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press release
hellbender [limited edition]
Hellbender is a spell-binding folk horror and coming-of-age story, boiling over with adolescent rage and wicked witchcraft.You must login to place orders.
GROWING UP IS HELL!
The sixth feature film from acclaimed filmmakers The Adams Family (The Deeper You Dig), Hellbender is a spell-binding folk horror and coming-of-age story, boiling over with adolescent rage and wicked witchcraft. Teenager Izzy lives in isolation with Mother because she has a rare immune disorder. Or so she is told. After befriending local girl Amber, Lizzy begins to question the reality of her disease. And when she eats a live worm as part of a teenage game, she soon develops a ravenous hunger for living things, learning that she is the latest in a line of "hellbenders", supernatural beings who possess immensely powerful abilities. Featuring a fantastic punk rock soundtrack with songs from the family's band, H6LLB6ND6R, this truly unique film expertly blends beautiful and naturalistic cinematography, impressive and stylistic VFX and stunning performances from real-life mother and daughter team, Zelda Adams and Toby Poser.
GROWING UP IS HELL!
The sixth feature film from acclaimed filmmakers The Adams Family (The Deeper You Dig), Hellbender is a spell-binding folk horror and coming-of-age story, boiling over with adolescent rage and wicked witchcraft. Teenager Izzy lives in isolation with Mother because she has a rare immune disorder. Or so she is told. After befriending local girl Amber, Lizzy begins to question the reality of her disease. And when she eats a live worm as part of a teenage game, she soon develops a ravenous hunger for living things, learning that she is the latest in a line of "hellbenders", supernatural beings who possess immensely powerful abilities. Featuring a fantastic punk rock soundtrack with songs from the family's band, H6LLB6ND6R, this truly unique film expertly blends beautiful and naturalistic cinematography, impressive and stylistic VFX and stunning performances from real-life mother and daughter team, Zelda Adams and Toby Poser.
- LIMITED EDITION BLU-RAY CONTENTS
- High Definition (1080p) Blu-ray presentation
- Original lossless stereo 2.0 audio
- Optional English subtitles for the deaf and hard of hearing
- Brand new audio commentary with filmmakers Toby Poser, John Adams, Zelda Adams and Lulu Adams
- From the Forest She Rises, a brand new video essay by filmmaker Jen Handorf
- Black Magic Tricks, a featurette on the visual effects by VFX artist Trey Lindsay
- Behind-the-scenes compilation footage
- Fort Worden (2021), a short film by Zelda Adams
- Four music videos: Hit and Run (2024), Drive (2021), Lovely (2021) and Black Sky (2020)
- Original trailer
- Reversible sleeve featuring newly commissioned artwork by Beth Morris and original artwork by Sister Hyde
- Illustrated collector’s booklet featuring new writing on the film by Natasha Ball and Kat Hughes
About Arrow Films
Since launching in the UK in 2009, Arrow Video has grown to become one of the world’s most notable labels for physical and digital releases of genre, cult and horror films from around the globe. The label has passionately trailblazed a multi-award-winning slate of releases in deluxe, definitive editions with state-of-the-art restorations, in-depth curation of new and archival extra features, newly commissioned artwork, accompanying booklets and special packaging.
Expanding into North America in 2015, Arrow Video's best-in-class Blu-ray, UHD releases and extensive catalogue is complemented by premium digital and on-demand services with ARROW Player. Which shares the same ethos, curating the finest cult films from celebrated filmmakers including John Carpenter, David Cronenberg, Takashi Miike, Dario Argento, and many more.
Since launching in the UK in 2009, Arrow Video has grown to become one of the world’s most notable labels for physical and digital releases of genre, cult and horror films from around the globe. The label has passionately trailblazed a multi-award-winning slate of releases in deluxe, definitive editions with state-of-the-art restorations, in-depth curation of new and archival extra features, newly commissioned artwork, accompanying booklets and special packaging.
Expanding into North America in 2015, Arrow Video's best-in-class Blu-ray, UHD releases and extensive catalogue is complemented by premium digital and on-demand services with ARROW Player. Which shares the same ethos, curating the finest cult films from celebrated filmmakers including John Carpenter, David Cronenberg, Takashi Miike, Dario Argento, and many more.
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press release
DO NOT ENTER
Genre: Horror
Rating: R for bloody violence and some language
Runtime: 91 minutes
Release Date: Coming soon
Directed by: Marc Klasfeld
Screenplay by: Stephen Susco and Spencer Mandel & Dikega Hadnot
Based upon: The Book ‘Creepers’ by David Morrell
Produced by: Jordan Schur, p.g.a.
Cast: Jake Manley, Adeline Rudolph, Francesca Reale, Shane Paul McGhie, Kai Caster, Javier Botet, with Nicholas Hamilton, Brennan Keel Cook, Catrina Shank, and Laurence O’Fuarain
SYNOPSIS:
The Creepers are thrill-seeking urban explorers who love pushing things to the edge, and their latest stunt – livestreaming from New Jersey’s abandoned Paragon Hotel – is their biggest yet. With its mobster past, supposed ghosts, and rumored stash of $300 million, the Paragon is catnip to the Creepers, a surefire way to increase their fanbase. But fear has other plans. Daring to enter the Paragon, not heeding the warnings, the Creepers fend off deadly rivals while supernatural creatures stalk them from the shadows, testing their endurance, sanity, and willingness to pay fame’s heavy price.
Lionsgate and Suretone Pictures present, a Suretone Pictures production.
Genre: Horror
Rating: R for bloody violence and some language
Runtime: 91 minutes
Release Date: Coming soon
Directed by: Marc Klasfeld
Screenplay by: Stephen Susco and Spencer Mandel & Dikega Hadnot
Based upon: The Book ‘Creepers’ by David Morrell
Produced by: Jordan Schur, p.g.a.
Cast: Jake Manley, Adeline Rudolph, Francesca Reale, Shane Paul McGhie, Kai Caster, Javier Botet, with Nicholas Hamilton, Brennan Keel Cook, Catrina Shank, and Laurence O’Fuarain
SYNOPSIS:
The Creepers are thrill-seeking urban explorers who love pushing things to the edge, and their latest stunt – livestreaming from New Jersey’s abandoned Paragon Hotel – is their biggest yet. With its mobster past, supposed ghosts, and rumored stash of $300 million, the Paragon is catnip to the Creepers, a surefire way to increase their fanbase. But fear has other plans. Daring to enter the Paragon, not heeding the warnings, the Creepers fend off deadly rivals while supernatural creatures stalk them from the shadows, testing their endurance, sanity, and willingness to pay fame’s heavy price.
Lionsgate and Suretone Pictures present, a Suretone Pictures production.
About Lionsgate:
Lionsgate is a global entertainment company known for its motion picture and television studios, and the STARZ premium global subscription platform. It's a publicly traded company (NYSE: LGF.A, LGF.B) with a diverse portfolio of content, including films, TV series, and a large library of titles. Lionsgate also operates location-based entertainment and has a strong presence in Canada through Lionsgate Canada.
Lionsgate is a global entertainment company known for its motion picture and television studios, and the STARZ premium global subscription platform. It's a publicly traded company (NYSE: LGF.A, LGF.B) with a diverse portfolio of content, including films, TV series, and a large library of titles. Lionsgate also operates location-based entertainment and has a strong presence in Canada through Lionsgate Canada.
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There are those who know me well who insist that – if I were to take the time and read some novels – I’d be smitten with the wide, wide world of Sax Rohmer’s Fu Manchu.
Essentially, I think this opinion stems from the fact that I’m an admitted fan of the era of American pulp novels and have read quite a few. Starting in the 1920’s and running through the early 1960’s (though many insist that true pulp ended in the 1950’s), the pulp sensation was fueled by a plethora of authors penning some of the most entertaining “literature” to hit bookshelves by way of inexpensive magazines focused on Science Fiction, Fantasy, Crime, and Horror. Because these venues were printed on cheap paper (i.e. pulp), they earned the moniker of ‘pulp fiction,’ the kind of yarns meant almost exclusively to escape the doldrums of a hum drum life by getting wrapped up in stories taking place elsewhere. For the most part, author Rohmer detailed his adventures of Fu Manchu in this era; and those who’ve both read them and know me assure that they’re the kind of thing that’d get me ‘hot and bothered’ … well, so far as reading goes anyway.
Honestly, the only reason I haven’t quite dipped into the books at this point is because I keep my shelves amply filled with titles I’m hoping to get to in this lifetime. Yet, I do keep my eyes peeled for the various screen incarnations which – thanks to my relationships with various distributors and media outlets – I’m occasionally able to get my hands on. It’s for this reason that earlier in 2025 I was excited to learn that 1968’s The Blood Of Fu Manchu and its follow-up The Castle Of Fu Manchu (1969) were getting undated releases from Blue Underground, one of my favorite distributors of obscure and often overlooked or forgotten flicks. I kept my fingers crossed that I’d make the cut in getting review copies; and – lo and behold – the movie gods have smiled upon me.
Well, I just finished Castle – along with its several extras – and I definitely have something to say about it. In short, it’s a vastly, vastly inferior flick to Blood – so much so that I was disappointed with most of it – but as usual I’ll try to dissect the particulars so that watchers know exactly what to expect if daring to take this one under the wing.
(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:
“Fu Manchu plans to freeze the world's oceans. Denis Nayland Smith and Dr Petrie of Scotland Yard are the only ones capable of stopping him.”
Essentially, I think this opinion stems from the fact that I’m an admitted fan of the era of American pulp novels and have read quite a few. Starting in the 1920’s and running through the early 1960’s (though many insist that true pulp ended in the 1950’s), the pulp sensation was fueled by a plethora of authors penning some of the most entertaining “literature” to hit bookshelves by way of inexpensive magazines focused on Science Fiction, Fantasy, Crime, and Horror. Because these venues were printed on cheap paper (i.e. pulp), they earned the moniker of ‘pulp fiction,’ the kind of yarns meant almost exclusively to escape the doldrums of a hum drum life by getting wrapped up in stories taking place elsewhere. For the most part, author Rohmer detailed his adventures of Fu Manchu in this era; and those who’ve both read them and know me assure that they’re the kind of thing that’d get me ‘hot and bothered’ … well, so far as reading goes anyway.
Honestly, the only reason I haven’t quite dipped into the books at this point is because I keep my shelves amply filled with titles I’m hoping to get to in this lifetime. Yet, I do keep my eyes peeled for the various screen incarnations which – thanks to my relationships with various distributors and media outlets – I’m occasionally able to get my hands on. It’s for this reason that earlier in 2025 I was excited to learn that 1968’s The Blood Of Fu Manchu and its follow-up The Castle Of Fu Manchu (1969) were getting undated releases from Blue Underground, one of my favorite distributors of obscure and often overlooked or forgotten flicks. I kept my fingers crossed that I’d make the cut in getting review copies; and – lo and behold – the movie gods have smiled upon me.
Well, I just finished Castle – along with its several extras – and I definitely have something to say about it. In short, it’s a vastly, vastly inferior flick to Blood – so much so that I was disappointed with most of it – but as usual I’ll try to dissect the particulars so that watchers know exactly what to expect if daring to take this one under the wing.
(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:
“Fu Manchu plans to freeze the world's oceans. Denis Nayland Smith and Dr Petrie of Scotland Yard are the only ones capable of stopping him.”
The central problem with Castle – so far as I see it – is that the film really has no plot.
Oh, lighten up, haters: yes, I’m aware that ‘the great Fu Manchu’ (played by the returning Christopher Lee) is on course to destroy life as some know it yet again, but there’s a great deal more required to make all of this work as the grand, theatrical chess game it needed to be in order to work for entertainment’s sake, and that just doesn’t happen. Nayland Smith eventually gets dispatched to bring down his mortal adversary – as if regulars didn’t know that was going to happen – but there are a handful of side stories that are only mildly interesting and don’t quite serve as conscripting other characters into this yarn for ‘the great Fu Manchu’ to torture and buy time in this 90+-minute mess. Had any of them been authentic heroes in any measure then I wouldn’t complain; and yet as is Castle feels mostly empty if not occasionally directionless.
The script is once more attributed to Peter Welbeck (a pseudonym for producer Harry Alan Towers); and – where he showed a bit of a flair for recapturing the days of high adventure in 1968’s The Blood Of Fu Manchu (reviewed here) – this outing relies solely on establishing an evil foundation and kinda/sorta seeing what he could do with it. Basically, ‘the great Fu Manchu’ has figured out a means with which to create massive blocks of ice within oceans; and – as best as I can guess his endgame here – he intends to bring maritime commerce entirely under his control, threatening to freeze whole bodies of water if the world’s leaders refuse to capitulate to his … well, I’m not sure Fu even says, honestly. I’m no supervillain (the wife might disagree), but I’d still think that global extortion would come with some massive price-tag. Otherwise, why bother? If it’s even mentioned in here – I watched it twice, dear Lord – then I must’ve missed it; and this demonstrates the level of confusion I had in deciphering what in the Holy Hades was going out most of the time.
Naturally, where you find ‘the great Fu Manchu,’ the equally talented Nayland Smith (the returning Richard Greene) isn’t far behind. He’s pulled in by Scotland Yard once the British Government learns of the plot to fill the oceans with ice (snicker snicker); and he’s once more joined by his man-at-arms Dr. Petrie (the also-returning Howard Marion-Crawford). Together, they deduce Fu’s whereabouts and set out to earn a few allies whose assistance will be necessary to both infiltrate a country as well as the massive compound their enemy has seized for an all-new base of operations. Arguably, Fu’s updated his digs and invested in some machinery this time around – Blood had him basically relying on the use of secret potions for much of his nefarious merriment. His daughter Lin Tang (the also-returning Tsai Chin) still serves as his executive officer carrying out a great degree of the evil wishes – an egomaniacal mastermind has to keep his time free for scheming, you know – so, thankfully, a good portion of this feels like a familiar affair even though all parties will be at one another’s throats by the big finish.
Oh, lighten up, haters: yes, I’m aware that ‘the great Fu Manchu’ (played by the returning Christopher Lee) is on course to destroy life as some know it yet again, but there’s a great deal more required to make all of this work as the grand, theatrical chess game it needed to be in order to work for entertainment’s sake, and that just doesn’t happen. Nayland Smith eventually gets dispatched to bring down his mortal adversary – as if regulars didn’t know that was going to happen – but there are a handful of side stories that are only mildly interesting and don’t quite serve as conscripting other characters into this yarn for ‘the great Fu Manchu’ to torture and buy time in this 90+-minute mess. Had any of them been authentic heroes in any measure then I wouldn’t complain; and yet as is Castle feels mostly empty if not occasionally directionless.
The script is once more attributed to Peter Welbeck (a pseudonym for producer Harry Alan Towers); and – where he showed a bit of a flair for recapturing the days of high adventure in 1968’s The Blood Of Fu Manchu (reviewed here) – this outing relies solely on establishing an evil foundation and kinda/sorta seeing what he could do with it. Basically, ‘the great Fu Manchu’ has figured out a means with which to create massive blocks of ice within oceans; and – as best as I can guess his endgame here – he intends to bring maritime commerce entirely under his control, threatening to freeze whole bodies of water if the world’s leaders refuse to capitulate to his … well, I’m not sure Fu even says, honestly. I’m no supervillain (the wife might disagree), but I’d still think that global extortion would come with some massive price-tag. Otherwise, why bother? If it’s even mentioned in here – I watched it twice, dear Lord – then I must’ve missed it; and this demonstrates the level of confusion I had in deciphering what in the Holy Hades was going out most of the time.
Naturally, where you find ‘the great Fu Manchu,’ the equally talented Nayland Smith (the returning Richard Greene) isn’t far behind. He’s pulled in by Scotland Yard once the British Government learns of the plot to fill the oceans with ice (snicker snicker); and he’s once more joined by his man-at-arms Dr. Petrie (the also-returning Howard Marion-Crawford). Together, they deduce Fu’s whereabouts and set out to earn a few allies whose assistance will be necessary to both infiltrate a country as well as the massive compound their enemy has seized for an all-new base of operations. Arguably, Fu’s updated his digs and invested in some machinery this time around – Blood had him basically relying on the use of secret potions for much of his nefarious merriment. His daughter Lin Tang (the also-returning Tsai Chin) still serves as his executive officer carrying out a great degree of the evil wishes – an egomaniacal mastermind has to keep his time free for scheming, you know – so, thankfully, a good portion of this feels like a familiar affair even though all parties will be at one another’s throats by the big finish.
To his credit, Lee continues to utilize his skills to deliver a workable level of screen menace, a task the actor may’ve found difficult to do given that – as I said – there’s very little for him to do in this story. Far too much of the time, he’s delegated the good stuff to Lin Tang; and one – like me – begins to wonder whether or not he may’ve pushed back on director Jess Franco (also returning), suggesting that perhaps Fu as a player might need to get his hands dirty once in a while. How much nefariousness can truly be communicated in those stylized steely glances, after all? Hell, I ask that even fully aware that Lee was arguably one of the best purveyors of such villainy: at what point does it get … well … just plain tiring? Just too routine? If the actor was upset, then he still pulls it off here, never looking like he’s phoning it in, albeit I’ve read his Manchu make-up didn’t allowed for a great deal of expression.
Furthermore, Castle does try to add a few faces to the FUniverse (I literally just made that up) that are deserving of mention.
The film opens with a vignette wherein Fu’s technological wizardry kinda/sorta gets the best of him: while he’s successful in bringing down an ocean liner in an obvious act of terrorism, something goes horrifically wrong with the mechanized system. Our evil ruler is forced to sacrifice this new compound and seek out an all-new location with which to set up shop in Istanbul, seizing a rather exquisite castle right out from under the control of the national governor. (This short skinny on this is that opium figures heavily into his machine’s fuel – don’t ask me how – and there allegedly was plenty on hand in the ports of Anatolia. In order to accomplish this, Fu has to double-cross the local crime lord – Omar Pasha (Jose Manuel Martin) – and tosses Omar’s lieutenant Lisa (the perfectly fetching Rosalba Neri) into the dungeons as a consequence.
Additionally, the script insists that ailing scientist Heracles (Gustavo Re) – desperately in need of a heart transplant – is needed to keep Fu’s machinery in perfect working order; but unfortunately, none of this is ever substantiated except via exposition. The audience is merely told of his needed participation and is expected to accept it at face value in spite of the fact that the man does nothing but lie on a hospital cot for 90% of the film. To my knowledge, he never touches anything, nor does he move about until tasked with escaping. His ailment does require the kidnap of Dr. Curt Kessler (Günther Stoll) and Ingrid Koch (Maria Perschy) to perform the life-saving surgery; but, again, all of this really only works on the level of being put into the script. There’s never any sequence in the film that justifies the inclusion of these extra players; and they’re very quickly reduced to little more than scenery before the final reel explosions take place.
Furthermore, Castle does try to add a few faces to the FUniverse (I literally just made that up) that are deserving of mention.
The film opens with a vignette wherein Fu’s technological wizardry kinda/sorta gets the best of him: while he’s successful in bringing down an ocean liner in an obvious act of terrorism, something goes horrifically wrong with the mechanized system. Our evil ruler is forced to sacrifice this new compound and seek out an all-new location with which to set up shop in Istanbul, seizing a rather exquisite castle right out from under the control of the national governor. (This short skinny on this is that opium figures heavily into his machine’s fuel – don’t ask me how – and there allegedly was plenty on hand in the ports of Anatolia. In order to accomplish this, Fu has to double-cross the local crime lord – Omar Pasha (Jose Manuel Martin) – and tosses Omar’s lieutenant Lisa (the perfectly fetching Rosalba Neri) into the dungeons as a consequence.
Additionally, the script insists that ailing scientist Heracles (Gustavo Re) – desperately in need of a heart transplant – is needed to keep Fu’s machinery in perfect working order; but unfortunately, none of this is ever substantiated except via exposition. The audience is merely told of his needed participation and is expected to accept it at face value in spite of the fact that the man does nothing but lie on a hospital cot for 90% of the film. To my knowledge, he never touches anything, nor does he move about until tasked with escaping. His ailment does require the kidnap of Dr. Curt Kessler (Günther Stoll) and Ingrid Koch (Maria Perschy) to perform the life-saving surgery; but, again, all of this really only works on the level of being put into the script. There’s never any sequence in the film that justifies the inclusion of these extra players; and they’re very quickly reduced to little more than scenery before the final reel explosions take place.
Any amount of reading I’ve done into the whole FUniverse clarifies that Castle is – by far – not a celebrated outing for the signature character. Setting the script weaknesses aside, one might even conclude that there’s really no substantial reason for the picture to exist as it brings nothing – no glamor, no development, no stakes – to its bare bones narrative; and I can’t help but wonder if all of those involved would rather have this one forgotten. Despite watching it twice (along with the audio commentary), I can assure you that I’ll probably not remember this one in a few days; and that’s rarely something I even care to mention as I make it my trademark to find some small nugget to celebrate in the good, bad, and ugly. The problem is that Castle isn’t awful enough to be the kind of feature you put on just for giggles, and that is really all I can say about it.
A complete and total misfire. They happen. Rarely do they occur in franchise properties, so maybe that’s Castle’s only saving grace.
The Castle Of Fu Manchu (1969) was produced by Towers Of London Productions, Balcázar Producciones Cinematográficas, Italian International Film, Terra-Filmkunst, and Tilma Films. DVD distribution (for this particular release) has been coordinated by the fine folks at Blue Underground. As for the technical specifications? While I’m no trained video expert, I can assure you that the provided sights and sounds are still of pretty exceptional quality: there was a sequence or two when the audio dipped noticeably, and I’m left wondering if that was some probably with the source material or whether or not the players were insufficiently miked. Lastly, if you’re looking for special features? The two-disc set is loaded with some nice extras, including a few shorts exploring Franco’s career (and time with in the FUniverse), an audio commentary (meh), and the RiffTrax edition delivering some much-needed laughs to the completed film.
Alas … this one is Hard To Recommend. Purists of the Fu Manchu legacy should definitely check it out; but it’s very hard to give it a thumbs up beyond that limited cult audience.
It’s rare for yours truly to feel completely detached from a flick – especially something that is most definitely genre-related – but far too much of The Castle Of Fu Manchu (1969) just kinda/sorta bumbles along. It’s one of those rare experiences wherein nothing justifies its existence – not its good cast, not its honest intentions, and certainly not its completed product – and that’s why I’m at a loss to say anything even politely glowing about it. As big a fan I am of Christopher Lee, I will say it doesn’t look like he’s phoning it in – Tsai Chin didn’t seem as interested as she did previously – and maybe that’s the only glimmer of hope in an otherwise turgid 90-minutes.
In the interests of fairness, I’m pleased to disclose that the fine folks at Blue Underground provided me with a complimentary 4K UltraHD Blu-ray of The Castle Of Fu Manchu (1969) by request for the expressed purpose of completing this review. Their contribution to me in no way, shape, or form influenced my opinion of it.
-- EZ
A complete and total misfire. They happen. Rarely do they occur in franchise properties, so maybe that’s Castle’s only saving grace.
The Castle Of Fu Manchu (1969) was produced by Towers Of London Productions, Balcázar Producciones Cinematográficas, Italian International Film, Terra-Filmkunst, and Tilma Films. DVD distribution (for this particular release) has been coordinated by the fine folks at Blue Underground. As for the technical specifications? While I’m no trained video expert, I can assure you that the provided sights and sounds are still of pretty exceptional quality: there was a sequence or two when the audio dipped noticeably, and I’m left wondering if that was some probably with the source material or whether or not the players were insufficiently miked. Lastly, if you’re looking for special features? The two-disc set is loaded with some nice extras, including a few shorts exploring Franco’s career (and time with in the FUniverse), an audio commentary (meh), and the RiffTrax edition delivering some much-needed laughs to the completed film.
Alas … this one is Hard To Recommend. Purists of the Fu Manchu legacy should definitely check it out; but it’s very hard to give it a thumbs up beyond that limited cult audience.
It’s rare for yours truly to feel completely detached from a flick – especially something that is most definitely genre-related – but far too much of The Castle Of Fu Manchu (1969) just kinda/sorta bumbles along. It’s one of those rare experiences wherein nothing justifies its existence – not its good cast, not its honest intentions, and certainly not its completed product – and that’s why I’m at a loss to say anything even politely glowing about it. As big a fan I am of Christopher Lee, I will say it doesn’t look like he’s phoning it in – Tsai Chin didn’t seem as interested as she did previously – and maybe that’s the only glimmer of hope in an otherwise turgid 90-minutes.
In the interests of fairness, I’m pleased to disclose that the fine folks at Blue Underground provided me with a complimentary 4K UltraHD Blu-ray of The Castle Of Fu Manchu (1969) by request for the expressed purpose of completing this review. Their contribution to me in no way, shape, or form influenced my opinion of it.
-- EZ
- Published on
Stardate 08.05.2025.B: 2024's 'Star Trek: Pliable Truths' Boldly Goes Where Trekdom Has Already Been
Like so many die-hard Star Trek fans, I tried my hand at fan fiction for a while.
Without tooting my own horn, I think I was reasonably good at it. Well, at least, that’s the impression I got from those folks who reached out to me when I was actively posting it to some online forums hosting such scribblings. Once, a fanzine publisher wanted to reprint one of my Star Trek: Voyager stories in their upcoming edition; but, alas, as often happens with small outlets that volume never came to fruition. Another outlet contacted me and asked if I would consider being one of their exclusive authors, meaning that I’d only post stories, novellas, and novels to their site; but that seemed a bit too restrictive as they were a small corner of the web-o-sphere with a fairly tiny audience.
But another writer encouraged me to get an agent and try submitting some of what I’d crafted to Pocket Books, the line of Simon and Schuster (I believe it is) responsible for Trek publications. Sadly, I couldn’t find a representative willing to work with me – I guess the potential profit margin for them on such wares was very, very, very small – so I let it all go. I did do a bit of research into the requirements the Trek editors of the day held as their gold standards; and – in my own humble opinion – I certainly had no difficulty keeping within those parameters. Regardless, nothing much came of it, though I do keep a few ideas worth kicking around in my Bucket List should time come available for me to try once more.
In any event, one of the founding tenets Pocket Books insisted is that any and all submitted stories should (and I’m paraphrasing) extend beyond what’s possible in any of the televised formats, introducing audiences to something – be it characters or circumstances – that boldly went where no previous story had gone before. (Snicker snicker) Now, you can read into that what you will, but I took it to mean that the decisionmakers didn’t want authors to merely produce something that could’ve been rather easily filmed and presented as any other yarn within any of the respective properties. Sure, it had to fit aesthetically within the wider Trek universe, but my two cents is they wanted adventures reasonably bigger-than-life: delivering something too similar to what had been done before on television might not encourage readers to pick up the latest production because that kind of thing had already been done to death. Why repeat something solely to recapture something already tried?
Well …
Without getting too deep into the weeds, Dayton Ward’s Pliable Truths (2024) really does exactly what those editors cautioned budding authors against: it taps some already existing situations from both Star Trek: The Next Generation and Star Trek: Deep Space Nine as the stomping ground for a new tale involving Captain Jean-Luc Picard’s attempt to diplomatically facilitate an formal ending to Cardassian and Bajoran hostilies, something given a helluva lot of screen time in both iterations of Trek. It even brings aboard a few familiar faces from both shows in order to establish its bona fides and gives them respectfully prominent roles in the action. While it’s arguably a welcome trip to yesteryear, it’s also everything former editor John Ordover kinda/sorta preached against back in day.
In fact, I’d argue that Pliable Truths feels very much like it could’ve easily been a two-part episode of other spin-off; and – in all honesty – it probably would’ve turned out to be quite good, well received amongst fans.
Not long after the Enterprise-D thwarts a Cardassian attack (see TNG’s “Chain Of Command” two-parter), Admiral Nechayev seeks out Captain Jean-Luc Picard – ailing from being tortured by Gul Madred in those same episodes – requesting his assistance in negotiating the Cardassian withdrawal from the space station Terek Nor (aka Deep Space Nine). Seeing this as an opportunity to aid the healing process, Picard agrees … only to find that the Cardassian Union has sent Madred to the central seat at the negotiating table. While the set-up sounds pretty interesting, it’s (sadly) essentially wasted as the story pivots between two subplots, one involving incarcerated Bajorans on a distant world (with Ensign Ro figuring prominently into the action) and another exploring an act of horticultural terrorism down on the surface of Bajor (with Dr. Beverly Crusher, Kira Nerys, and Keiko O’Brien taking center stage).
I’ve been assured by those who still follow Trek literature closely that Dayton Ward is one of the more highly regarded creators still dabbling in that universe, and more power to the man. On many levels, Pliable Truths feels very much like a throwback to the time when The Next Generation and Deep Space Nine were actively in production, delivering meaningful stories in Trek’s traditional ‘morality tale’ format, something that’s been sorely missing from the JJ Abrams films as well as the awful TV incarnations that’ve followed. Like comfort food, Truths is always inviting – with a few modest exceptions – and sticks to the recipe so many Trekkers, Trekkies, and general Trek enthusiasts devour when given the chance. Although its ending is somewhat predictable – there’s little if any tension in any of it given the fact that audiences already know none of these characters are truly in any jeopardy – the novel still hits its marks and gets out without any real controversy along the way.
But … that’s my issue with it to a small degree.
Because it’s set in a very narrow time frame and its original characters are so bland, there’s just no real excitement in any of it. I appreciated being swept off into what I accept as one era of Trek’s television broadcast heyday; and yet the big finish was still a bit underwhelming as nothing all that much changed in my perception of what was and should be possible in a Trek novel. It was a bit too much like what had already come before, leaving this visit to the Final Frontier more like a bit a déjà vu than it was one more chapter wherein the human adventure was just beginning.
Good? Yes. But that’s about it.
-- EZ
Without tooting my own horn, I think I was reasonably good at it. Well, at least, that’s the impression I got from those folks who reached out to me when I was actively posting it to some online forums hosting such scribblings. Once, a fanzine publisher wanted to reprint one of my Star Trek: Voyager stories in their upcoming edition; but, alas, as often happens with small outlets that volume never came to fruition. Another outlet contacted me and asked if I would consider being one of their exclusive authors, meaning that I’d only post stories, novellas, and novels to their site; but that seemed a bit too restrictive as they were a small corner of the web-o-sphere with a fairly tiny audience.
But another writer encouraged me to get an agent and try submitting some of what I’d crafted to Pocket Books, the line of Simon and Schuster (I believe it is) responsible for Trek publications. Sadly, I couldn’t find a representative willing to work with me – I guess the potential profit margin for them on such wares was very, very, very small – so I let it all go. I did do a bit of research into the requirements the Trek editors of the day held as their gold standards; and – in my own humble opinion – I certainly had no difficulty keeping within those parameters. Regardless, nothing much came of it, though I do keep a few ideas worth kicking around in my Bucket List should time come available for me to try once more.
In any event, one of the founding tenets Pocket Books insisted is that any and all submitted stories should (and I’m paraphrasing) extend beyond what’s possible in any of the televised formats, introducing audiences to something – be it characters or circumstances – that boldly went where no previous story had gone before. (Snicker snicker) Now, you can read into that what you will, but I took it to mean that the decisionmakers didn’t want authors to merely produce something that could’ve been rather easily filmed and presented as any other yarn within any of the respective properties. Sure, it had to fit aesthetically within the wider Trek universe, but my two cents is they wanted adventures reasonably bigger-than-life: delivering something too similar to what had been done before on television might not encourage readers to pick up the latest production because that kind of thing had already been done to death. Why repeat something solely to recapture something already tried?
Well …
Without getting too deep into the weeds, Dayton Ward’s Pliable Truths (2024) really does exactly what those editors cautioned budding authors against: it taps some already existing situations from both Star Trek: The Next Generation and Star Trek: Deep Space Nine as the stomping ground for a new tale involving Captain Jean-Luc Picard’s attempt to diplomatically facilitate an formal ending to Cardassian and Bajoran hostilies, something given a helluva lot of screen time in both iterations of Trek. It even brings aboard a few familiar faces from both shows in order to establish its bona fides and gives them respectfully prominent roles in the action. While it’s arguably a welcome trip to yesteryear, it’s also everything former editor John Ordover kinda/sorta preached against back in day.
In fact, I’d argue that Pliable Truths feels very much like it could’ve easily been a two-part episode of other spin-off; and – in all honesty – it probably would’ve turned out to be quite good, well received amongst fans.
Not long after the Enterprise-D thwarts a Cardassian attack (see TNG’s “Chain Of Command” two-parter), Admiral Nechayev seeks out Captain Jean-Luc Picard – ailing from being tortured by Gul Madred in those same episodes – requesting his assistance in negotiating the Cardassian withdrawal from the space station Terek Nor (aka Deep Space Nine). Seeing this as an opportunity to aid the healing process, Picard agrees … only to find that the Cardassian Union has sent Madred to the central seat at the negotiating table. While the set-up sounds pretty interesting, it’s (sadly) essentially wasted as the story pivots between two subplots, one involving incarcerated Bajorans on a distant world (with Ensign Ro figuring prominently into the action) and another exploring an act of horticultural terrorism down on the surface of Bajor (with Dr. Beverly Crusher, Kira Nerys, and Keiko O’Brien taking center stage).
I’ve been assured by those who still follow Trek literature closely that Dayton Ward is one of the more highly regarded creators still dabbling in that universe, and more power to the man. On many levels, Pliable Truths feels very much like a throwback to the time when The Next Generation and Deep Space Nine were actively in production, delivering meaningful stories in Trek’s traditional ‘morality tale’ format, something that’s been sorely missing from the JJ Abrams films as well as the awful TV incarnations that’ve followed. Like comfort food, Truths is always inviting – with a few modest exceptions – and sticks to the recipe so many Trekkers, Trekkies, and general Trek enthusiasts devour when given the chance. Although its ending is somewhat predictable – there’s little if any tension in any of it given the fact that audiences already know none of these characters are truly in any jeopardy – the novel still hits its marks and gets out without any real controversy along the way.
But … that’s my issue with it to a small degree.
Because it’s set in a very narrow time frame and its original characters are so bland, there’s just no real excitement in any of it. I appreciated being swept off into what I accept as one era of Trek’s television broadcast heyday; and yet the big finish was still a bit underwhelming as nothing all that much changed in my perception of what was and should be possible in a Trek novel. It was a bit too much like what had already come before, leaving this visit to the Final Frontier more like a bit a déjà vu than it was one more chapter wherein the human adventure was just beginning.
Good? Yes. But that’s about it.
-- EZ
- Published on
press release
On September 2, the science fiction adventure Lost In Space makes its global 4K UHD debut. A surprise hit upon its 1998 release—famously topping Titanic at the box office for a brief moment--Lost In Space returns in a definitive 4K restoration from the original camera negative, approved by director Stephen Hopkins. The Limited Edition set is packed with hours of special features, collectible packaging, and newly commissioned extras.
The Earth is close to being uninhabitable in 2058. Mankind's only hope for survival is to send Professor John Robinson (William Hurt, Avengers: Infinity War), his wife Maureen (Mimi Rogers, Bosch), son Will (Jack Johnson, Love Affair), and daughters Judy (Heather Graham, Boogie Nights) and Penny (Lacey Chabert, Black Christmas), along with pilot Major Don West (Matt LeBlanc, Friends), to the planet Alpha Prime to create a transporter gate. This device will allow Earthlings to flee to a new world. There are people who don’t want the Robinsons’ mission to succeed, including the treacherous Dr. Smith (Gary Oldman, The Dark Knight). The family’s physician sneaks onto Jupiter II to sabotage The Robot (Dick Tufeld, the voice of The Robot from the TV series). The mechanical mayhem leads to the spaceship becoming lost in space. Can the Robinsons regain their bearings and reach Alpha Prime? The movie features cameos by Mark Goddard, June Lockhart, Marta Kristen, and Angela Cartwright from the original TV series.
Special features include archive audio commentaries; newly filmed interviews; a brand new video essay; deleted scenes; archival featurettes; a Q&A with the original cast of the TV series; bloopers; an Illustrated collector’s booklet; articles from American Cinematographer; and an excerpt from the original production notes.
Bonus Materials
The Earth is close to being uninhabitable in 2058. Mankind's only hope for survival is to send Professor John Robinson (William Hurt, Avengers: Infinity War), his wife Maureen (Mimi Rogers, Bosch), son Will (Jack Johnson, Love Affair), and daughters Judy (Heather Graham, Boogie Nights) and Penny (Lacey Chabert, Black Christmas), along with pilot Major Don West (Matt LeBlanc, Friends), to the planet Alpha Prime to create a transporter gate. This device will allow Earthlings to flee to a new world. There are people who don’t want the Robinsons’ mission to succeed, including the treacherous Dr. Smith (Gary Oldman, The Dark Knight). The family’s physician sneaks onto Jupiter II to sabotage The Robot (Dick Tufeld, the voice of The Robot from the TV series). The mechanical mayhem leads to the spaceship becoming lost in space. Can the Robinsons regain their bearings and reach Alpha Prime? The movie features cameos by Mark Goddard, June Lockhart, Marta Kristen, and Angela Cartwright from the original TV series.
Special features include archive audio commentaries; newly filmed interviews; a brand new video essay; deleted scenes; archival featurettes; a Q&A with the original cast of the TV series; bloopers; an Illustrated collector’s booklet; articles from American Cinematographer; and an excerpt from the original production notes.
Bonus Materials
- 4K ULTRA HD LIMITED EDITION CONTENTS
- 4K restoration of the film from the original camera negative by Arrow Films approved by director Stephen Hopkins
- 4K (2160p) UHD Blu-ray presentation in Dolby Vision (HDR10 compatible)
- Original DTS-HD MA 5.1 surround audio and lossless stereo audio
- Optional English subtitles for the deaf and hard of hearing
- Archive audio commentary with director Stephen Hopkins and screenwriter Akiva Goldsman
- Archive audio commentary with visual effects supervisors Angus Bickerton and Lauren Ritchie, director of photography Peter Levy, editor Ray Lovejoy, and producer Carla Fry
- A Space Odyssey, a newly filmed interview with director Stephen Hopkins
- Lights in the Sky, a newly filmed interview with director of photography Peter Levy
- A Journey Through Time, a newly filmed interview with producer and screenwriter Akiva Goldsman
- Art of Space, a newly filmed interview with supervising art director Keith Pain
- Crafting Reality, a newly filmed interview with Kenny Wilson, former mould shop supervisor at Jim Henson’s Creature Shop
- Sound of Space, a newly filmed interview with sound mixer Simon Kaye and re-recording mixer Robin O’Donohue
- Lost But Not Forgotten in Space, a new video essay by film critic Matt Donato
- Deleted scenes
- Building the Special Effects, an archival featurette with visual effects supervisor Angus Bickerton and animatics supervisor Mac Wilson
- The Future of Space Travel, an archival featurette exploring the film's vision of the future
- TV Years, a Q&A with the original cast of the TV series
- Bloopers
- Reversible sleeve featuring original and newly commissioned artwork by Pye Parr
- Illustrated collector’s booklet featuring new writing by critic Neil Sinyard, articles from American Cinematographer and an excerpt from the original production notes
- Published on
site update
So many movies ... so little time ...
On this day in 2021 (in the United Kingdom), The Mutation first bared its ugly, ugly face. (Well, theatrically, that is!) Written and directed (in part) by Scott Chambers, the film starred Sarah T. Cohen, Nick Danan, Megan Purvis, and others.
According to our friends at IMDB.com, here's the plot summary:
"A mutated rat has been let loose in a city."
-- EZ
On this day in 2021 (in the United Kingdom), The Mutation first bared its ugly, ugly face. (Well, theatrically, that is!) Written and directed (in part) by Scott Chambers, the film starred Sarah T. Cohen, Nick Danan, Megan Purvis, and others.
According to our friends at IMDB.com, here's the plot summary:
"A mutated rat has been let loose in a city."
-- EZ
- Published on
site update
So many movies ... so little time ...
On this day in 1932 (in the U.S.), the great city of Hollywood, California served as the host for an exclusive theatrical premiere event of the motion picture Chandu The Magician. (Full U.S. theatrical release wouldn't take place until September 1932.) Directed by William Cameron Menzies and Marcel Varnel from a script by Barry Conners, Philip Klein, Harry A. Earnshaw, Vera M. Oldham, R.R. Morgan, and a few others, the film starred Edmund Lowe, Irene Ware, Bela Lugosi, and others.
According to our friends at IMDB.com, here's the plot summary:
"When delusional madman Roxor kidnaps a scientist in hopes of using his death ray to achieve world dominance, he is opposed by Chandu, a powerful hypnotist and yogi."
Editor's Note:
While the original Chandu theatrical feature was not the huge box office success that Fox Film Corporation hoped for, it stirred up enough interest to warrant not one but two sequels: The Return Of Chandu (1934) and Chandu On The Magic Island (1935), both putting Bela Lugosi in the lead and dropping Edmund Lowe from the role. What could've owed to the short term success of the franchise was the fact that it was based on a popular radio serial of its day, so the studio banked on such popularity translating to the box office returns. Lastly, I've also read that Chandu serves -- in some cultural ways -- as the original inspiration behind such other characters as Mandrake The Magician, Marvel's Doctor Strange, and even Indiana Jones.
-- EZ
On this day in 1932 (in the U.S.), the great city of Hollywood, California served as the host for an exclusive theatrical premiere event of the motion picture Chandu The Magician. (Full U.S. theatrical release wouldn't take place until September 1932.) Directed by William Cameron Menzies and Marcel Varnel from a script by Barry Conners, Philip Klein, Harry A. Earnshaw, Vera M. Oldham, R.R. Morgan, and a few others, the film starred Edmund Lowe, Irene Ware, Bela Lugosi, and others.
According to our friends at IMDB.com, here's the plot summary:
"When delusional madman Roxor kidnaps a scientist in hopes of using his death ray to achieve world dominance, he is opposed by Chandu, a powerful hypnotist and yogi."
Editor's Note:
While the original Chandu theatrical feature was not the huge box office success that Fox Film Corporation hoped for, it stirred up enough interest to warrant not one but two sequels: The Return Of Chandu (1934) and Chandu On The Magic Island (1935), both putting Bela Lugosi in the lead and dropping Edmund Lowe from the role. What could've owed to the short term success of the franchise was the fact that it was based on a popular radio serial of its day, so the studio banked on such popularity translating to the box office returns. Lastly, I've also read that Chandu serves -- in some cultural ways -- as the original inspiration behind such other characters as Mandrake The Magician, Marvel's Doctor Strange, and even Indiana Jones.
-- EZ
- Published on
site update
So many movies ... so little time ...
On this day in 2012 (in Australia), audiences in attendance of the Melbourne International Film Festival were treated to the theatrical debut of 100 Bloody Acres. Written and directed by the team of Cameron and Colin Cairnes, the film starred Oliver Ackland, Paul Blackwell, Anna McGahan, and others.
According to our friends at IMDB.com, here's the plot summary:
"Reg and Lindsay run an organic fertiliser business. They need a fresh supply of their "secret ingredient" to process through the meat grinder. Reg comes across two guys and a girl with a broken-down vehicle on their way to a music festival."
For the record:
To the film's credit, 100 Bloody Acres stirred up a bit of attention on the film festival circuit as well as earning some positive marks from the Australian Film Critics Association Awards.
-- EZ
On this day in 2012 (in Australia), audiences in attendance of the Melbourne International Film Festival were treated to the theatrical debut of 100 Bloody Acres. Written and directed by the team of Cameron and Colin Cairnes, the film starred Oliver Ackland, Paul Blackwell, Anna McGahan, and others.
According to our friends at IMDB.com, here's the plot summary:
"Reg and Lindsay run an organic fertiliser business. They need a fresh supply of their "secret ingredient" to process through the meat grinder. Reg comes across two guys and a girl with a broken-down vehicle on their way to a music festival."
For the record:
To the film's credit, 100 Bloody Acres stirred up a bit of attention on the film festival circuit as well as earning some positive marks from the Australian Film Critics Association Awards.
-- EZ
- Published on
site update
So many movies ... so little time ...
On this day in 1943 (in the U.S.), the big city of San Francisco, California served host for an exclusive theatrical premiere event for the motion picture Heaven Can Wait. Directed by Ernst Lubitsch from a story by Samson Raphaelson and Leslie Bush-Feteke, the film starred Gene Tierney, Don Ameche, Charles Coburn, and others.
According to our friends at IMDB.com, here's the plot summary:
"An old roué arrives in Hades to review his life with Satan, who will rule on his eligibility to enter the Underworld."
For the record:
Editor's Note:
From what I've read, Heaven Can Wait was not a box office success but apparently was a bit of a hit critically. It did inspire what some have suggested was a loose follow-up in 1947 titled Down To Earth. Also, the story was heavily re-interpreted when it was given a remake in 1978 -- still titled Heaven Can Wait -- Hollywood heavyweight Warren Beatty stepping in the lead role.
-- EZ
On this day in 1943 (in the U.S.), the big city of San Francisco, California served host for an exclusive theatrical premiere event for the motion picture Heaven Can Wait. Directed by Ernst Lubitsch from a story by Samson Raphaelson and Leslie Bush-Feteke, the film starred Gene Tierney, Don Ameche, Charles Coburn, and others.
According to our friends at IMDB.com, here's the plot summary:
"An old roué arrives in Hades to review his life with Satan, who will rule on his eligibility to enter the Underworld."
For the record:
- At the 1944 Academy Awards, Heaven Can Wait earned nominations (but no wins) in the categories of 'Best Cinematography - Color,' 'Best Director,' and 'Best Picture.'
- In 2019, the Hugo Awards recognized Heaven Can Wait -- in their Retro Hugo classification -- with the big win in the category of 'Best Dramatic Presentation - Long Form.'
Editor's Note:
From what I've read, Heaven Can Wait was not a box office success but apparently was a bit of a hit critically. It did inspire what some have suggested was a loose follow-up in 1947 titled Down To Earth. Also, the story was heavily re-interpreted when it was given a remake in 1978 -- still titled Heaven Can Wait -- Hollywood heavyweight Warren Beatty stepping in the lead role.
-- EZ
- Published on
press release
Pre-Flashpoint, Jean-Paul Valley's discovery of his dying father dressed as Azrael changed his life forever.
Brainwashed by the System to become the Church of St. Dumas' assassin, Jean-Paul worked with Batman instead, standing in for the Dark Knight when Bane broke the hero's back. Unbalanced by his upbringing, Valley became a more violent Batman and wore heavier armor.
He later surrendered the mantle to a newly healed Bruce Wayne and set out on his own adventures as Azrael.
Order Information:
To pre-order your copy of Batman (Knightquest) McFarlane Toys DC Multiverse Azrael Action Figure click on the DC Shop logo below:
Brainwashed by the System to become the Church of St. Dumas' assassin, Jean-Paul worked with Batman instead, standing in for the Dark Knight when Bane broke the hero's back. Unbalanced by his upbringing, Valley became a more violent Batman and wore heavier armor.
He later surrendered the mantle to a newly healed Bruce Wayne and set out on his own adventures as Azrael.
- Incredibly detailed 7" scale figure based on the DC MULTIVERSE™
- Designed with Ultra Articulation with up to 22 moving parts for full range of posing and play
- Includes figure display base
- Includes collectible art card with character art on the front, and character biography on the back
Order Information:
- Return Policy: We will gladly accept returns for any reason within 30 days of receipt of delivery.
- Shipping: Ship times are estimates of time in transit after your product leaves the fulfillment center. Some items in your order may ship separately to arrive faster.
- Multi-item Orders: Expedited shipping options are not available in the checkout for multi-item orders that include Fast Ship items AND products that are not noted as Fast Ship.
- Availability: Ships internationally to most countries around the world.
- Shipping Policy: For more information, see our Shipping Policy here.
To pre-order your copy of Batman (Knightquest) McFarlane Toys DC Multiverse Azrael Action Figure click on the DC Shop logo below:
