Phnom Penh, a young Cambodian detective untangles a link between her friend’s past-life dreams of a lost gold artifact and a neuroscientist’s determination to attain digital enlightenment.”
There’s a lot to upload in Karmalink, the tale of two males – one older and one younger – who find themselves on the same vision quest thanks as much to belief as it is to science. When neuroscientist Vattanak Sovann (played by Sahajak Boonthanakit) discovers the means to both document and digitize current memories as well as those he believes might belong to his past lives, he seeks to find whether or not that level of consciousness might be passed on. To do so, he injects a handful of infants with the serum of his memories, hoping that one will eventually mature to the point wherein the developing brain can decode those files and act upon their knowledge. When one of them does – and it takes the shape of ten-year-old Leng Heng (played by Leng Heng Prak) – they find their destinies chemically intertwined … but what of their soul?
See what I mean? There’s a lot to upload here!
Thankfully, Wachtel makes what could’ve been a lot of complicated ideas very relatable by capturing the bulk of the tales as told through the eyes of its young ensemble. Prak is joined in his quest to decipher these dreams of another life by actress Srey Leak Chhith: as an aspiring detective, the girl believes only she can help her friend both unlock the meaning behind the visions as well as recover a missing golden Buddha statue that might be the answer to all their wildest dreams. Their gang is rounded out by a handful of other players, but as none of these are really given anything of substance here – except to play one ‘little rascal’ of the bunch – I’ll leave them as they are.
But the ideas don’t stop there. Karmalink taps into a wealth of cutting-edge science – memory recovery, Alzheimer’s treatments, and more – as well as mines the fertile ground of spiritualism, crony capitalism, and class structure within its 100-minute run time. Despite a preponderance of issues, the film never feels either heavy or heady (as they say); though some of the social issues really only get circumstantial treatment, they’re very real to the lands of Cambodia – the setting for the tale. While there’s ample suggestion that this is the near-future and perhaps not as representative of today, I suspect Wachtel new exactly what he wanted (as a former resident of the country) and framed his motion picture to reflect both contemporary and developing concerns about how scientific progress never really quite positively impacts ‘the little people’ as much as it could.
Therein might just lie the rub regarding all of these technological advances we’re making not only here but around the world: what will be the benefit to our respective souls? Will they help or hinder the attempt to understand the self? The film makes good use of these ‘augmented’ implants in a variety of ways that demonstrate their usefulness, true, but there’s really no examination of the cost: physical or spiritual. Why, this tech is even sported by Buddhist monks in their temples; though it’s shown to assist them in the completion of relatively routine inquiries, none of the characters really sounds off on their hazards to consciousness. That’s likely intentional, I suppose, but I’m surprised Wachtel and crew didn’t include a more formalized verdict in lieu of some obvious symbolic gestures. (If they did, then, alas, I missed it.)
See what I mean? There’s a lot to upload here!
Thankfully, Wachtel makes what could’ve been a lot of complicated ideas very relatable by capturing the bulk of the tales as told through the eyes of its young ensemble. Prak is joined in his quest to decipher these dreams of another life by actress Srey Leak Chhith: as an aspiring detective, the girl believes only she can help her friend both unlock the meaning behind the visions as well as recover a missing golden Buddha statue that might be the answer to all their wildest dreams. Their gang is rounded out by a handful of other players, but as none of these are really given anything of substance here – except to play one ‘little rascal’ of the bunch – I’ll leave them as they are.
But the ideas don’t stop there. Karmalink taps into a wealth of cutting-edge science – memory recovery, Alzheimer’s treatments, and more – as well as mines the fertile ground of spiritualism, crony capitalism, and class structure within its 100-minute run time. Despite a preponderance of issues, the film never feels either heavy or heady (as they say); though some of the social issues really only get circumstantial treatment, they’re very real to the lands of Cambodia – the setting for the tale. While there’s ample suggestion that this is the near-future and perhaps not as representative of today, I suspect Wachtel new exactly what he wanted (as a former resident of the country) and framed his motion picture to reflect both contemporary and developing concerns about how scientific progress never really quite positively impacts ‘the little people’ as much as it could.
Therein might just lie the rub regarding all of these technological advances we’re making not only here but around the world: what will be the benefit to our respective souls? Will they help or hinder the attempt to understand the self? The film makes good use of these ‘augmented’ implants in a variety of ways that demonstrate their usefulness, true, but there’s really no examination of the cost: physical or spiritual. Why, this tech is even sported by Buddhist monks in their temples; though it’s shown to assist them in the completion of relatively routine inquiries, none of the characters really sounds off on their hazards to consciousness. That’s likely intentional, I suppose, but I’m surprised Wachtel and crew didn’t include a more formalized verdict in lieu of some obvious symbolic gestures. (If they did, then, alas, I missed it.)
Still, I’m not convinced Karmalink will have the impact the film deserves. Though featuring a fabulous young ensemble and even managing to tug on the heartstrings common to Spielbergian cinema magic, it’s likely a bit too dry for kids and a bit too dour (at times) for adults. But so far as this SciFi junkie is concerned, genre enthusiasts should welcome what the film has to say about science, progress, and even spirituality … although I realize that last one can be a hard sell with some audiences. While I’d agree with anyone who questioned what (if anything) to take away as a central message from this particular journey, the film remains one of the most thoughtful attractions I’ve come across in 2022 thus far … and definitely one of the most inviting.
Karmalink (2021) was produced by Valerine Steinberg Productions. Starting July 15th, the feature film is enjoying a limited U.S. theatrical play but will be available for streaming on Apple TV/iTunes, Amazon Prime, Google Play, Vudu, Xfinity Cable, and other places where VOD purchases are available. As for the technical specifications? Again, I’m no video expert, but I found the flick to be filled with impressive sights and sounds from start-to-finish.
Recommended.
In retrospect, I think it’s safe to say that Karmalink is as much about the ideas of faith as it is about science (and, most definitely, Science Fiction) as it portrays its lead characters are largely being spiritually driven to both understand how their destinies might be link as are their memories. While SciFi is the obvious construct at the core of their brief relationship, it’s their shared cultural background that initially compels each of them to start down the path leading to their eventual intersection in the finale. My own nitpick is that I’m not sure what to make of the journey in the final estimation: what would seem to be produce an epiphany kinda/sorta opens the way to tragedy, perhaps suggesting that true and peaceful enlightenment is only found in death.
(Post script: it bears mentioning that I learned – in my research – that the film’s young starring lead Leng Heng Prak has since passed away since completing this feature … and a development that only causes me to think even longer and harder about what life truly means in these hardened times. The film is dedicated to his memory.)
In the interests of fairness, I’m pleased to disclose that the fine folks at Good Deed Entertainment provided me with a complimentary streaming link of Karmalink (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
Karmalink (2021) was produced by Valerine Steinberg Productions. Starting July 15th, the feature film is enjoying a limited U.S. theatrical play but will be available for streaming on Apple TV/iTunes, Amazon Prime, Google Play, Vudu, Xfinity Cable, and other places where VOD purchases are available. As for the technical specifications? Again, I’m no video expert, but I found the flick to be filled with impressive sights and sounds from start-to-finish.
Recommended.
In retrospect, I think it’s safe to say that Karmalink is as much about the ideas of faith as it is about science (and, most definitely, Science Fiction) as it portrays its lead characters are largely being spiritually driven to both understand how their destinies might be link as are their memories. While SciFi is the obvious construct at the core of their brief relationship, it’s their shared cultural background that initially compels each of them to start down the path leading to their eventual intersection in the finale. My own nitpick is that I’m not sure what to make of the journey in the final estimation: what would seem to be produce an epiphany kinda/sorta opens the way to tragedy, perhaps suggesting that true and peaceful enlightenment is only found in death.
(Post script: it bears mentioning that I learned – in my research – that the film’s young starring lead Leng Heng Prak has since passed away since completing this feature … and a development that only causes me to think even longer and harder about what life truly means in these hardened times. The film is dedicated to his memory.)
In the interests of fairness, I’m pleased to disclose that the fine folks at Good Deed Entertainment provided me with a complimentary streaming link of Karmalink (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
- Published on
Ever since I was a young’un, I’ve been a fan of nearly all topics under the heading of High Strangeness.
Granted, some of the subjects interest me more than others, but that’s usually only because I haven’t heard enough about some of the rarer ones. Once I do, I tend to embrace them as strongly as I do the more mainstream entries; so hats off to longtime pundits and explorers like the late Art Bell, the brilliant scholar Joseph P. Farrell, and the award-winning Linda Moulton Howe for pushing so many disciplines into the light where – at the very least – regular folks are encouraged to talk about them. In fact, a good dialogue is the key to building an enlightened society; so it’s too bad that all of the social media talking heads do more to stifle conversation than they ever do to encourage it.
Thankfully, there’s a new voice that’s come to the fight: director John Yost has delivered a good documentary discussing the phenomenon of alien abduction. Rather than dramatize (or perhaps ‘overdramatize’ is a better choice) the specifics that experiencers have endured, he takes a measured, inspiring, and pragmatic approach to reviewing the lives of several who have found themselves on the receiving end of some alien (or other) attention … and the end result is even occasionally very moving.
(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:
“The governments of the world cannot hide anymore than alien contact is happening. This is a film of what, why, and how it is occurring. Most importantly, it offers an answer to the question: where do we go from here?”
My bottom line: I’ve always believed that it’s wholly inaccurate to suggest that the topic of alien abduction isn’t about what one believes. Rather, one’s belief is extraordinarily central to any legitimate examination of it.
There’s always been a spiritual component to many of the phenomena associated with High Strangeness, and that’s largely owed to the fact that there’s so little proof. (I know, I know: hang with me, naysayers, because I’m not trying to debunk anything.) For example, if you’re of the mindset that human consciousness is the pinnacle of the mountain that is all of existence, then it’s rather easy for you to dismiss such occurrences using that foundation as your starting point. If, however, you’re open to the possibility that there are forces at work in the greater cosmos that defy our current capacity to know all that is knowable, then it isn’t difficult in the slightest to try to put these experiences into some framework that not only makes sense but also is believable.
Granted, some of the subjects interest me more than others, but that’s usually only because I haven’t heard enough about some of the rarer ones. Once I do, I tend to embrace them as strongly as I do the more mainstream entries; so hats off to longtime pundits and explorers like the late Art Bell, the brilliant scholar Joseph P. Farrell, and the award-winning Linda Moulton Howe for pushing so many disciplines into the light where – at the very least – regular folks are encouraged to talk about them. In fact, a good dialogue is the key to building an enlightened society; so it’s too bad that all of the social media talking heads do more to stifle conversation than they ever do to encourage it.
Thankfully, there’s a new voice that’s come to the fight: director John Yost has delivered a good documentary discussing the phenomenon of alien abduction. Rather than dramatize (or perhaps ‘overdramatize’ is a better choice) the specifics that experiencers have endured, he takes a measured, inspiring, and pragmatic approach to reviewing the lives of several who have found themselves on the receiving end of some alien (or other) attention … and the end result is even occasionally very moving.
(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:
“The governments of the world cannot hide anymore than alien contact is happening. This is a film of what, why, and how it is occurring. Most importantly, it offers an answer to the question: where do we go from here?”
My bottom line: I’ve always believed that it’s wholly inaccurate to suggest that the topic of alien abduction isn’t about what one believes. Rather, one’s belief is extraordinarily central to any legitimate examination of it.
There’s always been a spiritual component to many of the phenomena associated with High Strangeness, and that’s largely owed to the fact that there’s so little proof. (I know, I know: hang with me, naysayers, because I’m not trying to debunk anything.) For example, if you’re of the mindset that human consciousness is the pinnacle of the mountain that is all of existence, then it’s rather easy for you to dismiss such occurrences using that foundation as your starting point. If, however, you’re open to the possibility that there are forces at work in the greater cosmos that defy our current capacity to know all that is knowable, then it isn’t difficult in the slightest to try to put these experiences into some framework that not only makes sense but also is believable.
Therein lies the rub of accepting director John Yost’s tale: it’s one as much of personal discovery as it is an attempt to enlighten others about what potential an experiencer unlocks by embracing the full scope of events. That’s why the film works very hard to introduce more abductees and explore what changes their respective contacts have led to. In one way, it’s almost as if the subtext is as simple as this: “it’s okay simple to believe.”
Sadly, however, we’re a society that’s often predicated on what we can prove, not so much what we believe much less accept. While there’s an undeniable nobility in embracing the spiritual component to these affairs, the average Jack and Jill seem to be vastly more motivated by the sensationalism that’s missing from Yost’s documentary. They need to see those flying saucers themselves. They need to see the physical, the tangible evidence that definitively proves (beyond a reasonable doubt) that not only are we not alone but also we’re nowhere near the same level of technological sophistication. That gap between the ‘have experienced’ and the ‘have not experienced’ will likely always exist; and – as good as this doc might be – I don’t think it’s enough to push the trend in the other direction.
Also – and this is honestly only a personal reaction – I’ve grown tired with the whole Whitley Strieber story. It’s been out there for a few decades now; and – while I can appreciate it as being one of the abduction phenomenon’s defining moments – I just think the wider UFO community does itself little favors by pushing more of the same. Doing so really only emboldens skeptics who say, “Why have there been no other abductions of this significance since that time?” The truth of the matter is that perhaps there have been; the community’s inability to seek out and promote other fare will always hold it back. Again: it’s a small quibble … but it’s my job to raise them as that’s my day job, peeps.
Alien Abduction: Answers (2022) was produced by RYNO Pictures. DVD distribution (for this particular release) is being coordinated by Kino Lorber. As for the technical specifications? Again, I’m not a video expert, but I found the quality of the associated sights and sounds to be very, very good on the disc. As for the special features? Alas … not a single one. Sigh.
The verdict? Recommended, but with a caveat ...
Now, don’t get me wrong: I’m a huge supporter of efforts not so much of getting to the bottom of all things paranormal but more so of having an educated dialogue on the subject … but a bit too much of Alien Abduction: Answers felt more like a bloated advertisement for the wide, wide world of Whitley Strieber instead of a constructive conversation about ‘where do we go from here?’ Yeah, yeah, yeah: I get that he’s likely the planet’s resident authority on the phenomenon, and kudos to the man for his continued willingness to speak up. I just didn’t hear enough substantive information beyond the obvious, and that’s a miss. The end result is that this is a good 90 minutes for folks uninitiated into the subject matter but probably not so much for diehards like me. Just being honest.
In the interests of fairness, I’m pleased to disclose that the fine folks at Kino Lorber and Virgil Films provided me with a complimentary DVD of Alien Abduction: Answers 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
Sadly, however, we’re a society that’s often predicated on what we can prove, not so much what we believe much less accept. While there’s an undeniable nobility in embracing the spiritual component to these affairs, the average Jack and Jill seem to be vastly more motivated by the sensationalism that’s missing from Yost’s documentary. They need to see those flying saucers themselves. They need to see the physical, the tangible evidence that definitively proves (beyond a reasonable doubt) that not only are we not alone but also we’re nowhere near the same level of technological sophistication. That gap between the ‘have experienced’ and the ‘have not experienced’ will likely always exist; and – as good as this doc might be – I don’t think it’s enough to push the trend in the other direction.
Also – and this is honestly only a personal reaction – I’ve grown tired with the whole Whitley Strieber story. It’s been out there for a few decades now; and – while I can appreciate it as being one of the abduction phenomenon’s defining moments – I just think the wider UFO community does itself little favors by pushing more of the same. Doing so really only emboldens skeptics who say, “Why have there been no other abductions of this significance since that time?” The truth of the matter is that perhaps there have been; the community’s inability to seek out and promote other fare will always hold it back. Again: it’s a small quibble … but it’s my job to raise them as that’s my day job, peeps.
Alien Abduction: Answers (2022) was produced by RYNO Pictures. DVD distribution (for this particular release) is being coordinated by Kino Lorber. As for the technical specifications? Again, I’m not a video expert, but I found the quality of the associated sights and sounds to be very, very good on the disc. As for the special features? Alas … not a single one. Sigh.
The verdict? Recommended, but with a caveat ...
Now, don’t get me wrong: I’m a huge supporter of efforts not so much of getting to the bottom of all things paranormal but more so of having an educated dialogue on the subject … but a bit too much of Alien Abduction: Answers felt more like a bloated advertisement for the wide, wide world of Whitley Strieber instead of a constructive conversation about ‘where do we go from here?’ Yeah, yeah, yeah: I get that he’s likely the planet’s resident authority on the phenomenon, and kudos to the man for his continued willingness to speak up. I just didn’t hear enough substantive information beyond the obvious, and that’s a miss. The end result is that this is a good 90 minutes for folks uninitiated into the subject matter but probably not so much for diehards like me. Just being honest.
In the interests of fairness, I’m pleased to disclose that the fine folks at Kino Lorber and Virgil Films provided me with a complimentary DVD of Alien Abduction: Answers 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
Truer words have never been written: there are good ideas and bad ideas, but Hollywood will try to make a buck off of anything.
History’s COVID lockdowns produced an awful lot of desired and undesired effects. While the data has probably yet been gathered to prove the efficacy of the idea, countless folks found themselves unemployed as whole businesses were shutdown and shuttered as a consequence of some failed authoritarian policies. (Yes, I said it; and no, I’m not sorry.) Families were probably forced to deal with a terrible amount of emotional baggage that had been stored up over the years once they were locked under one roof for such an extended period; and they no doubt amassed some whole new issues they’ll be dealing with for years thanks to the same. Children had their intellectual and social growth stunted for the duration, a horrific development that’ll likely deliver us a generation of adults with emotional hang-ups we’ve never seen before.
But – hey – Hollywood got its elite together and produced a film … so the destruction of our culture and society couldn’t have been all that bad, am I right? Zero Contact comes from screenwriter Cam Cannon and director Rick Dugdale. It’s all set against the backdrop of corporate skullduggery and the potential annihilation of the species, all at the hands of a deceased oddball scientist who may or may not have opened Pandora’s Box before he left us this parting gift. And it’s a story all told in a real-time format across the advent of Facetime … so it looks like doom and gloom can’t be all that bad, after all?
Sigh.
Some creatives just never learn.
(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:
“Hopkins plays Finley Hart, the eccentric genius behind a global data-mining program. Upon his death, five remote agents – including Finley’s son – are contact by a mysterious A.I. entity to reactive the initiative, which may enable time travel. As sinister events occur at each of the agents’ homes, they must decide whether entering their passwords will save the world … or destroy it.”
Believe it or not, the widespread proliferation of video capture technology has produced some artistic benefit.
History’s COVID lockdowns produced an awful lot of desired and undesired effects. While the data has probably yet been gathered to prove the efficacy of the idea, countless folks found themselves unemployed as whole businesses were shutdown and shuttered as a consequence of some failed authoritarian policies. (Yes, I said it; and no, I’m not sorry.) Families were probably forced to deal with a terrible amount of emotional baggage that had been stored up over the years once they were locked under one roof for such an extended period; and they no doubt amassed some whole new issues they’ll be dealing with for years thanks to the same. Children had their intellectual and social growth stunted for the duration, a horrific development that’ll likely deliver us a generation of adults with emotional hang-ups we’ve never seen before.
But – hey – Hollywood got its elite together and produced a film … so the destruction of our culture and society couldn’t have been all that bad, am I right? Zero Contact comes from screenwriter Cam Cannon and director Rick Dugdale. It’s all set against the backdrop of corporate skullduggery and the potential annihilation of the species, all at the hands of a deceased oddball scientist who may or may not have opened Pandora’s Box before he left us this parting gift. And it’s a story all told in a real-time format across the advent of Facetime … so it looks like doom and gloom can’t be all that bad, after all?
Sigh.
Some creatives just never learn.
(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:
“Hopkins plays Finley Hart, the eccentric genius behind a global data-mining program. Upon his death, five remote agents – including Finley’s son – are contact by a mysterious A.I. entity to reactive the initiative, which may enable time travel. As sinister events occur at each of the agents’ homes, they must decide whether entering their passwords will save the world … or destroy it.”
Believe it or not, the widespread proliferation of video capture technology has produced some artistic benefit.
The immediacy and intimacy of being able to produce high-quality video at one’s fingertips has given way to an incredible number of online sites – ahem, pornography, too! – which push storytelling possibilities to all-new frontiers. Why, there have been episodes of television shows filmed entirely from the perspective of its characters’ smart phones – ABC TV’s Modern Family did an incredibly funny story involving one nervous mother trying to get her business in order with all her children while sitting at an airport, and all of the dialogue and exchanges were done over Facetime. In fact, 2018’s Searching – a major motion picture headlined by Star Trek’s John Cho – used the same concept in motion picture format: Cho played a single father desperately trying to locate his missing daughter. All of his investigative attempts took place via Facetime and other social media APPs. It’s a gem of a picture that won accolades on the film festival circuit.
So … in some respects, I guess it was only natural that some creative screenwriter – namely Cam Cannon – got the bright idea to use 2020-2021’s protracted COVID nightmare to accomplish something similar. Thus, Zero Contact was produced with all of its talents located at various places around the globe – all separate from one another – and they were brought together in one yarn involving a deceased genius who may or may not have engineered the ultimate ‘Dead Man’s Hand’ device called the Quantinuum Initiative, a technology so powerful it can do anything a screenwriter wants! (Gasp!)
Ultimately little more than a play on words, Zero Contact leaves its cleverness fully at the door. The star-studded cast (Anthony Hopkins, Aleks Paunovic, Veronica Ferres, Chris Brochu, and a few other familiar faces) unfortunately display little of the chemistry required to make an ensemble truly work – perhaps that’s owed to the fact that they had, literally, zero contact with one another – and end up being victims of this high-tech shenanigan. On the most basic level, there’s just too much nebulousness for them to muster any excitement around the idea, so audiences end up essentially eavesdropping on their passionless exchanges as the purported doomsday clock scenario keeps ticking down to zero.
This isn’t to say that their work is bad. Hopkins has done played this kind of eccentric old man before, most notably in HBO’s Westworld reimagining; if anything, his moments in this certainly help set the tone of a kindly but misunderstood wizard trying to either save the world or destroy it. I’ve always liked Paunovic as an actor, though he seems to have been cast all too often as any story’s ‘heavy.’ He tries to give his tech expert some teeth, but the half-baked script never gives him enough substance. Brochu only seems to get angrier and angrier with each take; perhaps he took this project on some bad advice? Ferres – while lovely – seemed more than a bit robotic even in moments that required a bit more emotion as the corporate lawyer with a heart of gold.
Alas, this Zero Contact never even hit the target … most likely because no one knew what they were aiming for.
Zero Contact (2022) was produced by Enderby Entertainment. DVD distribution (for this particular release) is being coordinated by Lionsgate. As for the technical specifications? Again, though I am no video expert, I thought the film had a lot of high-quality sights and sounds; the feature uses a fair amount of technical wizardry to weave its web, along with some obvious post-production special effects. As for the special features? Alas, you’ll have to look elsewhere as this disc boasts not a single one. Ouch.
The verdict? Buyer beware.
Honestly, I’ve seen this technique – the seamless weaving together of a plot via various character angles while no one physically is in contact with one another – used far more efficiently elsewhere … so Zero Contact really earns no stars in its attempt. Granted, this may’ve been one of the few times it’s been attempted with some high caliber star potential, but there still should be some requirement to put up a yarn with greater substance, no? This one was, sadly, all a bit predictable and only occasionally clever. It bit of a disappointment.
In the interests of fairness, I’m pleased to disclose that the fine folks at Lionsgate provided me with a complimentary Blu-ray of Zero Contact 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
So … in some respects, I guess it was only natural that some creative screenwriter – namely Cam Cannon – got the bright idea to use 2020-2021’s protracted COVID nightmare to accomplish something similar. Thus, Zero Contact was produced with all of its talents located at various places around the globe – all separate from one another – and they were brought together in one yarn involving a deceased genius who may or may not have engineered the ultimate ‘Dead Man’s Hand’ device called the Quantinuum Initiative, a technology so powerful it can do anything a screenwriter wants! (Gasp!)
Ultimately little more than a play on words, Zero Contact leaves its cleverness fully at the door. The star-studded cast (Anthony Hopkins, Aleks Paunovic, Veronica Ferres, Chris Brochu, and a few other familiar faces) unfortunately display little of the chemistry required to make an ensemble truly work – perhaps that’s owed to the fact that they had, literally, zero contact with one another – and end up being victims of this high-tech shenanigan. On the most basic level, there’s just too much nebulousness for them to muster any excitement around the idea, so audiences end up essentially eavesdropping on their passionless exchanges as the purported doomsday clock scenario keeps ticking down to zero.
This isn’t to say that their work is bad. Hopkins has done played this kind of eccentric old man before, most notably in HBO’s Westworld reimagining; if anything, his moments in this certainly help set the tone of a kindly but misunderstood wizard trying to either save the world or destroy it. I’ve always liked Paunovic as an actor, though he seems to have been cast all too often as any story’s ‘heavy.’ He tries to give his tech expert some teeth, but the half-baked script never gives him enough substance. Brochu only seems to get angrier and angrier with each take; perhaps he took this project on some bad advice? Ferres – while lovely – seemed more than a bit robotic even in moments that required a bit more emotion as the corporate lawyer with a heart of gold.
Alas, this Zero Contact never even hit the target … most likely because no one knew what they were aiming for.
Zero Contact (2022) was produced by Enderby Entertainment. DVD distribution (for this particular release) is being coordinated by Lionsgate. As for the technical specifications? Again, though I am no video expert, I thought the film had a lot of high-quality sights and sounds; the feature uses a fair amount of technical wizardry to weave its web, along with some obvious post-production special effects. As for the special features? Alas, you’ll have to look elsewhere as this disc boasts not a single one. Ouch.
The verdict? Buyer beware.
Honestly, I’ve seen this technique – the seamless weaving together of a plot via various character angles while no one physically is in contact with one another – used far more efficiently elsewhere … so Zero Contact really earns no stars in its attempt. Granted, this may’ve been one of the few times it’s been attempted with some high caliber star potential, but there still should be some requirement to put up a yarn with greater substance, no? This one was, sadly, all a bit predictable and only occasionally clever. It bit of a disappointment.
In the interests of fairness, I’m pleased to disclose that the fine folks at Lionsgate provided me with a complimentary Blu-ray of Zero Contact 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
One of the potential drawbacks to writing about film is that – every now and then – there comes a release which requires a bit of research and independent thinking in order to fully grasp what the story is about.
See, the art of making a film has been and likely always will be a personal experience. Storytellers of all varieties seek to ‘touch the sky’ with tales of unique inspiration, and occasionally this means that what they might have to say is casually beyond the scope of their audience. I’ve heard this said more simply – not every film is for every viewer – but I’ve always thought that particular take implies that the ideas are ‘beyond the scope’ of some, a position I believe flawed. We all have the ability to receive a message from any film; the big difference is that we don’t have to agree with it, much less like it.
This is my argument both against and for writer/director Chema Garcia Ibarra’s The Sacred Spirit: it’s both accessible and inaccessible depending upon how much research you’re willing to undertake. A reasonable amount of reading might make the average viewer enjoy it much more, but who goes into the act of watching a movie with a willingness to expand one’s horizons both before and after? I’d say that’s a small number, and that’s always going to limit one’s reach.
But I suspect Ibarra’s perfectly comfortable with that.
(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 …)
See, the art of making a film has been and likely always will be a personal experience. Storytellers of all varieties seek to ‘touch the sky’ with tales of unique inspiration, and occasionally this means that what they might have to say is casually beyond the scope of their audience. I’ve heard this said more simply – not every film is for every viewer – but I’ve always thought that particular take implies that the ideas are ‘beyond the scope’ of some, a position I believe flawed. We all have the ability to receive a message from any film; the big difference is that we don’t have to agree with it, much less like it.
This is my argument both against and for writer/director Chema Garcia Ibarra’s The Sacred Spirit: it’s both accessible and inaccessible depending upon how much research you’re willing to undertake. A reasonable amount of reading might make the average viewer enjoy it much more, but who goes into the act of watching a movie with a willingness to expand one’s horizons both before and after? I’d say that’s a small number, and that’s always going to limit one’s reach.
But I suspect Ibarra’s perfectly comfortable with that.
(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 film’s product packaging:
“A missing girl. A community in shock. Jose Manuel lives a quiet life. He works in his modest tapas bar, takes care of his elderly mother and attends weekly meetings of the Ovni-Levante, a group of devoted UFO enthusiasts who gather after hours at the office of a local estate agent to exchange information about extra-terrestrial messages and alien abductions. When their leader dies unexpectedly, only Jose is left to know the cosmic secret that could alter the future of humanity. And only Jose knows what he must do.”
It's a bit of a misnomer to advertise The Sacred Spirit as Science Fiction, for which I’ve seen it characterized in several places. Rather, it only uses some of Science Fiction ideas as narrative flavoring with which to weave a bit of a deadpan social satire that kinda/sorta criticizes our world as a whole as much as it praises regular folks for aspiring to believe in something bigger than themselves. It’s both an indictment and acquittal of simpletons who look to the stars for the answers more likely found much closer to home.
The closest comparison to what I believe Ibarra attempts (and achieves here) would be a nod to the films of Christopher Guest. His dry yet witty mockumentaries Waiting For Guffman (1996), Best In Show (2000), and A Mighty Wind (2003) celebrated what cinema might call ‘the little people,’ that meaning ordinary people who attempt the extraordinary because of their personal beliefs. Though others might find these various characters misfits, Guest’s narrative celebrates their unique individuality and their respective unflinching quest to do great things against the most oppressive force we know: life itself. These ‘little people’ dream big, and they’ll continue to reach for more in their existence because of who they are, not because they get any measure of reward from it.
Similarly, Ibarra’s Spirit is populated by homegrown oddballs. A real estate mogul who insists he was abducted by aliens. A one-eyed woman constantly badgered by the spirit of her late husband. A stroke victim with the ability to contact the deceased. They’re all thrown together against the backdrop of a society that can, might, and likely will believe in anything – whether proven or not – for no better reason than it lifts them out of their current humdrum existence into a place where even the unthinkable is possible. To them and their culture, aliens aren’t only real but they’ve been around since the dawn of man: only the truly foolish fails to see that certainty.
Still, as all good things must end, reality intrudes. That real estate agent was using his business as a front for child pornography and organ trafficking. That one-eyed woman might eventually commit suicide as a consequence for not being able to live with the other voices in her head. And the truth of communicating with those who have passed over is that there’s nothing there to communicate with … that hard, cold splash in the UFO club receives when they find that their chosen day arrives and passes without the promised celestial ascension. Otherwise, it’s back to work the next day … but that doesn’t mean one still can’t believe.
“A missing girl. A community in shock. Jose Manuel lives a quiet life. He works in his modest tapas bar, takes care of his elderly mother and attends weekly meetings of the Ovni-Levante, a group of devoted UFO enthusiasts who gather after hours at the office of a local estate agent to exchange information about extra-terrestrial messages and alien abductions. When their leader dies unexpectedly, only Jose is left to know the cosmic secret that could alter the future of humanity. And only Jose knows what he must do.”
It's a bit of a misnomer to advertise The Sacred Spirit as Science Fiction, for which I’ve seen it characterized in several places. Rather, it only uses some of Science Fiction ideas as narrative flavoring with which to weave a bit of a deadpan social satire that kinda/sorta criticizes our world as a whole as much as it praises regular folks for aspiring to believe in something bigger than themselves. It’s both an indictment and acquittal of simpletons who look to the stars for the answers more likely found much closer to home.
The closest comparison to what I believe Ibarra attempts (and achieves here) would be a nod to the films of Christopher Guest. His dry yet witty mockumentaries Waiting For Guffman (1996), Best In Show (2000), and A Mighty Wind (2003) celebrated what cinema might call ‘the little people,’ that meaning ordinary people who attempt the extraordinary because of their personal beliefs. Though others might find these various characters misfits, Guest’s narrative celebrates their unique individuality and their respective unflinching quest to do great things against the most oppressive force we know: life itself. These ‘little people’ dream big, and they’ll continue to reach for more in their existence because of who they are, not because they get any measure of reward from it.
Similarly, Ibarra’s Spirit is populated by homegrown oddballs. A real estate mogul who insists he was abducted by aliens. A one-eyed woman constantly badgered by the spirit of her late husband. A stroke victim with the ability to contact the deceased. They’re all thrown together against the backdrop of a society that can, might, and likely will believe in anything – whether proven or not – for no better reason than it lifts them out of their current humdrum existence into a place where even the unthinkable is possible. To them and their culture, aliens aren’t only real but they’ve been around since the dawn of man: only the truly foolish fails to see that certainty.
Still, as all good things must end, reality intrudes. That real estate agent was using his business as a front for child pornography and organ trafficking. That one-eyed woman might eventually commit suicide as a consequence for not being able to live with the other voices in her head. And the truth of communicating with those who have passed over is that there’s nothing there to communicate with … that hard, cold splash in the UFO club receives when they find that their chosen day arrives and passes without the promised celestial ascension. Otherwise, it’s back to work the next day … but that doesn’t mean one still can’t believe.
Spirit chucks an incredible number of conspiratorial ideas (like spaghetti) against the wall, never judging or casting negative light on any of it, because Ibarra leaves reality alone to accomplish that. Like his characters, you get to decide what you wish to believe: the good, the bad, and the ugly of living in our modern times. Sadly, the film isn’t what I’d call a perfect cut of the experience – the director seems to prefer somewhat exhaustively long takes of scenes of ordinary existence (is that his metaphor for life?), and I suspect a vastly trimmer edit might’ve preserved some of the flick’s best comic elements along with his impartial handling of it all.
The Sacred Spirit (2021) was produced by Jaibo Films, Apellaniz & De Sosa, La Fabrica Nocturna Cinema, and Teferruat Film. DVD distribution (for this particular release) is being coordinated by the spectacular Arrow Films. As for the technical specifications? Though I’m no video expert, I found the sights and sounds to be consistently high quality from start-to-finish.
As for the special features? Again, Arrow’s reputation is spotless once more as this two-disc collection includes:
The verdict? Mildly recommended.
As I said above, The Sacred Spirit required a bit of research, some of which might be owed to the fact that a bit of nuance gets lost in translation. Ibarra’s film combines the real and the unreal with an unvarnished eye – almost like he’s trying to capture something in documentary-style. My problem with it is that I don’t go to the movies to see documentaries – I prefer story over dry facts – so pacing issues aside I hung with this one because I trusted it was going somewhere. It was … though it occasionally tested my patience in getting there. This will not be for everyone, though I suspect film festival lovers will tap it up heartily.
In the interests of fairness, I’m pleased to disclose that the fine folks at Arrow Video provided me with a complimentary Blu-ray of The Sacred Spirit 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
The Sacred Spirit (2021) was produced by Jaibo Films, Apellaniz & De Sosa, La Fabrica Nocturna Cinema, and Teferruat Film. DVD distribution (for this particular release) is being coordinated by the spectacular Arrow Films. As for the technical specifications? Though I’m no video expert, I found the sights and sounds to be consistently high quality from start-to-finish.
As for the special features? Again, Arrow’s reputation is spotless once more as this two-disc collection includes:
- A series of short features exploring the film and its locations;
- Several making-of shorts made during the film’s production;
- An extensive interview with writer/director Ibarra;
- Several promotional videos;
- Excised clips of the faux TV and faux news clips from the feature film;
- Image gallery and trailers;
- Collector’s booklet (with essay) and associated artwork; and
- A second disc complete with Ibarra’s short films, all of which are Science Fiction related.
The verdict? Mildly recommended.
As I said above, The Sacred Spirit required a bit of research, some of which might be owed to the fact that a bit of nuance gets lost in translation. Ibarra’s film combines the real and the unreal with an unvarnished eye – almost like he’s trying to capture something in documentary-style. My problem with it is that I don’t go to the movies to see documentaries – I prefer story over dry facts – so pacing issues aside I hung with this one because I trusted it was going somewhere. It was … though it occasionally tested my patience in getting there. This will not be for everyone, though I suspect film festival lovers will tap it up heartily.
In the interests of fairness, I’m pleased to disclose that the fine folks at Arrow Video provided me with a complimentary Blu-ray of The Sacred Spirit 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
Regular readers here know that I don’t cover all that much conventional Horror.
Again, it isn’t that I don’t like them. I’ve always found slasher flicks are an acquired taste, and their vicarious spills have a time and place in anyone’s entertainment diet (so long as one’s interested). My feeling is that all too often they either adhere too closely to the prescribed formula – making them too predictable – or they fail to truly raise the bar – making them not worth the price of admission. Like so many of you, if I’m expected to plunk down my hard-earned cash just to be inevitably disappointed, I’ll resort to a rerun of something I’ve seen before as life’s just too damn short.
However, I’m usually far more inclined to endure an older slasher picture than I am the newer ones, mostly because I tend to find I’m smitten more with some of the filmmaking sensibilities of bygone eras than I am the current crop which shoves everything down my throat with CGI and other glitzy trickery. No, no, no. None of that for me. Give me something practical. Put a real bucket of blood in my face and not a bunch of pixels. Nothing turns me off quicker than trying to sit through something tainted by high tech; it’s a buzzkill of the worst kind, especially with something that’s supposed to be so primitive as bloodletting is meant to be.
So, yes, Hell High (1989) is the kind of imperfect experience I’ll happily sit through six days a week and twice on Sunday. Even though it’s clearly all a bit undercooked and occasionally visually underwhelming, it just has the proper creative emphasis on reality. While I can certainly understand why it’s largely one of yesterday’s forgotten flicks (though I’ve read some folks apparently know it better under the name Raging Fury), it’s rags-to-revenge flourish hits the sweet spot in just enough moments to make it a perfectly acceptable as a one-off entertainment.
(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 …)
Again, it isn’t that I don’t like them. I’ve always found slasher flicks are an acquired taste, and their vicarious spills have a time and place in anyone’s entertainment diet (so long as one’s interested). My feeling is that all too often they either adhere too closely to the prescribed formula – making them too predictable – or they fail to truly raise the bar – making them not worth the price of admission. Like so many of you, if I’m expected to plunk down my hard-earned cash just to be inevitably disappointed, I’ll resort to a rerun of something I’ve seen before as life’s just too damn short.
However, I’m usually far more inclined to endure an older slasher picture than I am the newer ones, mostly because I tend to find I’m smitten more with some of the filmmaking sensibilities of bygone eras than I am the current crop which shoves everything down my throat with CGI and other glitzy trickery. No, no, no. None of that for me. Give me something practical. Put a real bucket of blood in my face and not a bunch of pixels. Nothing turns me off quicker than trying to sit through something tainted by high tech; it’s a buzzkill of the worst kind, especially with something that’s supposed to be so primitive as bloodletting is meant to be.
So, yes, Hell High (1989) is the kind of imperfect experience I’ll happily sit through six days a week and twice on Sunday. Even though it’s clearly all a bit undercooked and occasionally visually underwhelming, it just has the proper creative emphasis on reality. While I can certainly understand why it’s largely one of yesterday’s forgotten flicks (though I’ve read some folks apparently know it better under the name Raging Fury), it’s rags-to-revenge flourish hits the sweet spot in just enough moments to make it a perfectly acceptable as a one-off entertainment.
(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 Blu-ray’s product packaging:
“When high school football hero Jon-Jon quits the team, he winds up falling in with a group of outcasts led by the sadistic Dickens. With a willing new recruit in tow, the gang’s youthful hijinks soon spiral into a night of abject horror when they decide to play a cruel prank on the home of their teacher Miss Storm – who, unbeknownst to the youngsters, harbors a dark and tormented past.”
I think it’s safe to suggest that Hell High dispenses with a lot of the usual pomp and circumstance of high school chillers by, instead, traveling the path of the ‘twisted revenge’ picture: Brooke Storm (played by the lovely Maureen Mooney) rises back up after appearing to have fallen with the sole purpose of extracting a measure of private vigilante justice on the group of teens – male and one randy female – who tried to have their sexual way with her. While the script from Leo Evans and director Douglas Grossman does slips in some fairly tame shenanigans for the disaffected youth to steal a few scenes, their bulk of their story sticks fairly close to the rape-then-redemption territory staked out by traditional exploitation dramas.
Where Hell High does veer a bit closer to the slasher theme is it establishes a backstory tied to a nearby swamp wherein a few lascivious teenagers – roughly twenty years ago – met a particularly grisly fate: they were impaled by accident when simply speeding away (on motorcycle). A young girl – angry that they’d used her usual fort for their sexual conjugation and vandalized her favorite doll in the process – threw a bucket of mud into the fleeing couple’s faces, forcing them to crash into some fenceposts and … well, you know the rest. And it turns out that the young girl? That was li’l Brooke Storm.
Harboring this secret for roughly twenty years has broken the lady’s psyche, so much so that one wonders how she ever landed a job educating the young and the restless! Her scenes as a teacher show her as more than a bit gruff; she’s so flustered when Dickens (Christopher Stryker) throws a fit in her class that she has to self-medicate just to get through the day. Furthermore, the scenes with her school peers only underscore that she’s an emotional wreck, so I suspect it was only natural that finding herself as the punchline to some juvenile clowning around was enough to push her to practice homicide as a means of therapy.
Still …
Honestly, Hell High fumbles the ball more than it ever scores any real touchdown here.
“When high school football hero Jon-Jon quits the team, he winds up falling in with a group of outcasts led by the sadistic Dickens. With a willing new recruit in tow, the gang’s youthful hijinks soon spiral into a night of abject horror when they decide to play a cruel prank on the home of their teacher Miss Storm – who, unbeknownst to the youngsters, harbors a dark and tormented past.”
I think it’s safe to suggest that Hell High dispenses with a lot of the usual pomp and circumstance of high school chillers by, instead, traveling the path of the ‘twisted revenge’ picture: Brooke Storm (played by the lovely Maureen Mooney) rises back up after appearing to have fallen with the sole purpose of extracting a measure of private vigilante justice on the group of teens – male and one randy female – who tried to have their sexual way with her. While the script from Leo Evans and director Douglas Grossman does slips in some fairly tame shenanigans for the disaffected youth to steal a few scenes, their bulk of their story sticks fairly close to the rape-then-redemption territory staked out by traditional exploitation dramas.
Where Hell High does veer a bit closer to the slasher theme is it establishes a backstory tied to a nearby swamp wherein a few lascivious teenagers – roughly twenty years ago – met a particularly grisly fate: they were impaled by accident when simply speeding away (on motorcycle). A young girl – angry that they’d used her usual fort for their sexual conjugation and vandalized her favorite doll in the process – threw a bucket of mud into the fleeing couple’s faces, forcing them to crash into some fenceposts and … well, you know the rest. And it turns out that the young girl? That was li’l Brooke Storm.
Harboring this secret for roughly twenty years has broken the lady’s psyche, so much so that one wonders how she ever landed a job educating the young and the restless! Her scenes as a teacher show her as more than a bit gruff; she’s so flustered when Dickens (Christopher Stryker) throws a fit in her class that she has to self-medicate just to get through the day. Furthermore, the scenes with her school peers only underscore that she’s an emotional wreck, so I suspect it was only natural that finding herself as the punchline to some juvenile clowning around was enough to push her to practice homicide as a means of therapy.
Still …
Honestly, Hell High fumbles the ball more than it ever scores any real touchdown here.
In the rape revenge sub-genre, it’s relatively tame: there’s really only one sequence that works (involving a rock) on the level of gratuitousness typically found in those flicks. As a slasher picture, Mooney never quite musters the menace necessary to sell the role: again, her character is already broken mentally when the assault happens, and that alone likely elicits a bit more sympathy audiences usually afford killers. Though the teens lean fully into their respective levels of evil here (they’re not bad, they’re just drawn that way), Hell High never quite shakes off the ‘wrong place wrong time’ motif for their silliness. Occasionally the melodrama achieves the right balance – largely the benefit of Mooney and Stryker’s work as they’re the obvious centerpieces here – but the lack of any real excess makes this one feel a bit too often like a bloated After School special on the dangers of being a teenaged prick.
Hell High (1989) was produced by Castle Hill Productions and DGS Productions. DVD distribution (for this particular release) is being coordinated by the superb Arrow Video. As for the technical specifications? Again, I always warn that I’m no video expert: still, I noticed only a bit of grain in a few sequences set at nighttime, making me wonder if this wasn’t just a little imperfection carried over from a subpar shooting experience. Still, none of it interfered in any way with my enjoyment (or lack thereof). Sound quality was very good.
As for the special features? This is Arrow Video that we’re talking about, and they’ve certainly set the bar high when it comes to giving consumers the total package … and this is no slouch. This Special Edition includes:
Recommended.
Far be it from me to disagree with the notorious Joe Bob Briggs in his intro, but I didn’t find all that much in Hell High that felt “fresh” or “creative,” especially for the slasher genre that the picture mostly represents. While I enjoyed a performance here and there (Mooney is an uptight, sexually-repressed delight and Stryker makes the most of his role as a kinda/sorta scene-chewing high school villain), the rest of this affair just bobs and weaves through too many formulaic pieces. The revenge theme – both the students’ and their teacher’s – works mildly well, but it’s still easy to see why this one has slipped into the cinema dustbin: too little happens more than a little too late.
In the interests of fairness, I’m pleased to disclose that the fine folks at Arrow Video provided me with a complimentary Blu-ray of Hell High (1989) 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
Hell High (1989) was produced by Castle Hill Productions and DGS Productions. DVD distribution (for this particular release) is being coordinated by the superb Arrow Video. As for the technical specifications? Again, I always warn that I’m no video expert: still, I noticed only a bit of grain in a few sequences set at nighttime, making me wonder if this wasn’t just a little imperfection carried over from a subpar shooting experience. Still, none of it interfered in any way with my enjoyment (or lack thereof). Sound quality was very good.
As for the special features? This is Arrow Video that we’re talking about, and they’ve certainly set the bar high when it comes to giving consumers the total package … and this is no slouch. This Special Edition includes:
- An all-new 2K restoration from the original camera negative (which looks spiffy, if I do say so myself);
- An all-new audio commentary with director Grossman and cinematographer Steven Fierberg;
- An archival commentary from director Grossman;
- An introduction from noted film critic Joe Bob Briggs;
- An assortment of new and old interviews with cast and crew;
- Some making-of featurettes;
- Some of the obligatory trailers and TV spots; and
- A collector’s booklet with related essay and information regarding the film’s restoration.
Recommended.
Far be it from me to disagree with the notorious Joe Bob Briggs in his intro, but I didn’t find all that much in Hell High that felt “fresh” or “creative,” especially for the slasher genre that the picture mostly represents. While I enjoyed a performance here and there (Mooney is an uptight, sexually-repressed delight and Stryker makes the most of his role as a kinda/sorta scene-chewing high school villain), the rest of this affair just bobs and weaves through too many formulaic pieces. The revenge theme – both the students’ and their teacher’s – works mildly well, but it’s still easy to see why this one has slipped into the cinema dustbin: too little happens more than a little too late.
In the interests of fairness, I’m pleased to disclose that the fine folks at Arrow Video provided me with a complimentary Blu-ray of Hell High (1989) 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
1984's Electric Dreams (from Virgin Pictures) isn't any great film. At best, it's a cute film -- with clever ideas -- and a few mildly silly performances, but I always thought it's heart was in the right place.
Essentially, Dreams is a love story with a Science Fiction and Fantasy construct that probably wasn't strong enough to woo SciFi purists to its charms, and still you can't fault a guy for trying, can you? Lenny von Dohlen played the bookish Miles Harding, a bit of a nerd who accidentally spills champagne on his high-end desktop PC ... which somehow brings the thing to even greater life. Once it achieves artificial intelligence -- now called 'Edgar' -- it manages to fall in love with the sounds emanating from the air vent: upstairs, a budding cellist named Madeline Robistat practices her music, and -- as fate would have it -- Edgar believes it's a kinda/sorta mating call that stirs his primal instincts. Eventually, the PC and Madeline make beautiful music together -- not that kind, people -- and it naturally brings Miles and Maddy into blissful harmony.
So, yes, it's a love story; and as the central nerd von Dohlen did an exceptional job conveying an introvert who has to learn the art of love from his desktop console.
The actor's career spanned an impressive five decades. Genre fans might remember him best from his work aboard David Lynch's seminal Twin Peaks (he also appeared in the 1992 film Twin Peaks: Fire Dance With Me). Other related fare include work aboard Tales From The Darkside, Dracula's Widow (1988), The Flash, Red Dwarf, The Pretender, Ghost Whisperer, World's End (2010), Threshold (2016), and The Orville.
Alas, none of us last forever; and word reached my desk over the weekend that von Dohlen passed away after a long illness. May he rest in peace.
Thoughts and prayers are extended to the family and friends of Lenny von Dohlen.
-- EZ
Essentially, Dreams is a love story with a Science Fiction and Fantasy construct that probably wasn't strong enough to woo SciFi purists to its charms, and still you can't fault a guy for trying, can you? Lenny von Dohlen played the bookish Miles Harding, a bit of a nerd who accidentally spills champagne on his high-end desktop PC ... which somehow brings the thing to even greater life. Once it achieves artificial intelligence -- now called 'Edgar' -- it manages to fall in love with the sounds emanating from the air vent: upstairs, a budding cellist named Madeline Robistat practices her music, and -- as fate would have it -- Edgar believes it's a kinda/sorta mating call that stirs his primal instincts. Eventually, the PC and Madeline make beautiful music together -- not that kind, people -- and it naturally brings Miles and Maddy into blissful harmony.
So, yes, it's a love story; and as the central nerd von Dohlen did an exceptional job conveying an introvert who has to learn the art of love from his desktop console.
The actor's career spanned an impressive five decades. Genre fans might remember him best from his work aboard David Lynch's seminal Twin Peaks (he also appeared in the 1992 film Twin Peaks: Fire Dance With Me). Other related fare include work aboard Tales From The Darkside, Dracula's Widow (1988), The Flash, Red Dwarf, The Pretender, Ghost Whisperer, World's End (2010), Threshold (2016), and The Orville.
Alas, none of us last forever; and word reached my desk over the weekend that von Dohlen passed away after a long illness. May he rest in peace.
Thoughts and prayers are extended to the family and friends of Lenny von Dohlen.
-- EZ
- Published on
Conventional Horror films have been around as long as storytellers have been putting them up in shadows and light, and I’m thrilled to have had the opportunity to spend a bit of time with a pair of motion pictures from the 1970’s: VCI Entertainment has ponied up what they’re billing as the Bloody 70’s Horror Double Feature. This three-disc collection includes 1975’s Mary, Mary, Bloody Mary and 1972’s artsy Blood Feast (aka Night Of 1,000 Cats) along with a few special features; and – even with the good, the bad, and the ugly of it – I think it’s great sample of what mid-budget flicks tried to deliver to the international box office.
The short skinny?
Both are a bit imperfect, but I’ll give them separate reviews in order to approach each of them respectfully.
First up: Juan Lopez Moctezuma’s Mary, Mary, Bloody Mary … a kinda/sorta vampire tale that kinda/sorta reaches for the middle ground yet comes up short in ways a bit too obvious.
(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 film’s product packaging:
“A beautiful American artist named Mary who just so happens to be a vampire living in Mexico has authorities baffled and in full investigation, after her lust for blood has left a trail of bodies across the country …”
The short skinny?
Both are a bit imperfect, but I’ll give them separate reviews in order to approach each of them respectfully.
First up: Juan Lopez Moctezuma’s Mary, Mary, Bloody Mary … a kinda/sorta vampire tale that kinda/sorta reaches for the middle ground yet comes up short in ways a bit too obvious.
(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 film’s product packaging:
“A beautiful American artist named Mary who just so happens to be a vampire living in Mexico has authorities baffled and in full investigation, after her lust for blood has left a trail of bodies across the country …”
Trust me when I say that there’s a lot more written on the rear of this DVD slipcase, but I’m leaving it at that for one central reason: despite divulging a bit too much plot, what the advertising folks do stress is factually incorrect. Mary (played by model turned actress Cristina Ferrare) is most definitely not a vampire – not in the truest definition of the word – but instead has a monstrous characteristic or two that are clearly derivative of vampires. While I’m not opposed to spoiling a bit here or there, I loathe misinforming anyone at any time during my writing … so I’m correcting the record for anyone who’s noticing.
Vampires can’t be out in sunlight, and Mary is out in sunlight nearly all the time. Vampires cannot eat regular food (or not without great discomfort and massive bodily reactions), and Mary is shown eating and drinking on more than one occasion. Vampires have noticeable fangs, and … well, I could go on, but instead let me clarify how Mary is vampiric in nature: she has a bloodlust. That’s it. That’s all. Nothing more and nothing less. She hunts and she kills for the sole purpose of drinking the blood of her victims … but the script by Don Henderson, Malcolm Marmorstein, and Don Rico never quite explains what she is, where this hunger comes from (to a degree), and why it’s so infrequent (she goes several days between feasts). This ambiguity leaves massive holes in the plot that director Juan Lopez Moctezuma never fills, so let’s at least be all on the same page with that.
The best we are led to believe is that Mary’s condition is genetic, passed down from her father (played by genre legend John Carradine, who enjoys a reasonable amount of screen time in the flick’s second half). Naturally, this need puts her in the position to create a certain technique to both selecting and preying on those she comes into contact with; and it’s there in which the script really toys with its only central motivations. At this point in her life, Mary has a routine for satiating the beast within, but it’s come into conflict in a few unique ways, most of which are tied circumstantially to her latest love, Ben Ryder (David Young). As you might suspect, their relationship inevitably reaches a precarious point, forcing Mary to make that fateful choice to stop playing with her food.
These quibbles aside, I guess it’s safe to say that Mary Mary isn’t a bad film; it’s just feels like an entirely routine affair. The nebulousness of the premise runs from start-to-finish, and there’s no singular performance (either good or bad) that elevates this particular story. The cinematography has a nice feel here and there, but it, too, lacks any distinctiveness to prop this up into the realm of the memorable. At times, Mary Mary feels like it’s trying to tap into a vein not all that dissimilar from Italian giallo features; I’m not familiar enough with director Moctezuma’s resume to know whether or not that’s the case or if that reflection is just entirely my observation.
Also, I’d be remiss if I failed to point out that – to the film’s credit – Mary Mary certainly touches reasonably well on stomping grounds that all vampire flicks reach for: these contemplative bloodsuckers always known a thing or two about exploiting their sexuality. Think what you may, but vampires are the only monsters typically allowed full-fledged romantic entanglements, and thankfully the script makes great use of the comely Ferrare as our chief stalker. Hers is a lithe athletic body, and she outfitted in most scenes in loose denim with an almost Bohemian tinge. As an artist, she’s attractive to men and women, and – as a monster – she’ll feel wherever and whenever she can take advantage. Several scenes have a good command of the sexual undercurrent; it never quite rises to the level of other Horror pictures I’ve seen, but it’s there, it’s acknowledged, and it’s worked to some benefit.
Vampires can’t be out in sunlight, and Mary is out in sunlight nearly all the time. Vampires cannot eat regular food (or not without great discomfort and massive bodily reactions), and Mary is shown eating and drinking on more than one occasion. Vampires have noticeable fangs, and … well, I could go on, but instead let me clarify how Mary is vampiric in nature: she has a bloodlust. That’s it. That’s all. Nothing more and nothing less. She hunts and she kills for the sole purpose of drinking the blood of her victims … but the script by Don Henderson, Malcolm Marmorstein, and Don Rico never quite explains what she is, where this hunger comes from (to a degree), and why it’s so infrequent (she goes several days between feasts). This ambiguity leaves massive holes in the plot that director Juan Lopez Moctezuma never fills, so let’s at least be all on the same page with that.
The best we are led to believe is that Mary’s condition is genetic, passed down from her father (played by genre legend John Carradine, who enjoys a reasonable amount of screen time in the flick’s second half). Naturally, this need puts her in the position to create a certain technique to both selecting and preying on those she comes into contact with; and it’s there in which the script really toys with its only central motivations. At this point in her life, Mary has a routine for satiating the beast within, but it’s come into conflict in a few unique ways, most of which are tied circumstantially to her latest love, Ben Ryder (David Young). As you might suspect, their relationship inevitably reaches a precarious point, forcing Mary to make that fateful choice to stop playing with her food.
These quibbles aside, I guess it’s safe to say that Mary Mary isn’t a bad film; it’s just feels like an entirely routine affair. The nebulousness of the premise runs from start-to-finish, and there’s no singular performance (either good or bad) that elevates this particular story. The cinematography has a nice feel here and there, but it, too, lacks any distinctiveness to prop this up into the realm of the memorable. At times, Mary Mary feels like it’s trying to tap into a vein not all that dissimilar from Italian giallo features; I’m not familiar enough with director Moctezuma’s resume to know whether or not that’s the case or if that reflection is just entirely my observation.
Also, I’d be remiss if I failed to point out that – to the film’s credit – Mary Mary certainly touches reasonably well on stomping grounds that all vampire flicks reach for: these contemplative bloodsuckers always known a thing or two about exploiting their sexuality. Think what you may, but vampires are the only monsters typically allowed full-fledged romantic entanglements, and thankfully the script makes great use of the comely Ferrare as our chief stalker. Hers is a lithe athletic body, and she outfitted in most scenes in loose denim with an almost Bohemian tinge. As an artist, she’s attractive to men and women, and – as a monster – she’ll feel wherever and whenever she can take advantage. Several scenes have a good command of the sexual undercurrent; it never quite rises to the level of other Horror pictures I’ve seen, but it’s there, it’s acknowledged, and it’s worked to some benefit.
At ninety minutes, I thought it took entirely too long to introduce any substantive conflict: Mary’s dear old dad eventually arrives on the scene – masked, wielding a switchblade, and racing about the streets in a 1970’s muscle car – and he wants to bring their collective reign of terror to a bitter end. Had his true intentions been known a bit earlier, then the back-and-forth the unfolds might have a bit more narrative impact. (He, after all, drew first blood.) But there’s just not enough red blood cells in this picture to make it more than a one-off. Kudos to leaving it wide open for a sequel as a follow-up might’ve given the lovely Ms. Ferrare a chance to really take a bite out of the box office.
Mary, Mary, Bloody Mary (1975) Cinema Management Inc., Proa Films, and Translor Films. DVD distribution (for this particular release) is being coordinated via VCI Entertainment. (NOTE: The film is available as part of their Bloody 70’s Horror Double Feature alongside Blood Feast as a second bill.) As for the technical specifications? Again, I am not a video expert, but I thought this restoration was very good. The film’s opening segment takes place at night, and (quite clearly) the original production didn’t make the best use of available lighting; but those sequences work in spite of their apparent weaknesses.
As for the special features? Well, there’s a pleasant 40-minutes video essay conducted by film historian Dr. David Will. The upsides to it? He gives a wealth of biographical data to both the people and companies involved in this joint U.S./Mexico production and keeps it moving at a good pace. The downsides? It often feels like one’s being ‘lectured,’ so – as the student – you get to decide whether or not you’ve learned all that much about this particular film. Honestly, I didn’t feel there was a wealth of information that pertained to Mary Mary directly, though Wilt is spot on with some of his stylistics observations incorporated by Moctezuma in the finale.
Recommended.
Mary, Mary, Bloody Mary (1975) is more a mash-up of various film genres than it is anything else, including being a flick of substance. It isn’t quite Horror enough to be considered mainstream Horror; and as a rather obvious attempt at Exploitation it falls equally short. While there is a modicum of tension throughout several sequences, it’s really nothing to write home about. And it’s a touch too long at just over 90-minutes to be a quick-and-easy crowd-pleaser. Still, it wasn’t a bad experience; it’s just an incomplete idea that needed a stronger script – one that answered the questions it raised – to give its players a bit more depth to seek.
In the interests of fairness, I’m pleased to disclose that the fine folks at VCI Entertainment provided me with a complimentary Blu-ray set of Bloody 70’s Horror Double Feature 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
Mary, Mary, Bloody Mary (1975) Cinema Management Inc., Proa Films, and Translor Films. DVD distribution (for this particular release) is being coordinated via VCI Entertainment. (NOTE: The film is available as part of their Bloody 70’s Horror Double Feature alongside Blood Feast as a second bill.) As for the technical specifications? Again, I am not a video expert, but I thought this restoration was very good. The film’s opening segment takes place at night, and (quite clearly) the original production didn’t make the best use of available lighting; but those sequences work in spite of their apparent weaknesses.
As for the special features? Well, there’s a pleasant 40-minutes video essay conducted by film historian Dr. David Will. The upsides to it? He gives a wealth of biographical data to both the people and companies involved in this joint U.S./Mexico production and keeps it moving at a good pace. The downsides? It often feels like one’s being ‘lectured,’ so – as the student – you get to decide whether or not you’ve learned all that much about this particular film. Honestly, I didn’t feel there was a wealth of information that pertained to Mary Mary directly, though Wilt is spot on with some of his stylistics observations incorporated by Moctezuma in the finale.
Recommended.
Mary, Mary, Bloody Mary (1975) is more a mash-up of various film genres than it is anything else, including being a flick of substance. It isn’t quite Horror enough to be considered mainstream Horror; and as a rather obvious attempt at Exploitation it falls equally short. While there is a modicum of tension throughout several sequences, it’s really nothing to write home about. And it’s a touch too long at just over 90-minutes to be a quick-and-easy crowd-pleaser. Still, it wasn’t a bad experience; it’s just an incomplete idea that needed a stronger script – one that answered the questions it raised – to give its players a bit more depth to seek.
In the interests of fairness, I’m pleased to disclose that the fine folks at VCI Entertainment provided me with a complimentary Blu-ray set of Bloody 70’s Horror Double Feature 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