LUNATICS: A LOVE STORY

Released on DVD for the first time by Umbrella Entertainment, Lunatics: A Love Story is a curious thing. Written and directed by Josh Becker, a pal and sometimes collaborator of Sam Raimi (who produces here), it’s essentially the story of two mentally-troubled individuals finding each other in Los Angeles. That’s its strength – the love story and the scenes shared by Ted Raimi’s Hank and Deborah Foreman’s Nancy are quirky, delightful, and full of chemistry. It’s a shame, then, that they only share the screen for a quarter of the movie, and that the other three quarters is such a mixed bag.

Hank isn’t well. Released from a stay in the hospital six months ago, he moved to Los Angeles to get away from his family and history in Michigan, with the aim of becoming a poet. He never leaves his apartment, which is covered in tin foil to insulate him from whatever is in the outside world, and frequently has nightmarish dreams where doctors (led by a maniacal Bruce Campbell) try to operate on and sedate him. Nancy is also a recent arrival in LA, eloping with her boyfriend Ray (again played by Campbell), but finding that the streets are very much not paved with gold. Convinced she curses everything she encounters, she takes to wandering the streets of a very dangerous neighbourhood.

The two stories intersect, and that’s when the magic happens, but outside this the depiction of Hank’s mental illness is a heavy-handed slapstick affair, and Nancy becomes a cypher for Becker’s weird, neo-noir vision of Los Angeles. Released in 1991, it’s very much of that period when the 1980s bled into the following decade, and the squonking jazz soundtrack and interjections of rap (from Detroit’s Most Wanted) are a distraction rather than an enhancement.

Still, Foreman is alluring, and it’s a great loss that this was her final film until 2007’s Beautiful Loser, and that she’s made nothing since. Campbell is as Campbell does, and Raimi occasionally reminds why Joxer the Mighty was such a popular recurring character on Xena: Warrior Princess (which Becker went on to work on after this).

Lunatics could very well gain a second life as a cult hit. There’s certainly enough there for that, but part of you wonders how the film could have turned out if the balance between wacky craziness (literally) and unconventional romance had been more in the latter’s favour.

LUNATICS: A LOVE STORY / CERT: M (AUSTRALIA) / DIRECTOR: JOSH BECKER / SCREENPLAY: JOSH BECKER / STARRING: TED RAIMI, DEBORAH FOREMAN, BRUCE CAMPBELL / RELEASE DATE: OUT NOW (AUS)

DAY OF THE DEAD: ULTIMATE EDITION

While many will cite Dawn Of The Dead as being George A. Romero’s crowning achievement, hardcore fans often point to its follow-up Day Of The Dead as the high point of the series. Following a group of soldiers and scientists in an underground bunker in a world overrun with zombies, it’s a tense and claustrophobic slow-burner (but when it eventually goes off, it really goes off) and its themes of disintegration of community and loss of trust contain still-relevant warnings about how the main threat to society can sometimes come from within.

Umbrella’s Ultimate Edition – released for the Australian market – includes what appears to be the same print as 2013’s Shout! Factory release, which is no bad thing as the picture was far sharper and brighter than the original 2007 BR release. With any re-release of a classic film though, it’s the extras we’re most interested in, and there’s a huge amount of bonus content across this two-disc set. Unfortunately though, there’s not much new content here – these extra features (apart from potentially one, which we haven’t seen mentioned anywhere else) have been available on previous DVD/BR releases…

Making of documentary “The World’s End” is the most recent inclusion, again taken from Shout! Factory’s 2013’s BR edition. The usual interviews with the cast and crew give the lowdown on how the idea for the film and its eventual production came together, interspersed with behind the scenes photos. Romero himself is in fine form here, smiling and joking his way through his comments – all of the interviewees are very laid back, and everyone comes across well. With a running time of 85 minutes, it’s the only HD extra in this collection – everything else is presented in standard definition.

Elsewhere on disc one, the main feature includes two audio commentaries and a couple of entertaining behind the scenes mini-documentaries – one following the cast and crew, and the other focusing on the work of special effects maestro Tom Savini. The possible new addition is a 50-minute Q&A with George A. Romero from the 2008 Melbourne International Film Festival, plus there’s the usual TV spots and theatrical trailers, and an old 8-minute infomercial for the Gateway Commerce Centre, the underground facility where DOTD was filmed.

Moving on to disc two’s archive content, presented on DVD rather than Bluray, a decent selection of documentaries scrutinise the production of the film in even more detail. Arrow Video’s 40-minute “The Many Days Of The Dead” is another talking heads-style documentary which feels very similar to disc one’s “The World’s End”, and “Reflections On The Living Dead”, originally released to coincide with Night Of The Living Dead‘s 25th anniversary in 1993 and presumably included here for completion’s sake, features a round table discussion (without the table) between four of the key players behind the film. Between these and the two audio commentaries on disc one, there’s an awful lot of information to take in.

Captain Rhodes (the eccentrically-dressed Joe Pilato) takes centre stage in “Joe Of The Dead” where he seems happy to talk about himself for 50 minutes (although a little less interested in reprising some of his lines from the film), and the home video-style (ie. picture and audio quality varies wildly) “Travelogue Of The Dead” (17 minutes) in which he attends a couple of conventions in Scotland and Ireland. Rounding things off is a huge 500-picture image gallery containing all manner of behind the scenes photos, poster and video artwork, and even production documents to wade through.

As the title says, this is a fantastic attempt at creating the “Ultimate Edition” of one of the all-time greatest zombie films. Apart from the film fest interview though (and a stunning illustration on the reversible cover), there’s not really anything notable for owners of previous editions, so unless you’re a hardcore fan or just getting your Romero collection started, there aren’t a huge amount of reasons to seek this edition out.

DAY OF THE DEAD: ULTIMATE EDITION / CERT: 18 / DIRECTOR: GEORGE A. ROMERO / SCREENPLAY: GEORGE A. ROMERO / STARRING: LORI CARDILLE, JOE PILATO, SHERMAN HOWARD, RICHARD LIBERTY / RELEASE DATE: OUT NOW (AUS)

CANNIBALS AND CARPET FITTERS

carpet

A few years ago, director James Bushe did rather well on the festival scene with his short Cannibals and Carpet Fitters. So well, in fact, he and screenwriter Richard Lee O’Donnell decided to expand the story to feature length. Fortunately, if you managed to catch the short, there will still be plenty of surprises in store when you check out the completed movie version, as there is plenty more meat on the bones to pick through here.

From the start it’s very different: the film opens in a found footage style as we follow a pair of campers, Jack and Gillian (played by TV’s Alex Zane and Redwood’s Jessica-Jane Stafford), who get lost and then suddenly attacked. Fortunately (for us, at least), the shaky-cam footage doesn’t last long as we’re in proper motion picture mode by the time Gillian stumbles across a large country house. Going in expecting to receive help from the elderly woman, Mrs Hanning, who lives there (Stokes), instead she meets the family and, shall we say, ends up with a splitting headache.

The real story starts when a team of carpet fitters are given the task of covering an entire house. Sadly for them, it’s Mrs. Hanning’s house and her children are hungry…

While the title might be off-putting for those who’ve come accustomed to so many ‘zombies/aliens/yetis’ versus ‘Yorkshiremen/school girls/WAGS’ films that are just plain rubbish (with the exception of a few, naturally), we’re pleased to say Carpet Fitters sits firmly in that minority section. It uses the tried-and-tested comedic angle, and never takes itself completely seriously so there is a whole lot of fun to be had. Not every gag hits the mark, but it’s a high percentage and the titular workers are likeable enough to have us rooting for them. Of particular note are the lead trio, played by Darren Sean Enright, writer O’Donnell and Dominic Holmes. They have an engaging, if gormless, presence and some natural banter between them.

Gorehounds will be in their element; despite the low budget, there’s a high quota of impressive effects. There’s a startling gag early on that you won’t see coming. Director Bushe and writer O’Donnell are not afraid to dispense with characters, either, so despite the comedy aspect, you’re well aware that no-one is safe.

Cannibals and Carpet Fitters is probably closer to Alex Chandon’s Inbred than, say, Matthias Hoene’s Cockneys vs. Zombies, but is certainly up there with those two titans of modern British horror. Mixing the laughs with scares and gore in equal measures, it’s a delight and a very pleasant surprise and doesn’t shy away from being downbeat. It’s getting released later this year, so make sure you check it out.

CANNIBALS AND CARPET FITTERS / CERT: TBC / DIRECTOR: JAMES BUSHE / SCREENPLAY: RICHARD LEE O’DONNELL / STARRING: DARREN SEAN ENRIGHT, RICHARD LEE O’DONNELL, ZARA PHYTHIAN, JENNY STOKES / RELEASE DATE: OUT NOW (US), TBC (UK)

SINGLE WHITE FEMALE

After discovering that her fiance is cheating on her, software developer Allie Jones (Bridget Fonda) decides to take in a roommate. She chooses mousy and soft-spoken Hedra (Jennifer Jason Leigh) and the two women quickly become friends. Hedra tells Allie that she should have had a twin sister, but her twin was stillborn. Maybe this is the reason she attaches to Allie so quickly, even buying a puppy for them to look after together. But when Allie’s latest business deal goes bad and Hedra responds by stepping in and scaring the client half to death, Allie sees a side to her roommate that she never suspected… and when she gets back together with her fiancé and their puppy suddenly falls off the balcony while only Hedra was at home, is it really an accident? There’s also the small but unsettling matter of how Hedra is secretly borrowing Allie’s clothes ,and how, when she surprises Allie by taking them both to a chic hair salon, Hedra’s new style and colour is an exact duplicate of Allie’s red-headed bob. Hedra’s found a new twin sister at last, whether Allie likes it or not… and she’ll kill anybody who tries to take Allie away.

Barbet Schroeder’s Single White Female arrived towards the end of the late 80s/early 90s erotic psychological thriller trend that began in 1987 with Adrian Lyne’s pot (or bunny?) boiler Fatal Attraction. Just as Fatal Attraction had scared audiences back into monogamy with its vengeful-woman-as-AIDS-metaphor, Single White Female tapped into a growing paranoia about strangers sharing our lives who may not be what we expect. It was based on John Lutz’s novel SWF Seeks Same, which itself was very loosely inspired by some deeply creepy real-life crime stories. For that reason, Single White Female should potentially have had more power than any of the other films that followed in Fatal Attraction‘s wake, but audiences had been spoiled by the time it was released in summer 1992. After all, this was the same year that had already given us the memorably nasty The Hand That Rocks the Cradle and the sex-noir blockbuster Basic Instinct. Somehow, the problems of a lone young woman dealing with an unbalanced copycat roommate just seemed passé – and that’s a shame, because Single White Female has a lot to recommend it.

Unfortunately, Umbrella’s Blu-ray is unlikely to find the film an enthusiastic new audience. The image is only a minor step up from Single White Female’s two decades old DVD incarnation, and we get none of the special features that Shout! Factory have given viewers on their almost simultaneously released US edition. The Shout! offering seems to be stronger in the image and picture/ratio departments too. It’s a shame that UK consumers have got shafted again, especially considering Single White Female is a movie that deserves some critical re-evaluation. If you’ve got a multi-region player and a hankering to add this disc to your collection, we know which version we’d recommend. 9/10 for the film (Fonda and Jason Leigh are fab), 5/10 for the disc.

Extras: none

SINGLE WHITE FEMALE / CERT: M (AUS) / DIRECTOR: BARBET SCHROEDER / SCREENPLAY: DON ROOS / STARRING: BRIDGET FONDA, JENNIFER JASON LEIGH, STEVEN WEBER / RELEASE DATE: OUT NOW

WHEN A STRANGER CALLS (1979) + WHEN A STRANGER CALLS BACK (1993)

stranger calls

Amidst the post-Halloween boom in stalk and slash, Fred Walton’s original 1979 version of When a Stranger Calls stood out as a highly effective alternative and was one of the most talked-about titles of that year. The opening twenty minutes are fondly remembered as one of the most suspenseful of all time, something the remake of the film didn’t tap into as well.

This brand-new Blu-ray remaster is accompanied in a limited edition set with its made-for-TV sequel, When a Stranger Calls Back, along with brand-new extras and will certainly hit the right note with fans who loved it decades ago, as well as more modern horror fans retracing their steps through the older titles.

Carol Kane and Charles Durning feature in both films as babysitter turned college counsellor Jill Johnson and detective-turned-private-eye John Clifford. In the first film, Johnson suffers an ordeal at the hands of a mysterious killer at the outset during a stint as a babysitter, whilst Clifford follows the case over several years.

In the second, the duo re-team to help a college student to deal with a similarly traumatising experience at the hands of another perverse individual five years previous when she, like Johnson in the earlier film, suffers an ordeal whilst babysitting…

Seen today, although the main character as babysitter is reminiscent of Laurie Strode, When a Stranger Calls is tonally different and has a nastier streak more akin to later films. The character focus in the first film splits between several characters; it’s a little left-field as a narrative device, but done with a little more subtlety than others in the frame around that time.

Happily, writer/director Walton is on board for both films and although the pair of them share the same opening, the follow-up does have a fair amount of tension to match the admirable original. Having Kane and Durning reprising their roles as well works wonders.

It’s also great that the lesser-seen sequel is getting a co-release alongside the big-screen classic and whilst time might have impacted the film, a certain line of dialogue will make its best effort to haunt a new generation of home video viewers. A host of extras compliment this attractive package.

WHEN A STRANGER CALLS (1979) + WHEN A STRANGER CALLS BACK (1993) / CERT: 15 / DIRECTOR: FRED WALTON / SCREENPLAY: STEVE FEKE, FRED WALTON / STARRING: CAROL KANE, CHARLES DURNING, JILL SCHOELEN / RELEASE DATE: OUT NOW

KABANERI OF THE IRON FORTRESS

Kabaneri

Twenty years after immortal zombie-esque creatures known as ‘Kabanes’ showed up out of nowhere during the Industrial Revolution, inhabitants of the island country of Hinomoto seek shelter from these beasts in fortress-like stations that are accessible only by steam locomotives called Hayajiro. Ikoma, a steam engineer from Aragane Station is bitten whilst testing his new piercing weapon (which is used to penetrate the Kabanes lead-covered heart) when the station comes under attack and has to act quickly to stop himself from becoming a Kabane. After managing to keep the infection at bay, he meets Mumei, a girl who also shares the same condition as Ikoma and reveals that they are what are known as Kabaneri (neither human, nor Kabane). With his new found power, Ikoma joins with Mumei and other members of the Hayajiro ‘Iron Fortress’ in a battle against the Kabane, whilst also trying to convince the humans that they are not there to harm them.

Kabaneri of the Iron Fortress (Kōtetsujō no Kabaneri) is brought to us by Wit Studio, the immensely popular Japanese animation studio that provided the world with the phenomenon Attack on Titan, and that series’ director, Tetsurô Araki, helmed some of these episodes. This original work is short but incredibly captivating and possess a lot of potential to grow into something great; but only if it manages to break free of the shadow of its very similar and more popular predecessor.

Without spoiling the major plot points, it’s very simple as a fan of AoT to see the glaring similarities: monsters appear out of nowhere; cities/fortresses are formed in order to keep the creatures at bay; protagonist develops an ability that will lead to him being able to fight the monsters and also wanting revenge because a relative/loved one was killed by said monsters. However, what really sets Kabaneri as its own behemoth is the fact that this story is not bogged down by source material as it’s not based on a manga series.

Another key aspect that makes Kabaneri a thoroughly entertaining and enthralling 12-episode series is that not just the main characters are fleshed out. A lot of our side characters, from Ikoma’s best friend Takumi to the hilarious Suzuki (who speaks English phrases that catch you completely off-guard) feel like they have real impact on the story. As far as our main protagonists go, Ikoma’s arc throughout the series is very reminiscent to that of AoT’s Eren Jaeger, which works appropriately for where the narrative takes us, but the real standout of the series is the background of the mysterious Kabaneri; Mumei. Her journey from when we first meet her to the epic conclusion in Episode 12 is a rollercoaster of emotion. Not only does it wrap up nicely in our climatic episode, but the foundations are there to really explore more of her story in the future. At the moment, a theatrical movie set six months in the future is scheduled for release next year, with a second series planned if the interest in there.

The animation during the series is some of the best seen today in anime. The action scenes are explosive and vibrant, the dramatic scenes are dipped in emotion and they even throw in some gorgeous looking hand drawn sequences at key moments of the story too. This really is a superb time to be a fan of anime. The score by Hiroyuki Sawano captures the essence of steampunk and certainly packs a punch during some of the gory and horrific sequences with our antagonists, the Kabane. One cannot fail to mention the triumphant and sing-a-long worth opening theme song that will definitely stick in your head (as most anime themes tend to these days).

Although, as mentioned, many similarities to fellow post-apocalyptic anime can be drawn, Kabaneri of the Iron Fortress is still a fantastic and thrilling ride from start to finish. With stunning animation and interesting characters, both main and side, this anime series will have you checking your loved ones for bite marks in order to stay clear of the Kabane threat.

KABANERI OF THE IRON FORTRESS / CERT: 15 / DIRECTOR & SCREENPLAY: VARIOUS / STARRING: ROBBIE DAYMOND, BEN DISKIN, RICHARD EPCAR, TOM GIBIS / RELEASE DATE: OUT NOW

THE THREE STOOGES MOVIE COLLECTION

stooges

Often snubbed and derided in the history of cinematic comedy, The Three Stooges were the knockabout team who, despite the line-up changes over the years, are still fun enough to raise a smile.

The team in the five films in this collection comprises of Larry, Moe, and Curly-Joe rather than the most famous (if not original) line-up that included Moe’s real-life brother Curly (yes, it’s confusing, but you know, he’s the yuk-yuk one). Don’t let that put you off, however, or the fact that these movies come from the later part of their collective career.

Have Rocket, Will Travel (1959) sees the boys accidentally stowed away on a rocket that lands on Venus. In The Three Stooges Meet Hercules (1962), a scientist’s time machine puts them to ancient Greece and at the wrong side of Zeus’ son. The Three Stooges in Orbit (1962) has the trio once again find themselves in a rocket (that’s more like a flying submarine) and up against some bulbous-headed Martians. Jules Verne’s classic novel gets the Stooges twist in The Three Stooges Go Around the World in a Haze (1963), and the western genre is given their slapstick treatment in The Outlaws is Coming (1965).

While none of the films can be considered laugh out loud funny, they are an entertaining diversion for the most part. Unfortunately, the feature-length format doesn’t do the team’s style of humour any favours as they bogged down in plot rather than what we want to see: three grown men knocking each other about and goofing off. There’s no subtlety here, but there are certainly a few smiles along the way. We even get a song in Have Rocket, Will Travel!

This quintet of films may not represent the Stooges at their best, but they are certainly an amiable way to pass a few hours.

THE THREE STOOGES MOVIE COLLECTION / CERT: U / DIRECTORS: NORMAN MAURER, EDWARD BERNDS, DAVID LOWELL RICH / SCREENPLAY: ELWOOD ULLMAN, RAPHAEL HAYES / STARRING: LARRY FINE, MOE HOWARD, JOE DERITA / RELEASE DATE: OUT NOW

MOB PSYCHO 100

Unless you were looking for a gag comedy anime, if you were to apply the customary “three episode test” to Mob Psycho 100, it would most likely fail. While that genre has its fans, those anticipating a Bones Inc production about a teenager with psychic powers would likely expect something more, and certainly something with explosive action and maybe a little light peril. Luckily, after its opening few episodes, the story of Shigeo “Mob” Kageyama, an average middle school kid with psychic powers, it grows from a slight comedic affair into a tense battle worthy of the best shōnen anime of any year.

First airing in Japan in the summer 2016 season, and based on a webmanga by One Punch Man’s ONE, Mob Psycho 100 made a huge splash with anime fans despite being miles away – visually, at least – from the usual Bones Inc production. The art style is jarring, and shares more in common with western animation like Rick & Morty than would accompany the usual slick action drama; stylised beyond the boundaries of human anatomy at times, it’s an acquired taste that – by the end of the series – becomes an essential component of the story.

Mob is the most passive of protagonists, and much of the action is driven by the supporting cast; his brother Ritsu, his rival Tero, a reformed evil spirit named Dimple, and Mob’s “mentor” Reigen, a con-man affecting to possess spiritual powers but who is nonetheless the moral heart of the tale. Over its twelve episodes, Mob does grow – as all good shōnen heroes should – but most of the growth is undergone by those around him, those touched by him.

This Manga Entertainment release includes both the original Japanese soundtrack – Akio Ōtsuka as Dimple is wonderful – and Funimation’s English dub, which has good work from industry veterans Kyle McCarley, Chris Niosi, and Michael Sorich, if that’s your thing. Also included is a series of six comedy shorts, Mob Psycho Mini, and a handful of other extras.

Bizarre, funny, and genuinely affecting, Mob Psycho 100 is a recommended addition to the anime collection of fans of action and the experimental – just give it more than the usual three episodes to find itself.

Extras: Mob Psycho Mini shorts, promo video, flipbook video, commericials, textless closing song, trailers

MOB PSYCHO 100 / CERT: 12 / DIRECTOR: Yuzuru Tachikawa / SCREENPLAY: Hiroshi Seko / STARRING: Kyle McCarley, Chris Niosi, Michael Sorich / RELEASE DATE: 17TH December

ELVIRA: MISTRESS OF THE DARK

ELVIRA: MISTRESS OF THE DARK

When it comes to beloved genre figures, they don’t get much more beloved than Cassandra Peterson’s Elvira. And now, the prolific team at Arrow Video have put together a swanky new 4K release of 1988’s Elvira: Mistress of the Dark. With that in mind, then, let’s take a look to see whether this a devilish delight or simply a soulless cash-grab.

In terms of the plot, Mistress of the Dark finds Elvira in desperate need of some moolah. Having quit her TV hosting gig, Elvira decides to start her own Las Vegas show. The only hitch? Why, that’s stumping up the $50,000 needed to start such a show. As luck would have it though, Elvira is soon on the end of a hefty inheritance windfall which lands her with, amongst other others, a house that she can easily flip to raise the relevant funds. The problem here, however, is the local townspeople don’t take too well to her quirky charms and she can’t find a buyer for love nor money. Added to that, her Uncle Vinny (W. Morgan Sheppard) has his own agenda where Elvira’s inheritance is concerned. Stuck in a deadbeat town, no money to fulfil her Vegas dreams, and with everybody against her, whatever will Elvira do?

We guess the thing with Elvira is that she can often split opinion. Some grumble grumps see the character as pointless trash that is simply bad humour and excessive cleavage shots. Luckily, we’re on the other side of the fence, for here at Moonbase Alpha we can never get enough of Elvira and her antics. In Mistress of the Dark, we have a movie that is energetic, tongue-in-cheek fun that has some genuine laughs dotted throughout. From mild titters at Elvira’s brash, no-nonsense approach to proceedings, to legitimate belly laughs at some of the one-liners on display, this is a film that never takes itself too seriously. Added to that, there is a whole lot of heart and a deeper meaning to the picture; not least in how Elvira is shunted just for being a little different.

At the centre of happenings, of course, we have Cassandra Peterson. Marvelling in her feature film debut, Peterson is on absolutely perfect form as Elvira. But then again, the actress is always “on” when Elvira comes a-calling. Having been involved in the lengthy development of the movie and its screenplay, Peterson is hugely instrumental in giving audiences the ultimate Elvira experience. As alluded to earlier, if you enjoy the Elvira character, this is a picture that you will have an absolute blast with.

Where the bonus material on this new release is concerned, the standout attraction is the Too Macabre making-of. Actually longer than the main movie itself, this documentary is an utter treat for longtime fans of Elvira. Taking the previous version of this doc and sprucing it up with some new content, this is just as much fun as Mistress of the Dark, if not more so. And that says a lot, for Elvira: Mistress of the Dark is ridiculously entertaining. Elsewhere, the archived audio commentary featuring Cassandra Peterson, Edie McClurg, and John Paragon is another particular highlight, with the chat track being a brilliant accompaniment to this cult favourite. Finally, there’s the brand new 4K restoration for the film, which gives an extra crispness to the spooky shenanigans of Elvira, in particular adding an extra element of fun to the bonkers final third of the feature.

All in all, Elvira: Mistress of the Dark is a fun romp of a film that never takes itself too seriously yet is cleverly constructed and deep down has a whole lot of heart throughout. So, pointless trash that is simply bad humour and excessive cleavage shots? To an extent, maybe, but Mistress of the Dark is well and truly in on the joke.

Special Features: Three audio commentaries / Introduction by director James Signorelli / Too Macabre – The Making of Elvira: Mistress of the Dark documentary / Recipe for Terror: The Creation of the Pot Monster featurette / Original storyboards / Trailers / Collector’s booklet

ELVIRA: MISTRESS OF THE DARK / CERT: 15 / DIRECTOR: JAMES SIGNORELLI / SCREENPLAY: SAM EGAN, JOHN PARAGON, CASSANDRA PETERSON / CAST: CASSANDRA PETERSON, W. MORGAN SHEPPARD, DANIEL GREENE, SUSAN KELLERMAN, EDIE McCLURG / RELEASE DATE: DECEMBER 10TH

ASSASSINATION CLASSROOM: THE MOVIE – 365 DAYS’ TIME

classroom

This is a review in two parts. Assassination Classroom was an anime of two seasons, finishing in spring 2016. It was based on a manga by Yūsei Matsui with a story of everyday things that happen to everyday people, like a monster that destroys most of the moon promising to do the same to the Earth unless the class of junior high school children he becomes the teacher of can kill him before 365 days are up. You know, every day stuff. There are two problems with the plan; Koro-sensei is extremely difficult to kill, and he becomes the best teacher these kids have ever had.

This is a story originally told over forty-seven episodes (and one OVA packaged with the Season One Blu-ray), and centres on Nagisa Shiota, originally the weakest of the class, and his typical shōnen rise and growth. It’s a great story, as wacky as it sounds, and the ensemble cast are interesting, if familiar. Koro-sensei is a delightfully bizarre character, and original Japanese voice artist Jun Fukuyama is clearly having a great time in the role. The friendship between Nagisa and bad boy Karma Akabane tugs at the heartstrings, and is as central to the story as any threat to destroy the Earth.

Assassination Classroom: The Movie – 365 Days’ Time is a ninety-minute compilation of the original anime. Distilling eighteen hours of action and story into ninety minutes is a challenge, and while the finished article certainly gives a flavour of the story – its main plot points, important exposition, and most explosive action scenes are included – it all feels a bit slight. Compilation movies are a thing in anime, but they usually only have to reduce a single cour (eleven to thirteen episodes) into their running time. Squeezing so much in makes 365 Days’ Time disjointed and jumpy, and if the viewer were not aware of what they were watching it could be a disappointing and disorienting experience.

The two-disc set includes the Funimation English dub and a commentary track with English dub director Apphia Yu, and actors Sonny Strait and Austin Tindle.

If you’re after an overview of what seems like a great two-season anime, then Assassination Classroom: The Movie – 365 Days’ Time is a good way to save seventeen hours of your valuable time, but to fully experience the year-long journey of Koro-sensei, Nagisa, Karma, and the rest, you may want to invest in the full season collections, available from all good stores.

Extras: Video Commentary, Promo Videos, Trailers

ASSASSINATION CLASSROOM: THE MOVIE – 365 DAYS’ TIME / CERT 12 / DIRECTOR: SEIJI KISHI / SCREENPLAY: MAKOTO UEZU / STARRING: SONNY STRAIT, CHRIS RYAN, MARTHA HARMS, AUSTIN TINDLE / RELEASE DATE: DECEMBER 17TH