- Published on
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So many movies ... so little time ...
On this day in 2006 (in Belgium and France), I'll Always Know What You Did Last Summer brought one more installment to one of Horror's less memorable franchises. Directed by Sylvain White from a story by Lois Duncan and Michael D. Weiss, the film starred Brooke Nevin, David Paetkau, Torrey DeVitto, and others.
According to our friends at IMDB.com, here's the plot summary:
"A group of teenagers in Colorado find themselves being stalked and killed one by one by a mysterious figure with a hook, exactly one year after they covered up a friend's accidental death."
According to Google.com:
"I'll Always Know What You Did Last Summer" (2006) was not a box office success. It was released direct-to-video, meaning it was not shown in theaters. The first two films in the franchise, "I Know What You Did Last Summer" (1997) and "I Still Know What You Did Last Summer" (1998), were theatrical releases and performed reasonably well at the box office, according to Wikipedia. However, the third film's direct-to-video release indicated a decline in popularity and interest in the franchise, according to a SlashFilm article.
-- EZ
On this day in 2006 (in Belgium and France), I'll Always Know What You Did Last Summer brought one more installment to one of Horror's less memorable franchises. Directed by Sylvain White from a story by Lois Duncan and Michael D. Weiss, the film starred Brooke Nevin, David Paetkau, Torrey DeVitto, and others.
According to our friends at IMDB.com, here's the plot summary:
"A group of teenagers in Colorado find themselves being stalked and killed one by one by a mysterious figure with a hook, exactly one year after they covered up a friend's accidental death."
According to Google.com:
"I'll Always Know What You Did Last Summer" (2006) was not a box office success. It was released direct-to-video, meaning it was not shown in theaters. The first two films in the franchise, "I Know What You Did Last Summer" (1997) and "I Still Know What You Did Last Summer" (1998), were theatrical releases and performed reasonably well at the box office, according to Wikipedia. However, the third film's direct-to-video release indicated a decline in popularity and interest in the franchise, according to a SlashFilm article.
-- EZ
- Published on
Going back to the 1960’s and 1970’s, I think it was the Walt Disney Company that honestly cornered the theatrical marketplace on pictures giving special abilities to dunderheads all for the purpose of having them somehow rule the day.
Basically, the formula was used to give credence to the idea that ‘the meek shall inherit the Earth’ (theatrically, that is); and somehow the best and brightest were only cosmically held back from being popular because they lacked that special spark. You know? That special … something. In other words, if only our misfit son of a teenager knew he could swig a potion to make him the strongest man in the world, then he could be socially anointed to Prom King or Senior Class President where he morally deserved to be all along. He was the better choice, after all, but no one knew it because … well … because he lacked the polish to be amongst the high school in crowd. As a second-class citizen, he was virtually unknown; but it was the popular kids who truly missed out because they wouldn’t have his guiding influence when it was needed most.
Essentially, the inherent message was that one needed be amongst the social elite to inevitably become ‘the one true king,’ a respectable sentiment that fueled the self-esteem of many a dweeb for a time (me included). Of course, we’d somehow have to become a shaggy dog or we’d mysteriously have to switch places in some freaky Friday format to find true happiness; and since that wasn’t a reality available to any of us we had to settle with finding paradise only in the movies. Yes, these stories made us feel better about ourselves nonetheless – that was their purpose – but, therapeutically, they were little more than cinematic band-aids that never addressed our underlying deficiencies in such a way as to promote real and lasting personal transition. Instead, they had us believing in Fantasy; and that works fine when you’re a kid.
What I never knew was that even studios around the world ventured into similar waters, as is the case with 1970’s The Invisible Swordsman from Daiei Studios. Much like those Disney yarns of old, Swordsman employed a bit of magic and mystery when it endowed a fledgling nobody with a potion that rendered him invisible. It was only through this utilization of the dark and bitter tonic that he’d find the courage needed to make things right with the universe, crossing that bridge from cowardice to bravery, realizing that maybe everything he really needed was inside him all the time. None of this made the spell any less necessary because, functionally, the enchantment ultimately was a catalyst necessary to open his to the whole new world only an arm’s length away … this time, although, at the tip of a sword.
Buckle up, kiddos. It’s fighting time at the movies once more.
(NOTE: The following review will contain minor spoilers necessary solely for the discussion of plot and/or characters. If you’re the type of reader who prefers a review entirely spoiler-free, then I’d encourage you to skip down to the last few paragraphs for the final assessment. If, however, you’re accepting of a few modest hints at ‘things to come,’ then read on …)
From the film’s IMDB.com page citation:
“A cowardly boy fencer becomes invisible and matchless through a magic pill.”
Basically, the formula was used to give credence to the idea that ‘the meek shall inherit the Earth’ (theatrically, that is); and somehow the best and brightest were only cosmically held back from being popular because they lacked that special spark. You know? That special … something. In other words, if only our misfit son of a teenager knew he could swig a potion to make him the strongest man in the world, then he could be socially anointed to Prom King or Senior Class President where he morally deserved to be all along. He was the better choice, after all, but no one knew it because … well … because he lacked the polish to be amongst the high school in crowd. As a second-class citizen, he was virtually unknown; but it was the popular kids who truly missed out because they wouldn’t have his guiding influence when it was needed most.
Essentially, the inherent message was that one needed be amongst the social elite to inevitably become ‘the one true king,’ a respectable sentiment that fueled the self-esteem of many a dweeb for a time (me included). Of course, we’d somehow have to become a shaggy dog or we’d mysteriously have to switch places in some freaky Friday format to find true happiness; and since that wasn’t a reality available to any of us we had to settle with finding paradise only in the movies. Yes, these stories made us feel better about ourselves nonetheless – that was their purpose – but, therapeutically, they were little more than cinematic band-aids that never addressed our underlying deficiencies in such a way as to promote real and lasting personal transition. Instead, they had us believing in Fantasy; and that works fine when you’re a kid.
What I never knew was that even studios around the world ventured into similar waters, as is the case with 1970’s The Invisible Swordsman from Daiei Studios. Much like those Disney yarns of old, Swordsman employed a bit of magic and mystery when it endowed a fledgling nobody with a potion that rendered him invisible. It was only through this utilization of the dark and bitter tonic that he’d find the courage needed to make things right with the universe, crossing that bridge from cowardice to bravery, realizing that maybe everything he really needed was inside him all the time. None of this made the spell any less necessary because, functionally, the enchantment ultimately was a catalyst necessary to open his to the whole new world only an arm’s length away … this time, although, at the tip of a sword.
Buckle up, kiddos. It’s fighting time at the movies once more.
(NOTE: The following review will contain minor spoilers necessary solely for the discussion of plot and/or characters. If you’re the type of reader who prefers a review entirely spoiler-free, then I’d encourage you to skip down to the last few paragraphs for the final assessment. If, however, you’re accepting of a few modest hints at ‘things to come,’ then read on …)
From the film’s IMDB.com page citation:
“A cowardly boy fencer becomes invisible and matchless through a magic pill.”
Though I don’t like splitting hairs, I do have to point out that technically IMDB.com doesn’t quite have this description right: for clarity’s sake, The Invisible Swordsman’s transition isn’t accomplished by chewing up any pill. To my knowledge, pills didn’t even yet exist back in the days of feudal samurais. The sentiment is right – there is a mixed concoction that is used to accomplish the task of turning from visible to invisible – but whittling the context down to simply popping a capsule really diminishes some of the idea of the hero’s quest that is at work across the flick’s narrative structure, so shame on the movie site for getting it wrong!
Still, I’ll offer up a bit of an explanation on the portal’s behalf: Swordsman was made in the closing days of Daiei Studios (1942-1971), so it’s entirely possible that not a great deal of press emerged about the project, its cast and crew, and perhaps even its premise, making it entirely plausible for this curious oddity to get overlooked. Indeed, I can’t locate any great deal of information surrounding previous releases or screenings across the Information Superhighway; so I’m willing to chalk this error up to a legitimate misunderstanding.
Naturally, the oversight of Swordsman’s existence might actually work wonders for folks rediscovering what it has to offer with this all-new release from Arrow Films. Curiosity does far more than kill cats, and this pressing might help give the title a chance at building a potential cult following – not the worst fate for a middling effort – and as a samurai films enthusiast I’d definitely encourage like-minded folks that there’s some charm awaiting anyone who wishes to give it a try. Tonally, it’s a bit off; and yet it’s hard to deny that – for the young at heart – it isn’t that much a stretch from the lesser theatrical excursions of the Walt Disney Company. Indeed, the Mouse House made bank (at one time) with similar fare; and Swordsman – though flawed in some significant ways – reminds me a great deal of those films of my youth.
Sanshiro Yuzuki (played by Osamu Sakei) is little more than a bumbling samurai wannabe. His fears and physical inabilities keep him from rising to the challenge of becoming a master of the blade; and – out of sheer embarrassment – he begs his dojo’s sensei to allow him the freedom to take up something other than combat. After all, his father stands tall and proud with his sword, so why must the son follow in the footsteps when dear old dad is good enough to protect and serve the good people of their tiny village? Unfortunately, life always has an answer; and when that older man meets his maker at the hands of Gennoshin (Sônosuke Sawamura), Sanshiro’s grief is strong enough that it allows him to slip the veil of reality and step briefly into the Netherworld. Once there, he watches as the Death God (Asao Uchida) accompanies the dearly departed across the river Styx in a solemn and peaceful moment.
Still, I’ll offer up a bit of an explanation on the portal’s behalf: Swordsman was made in the closing days of Daiei Studios (1942-1971), so it’s entirely possible that not a great deal of press emerged about the project, its cast and crew, and perhaps even its premise, making it entirely plausible for this curious oddity to get overlooked. Indeed, I can’t locate any great deal of information surrounding previous releases or screenings across the Information Superhighway; so I’m willing to chalk this error up to a legitimate misunderstanding.
Naturally, the oversight of Swordsman’s existence might actually work wonders for folks rediscovering what it has to offer with this all-new release from Arrow Films. Curiosity does far more than kill cats, and this pressing might help give the title a chance at building a potential cult following – not the worst fate for a middling effort – and as a samurai films enthusiast I’d definitely encourage like-minded folks that there’s some charm awaiting anyone who wishes to give it a try. Tonally, it’s a bit off; and yet it’s hard to deny that – for the young at heart – it isn’t that much a stretch from the lesser theatrical excursions of the Walt Disney Company. Indeed, the Mouse House made bank (at one time) with similar fare; and Swordsman – though flawed in some significant ways – reminds me a great deal of those films of my youth.
Sanshiro Yuzuki (played by Osamu Sakei) is little more than a bumbling samurai wannabe. His fears and physical inabilities keep him from rising to the challenge of becoming a master of the blade; and – out of sheer embarrassment – he begs his dojo’s sensei to allow him the freedom to take up something other than combat. After all, his father stands tall and proud with his sword, so why must the son follow in the footsteps when dear old dad is good enough to protect and serve the good people of their tiny village? Unfortunately, life always has an answer; and when that older man meets his maker at the hands of Gennoshin (Sônosuke Sawamura), Sanshiro’s grief is strong enough that it allows him to slip the veil of reality and step briefly into the Netherworld. Once there, he watches as the Death God (Asao Uchida) accompanies the dearly departed across the river Styx in a solemn and peaceful moment.
However, a trickster demon – Shokera (Tokio Oki) – shows up, suggesting to the grieving young man that if he wants to exact revenge on his father’s murderer that the spirits are willing to provide. Blessed with a quest to locate the elusive ingredients for a potion and blend them together in secrecy, the magical result will award him a mystical ability (it’s not really named, at this point) to defeat his enemies. Seeing no other means with which to resolve his feelings of inadequacy, Sanshiro agrees, shouting out to his departing father that he will see justice done once and for all.
In fairness, director Yoshiyuki Kuroda very capably sets up Swordsman in the mold of the rather typical revenge flick. The feature – despite a bit of goofiness applied by Sakei in his bid to present Sanshiro as a kinda/sorta bumbling hero-in-waiting – evokes settings which establish the era of nearly any classic samurai picture, complete with the team of rather downtrodden and mildly buffoonish villagers in typical period costumes and details. Furthermore, the transition from the world to the spirit world is equally inspired and looks quite grand: there’s a mystical fade out of reality into the dark, murky corners of the Underworld, a sequence that probably instilled the proper sense of doom and gloom for audiences of the day. All of these bits hold up nicely – despite a bit of cringe from this viewer with Sanshiro’s schtick – and are deserving of praise.
From this point forward, nevertheless, Swordsman feels like a slightly different feature. It loses that firm hand ushering the tale through its necessary paces; and, instead, becomes a bit more of a relatively low-brow and predictable comedy, one bolstered by stereotypes and some visual trickery employed in order to make invisibility work on the silver screen. Uncertain of what to make of objects seemingly floating in mid-air (these are items being handled by the invisible Sanshiro, you see), villagers and thieves almost apishly work through their moments of surprise, robbing the second half of any seriousness the film initially went so hard to establish. Sure … it works just fine, but I couldn’t overcome the impression that I was watching two halves of an incongruous whole.
None of this is to suggest that Swordsman isn’t entertaining.
It has a few spots that work quite fine, delivering meager laughs (maybe even a groan or two) and perhaps some modest admiration over what could still be accomplished with the obvious limitations of 60’s and 70’s era special effects. Curiously, Kuroda bends a good deal of the rules previously employed by Hollywood in depicting not only Sanshiro in his ethereal state but also the spooks and specters who inevitably follow him from the Afterlife into our domain once they’re aware of his endeavors. Instead of sticking with fully invisible the whole time, the actors are optically spliced into existence, making them there but also transparent. (The audience can see them, but others onscreen cannot.) But the fact that all of these mishaps are so poorly old-fashioned textually (i.e. outsmarting demons by situating a dead body in a different position; samurai swords slashing wildly through the air never once manage to strike their invisible opponent; etc.), the film ends up feeling far more cartoonish than it needed to give life to Sanshiro’s slowly emerging nobility and skill set required for the big finale.
In fairness, director Yoshiyuki Kuroda very capably sets up Swordsman in the mold of the rather typical revenge flick. The feature – despite a bit of goofiness applied by Sakei in his bid to present Sanshiro as a kinda/sorta bumbling hero-in-waiting – evokes settings which establish the era of nearly any classic samurai picture, complete with the team of rather downtrodden and mildly buffoonish villagers in typical period costumes and details. Furthermore, the transition from the world to the spirit world is equally inspired and looks quite grand: there’s a mystical fade out of reality into the dark, murky corners of the Underworld, a sequence that probably instilled the proper sense of doom and gloom for audiences of the day. All of these bits hold up nicely – despite a bit of cringe from this viewer with Sanshiro’s schtick – and are deserving of praise.
From this point forward, nevertheless, Swordsman feels like a slightly different feature. It loses that firm hand ushering the tale through its necessary paces; and, instead, becomes a bit more of a relatively low-brow and predictable comedy, one bolstered by stereotypes and some visual trickery employed in order to make invisibility work on the silver screen. Uncertain of what to make of objects seemingly floating in mid-air (these are items being handled by the invisible Sanshiro, you see), villagers and thieves almost apishly work through their moments of surprise, robbing the second half of any seriousness the film initially went so hard to establish. Sure … it works just fine, but I couldn’t overcome the impression that I was watching two halves of an incongruous whole.
None of this is to suggest that Swordsman isn’t entertaining.
It has a few spots that work quite fine, delivering meager laughs (maybe even a groan or two) and perhaps some modest admiration over what could still be accomplished with the obvious limitations of 60’s and 70’s era special effects. Curiously, Kuroda bends a good deal of the rules previously employed by Hollywood in depicting not only Sanshiro in his ethereal state but also the spooks and specters who inevitably follow him from the Afterlife into our domain once they’re aware of his endeavors. Instead of sticking with fully invisible the whole time, the actors are optically spliced into existence, making them there but also transparent. (The audience can see them, but others onscreen cannot.) But the fact that all of these mishaps are so poorly old-fashioned textually (i.e. outsmarting demons by situating a dead body in a different position; samurai swords slashing wildly through the air never once manage to strike their invisible opponent; etc.), the film ends up feeling far more cartoonish than it needed to give life to Sanshiro’s slowly emerging nobility and skill set required for the big finale.
Lastly, am I the only one who found the final showdown entirely incredulous? Nowhere along the way did Sanshiro even modestly attempt to gain any further skills with his blade. Why would he? He didn’t need to when he had invisibility on his side! The fact that he’s still blundering in the final matchup and requiring the assistance of his spectral compatriots kinda/sorta cheapens the whole idea of even calling him a ‘swordsman’ in the first place. Never even properly trained with a blade, there’s zero chance he could’ve held his own against a modestly skilled adversary; and I think this one should’ve figured out a more believable finish … even if it wanted to stay a comedy.
The Invisible Swordsman (1970) was produced by Daiei Studios. DVD distribution (for this particular release) has been coordinated by the fine folks at Arrow Films. As for the technical specifications? While I’m no trained video expert, I’ll concede that this one still looks and sounds fabulous. Lastly, if you’re looking for special features? The disc boasts a few extras that deal a bit more with the studio and the genre than they specifically do the film; still, the commentary track from Asian culture expert Jonathan Clements is the best thing on here, and he gives a great deal of context to some of the extra details that went both into the look and probably the writing of the story. It’s a must-see, so far as I’m concerned.
Mildly Recommended.
Sometimes the best experiences I have with film is discovering a lesser feature which completely escaped my knowledge; but The Invisible Swordsman (1970) – which fits that bill – ends up being far too uneven for me to embrace its modest goodness. Though I’m admittedly a big fan of films wherein the lovable knucklehead rises up to save his world (or, at least, his little corner of it), the construct just doesn’t quite fit seamlessly when its applied here: performances are good, but I just couldn’t accept Sanshiro stumbling into his rightful place in the last reel especially when it required supernatural intervention (in the way it did) to work. At best, the flick’s an interesting eccentricity, maybe one that affirms that storytellers on opposing sides of the ocean see things more alike than differently: worth a single viewing, but it has little lasting appeal to me.
In the interests of fairness, I’m pleased to disclose that the fine folks at Arrow Films provided me with a complimentary Blu-ray of The Invisible Swordsman (1970) 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
The Invisible Swordsman (1970) was produced by Daiei Studios. DVD distribution (for this particular release) has been coordinated by the fine folks at Arrow Films. As for the technical specifications? While I’m no trained video expert, I’ll concede that this one still looks and sounds fabulous. Lastly, if you’re looking for special features? The disc boasts a few extras that deal a bit more with the studio and the genre than they specifically do the film; still, the commentary track from Asian culture expert Jonathan Clements is the best thing on here, and he gives a great deal of context to some of the extra details that went both into the look and probably the writing of the story. It’s a must-see, so far as I’m concerned.
Mildly Recommended.
Sometimes the best experiences I have with film is discovering a lesser feature which completely escaped my knowledge; but The Invisible Swordsman (1970) – which fits that bill – ends up being far too uneven for me to embrace its modest goodness. Though I’m admittedly a big fan of films wherein the lovable knucklehead rises up to save his world (or, at least, his little corner of it), the construct just doesn’t quite fit seamlessly when its applied here: performances are good, but I just couldn’t accept Sanshiro stumbling into his rightful place in the last reel especially when it required supernatural intervention (in the way it did) to work. At best, the flick’s an interesting eccentricity, maybe one that affirms that storytellers on opposing sides of the ocean see things more alike than differently: worth a single viewing, but it has little lasting appeal to me.
In the interests of fairness, I’m pleased to disclose that the fine folks at Arrow Films provided me with a complimentary Blu-ray of The Invisible Swordsman (1970) 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
So many movies ... so little time ...
On this day in 1925 (in Portugal), audiences were treated to one of the earliest attempts to bring H. Rider Haggard's immortal She to the silver screen. This version was adapted by screenwriters G.B Samuelson and Walter Summers. Leander De Cordova and Samuelson shared directing responsibilies. The film starred Betty Blythe, Carlyle Blackwell, Mary Odette, and others.
According to our friends at IMDB.com, here's the plot summary:
"In Africa an explorer is the reincarnated lover of the 2,000-year-old White Queen."
-- EZ
On this day in 1925 (in Portugal), audiences were treated to one of the earliest attempts to bring H. Rider Haggard's immortal She to the silver screen. This version was adapted by screenwriters G.B Samuelson and Walter Summers. Leander De Cordova and Samuelson shared directing responsibilies. The film starred Betty Blythe, Carlyle Blackwell, Mary Odette, and others.
According to our friends at IMDB.com, here's the plot summary:
"In Africa an explorer is the reincarnated lover of the 2,000-year-old White Queen."
-- EZ
- Published on
So many movies ... so little time ...
Folks, there are some films that -- for any number of reasons -- are almost timeless.
This isn't to say that the period in which the feature was made isn't a bit obvious, because nothing could be further from the truth. Faces and places manage to rather loosely date any picture; and styles -- even though they might come and go -- definitely give viewers ample opportunity to look at the parade of scenes and make an educated guess on when if not where a great deal of the action takes place. Whether we actively try to or not, we sometimes recognize elements much more deeply than we know; and active watchers tend to see and even hear enough detail in any film to perhaps place it historically when it took place.
My point is that some stories just manage to transcend such minutiae to the point wherein those facts become less important to the actually story unfolding before our eyes ... and one such adventure remains Steven Spielberg's phenomenal Jaws.
Based on a popular novel of its day, the film did have a bit of advance publicity that led some to expect that a theatrical version could be something special, and yet it was being martialed to the screen by the relatively unknown director Steven Spielberg. In fact, I've read that Spielberg himself wasn't exactly thrilled with the finished product, stating that he thought the big mechanical shark used with which to weave this violent Fantasy was a bit clunky and unrealistic. Even Google.com cites an article which suggests that Universal Pictures -- the studio behind the effort -- had very little faith in the feature, expecting it to even bomb at the box office.
Well ...
History shows us that Jaws went on to become the very first film to cross the $100 million dollar gross in theaters. To Spielberg and the studio's utter amazement, the flick -- buoyed by its massive sea legs (snicker snicker) -- went on to top out not all that far from $500 million, a figure equal to nearly $2 billion in today's dollars. As a commodity, the franchise produced an incredible three sequels over the next twelve years, none of which quite matched anything close to the sheer, raw power of the original; and, yet, they swam their own course in film history.
To the film's credit, Jaws even took home an astonishing three Oscars at the 1976 Academy Awards, cementing both the film and Steven Spielberg as things to watch in the years ahead.
So ...
Happy Birthday -- Happy Anniversary -- to Jaws, a motion picture which most definitely made each and everyone of us question when it would ever be safe to go back in the water!
-- EZ
Folks, there are some films that -- for any number of reasons -- are almost timeless.
This isn't to say that the period in which the feature was made isn't a bit obvious, because nothing could be further from the truth. Faces and places manage to rather loosely date any picture; and styles -- even though they might come and go -- definitely give viewers ample opportunity to look at the parade of scenes and make an educated guess on when if not where a great deal of the action takes place. Whether we actively try to or not, we sometimes recognize elements much more deeply than we know; and active watchers tend to see and even hear enough detail in any film to perhaps place it historically when it took place.
My point is that some stories just manage to transcend such minutiae to the point wherein those facts become less important to the actually story unfolding before our eyes ... and one such adventure remains Steven Spielberg's phenomenal Jaws.
Based on a popular novel of its day, the film did have a bit of advance publicity that led some to expect that a theatrical version could be something special, and yet it was being martialed to the screen by the relatively unknown director Steven Spielberg. In fact, I've read that Spielberg himself wasn't exactly thrilled with the finished product, stating that he thought the big mechanical shark used with which to weave this violent Fantasy was a bit clunky and unrealistic. Even Google.com cites an article which suggests that Universal Pictures -- the studio behind the effort -- had very little faith in the feature, expecting it to even bomb at the box office.
Well ...
History shows us that Jaws went on to become the very first film to cross the $100 million dollar gross in theaters. To Spielberg and the studio's utter amazement, the flick -- buoyed by its massive sea legs (snicker snicker) -- went on to top out not all that far from $500 million, a figure equal to nearly $2 billion in today's dollars. As a commodity, the franchise produced an incredible three sequels over the next twelve years, none of which quite matched anything close to the sheer, raw power of the original; and, yet, they swam their own course in film history.
To the film's credit, Jaws even took home an astonishing three Oscars at the 1976 Academy Awards, cementing both the film and Steven Spielberg as things to watch in the years ahead.
So ...
Happy Birthday -- Happy Anniversary -- to Jaws, a motion picture which most definitely made each and everyone of us question when it would ever be safe to go back in the water!
-- EZ
- Published on
site update
So many movies ... so little time ...
On this day in 2019 (in the U.S.), some dolls were never meant to be, and yet here we are with the release of Charlotte 2 (aka Charlotte: The Return). Written and directed by the team of Nathan Crooker, Kayden Phoenix, Richard Powell, and Ruben Rodriguez, the film starred Amanda Lynn Baez, Ariana Galya, Sabi Garcia, and others.
According to our friends at IMDB.com, here's the plot summary:
"That creepy doll Charlotte is back with all new tales of shock and disgust. Charlotte takes you on an otherworldly journey of frightening tales of unspeakable terror that will thrill you and chill you."
-- EZ
On this day in 2019 (in the U.S.), some dolls were never meant to be, and yet here we are with the release of Charlotte 2 (aka Charlotte: The Return). Written and directed by the team of Nathan Crooker, Kayden Phoenix, Richard Powell, and Ruben Rodriguez, the film starred Amanda Lynn Baez, Ariana Galya, Sabi Garcia, and others.
According to our friends at IMDB.com, here's the plot summary:
"That creepy doll Charlotte is back with all new tales of shock and disgust. Charlotte takes you on an otherworldly journey of frightening tales of unspeakable terror that will thrill you and chill you."
-- EZ
- Published on
site update
So many movies ... so little time ...
On this day in 2010 (in the U.S.), Bitter Feast enjoyed its first theatrical exhibition ever when it was screened for audiences of the Los Angeles Film Festival. Written and directed by Joe Maggio, the film starred James Le Gros, Larry Fessenden, Megan Hilty, and others.
According to our friends at IMDB.com, here's the plot summary:
"A celebrity chef exacts revenge on a food blogger who torpedoes his career."
For the record:
At the 2011 Fangoria Chainsaw Awards, Bitter Feast received nominations in the categories of 'Best Supporting Actor' (Joshua Leonard) and 'Best Actor' (James Le Gros).
-- EZ
On this day in 2010 (in the U.S.), Bitter Feast enjoyed its first theatrical exhibition ever when it was screened for audiences of the Los Angeles Film Festival. Written and directed by Joe Maggio, the film starred James Le Gros, Larry Fessenden, Megan Hilty, and others.
According to our friends at IMDB.com, here's the plot summary:
"A celebrity chef exacts revenge on a food blogger who torpedoes his career."
For the record:
At the 2011 Fangoria Chainsaw Awards, Bitter Feast received nominations in the categories of 'Best Supporting Actor' (Joshua Leonard) and 'Best Actor' (James Le Gros).
-- EZ
- Published on
site update
So many movies ... so little time ...
On this day in 2017 (in the U.S.), the good people of New Orleans, Louisiana were treated to the debut of Alien, Baby! Written and directed by the team of Andrew Rakich and Eduardo Urueña, the film starred Nathaniel Hendricks, Kendra Unique, Mohit Jaswal, and others.
According to our friends at IMDB.com, here's the plot summary:
"Brian, a simple shovel salesman, thinks Alice is the girl of his dreams, but she's the stuff of nightmares: a shape-shifting alien bent on destroying the human race through sheer reproductive power. Brian soon gives birth to a half-human infant, the first of an alien master race. With the help of a psychotic private detective and an archaeologist with a mysterious past, Brian races to save the world from certain destruction. But as the bond between mother and child grows, will Brian be capable of making the ultimate sacrifice to save his species?"
-- EZ
On this day in 2017 (in the U.S.), the good people of New Orleans, Louisiana were treated to the debut of Alien, Baby! Written and directed by the team of Andrew Rakich and Eduardo Urueña, the film starred Nathaniel Hendricks, Kendra Unique, Mohit Jaswal, and others.
According to our friends at IMDB.com, here's the plot summary:
"Brian, a simple shovel salesman, thinks Alice is the girl of his dreams, but she's the stuff of nightmares: a shape-shifting alien bent on destroying the human race through sheer reproductive power. Brian soon gives birth to a half-human infant, the first of an alien master race. With the help of a psychotic private detective and an archaeologist with a mysterious past, Brian races to save the world from certain destruction. But as the bond between mother and child grows, will Brian be capable of making the ultimate sacrifice to save his species?"
-- EZ
- Published on
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So many movies ... so little time ...
On this day in 2012 (in the U.S.), the good people of New York City, New York were treated to the exclusive theatrical premiere of Abraham Lincoln: Vampire Hunter. Directed by Timur Bekmambetov from a story by Seth Grahame-Smith, the film starred Benjamin Walker, Rufus Sewell, Dominic Cooper, and others.
According to our friends at IMDB.com, here's the plot summary:
"Abraham Lincoln, the 16th President of the United States, discovers vampires are planning to take over the United States. He makes it his mission to eliminate them."
-- EZ
On this day in 2012 (in the U.S.), the good people of New York City, New York were treated to the exclusive theatrical premiere of Abraham Lincoln: Vampire Hunter. Directed by Timur Bekmambetov from a story by Seth Grahame-Smith, the film starred Benjamin Walker, Rufus Sewell, Dominic Cooper, and others.
According to our friends at IMDB.com, here's the plot summary:
"Abraham Lincoln, the 16th President of the United States, discovers vampires are planning to take over the United States. He makes it his mission to eliminate them."
-- EZ
- Published on
(NOTE: Part of this opening is reprinted and edited from my previous review of Dr. Who And The Daleks available here):
There are a good many fans around the world – particularly those outside of the United Kingdom – who never even knew that the famed, long-running Science Fiction and Fantasy franchise Doctor Who had not one but two theatrical outings.
As the story goes, Amicus Productions knew a good thing when they saw it; and this all-new television serial that was Doctor Who was growing both in popularity and cultural relevance. For the paltry sum of £500, Amicus purchased the rights from the BBC and Daleks’ creator Terry Nation for the purposes of transforming the property into a trilogy of films for the big screen. Alas, only two of the features were ever made and released; but Daleks’ Invasion Earth 2150 A.D. (1966) brought the signature time-traveler, a few of his companions (granddaughters, really), and audiences into theatrical existence for a brief shot at big screen fame and fortune. Yes, given that only two planned adventures were ever completed – this one being the second and final – it’s safe to suggest that these outings didn’t exactly match the potential of the TV incarnation – a show that’s lasted over six incredible decades – but kudos to all involved for taking Who as far as they did.
Now, I suspect one of the requirements to translating Who from small screens to big would be that screenwriters Milton Subotsky, Sydney Newman (original concepts), and David Whitaker (original concepts) had to somehow modestly differentiate their effort from what had already come before in the BBC show. Originally, these dreaded robots were introduced in William Hartnell’s first season in charge of the TARDIS, covering the serialized story across 7 episodes. Though these earliest scripts kinda/sorta left the Doctor’s origins a bit ambiguous, they still strongly established that he was born elsewhere – beyond our humble star system – but the motion picture directed by Gordon Flemyng clearly casts its lead character as a human being.
For clarity’s sake, Daleks’ Invasion Earth 2150 A.D. retells the Who serial The Dalek Invasion Of Earth which ran in six installments across November and December 1964. From what I’ve been able to glean from the Information Superhighway and the commentaries, a good many fans find the movie a bit more riveting because it eliminates a bit of unnecessary bloat that worked its way into the previous episodic format, delivering one narrative with a stronger sense of urgency for our heroes. Initially, I’d concur, but I also have a good deal more to say about this particular chapter of Who’s time in cinemas.
(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:
“Dr. Who and his companions arrive on Earth in the year 2150 AD, only to discover that the planet has been invaded and its population enslaved by the dreaded Daleks.”
There are a good many fans around the world – particularly those outside of the United Kingdom – who never even knew that the famed, long-running Science Fiction and Fantasy franchise Doctor Who had not one but two theatrical outings.
As the story goes, Amicus Productions knew a good thing when they saw it; and this all-new television serial that was Doctor Who was growing both in popularity and cultural relevance. For the paltry sum of £500, Amicus purchased the rights from the BBC and Daleks’ creator Terry Nation for the purposes of transforming the property into a trilogy of films for the big screen. Alas, only two of the features were ever made and released; but Daleks’ Invasion Earth 2150 A.D. (1966) brought the signature time-traveler, a few of his companions (granddaughters, really), and audiences into theatrical existence for a brief shot at big screen fame and fortune. Yes, given that only two planned adventures were ever completed – this one being the second and final – it’s safe to suggest that these outings didn’t exactly match the potential of the TV incarnation – a show that’s lasted over six incredible decades – but kudos to all involved for taking Who as far as they did.
Now, I suspect one of the requirements to translating Who from small screens to big would be that screenwriters Milton Subotsky, Sydney Newman (original concepts), and David Whitaker (original concepts) had to somehow modestly differentiate their effort from what had already come before in the BBC show. Originally, these dreaded robots were introduced in William Hartnell’s first season in charge of the TARDIS, covering the serialized story across 7 episodes. Though these earliest scripts kinda/sorta left the Doctor’s origins a bit ambiguous, they still strongly established that he was born elsewhere – beyond our humble star system – but the motion picture directed by Gordon Flemyng clearly casts its lead character as a human being.
For clarity’s sake, Daleks’ Invasion Earth 2150 A.D. retells the Who serial The Dalek Invasion Of Earth which ran in six installments across November and December 1964. From what I’ve been able to glean from the Information Superhighway and the commentaries, a good many fans find the movie a bit more riveting because it eliminates a bit of unnecessary bloat that worked its way into the previous episodic format, delivering one narrative with a stronger sense of urgency for our heroes. Initially, I’d concur, but I also have a good deal more to say about this particular chapter of Who’s time in cinemas.
(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:
“Dr. Who and his companions arrive on Earth in the year 2150 AD, only to discover that the planet has been invaded and its population enslaved by the dreaded Daleks.”
Living on the side of ‘the pond’ that I do, I’ve often mentioned that I came somewhat late to the wide, wide world of Doctor Who.
From what I know, we in America really didn’t have access to the show until it was both imported and properly serialized on Public Television outlets across the United States; and – even then – I’m not sure many in the viewing public were all that enamored. While the stories from back in those days were quite interesting, the combination of video and special effects really left more to the imagination than producers in this great nation probably desired. Granted, homegrown Science Fiction and Fantasy yarns weren’t all that exceptional, either; but George Lucas’ Star Wars inevitably pressured our production outlets to understandably ‘up their game’ if they truly wanted to compete in the realms of the imagination. Production standards and design on Who continued a bit lowkey for some time even after the galaxy far, far away showed viewers something different, but ‘such is life’ as some are likely to suggest.
In any event …
I honestly don’t recall how and/or when I first saw Daleks’ Invasion Earth 2150 A.D. To the best of my recollection, it was from some television broadcast likely in the early 1980’s, though the specifics of where, when, and/or why escape me. I do remember being a bit confused by it – as I stated in my review of director Gordon Flemyng’s first feature, this Doctor wasn’t even from Gallifrey so much as is ever made certain – and I’m fairly certain it was chopped up quite a bit for commercial inserts. The story seemed trite if not a bit shoddy; and some of this might be owed to the fact that – even if it were run complete – it’s a lean 80-ish minutes running time. With the usual trimming and commercial breaks, the end product likely felt choppy.
To my delight, Severin Films’ recent release and restoration is just hands-down fabulous. The flick both looks and sounds astonishing; there’s a far more relatable and cogent storyline than I recall from my previous experience with it; and actor Peter Cushing finally earns my respect for taking the time to deliver an incarnation of the time traveler that deserves to stand alongside anyone else who has been bestowed with the honor of participating in the franchise. Though still a bit imperfect – albeit in a charming way – this Invasion was well worth the watch.
From what I know, we in America really didn’t have access to the show until it was both imported and properly serialized on Public Television outlets across the United States; and – even then – I’m not sure many in the viewing public were all that enamored. While the stories from back in those days were quite interesting, the combination of video and special effects really left more to the imagination than producers in this great nation probably desired. Granted, homegrown Science Fiction and Fantasy yarns weren’t all that exceptional, either; but George Lucas’ Star Wars inevitably pressured our production outlets to understandably ‘up their game’ if they truly wanted to compete in the realms of the imagination. Production standards and design on Who continued a bit lowkey for some time even after the galaxy far, far away showed viewers something different, but ‘such is life’ as some are likely to suggest.
In any event …
I honestly don’t recall how and/or when I first saw Daleks’ Invasion Earth 2150 A.D. To the best of my recollection, it was from some television broadcast likely in the early 1980’s, though the specifics of where, when, and/or why escape me. I do remember being a bit confused by it – as I stated in my review of director Gordon Flemyng’s first feature, this Doctor wasn’t even from Gallifrey so much as is ever made certain – and I’m fairly certain it was chopped up quite a bit for commercial inserts. The story seemed trite if not a bit shoddy; and some of this might be owed to the fact that – even if it were run complete – it’s a lean 80-ish minutes running time. With the usual trimming and commercial breaks, the end product likely felt choppy.
To my delight, Severin Films’ recent release and restoration is just hands-down fabulous. The flick both looks and sounds astonishing; there’s a far more relatable and cogent storyline than I recall from my previous experience with it; and actor Peter Cushing finally earns my respect for taking the time to deliver an incarnation of the time traveler that deserves to stand alongside anyone else who has been bestowed with the honor of participating in the franchise. Though still a bit imperfect – albeit in a charming way – this Invasion was well worth the watch.
Constable Tom Campbell (played by Bernard Cribbins) stumbles across a jewel heist in progress yet fails to apprehend the suspects before they flee the scene of their crime via automobile. Taking pursuit on foot, the officer runs until he sights the familiar police telephone box around the corner, which he promptly ducks into to call for backup. Why, imagine his surprise when he learns he’s actually stepped inside the TARDIS! Bewildered by these circumstances as well as the blow he took to the head by one of the suspects, Campbell feints and is whisked off to 2150 A.D. as the Doctor (Cushing), Susan (Roberta Tovey), and Louise (Jill Curzon) had just initiated transport.
Landing in the world of tomorrow, the foursome are a bit aghast to find that the United Kingdom has fallen. Outside the TARDIS, they find a world wherein the streets are littered with rubble; and a crumbling building very soon obstructs their path back into the time machine for safety. It isn’t long before they’re separated: the women are taken by what rebellion remains of the human race while the Doctor and Campbell are seized by Robomen, the nefarious blackboots who serve at the beck and call of the dreaded Daleks! It seems they’ve taken control of our planet itself, a development that requires the Doctor to both figure out why as well as come up with plans to save the rebels, his family, and our world in the process.
Whereas Flemyng’s first film catapulted audiences to a fantastical and far-off universe to introduce one of the Doctor’s most inimitable enemies, Invasion centers all of its action on Earth, showing us not one, not two, but three villains working in concert against mankind: human collaborators have betrayed their native species, selling secrets in exchange for food, shelter, and comfort provided by the domineering Daleks, a development that added a layer of historical context audiences of the day might’ve appreciated. Why, it was only a few decades ago that Nazi sympathizers had benefitted from doing the same; and this added depth truly positioned Invasion to be a vastly more adult tale than what producers had done before. Though not delivered with any shocking degree of violence, this message likely gave the children watching something worth thinking about.
For this reason, Invasion occasionally feels a bit uneven. While exploring the premise of a Dystopian future against a Fascistic state perpetuated by the Daleks, the script still insisted in a few spots at delivering some rather simplistic humor. For example, in one sequence Campbell disguises himself as a Roboman in order to infiltrate the Dalek spacecraft; and he kinda/sorta apes his way through a robotic marching sequence which ends up feeling out of place with the rest of the picture. Furthermore, he’s forced to participate in an even goofier dinner sequence – the automatons go through protracted synchronized movements to both receive and eat their respective meals – that smacks of downright vaudevillian conventions. What some might find funny is cringeworthy by today’s standards.
Landing in the world of tomorrow, the foursome are a bit aghast to find that the United Kingdom has fallen. Outside the TARDIS, they find a world wherein the streets are littered with rubble; and a crumbling building very soon obstructs their path back into the time machine for safety. It isn’t long before they’re separated: the women are taken by what rebellion remains of the human race while the Doctor and Campbell are seized by Robomen, the nefarious blackboots who serve at the beck and call of the dreaded Daleks! It seems they’ve taken control of our planet itself, a development that requires the Doctor to both figure out why as well as come up with plans to save the rebels, his family, and our world in the process.
Whereas Flemyng’s first film catapulted audiences to a fantastical and far-off universe to introduce one of the Doctor’s most inimitable enemies, Invasion centers all of its action on Earth, showing us not one, not two, but three villains working in concert against mankind: human collaborators have betrayed their native species, selling secrets in exchange for food, shelter, and comfort provided by the domineering Daleks, a development that added a layer of historical context audiences of the day might’ve appreciated. Why, it was only a few decades ago that Nazi sympathizers had benefitted from doing the same; and this added depth truly positioned Invasion to be a vastly more adult tale than what producers had done before. Though not delivered with any shocking degree of violence, this message likely gave the children watching something worth thinking about.
For this reason, Invasion occasionally feels a bit uneven. While exploring the premise of a Dystopian future against a Fascistic state perpetuated by the Daleks, the script still insisted in a few spots at delivering some rather simplistic humor. For example, in one sequence Campbell disguises himself as a Roboman in order to infiltrate the Dalek spacecraft; and he kinda/sorta apes his way through a robotic marching sequence which ends up feeling out of place with the rest of the picture. Furthermore, he’s forced to participate in an even goofier dinner sequence – the automatons go through protracted synchronized movements to both receive and eat their respective meals – that smacks of downright vaudevillian conventions. What some might find funny is cringeworthy by today’s standards.
Regardless, there’s no escaping the fact that Invasion is a vast improvement on Flemyng’s original dip into the Whoniverse. Production details for the TARDIS interior are a huge improvement; and the story has a more strongly logical progression from where it begins to where it ultimately delivers audiences. I’ll concede that the first half suffers from some of the same tawdriness by shackling both the Doctor and his companions with being observers for far too much of the action; but the second half heightens the tension and maintains a pace that raises the bar in the way I suspect many will appreciate.
Sigh.
It’s a shame it all had to end.
Daleks’ Invasion Earth 2150 A.D. was produced by AARU Productions, British Lion Films, and Amicus Productions. DVD distribution (for this particular release) has been coordinated by the fine folks at Severin Films. As for the technical specifications? While I’m no trained video expert … wowza. This restoration is really, really impressive. Some of this is likely owed to the fact that the production details appear to be better in this go-round – excellent matte work along with some solid practical effects – but it all looks and sounds wonderful. Lastly, if you’re looking for special features? There are two commentaries – both good, but I found the one by Barry Forshaw, Stephen Jones, and Kim Newman a bit underwhelming given the strength of what they did on the first film’s commentary track – along with some interviews and whatnot. Honestly, the best thing on here (so far as I’m concerned) was a great video essay from Whovian expert Stephen Thrower as I think the man very succinctly positioned this effort wonderfully within franchise lore and presents effectively what works and what comes in a bit short very smartly. Well done.
Strongly Recommended.
While the film doesn’t quite shirk off entirely the producer’s desire to keep the franchise kid-friendly, Daleks’ Invasion Earth 2150 A.D. is still vastly superior to its predecessor if for no other reason that it homed in one a single central story – with minor secondary ideas – and truly went for broke. Presenting an adversary with a full-blown desire for conquest of our world and staying on-track, audiences were likely able to relate more to it and appreciate the good Doctor and his companions’ quest to rid our world of a singular menace. Sadly, the script still muddles a good bit (as did the first flick) with the Doctor being far too much of an observer (as opposed to directing the action), but that’s rectified in the last reel when Cushing finally delivers several moments that show what a force to be reckoned with the character would eventually become. In fact, it’s sad that this Invasion was the end of these theatrical outings as – had they continued – one wonders just how much more impactful a film series could’ve been in some alternate reality.
In the interests of fairness, I’m pleased to disclose that the fine folks at Severin Films provided me with a complimentary Blu-ray of Daleks’ Invasion Earth 2150 A.D. (1966) 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
Sigh.
It’s a shame it all had to end.
Daleks’ Invasion Earth 2150 A.D. was produced by AARU Productions, British Lion Films, and Amicus Productions. DVD distribution (for this particular release) has been coordinated by the fine folks at Severin Films. As for the technical specifications? While I’m no trained video expert … wowza. This restoration is really, really impressive. Some of this is likely owed to the fact that the production details appear to be better in this go-round – excellent matte work along with some solid practical effects – but it all looks and sounds wonderful. Lastly, if you’re looking for special features? There are two commentaries – both good, but I found the one by Barry Forshaw, Stephen Jones, and Kim Newman a bit underwhelming given the strength of what they did on the first film’s commentary track – along with some interviews and whatnot. Honestly, the best thing on here (so far as I’m concerned) was a great video essay from Whovian expert Stephen Thrower as I think the man very succinctly positioned this effort wonderfully within franchise lore and presents effectively what works and what comes in a bit short very smartly. Well done.
Strongly Recommended.
While the film doesn’t quite shirk off entirely the producer’s desire to keep the franchise kid-friendly, Daleks’ Invasion Earth 2150 A.D. is still vastly superior to its predecessor if for no other reason that it homed in one a single central story – with minor secondary ideas – and truly went for broke. Presenting an adversary with a full-blown desire for conquest of our world and staying on-track, audiences were likely able to relate more to it and appreciate the good Doctor and his companions’ quest to rid our world of a singular menace. Sadly, the script still muddles a good bit (as did the first flick) with the Doctor being far too much of an observer (as opposed to directing the action), but that’s rectified in the last reel when Cushing finally delivers several moments that show what a force to be reckoned with the character would eventually become. In fact, it’s sad that this Invasion was the end of these theatrical outings as – had they continued – one wonders just how much more impactful a film series could’ve been in some alternate reality.
In the interests of fairness, I’m pleased to disclose that the fine folks at Severin Films provided me with a complimentary Blu-ray of Daleks’ Invasion Earth 2150 A.D. (1966) 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
press release
June 10, 2025 – Cinephobia Releasing is proud to announce the Summer release of director Marcel Walz’s (That’s A Wrap, Pretty Boy) and writer Joe Knetter’s (George A. Romero’s Twilight of the Dead) latest feature Brute 1976. The film is set to release in select theaters this August, followed closely by a digital, VOD release on August 26.
”Brute 1976 is bloody and sexy, with a deranged family so demented they make John Waters’s Pink Flamingos look like a paradigm of family values,” said Cinephobia President Raymond Murray. “Brute 1976 restored my faith in horror that shocks.”
An homage to ‘70s horror cult classics The Texas Chainsaw Massacre and The Hills Have Eyes. Brute 1976 takes place in 1976, when Raquel and her girlfriend have car trouble and break down on the side of the road in the middle of nowhere. At the same time, a group of people are in the desert for a photoshoot. Soon, they stumble upon an abandoned town where a family of masked psychopaths reside.
“I’ve always been a huge fan of The Texas Chain Saw Massacre and The Hills Have Eyes, both the originals and remakes” said Walz. “Brute 1976 was an amazing experience to shoot: It was hot, it was dirty and it was bloody. I’m sure the audience will feel that on screen.”
"We are so excited to have Brute 1976, our modern take on the 70s horror films we love so much, in the hands of Cinephobia for it's North American release”, said Knetter. “We look forward to everyone experiencing the Birdy family in all their gory glory."
Brute 1976 stars Adriane McLean (Miracles of Christmas), Sarah French (Blind), Gigi Gustin (The Retaliators), Dazelle Yvette (Garden of Eden) and Adam Bucci (NCIS Los Angeles). From production company Neon Noir, Marcel Walz, Joe Knetter, and Sarah French produced, with Dirk Schürmann and Tobias Schürman serving as Executive Producers. Robert Kern III (Prey, Creepypasta) provided makeup effects, and Marcus Friedlander (The Getback) served as Director of Photography.
About Cinephobia Releasing:
Launched by Ray Murray, founder of TLA Releasing and Artsploitation Films, Cinephobia Releasing is dedicated to presenting the most eye-opening genre and LGBTQ+ movies from around the world.
”Brute 1976 is bloody and sexy, with a deranged family so demented they make John Waters’s Pink Flamingos look like a paradigm of family values,” said Cinephobia President Raymond Murray. “Brute 1976 restored my faith in horror that shocks.”
An homage to ‘70s horror cult classics The Texas Chainsaw Massacre and The Hills Have Eyes. Brute 1976 takes place in 1976, when Raquel and her girlfriend have car trouble and break down on the side of the road in the middle of nowhere. At the same time, a group of people are in the desert for a photoshoot. Soon, they stumble upon an abandoned town where a family of masked psychopaths reside.
“I’ve always been a huge fan of The Texas Chain Saw Massacre and The Hills Have Eyes, both the originals and remakes” said Walz. “Brute 1976 was an amazing experience to shoot: It was hot, it was dirty and it was bloody. I’m sure the audience will feel that on screen.”
"We are so excited to have Brute 1976, our modern take on the 70s horror films we love so much, in the hands of Cinephobia for it's North American release”, said Knetter. “We look forward to everyone experiencing the Birdy family in all their gory glory."
Brute 1976 stars Adriane McLean (Miracles of Christmas), Sarah French (Blind), Gigi Gustin (The Retaliators), Dazelle Yvette (Garden of Eden) and Adam Bucci (NCIS Los Angeles). From production company Neon Noir, Marcel Walz, Joe Knetter, and Sarah French produced, with Dirk Schürmann and Tobias Schürman serving as Executive Producers. Robert Kern III (Prey, Creepypasta) provided makeup effects, and Marcus Friedlander (The Getback) served as Director of Photography.
About Cinephobia Releasing:
Launched by Ray Murray, founder of TLA Releasing and Artsploitation Films, Cinephobia Releasing is dedicated to presenting the most eye-opening genre and LGBTQ+ movies from around the world.