- Published on
site update
So many movies ... so little time ...
On this day in 2008 (in Spain), Plaguers enjoyed its theatrical premiere when it was first screened for audiences of the Semana Internacional de Cine Fantastico Estepona. Written and directed by Brad Sykes, the film starred Steve Railsback, Alexis Zibolis, Noelle Perris, and others.
According to our friends at IMDB.com, here's the plot summary:
"The year: 2241. The transport vessel PANDORA hurtles through space, bringing an alien energy source known as "Thanatos" to fuel-starved planet Earth."
For the record:
To the film's credit, Plaguers racked up some positive praise from a screening on the film festival circuit.
-- EZ
On this day in 2008 (in Spain), Plaguers enjoyed its theatrical premiere when it was first screened for audiences of the Semana Internacional de Cine Fantastico Estepona. Written and directed by Brad Sykes, the film starred Steve Railsback, Alexis Zibolis, Noelle Perris, and others.
According to our friends at IMDB.com, here's the plot summary:
"The year: 2241. The transport vessel PANDORA hurtles through space, bringing an alien energy source known as "Thanatos" to fuel-starved planet Earth."
For the record:
To the film's credit, Plaguers racked up some positive praise from a screening on the film festival circuit.
-- EZ
- Published on
site update
So many movies ... so little time ...
On this day in 1977 (in the United Kingdom), audiences in attendance of the Edinburgh International Film Festival were treated to the exclusive theatrical premiere of Blue Sunshine. Written and directed by Jeff Lieberman, the film starred Zalman King, Deborah Winters, Mark Goddard, and others.
According to our friends at IMDB.com, here's the plot summary:
"A bizarre series of murders begins in Los Angeles, where people start going bald and then become homicidal maniacs. But could the blame rest on a particularly dangerous form of LSD called Blue Sunshine the murderers took ten years before?"
ExtraExtra Alert:
In 2025, I received an all-new home video release of Blue Sunshine (1977) from a distributor in exchange for review coverage on SciFiHistory.Net. Interested readers can find my review right here.
-- EZ
On this day in 1977 (in the United Kingdom), audiences in attendance of the Edinburgh International Film Festival were treated to the exclusive theatrical premiere of Blue Sunshine. Written and directed by Jeff Lieberman, the film starred Zalman King, Deborah Winters, Mark Goddard, and others.
According to our friends at IMDB.com, here's the plot summary:
"A bizarre series of murders begins in Los Angeles, where people start going bald and then become homicidal maniacs. But could the blame rest on a particularly dangerous form of LSD called Blue Sunshine the murderers took ten years before?"
ExtraExtra Alert:
In 2025, I received an all-new home video release of Blue Sunshine (1977) from a distributor in exchange for review coverage on SciFiHistory.Net. Interested readers can find my review right here.
-- EZ
- Published on
site update
So many movies ... so little time ...
On this day in 2019 (in Mexico), Dark Awakening (aka Obscuro Despertar) delivered a dark premise to audiences. Written and directed by Carlos Preciado Cid, the film starred Daniela Ortiz, Nacho Tapia, Victor Barba, and others.
According to our friends at IMDB.com, here's the plot summary:
"Eva is a young woman who wakes up tied and blindfolded inside a van just to discover that the earth has been invaded by aliens."
-- EZ
On this day in 2019 (in Mexico), Dark Awakening (aka Obscuro Despertar) delivered a dark premise to audiences. Written and directed by Carlos Preciado Cid, the film starred Daniela Ortiz, Nacho Tapia, Victor Barba, and others.
According to our friends at IMDB.com, here's the plot summary:
"Eva is a young woman who wakes up tied and blindfolded inside a van just to discover that the earth has been invaded by aliens."
-- EZ
- Published on
site update
So many movies ... so little time ...
On this day in 2012 (in the United Kingdom), Bigfoot: The Lost Coast Tapes enjoyed its very first home video release. Directed by Corey Grant from a story by Brian Kelsey and Bryan O'Cain, the film starred Drew Rausch, Rich McDonald, Ashley Wood, and others.
According to our friends at IMDB.com, here's the plot summary:
"After a "Bigfoot Hunter" claims to possess the body of a dead Sasquatch, a disgraced investigative journalist stakes his comeback -- and the lives of his documentary film crew -- on proving the find to be a hoax."
-- EZ
On this day in 2012 (in the United Kingdom), Bigfoot: The Lost Coast Tapes enjoyed its very first home video release. Directed by Corey Grant from a story by Brian Kelsey and Bryan O'Cain, the film starred Drew Rausch, Rich McDonald, Ashley Wood, and others.
According to our friends at IMDB.com, here's the plot summary:
"After a "Bigfoot Hunter" claims to possess the body of a dead Sasquatch, a disgraced investigative journalist stakes his comeback -- and the lives of his documentary film crew -- on proving the find to be a hoax."
-- EZ
- Published on
(NOTE: The following review will contain minor spoilers necessary solely for the discussion of plot and/or characters. If you’re the type of reader who prefers a review entirely spoiler-free, then I’d encourage you to skip down to the last few paragraphs for the final assessment. If, however, you’re accepting of a few modest hints at ‘things to come,’ then read on …)
From the film’s IMDB.com page citation:
“Madrid, 1991. A teen girl finds herself besieged by an evil supernatural force after she played Ouija with two classmates.”
I’ve often pointed out that – as a critic – one of the hardest genres to review for me is Horror.
Now, this isn’t because I dislike these films in any way. In fact, the exact opposite is true more often than not: I genuinely love the thrill, the artistry, and the performances that go into making a fabulous carnival ride. My issue is that I generally don’t find many of them truly scary. What frightens each of us varies greatly; and the films recommended to me as the best the genre has to offer by friends and family really span the spectrum from boring to epic. Yet … very, very, very few of them terrify me. Because I tend to gravitate more toward what’s cerebrally terrorizing as opposed to visual haunts, I just see many of these films differently. It’s not a complaint. I still like some. A few are highly recommended. Still … overall? Meh.
Consequently, I went into 2017’s Veronica expecting a great deal more than what the finished product even remotely delivered.
Again, please remember: this is not a complaint.
Technically, Veronica is about as good as anything I’ve had the good fortune to consider as a recommendation. The script works on more than one level; and the actors and actresses – some children figure prominently into the mix – are all quite good. The jump scares – what few there are – are also effective, as is the use of some greater visual trickery to weave a dark spectral entity into live action in ways surprising as well as chilling. Written (in part) and directed by Paco Plaza, the picture hits its notes much more strongly than it dishes out anything weak; and I find it unsurprising to learn that the flick has garnered a great deal of positive praise – even awards wins – during its initial release and continues to resonate with audiences today.
But … was it everything I had been led to believe?
Well … not really.
From the film’s IMDB.com page citation:
“Madrid, 1991. A teen girl finds herself besieged by an evil supernatural force after she played Ouija with two classmates.”
I’ve often pointed out that – as a critic – one of the hardest genres to review for me is Horror.
Now, this isn’t because I dislike these films in any way. In fact, the exact opposite is true more often than not: I genuinely love the thrill, the artistry, and the performances that go into making a fabulous carnival ride. My issue is that I generally don’t find many of them truly scary. What frightens each of us varies greatly; and the films recommended to me as the best the genre has to offer by friends and family really span the spectrum from boring to epic. Yet … very, very, very few of them terrify me. Because I tend to gravitate more toward what’s cerebrally terrorizing as opposed to visual haunts, I just see many of these films differently. It’s not a complaint. I still like some. A few are highly recommended. Still … overall? Meh.
Consequently, I went into 2017’s Veronica expecting a great deal more than what the finished product even remotely delivered.
Again, please remember: this is not a complaint.
Technically, Veronica is about as good as anything I’ve had the good fortune to consider as a recommendation. The script works on more than one level; and the actors and actresses – some children figure prominently into the mix – are all quite good. The jump scares – what few there are – are also effective, as is the use of some greater visual trickery to weave a dark spectral entity into live action in ways surprising as well as chilling. Written (in part) and directed by Paco Plaza, the picture hits its notes much more strongly than it dishes out anything weak; and I find it unsurprising to learn that the flick has garnered a great deal of positive praise – even awards wins – during its initial release and continues to resonate with audiences today.
But … was it everything I had been led to believe?
Well … not really.
Again, I’m fully aware that this is one of those “it’s me, not you” moments. For viewers willing to risk the set-up and the pay-off from the script’s framework – it’s told as a flashback reveal, and I’m not a big supporter of those for Horror projects – it’ll likely tickle them bloody pink. The monster – the ghost? the spirit? the entity? – is interesting. But I’m of the mindset that I need to know a bit more in order to get fully invested. So sue me.
Veronica (played by Sandra Escacena) is your typical teenager. After her father died, Veronica finds herself forced by her mother Ana (Ana Torrent) to help out more around the apartment by watching her three siblings while the lady of the house goes to work. Such added responsibility on her shoulders means that the young woman isn’t the most popular with her teenage classmates; but she never allows herself to feel as if she’s missing anything she could do without. What she is lacking, regardless, is her absent father, a longing that eventually pushes her to purchase a Ouija board in order to conduct a séance for the purpose of checking in on dear old dad on the otherside.
What Veronica and her friends don’t consider, however, is an even greater danger: they’re holding their séance in the school basement while the rest of the student body is outside observing a solar eclipse. Anyone with a loose knowledge of the past knows that eclipses have historically been seen as momentous occasions wherein pagan societies would offer up sacrifices to the angry gods they believed to have stolen away their sun. Hoping to appease these celestial overlords, they’d ceremonially butcher their fellow men, women, and children to ward off bad luck, demonic attacks, or the end of existence itself. So it’s entirely understandable how a botched séance by a trio of uneducated teenagers might run the risk of swinging open some portal through which a hungry fiend might step; and that’s exactly the business of Veronica once she cuts her finger on a glass and drips fresh blood onto the board game.
This is where Plaza’s film excels. It visually establishes this event both in the eyes of these reckless teens as well as the Catholic school’s resident ‘creepy old nun’: dubbed ‘Sister Death’ (Consuelo Trujillo) by the insolent youths, Hermana Muerte is a force to be reckoned with all of her own. Legally blind, she ‘watches’ everything near and far with fixed, opaque eyes, always displaying that her ‘sight’ is in matters more of the spiritual world than of the flesh. Indeed, she plays an important role as the story unfold, even though some might suggest the character winds up being reduced to that somewhat stereotypical know-it-all storytellers wheel out when they’ve a bucket (or two) of exposition needing to be dumped on the audience.
But as I’ve said, Veronica – as a film – works exceedingly well because of Plaza’s expert direction. He rather eloquently sets this world in motion, giving it life and depth with some compelling visual strokes. It’s easy to accept that he’s at the helm, ushering his players through their paces; and he slowly builds an atmosphere of dread in creative yet small ways, only allowing the elements to flourish if and when its stylistically necessary. What you or I may see as nothing more than a spot on a mattress vividly becomes something much more dangerous as his command, and I can’t imagine this flick working in the same way with any other captain at the helm.
Veronica (played by Sandra Escacena) is your typical teenager. After her father died, Veronica finds herself forced by her mother Ana (Ana Torrent) to help out more around the apartment by watching her three siblings while the lady of the house goes to work. Such added responsibility on her shoulders means that the young woman isn’t the most popular with her teenage classmates; but she never allows herself to feel as if she’s missing anything she could do without. What she is lacking, regardless, is her absent father, a longing that eventually pushes her to purchase a Ouija board in order to conduct a séance for the purpose of checking in on dear old dad on the otherside.
What Veronica and her friends don’t consider, however, is an even greater danger: they’re holding their séance in the school basement while the rest of the student body is outside observing a solar eclipse. Anyone with a loose knowledge of the past knows that eclipses have historically been seen as momentous occasions wherein pagan societies would offer up sacrifices to the angry gods they believed to have stolen away their sun. Hoping to appease these celestial overlords, they’d ceremonially butcher their fellow men, women, and children to ward off bad luck, demonic attacks, or the end of existence itself. So it’s entirely understandable how a botched séance by a trio of uneducated teenagers might run the risk of swinging open some portal through which a hungry fiend might step; and that’s exactly the business of Veronica once she cuts her finger on a glass and drips fresh blood onto the board game.
This is where Plaza’s film excels. It visually establishes this event both in the eyes of these reckless teens as well as the Catholic school’s resident ‘creepy old nun’: dubbed ‘Sister Death’ (Consuelo Trujillo) by the insolent youths, Hermana Muerte is a force to be reckoned with all of her own. Legally blind, she ‘watches’ everything near and far with fixed, opaque eyes, always displaying that her ‘sight’ is in matters more of the spiritual world than of the flesh. Indeed, she plays an important role as the story unfold, even though some might suggest the character winds up being reduced to that somewhat stereotypical know-it-all storytellers wheel out when they’ve a bucket (or two) of exposition needing to be dumped on the audience.
But as I’ve said, Veronica – as a film – works exceedingly well because of Plaza’s expert direction. He rather eloquently sets this world in motion, giving it life and depth with some compelling visual strokes. It’s easy to accept that he’s at the helm, ushering his players through their paces; and he slowly builds an atmosphere of dread in creative yet small ways, only allowing the elements to flourish if and when its stylistically necessary. What you or I may see as nothing more than a spot on a mattress vividly becomes something much more dangerous as his command, and I can’t imagine this flick working in the same way with any other captain at the helm.
Additionally, Plaza’s casting choices work in tandem with the kinda/sorta blue collar mystique at play throughout the procedure. Directors like Steven Spielberg and Guillermo del Toro would likely have hired almost annoyingly photogenic children to fill out these big roles as the bulk of the running time is spent with these youngsters. While certainly not unattractive, there’s a plainness to Escacena and her screen siblings – Lucía (Bruna González), Irene (Claudia Placer), and Antoñito (Iván Chavero) – which helps to clarify that these are not big movie stars but ordinary people who find themselves victims of extraordinary circumstance. Because they look like any one of us (everymen, if you will), it’s easier to invest in their fates – individually and as a family unit – when the madness begins to ratchet itself higher and higher.
Still, Veronica was a bit overwrought in some places. Its 105-minute running time feels a bit leaden in spots, and Plaza invests entirely too much energy in keeping the pace sedate – too much so – as narrative counterpoints to the manic ghost-fueled frenzies which build toward the climax. A bit of trimming could easily have elevated an already great picture, getting audiences deeper into the exploding mania that was promised in the flick’s opening set-up (remember: this is a flashback). Also, it doesn’t help the fact that this is a story we’ve likely all seen before – meaning this isn’t the first time teenagers have done something lamebrained spectrally and then had to go about the business of repairing the fabric of reality – so such suggested edits would’ve delivered the thrills and chills a bit more quickly than the director chose.
Recommended.
To be blunt, Veronica (2017) isn’t exactly the highpoint of terror that a great many online have opined that it is. While the picture rather efficiently sets up this limited universe and the terrors unleashed by an otherwise innocent young woman, director Plaza and his cast and crew takes their sweet time positioning small payoffs along the way to a big finish; and it’s safe to suggest that the end result drags unnecessarily in sequences a bit bloated. Still, it’s refreshing to see everyone truly ‘go for broke’ when the moment requires it; and it’s in these bits and pieces that Veronica offers the best reason to be patient: cautionary and nightmarish, it’s a spell worth being spun.
In the interests of fairness, I’m beholden to no one for this review of Veronica (2017) as I viewed it as part of my very own subscription to Netflix.
-- EZ
Still, Veronica was a bit overwrought in some places. Its 105-minute running time feels a bit leaden in spots, and Plaza invests entirely too much energy in keeping the pace sedate – too much so – as narrative counterpoints to the manic ghost-fueled frenzies which build toward the climax. A bit of trimming could easily have elevated an already great picture, getting audiences deeper into the exploding mania that was promised in the flick’s opening set-up (remember: this is a flashback). Also, it doesn’t help the fact that this is a story we’ve likely all seen before – meaning this isn’t the first time teenagers have done something lamebrained spectrally and then had to go about the business of repairing the fabric of reality – so such suggested edits would’ve delivered the thrills and chills a bit more quickly than the director chose.
Recommended.
To be blunt, Veronica (2017) isn’t exactly the highpoint of terror that a great many online have opined that it is. While the picture rather efficiently sets up this limited universe and the terrors unleashed by an otherwise innocent young woman, director Plaza and his cast and crew takes their sweet time positioning small payoffs along the way to a big finish; and it’s safe to suggest that the end result drags unnecessarily in sequences a bit bloated. Still, it’s refreshing to see everyone truly ‘go for broke’ when the moment requires it; and it’s in these bits and pieces that Veronica offers the best reason to be patient: cautionary and nightmarish, it’s a spell worth being spun.
In the interests of fairness, I’m beholden to no one for this review of Veronica (2017) as I viewed it as part of my very own subscription to Netflix.
-- EZ
- Published on
site update
So many movies ... so little time ...
On this day in 1988 (in West Germany), flesh was on the menu once again for the theatrical release of Vampire In Venice (aka Nosferatu a Venezia). Directed by Augusto Caminito and Klaus Kinski, the film starred Kinski alongside Barbara De Rossi, Yorgo Voyagis, Anne Knecht, and others.
According to our friends at IMDB.com, here's the plot summary:
"Professor Paris Catalano visits Venice, to investigate the last known appearance of the famous vampire Nosferatu during the carnival of 1786."
-- EZ
On this day in 1988 (in West Germany), flesh was on the menu once again for the theatrical release of Vampire In Venice (aka Nosferatu a Venezia). Directed by Augusto Caminito and Klaus Kinski, the film starred Kinski alongside Barbara De Rossi, Yorgo Voyagis, Anne Knecht, and others.
According to our friends at IMDB.com, here's the plot summary:
"Professor Paris Catalano visits Venice, to investigate the last known appearance of the famous vampire Nosferatu during the carnival of 1786."
-- EZ
From Google.com:
Vampire in Venice (1988), also known as Nosferatu in Venice and Prince of the Night, is an Italian horror film notorious for its troubled production and the erratic behavior of its lead actor, Klaus Kinski. An unofficial sequel to Werner Herzog's 1979 film Nosferatu the Vampyre, it stars Kinski reprising his role as the vampire alongside Christopher Plummer and Donald Pleasence. The final result is a confusing, incoherent, yet visually striking film with more interest stemming from its chaotic creation than its narrative.
Plot summary
The film follows Professor Paris Catalano (Christopher Plummer), an expert on vampirism, who travels to Venice to hunt the infamous vampire Nosferatu (Klaus Kinski). He believes Nosferatu is tired of his eternal life and is seeking a way to die.
Catalano is summoned by the beautiful Princess Helietta (Barbara De Rossi), who believes the vampire is buried in her family's basement. After a séance is performed, Nosferatu is awakened and begins his hunt in Venice. The vampire fixates on Helietta, who he believes is the reincarnation of his long-lost love, and seeks to be with her so he can find eternal peace through death.
Notorious production
Vampire in Venice is legendary for its disastrous and chaotic production, which involved multiple fired directors and a hostile lead actor.
Reception
The critical consensus is that Vampire in Venice is a cinematic mess, though some find it to be an "interesting failure" due to its moody atmosphere.
Vampire in Venice (1988), also known as Nosferatu in Venice and Prince of the Night, is an Italian horror film notorious for its troubled production and the erratic behavior of its lead actor, Klaus Kinski. An unofficial sequel to Werner Herzog's 1979 film Nosferatu the Vampyre, it stars Kinski reprising his role as the vampire alongside Christopher Plummer and Donald Pleasence. The final result is a confusing, incoherent, yet visually striking film with more interest stemming from its chaotic creation than its narrative.
Plot summary
The film follows Professor Paris Catalano (Christopher Plummer), an expert on vampirism, who travels to Venice to hunt the infamous vampire Nosferatu (Klaus Kinski). He believes Nosferatu is tired of his eternal life and is seeking a way to die.
Catalano is summoned by the beautiful Princess Helietta (Barbara De Rossi), who believes the vampire is buried in her family's basement. After a séance is performed, Nosferatu is awakened and begins his hunt in Venice. The vampire fixates on Helietta, who he believes is the reincarnation of his long-lost love, and seeks to be with her so he can find eternal peace through death.
Notorious production
Vampire in Venice is legendary for its disastrous and chaotic production, which involved multiple fired directors and a hostile lead actor.
- Multiple directors: Augusto Caminito is credited as the director, but multiple others, including Luigi Cozzi and Mario Caiano, were either fired or quit during filming.
- Kinski's behavior: Klaus Kinski clashed constantly with the crew. He refused to wear the makeup from the Herzog film and insisted on shooting scenes only during the pre-dawn "magic hour," resulting in footage of him simply wandering the streets.
- Sexual assault allegations: Severin Films' documentary Creation is Violent (included on their Blu-ray release) recounts allegations of Kinski's predatory behavior on set. An actress stated that Kinski sexually assaulted her during a love scene.
Reception
The critical consensus is that Vampire in Venice is a cinematic mess, though some find it to be an "interesting failure" due to its moody atmosphere.
- Visually striking: The on-location cinematography in Venice is widely praised for its gloomy, atmospheric quality.
- Incoherent plot: The narrative is confusing and convoluted, a likely result of the constant rewrites and changes in direction.
- Art-house sensibilities: The slow pace and focus on atmosphere over traditional horror thrills make the film feel like a failed attempt at art-house cinema.
- Wasted cast: Critics feel the talented cast, including Plummer and Pleasence, were wasted on a poor script and chaotic set.
- Published on
So many movies ... so much to celebrate!!!
On this day in 1960 (in Italy), the deadly shenanigans of a small town artist and some missing women were on full display with the theatrical release of Mill Of The Stone Women. Written (in part) and directed by Giorgio Ferroni, the Fantasy/Horror starred Pierre Brice, Scilla Gabel, Wolfgang Preiss, and others.
According to our friends at IMDB.com, here's the plot summary:
"In 19th century Holland, a professor of fine arts and an unlicensed surgeon run a secret lab where the professor's ill daughter receives blood-transfusions from kidnapped female victims who posthumously become macabre art."
ExtraExtra Alert:
In 2021, I had the good fortune of receiving a complimentary Blu-ray of an all-new restoration for Mill Of The Stone Women. Interested in knowing what I thought? My review of the film can be found right here.
-- EZ
From Google.com:
Mill of the Stone Women is a 1960 Italian Gothic horror film by director Giorgio Ferroni, notable for being Italy's first color horror film, which predates other famous Spaghetti horror. The film follows an art student who becomes entangled in the dark secret of a recluse sculptor and his mysterious daughter at an old mill, where the artist's grotesque "stone women" are actually petrified human corpses sustained by blood transfusions, according to YouTube and Rotten Tomatoes and IMDb.
Plot Summary
Key Aspects
On this day in 1960 (in Italy), the deadly shenanigans of a small town artist and some missing women were on full display with the theatrical release of Mill Of The Stone Women. Written (in part) and directed by Giorgio Ferroni, the Fantasy/Horror starred Pierre Brice, Scilla Gabel, Wolfgang Preiss, and others.
According to our friends at IMDB.com, here's the plot summary:
"In 19th century Holland, a professor of fine arts and an unlicensed surgeon run a secret lab where the professor's ill daughter receives blood-transfusions from kidnapped female victims who posthumously become macabre art."
ExtraExtra Alert:
In 2021, I had the good fortune of receiving a complimentary Blu-ray of an all-new restoration for Mill Of The Stone Women. Interested in knowing what I thought? My review of the film can be found right here.
-- EZ
From Google.com:
Mill of the Stone Women is a 1960 Italian Gothic horror film by director Giorgio Ferroni, notable for being Italy's first color horror film, which predates other famous Spaghetti horror. The film follows an art student who becomes entangled in the dark secret of a recluse sculptor and his mysterious daughter at an old mill, where the artist's grotesque "stone women" are actually petrified human corpses sustained by blood transfusions, according to YouTube and Rotten Tomatoes and IMDb.
Plot Summary
- An art student, Hans, travels to Holland to write about the sculptures of women at a peculiar windmill.
- He meets the beautiful and reclusive daughter of the sculptor, Elfi, and becomes captivated by her and the mill's eerie collection of statues.
- Hans discovers the horrifying truth: the "stone women" are petrified corpses of young women, kept in a state of preserved life through blood transfusions by the professor and his doctor.
Key Aspects
- Color:
The film was the first Italian horror movie shot in color, giving it a distinctive visual style, says YouTube and Arrow Player. - Gothic Atmosphere:
The film features a decaying mill filled with macabre statues, shadowy family secrets, and a secluded, ill relative. - Influence:
Its theme of a mad scientist preserving a loved one at the expense of others is seen in other horror films and has been linked to the work of Mario Bava and Dario Argento. - Themes:
The film explores themes of misogyny, the nature of art, and the line between life and death. - Exoticism:
The film's supposed foreign origins and the made-up author were part of a marketing tactic to attract audiences to a mysterious and taboo story, according to Tapatalk.
- Published on
So many movies ... so much to celebrate!
On this day in 2019 (in Indonesia), Gundala first suited up in the pursuit of justice. Written (in part) and directed by Joko Anwar, the Superhero/Fantasy starred Abimana Aryasatya, Tara Basro, Bront Palarae, and others.
According to our friends at IMDB.com, here's the plot summary:
"Indonesia's preeminent comic book superhero and his alter ego Sancaka enter the cinematic universe to battle the wicked Pengkor and his diabolical squad of orphan assassins."
For the record:
To the film's credit, Gundala was a bit of a sensation on the film festival circuit as well as in its native Indonesia.
-- EZ
From Google.com:
Gundala (2019) is an Indonesian superhero film directed by Joko Anwar, serving as the first installment of the BumiLangit Cinematic Universe. The film tells the origin story of Sancaka, a young boy who gains the power to absorb and control electricity after being struck by lightning, and grows into a hero who must defend Jakarta from a dangerous antagonist named Pengkor. Inspired by Harya “Hasmi” Suraminata's classic 1969 comic series, the movie features intense action sequences and social commentary, though some critics felt it had missed opportunities in its storytelling and fight choreography.
Synopsis & Themes
Production & Cinematic Universe
Reception
On this day in 2019 (in Indonesia), Gundala first suited up in the pursuit of justice. Written (in part) and directed by Joko Anwar, the Superhero/Fantasy starred Abimana Aryasatya, Tara Basro, Bront Palarae, and others.
According to our friends at IMDB.com, here's the plot summary:
"Indonesia's preeminent comic book superhero and his alter ego Sancaka enter the cinematic universe to battle the wicked Pengkor and his diabolical squad of orphan assassins."
For the record:
To the film's credit, Gundala was a bit of a sensation on the film festival circuit as well as in its native Indonesia.
-- EZ
From Google.com:
Gundala (2019) is an Indonesian superhero film directed by Joko Anwar, serving as the first installment of the BumiLangit Cinematic Universe. The film tells the origin story of Sancaka, a young boy who gains the power to absorb and control electricity after being struck by lightning, and grows into a hero who must defend Jakarta from a dangerous antagonist named Pengkor. Inspired by Harya “Hasmi” Suraminata's classic 1969 comic series, the movie features intense action sequences and social commentary, though some critics felt it had missed opportunities in its storytelling and fight choreography.
Synopsis & Themes
- Origin Story:
The film follows Sancaka from his childhood, witnessing his father's murder and his mother's disappearance, through to his adult life as a security guard who becomes the titular superhero, Gundala. - Supernatural Powers:
After being struck by lightning, the young Sancaka develops the ability to store and utilize its power, becoming "Gundala". - Fight for Justice:
In a city plagued by corruption and violence, the adult Sancaka (played by Abimana Aryasatya) must decide whether to use his powers for himself or to rise as the people's champion. - Villain:
The story pits Gundala against Pengkor (Bront Palarae), the leader of a villainous group known as the orphan assassins, and his associates.
Production & Cinematic Universe
- BumiLangit Cinematic Universe:
Gundala is the first movie in the BumiLangit Cinematic Universe, a shared universe of Indonesian superheroes based on various classic comic characters. - Director:
The film was written and directed by Joko Anwar, a prominent figure in Indonesian cinema. - Inspiration:
It draws inspiration from the original Gundala comic books by Harya “Hasmi” Suraminata, which were popular from 1969 to 1983.
Reception
- Action & Spectacle:
Despite having a smaller budget than Hollywood productions, the film delivers decent superhero spectacle and features intense action sequences, sometimes described as The Raid-like in their visceral nature. - Social Commentary:
The movie has been praised for its strong social commentary on contemporary Indonesian society. - Critical Reception:
While some critics found the storytelling familiar, the performances, particularly the early portrayal of young Sancaka by Muzakki Ramdhan, and the film's aesthetic received positive attention.
- Published on
So little time ... so much to celebrate!
On this day in 1952 (in the U.S.), Monkey Business enjoyed its exclusive theatrical premiere event when it was first screened in Atlantic City, New Jersey. Directed by Howard Hawks, the SciFi/Comedy starred Cary Grant, Ginger Rogers, Marilyn Monroe, and others. According to our friends at IMDB.com, here's the plot summary:
"A chemist finds his personal and professional life turned upside down when one of his chimpanzees finds the fountain of youth."
For the record:
At the 1953 Golden Globes Awards, actress Ginger Rogers received a nomination for her work in the film in the category of 'Best Actress - Comedy Or Musical.'
-- EZ
From Google.com:
Monkey Business is a 1952 screwball comedy film directed by Howard Hawks starring Cary Grant and Ginger Rogers, with Marilyn Monroe and Charles Coburn in supporting roles. The plot follows a research chemist, Barnaby Fulton (Grant), whose work on a "fountain of youth" pill is disrupted when a lab chimpanzee accidentally spills chemicals into the water cooler. After drinking the contaminated water, Barnaby, his wife (Rogers), and his boss (Coburn) all experience a temporary regression to childhood, leading to chaotic and comedic situations.
Key aspects of the film
On this day in 1952 (in the U.S.), Monkey Business enjoyed its exclusive theatrical premiere event when it was first screened in Atlantic City, New Jersey. Directed by Howard Hawks, the SciFi/Comedy starred Cary Grant, Ginger Rogers, Marilyn Monroe, and others. According to our friends at IMDB.com, here's the plot summary:
"A chemist finds his personal and professional life turned upside down when one of his chimpanzees finds the fountain of youth."
For the record:
At the 1953 Golden Globes Awards, actress Ginger Rogers received a nomination for her work in the film in the category of 'Best Actress - Comedy Or Musical.'
-- EZ
From Google.com:
Monkey Business is a 1952 screwball comedy film directed by Howard Hawks starring Cary Grant and Ginger Rogers, with Marilyn Monroe and Charles Coburn in supporting roles. The plot follows a research chemist, Barnaby Fulton (Grant), whose work on a "fountain of youth" pill is disrupted when a lab chimpanzee accidentally spills chemicals into the water cooler. After drinking the contaminated water, Barnaby, his wife (Rogers), and his boss (Coburn) all experience a temporary regression to childhood, leading to chaotic and comedic situations.
Key aspects of the film
- Plot:
The story begins with Barnaby Fulton, a chemist, working on a rejuvenation potion. When a chimpanzee mixes experimental chemicals and adds them to the water cooler, Barnaby drinks the mixture and believes his potion is responsible for his newfound youthful vigor. His wife and boss also drink the mixture, resulting in them acting like children. - Stars:
The film features Cary Grant as Barnaby Fulton, Ginger Rogers as his wife, and Charles Coburn as his boss. Marilyn Monroe also appears in a significant role as a young woman who becomes involved in the chaotic events. - Genre:
Monkey Business is a prime example of a screwball comedy, a genre characterized by rapid-fire dialogue, farcical situations, and often slapstick comedy, according to this WordPress.com review. - Director:
Howard Hawks, known for his work in other comedies like Bringing Up Baby and His Girl Friday, directed the film, blending the chaotic elements with a sense of scientific absurdity. - Themes:
The film explores themes of aging, youth, and the sometimes silly consequences of scientific ambition. The humor comes from the adult characters behaving like children. - Marilyn Monroe's role:
This WordPress.com review highlights Monroe's performance as being particularly enjoyable, suggesting she showcases her sexiness without resorting to her later "bimbo" stereotype, providing a unique and refreshing take.
- Published on
So many movies ... so much to celebrate!
On this day in 2020 (in Canada), Minor Premise enjoyed its first theatrical exhibition ever when it played for audiences in attendance of the Fantasia International Film Festival. Written (in part) and directed by Eric Schultz, the SciFi/Drama starred Sathya Sridharan, Paton Ashbrook, Dana Ashbrook, and others.
According to our friends at IMDB.com, here's the plot summary:
"Attempting to surpass his father's legacy, a reclusive neuroscientist becomes entangled in his own experiment, pitting ten fragments of his consciousness against each other."
For the record:
To the film's credit, Minor Premise enjoyed a bit of praise while playing on the film festival circuit.
-- EZ
From Google.com:
Plot & Premise
Key Aspects
Reception
On this day in 2020 (in Canada), Minor Premise enjoyed its first theatrical exhibition ever when it played for audiences in attendance of the Fantasia International Film Festival. Written (in part) and directed by Eric Schultz, the SciFi/Drama starred Sathya Sridharan, Paton Ashbrook, Dana Ashbrook, and others.
According to our friends at IMDB.com, here's the plot summary:
"Attempting to surpass his father's legacy, a reclusive neuroscientist becomes entangled in his own experiment, pitting ten fragments of his consciousness against each other."
For the record:
To the film's credit, Minor Premise enjoyed a bit of praise while playing on the film festival circuit.
-- EZ
From Google.com:
Plot & Premise
- Ethan, a brilliant but troubled neuroscientist, tries to outdo his late father's work by perfecting a machine that allows for the translation of memories into digital form.
- He uses the device on himself and, instead of unlocking memory, splits his consciousness into ten distinct fragments, which then take turns controlling his body for short periods.
- These fragments, representing different aspects of his personality (like anxiety, intellect, anger, and libido), constantly battle for control, causing a "Dr. Jekyll and Mr. Hyde" situation multiplied several times over.
- With the help of his friend Alli, Ethan attempts to find a way to reverse the experiment and reassemble his consciousness.
Key Aspects
- Genre:
A blend of drama, sci-fi, and thriller, with elements of mad-science. - Themes:
Explores concepts of consciousness, identity, memory, and the relationship between different aspects of the human psyche. - Production:
The film utilizes a minimalistic approach, primarily set in one confined location to create an immersive and absorbing experience. - Cast:
Stars Sathya Sridharan as Ethan, with Paton Ashbrook as Alli and Dana Ashbrook in a supporting role.
Reception
- Critics and audiences have praised the film for its originality and unique concept.
- The performance of lead actor Sathya Sridharan, in particular, has been highlighted for his demanding role in portraying the various fragments.
- However, the film's complex scientific concepts and sometimes confusing narrative have also been noted as potential drawbacks.