Review Category: DVD/Blu Ray

The Female Prisoner Scorpion film series is
the story of one woman’s wrath in a world that often abuses, misuses and
attempts to control her. Most of the series takes place in a prison setting but
the movies do shake things up by having main character Nami Matsushima make
multiple escapes across the four movies. The movies themselves are bolstered by
the special features on display.  

Those looking for the movies to be made
pristine by today’s digital technology are going to be disappointed, the films
contains just as much grain as they ever did. The films also look as visually
spectacular as ever. Female Prisoner Scorpion takes a lot of its design ques
from Japanese theatre and often sets its tone using little more than colour and
light. 

This approach is reflected in the character
of Nami. She speaks very little and actress Meiko Kaji has to rely almost
entirely on her facial expression to convey her characters feelings and
intentions. Under a lesser actress this approach might not have worked but
Meiko Kaji fully conveys her character’s fury and manages to turn her into
something truly terrifying. The plot may be a little thin in the movies but it
serves its job as a structure from which the cast and the crew can work. If
there is any one thing to complain about of the design it is that the appearance
of the gore has not held up at all since these movies were made (during the
early 70s). At one point during the first movie a prison warden suffers an attack
that results in one of his eyes being gouged, but it looks as if the man has had
his face smeared with play dough. Still, this is more of a nitpick than anything,
it doesn’t crop up much and it doesn’t detract from the effectiveness of the
overall design on display. 

When examining collections like this one it
is important to mention the special features. Collections like these are made
to commemorate certain movies and it would be disappointing if the collection
didn’t come with a decent set of extras. The history of the movies and how they
were made are presented to viewers from a range of angles covering everything
from the personal to the academic. Each movie comes with two or three such
discussions and as a whole they are very comprehensive.

While certain aspects of the series may be
off putting to newcomers but Female Prisoner Scorpion as a whole is tense,
theatrical and imaginative.  There may be
shock, but there is also genuine suspense. There is cruelty, but also compassion.
These may be exploitation movies but they don’t torment their characters
needlessly and are worth seeking out. 

Special
features: Newly
filmed appreciation by filmmaker Gareth Evans (The Raid)/ Shunya Ito: Birth of
an Outlaw, an archive interview with the director/ Scorpion Old and New, a new
interview with assistant director Yutaka Kohira/ Theatrical Trailers for all
four films in the series/ Newly filmed appreciation by critic Kier-La Janisse/
Japanese cinema critic Jasper Sharp looks over the career of Shunya Ito/ Designing
Scorpion, a new interview with production designer Tadayuki Kuwana/ Original
Theatrical Trailer and Teaser/ Newly filmed appreciation by critic Kat Ellinger/
Shunya Ito: Directing Meiko Kaji, an archive interview with the director/ Unchained
Melody, a new visual essay by Tom Mes on the career of Meiko Kaji/ Original
Theatrical Trailer and Teaser/ Newly filmed appreciation by filmmaker Kazuyoshi
Kumakiri (Kichiku: Banquet of the Beasts)/ Yasuharu Hasebe: Finishing the Series,
an archive interview with the director/ Japanese cinema critic Jasper Sharp looks
over the career of Yasuharu Hasebe/ They Call Her Scorpion, a new visual essay by
Tom Mes on the film series/ Original Theatrical Trailer

FEMALE PRISONER SCORPION: THE COMPLETE
COLLECTION / CERT: 18 / DIRECTORS: SHUNYA ITO, YASUHARU HASEBE / SCREENPLAY:
VARIOUS / STARRING: MEIKO KAJI, RIE YOKOYAMA, FUMIO WATANABE / RELEASED: OUT
NOW     
          

Just 15 minutes into its
run-time and Tale of Tales delivers one of the most fantastically
staged, visually striking and stomach-churning images you are likely to see
this year – a barren Queen (Samla Hayek) sat in an ornate all-white room,
devouring the fleshy red heart of a recently slain sea monster with an
unquenchable hunger. It’s a moment that encapsulates the entirety of Tale of Tales: a gory, twisted and
entrancing collection of adult only fairy tales.

 

Yet Tale of Tales is far more than mere surface and
while its rich imagery transports you to a fantastical world, its narrative
imparts disturbing lessons on innate human emotions such as greed, desire and
jealousy. Loosely based on a collection of tales from 17th-century Neapolitan
writer Giambattista Basile (who inspired writers like the Brothers Grimm and
Charles Perrault) Tale of
Tales is Italian film-maker
Matteo Garrone’s English-language début. The film begins on an infertile
Queen’s visit by a necromancer in the kingdom of Darkwood, who promises her she
can conceive if she retrieves a sea monster’s heart, has it cooked by a virgin
in solitude, and then consumes said heart. Although the King (John C Reily) is
slain in the process, the prophecy is fulfilled and the Queen gives birth to a
white-haired child called Elias (Christian Lees). But the Queen’s actions
aren’t without consequence and the virginal cook delivers an identical son
named Jonah (Jonah Lees) whose blossoming friendship with Elias leaves the
Queen envious and resentful.

 

In the kingdom of
Highmountain a childish King (Toby Jones) neglects his daughter Violet’s (Bebe
Cave) marital urges in favour of a pet flea which he feeds with steaks and
blood until it reaches gigantic proportions. Through a series of unfortunate
circumstances Violet eventually becomes wed to an ogre who keeps her captive in
her mountain-top cave. Elsewhere, the lustful King (Vincent Cassel) of
Strongcliff becomes enraptured by the voice of a mysterious woman unaware she
is one of two wrinkled sisters Imma (Shirley Henderson) and Dora (Hayley
Carmichael). The pair scheme a mischievous plan to exploit this case of
mistaken identity.

 

Each actor feels
perfectly cast, performing their role superbly and completely authentically.
Jones particularly stands out as a ludicrously infantile King and Cave puts in
a remarkably assured performance as the King’s neglected daughter – marking
herself as a serious up-and-coming talent. Hayek is also a commanding presence
as the jealous Queen of Longtrellis and Henderson and Carmichael expertly mix
genuine pathos and humour as the two elderly sisters. It’s refreshing to see
such prominent and powerful female characters vividly brought to life in this
kind of setting and genre.

 

The three narrative
strands initially appear unrelated and as a result Tale of Tales can feel slightly episodic, but at the
film’s climax they intertwine in captivating and narratively satisfying ways.
While the typical fairy tale themes at play here of true love, transformation,
obsession, class, devil’s bargain and superficial appearances will be familiar
to most viewers, Garrone still manages to pull the rug from under our feet with
several subversive moments (Violet’s story is particularly unpredictable and
gloriously entertaining) as well as with a host of memorable, unique images.
Every frame is intricately detailed and along with some stunning practical
creature effects this is a world which Garrone makes completely believable yet
distinctly otherworldly, unsettlingly grotesque yet utterly beautiful.
 

Special Features: Three cast interviews / Trailer

 

TALE OF TALES / CERT:15 / DIRECTOR: MATTEO GERRONE /
SCREENPLAY BY EDOARDO ALBINATI, UGO CHITI, MATTEO GARRONE, MASSIMO GAUDIOSO /
STARRING SALMA HAYEK, TOBY JONES, VINCENT CASSEL, SHIRLEY HENDERSON / RELEASE
DATE: AUGUST 8TH
 

Set in the picturesque French countryside, Road Games follows young Englishman Jack
(Andrew Simpson) who’s running away from a failed relationship and hitching a
lift back to the Calais-Dover ferry. While on the road he befriends fellow
drifter and beautiful Frenchwomen Veronique (Joséphine
de La Baume) who informs him that
a serial killer is currently on the loose in the region. Cue the apt entrance
of eccentric middle-aged nut-case and road-kill connoisseur Gizard (Frédéric
Pierrott) who insists on providing shelter for the two travellers in his luxury
mansion. From here the weirdness is slowly ramped up as the threesome sit down
for an uncomfortable dinner along with Gizard’s pale, uneasy-looking American
wife Mary (played by 80s ‘scream queen’ legend Barbara Crampton). 

This early section is where Road Games works best. Director Abner Pastoll
creates enough suspense from Gizard and Mary’s peculiar behaviour (along with
help from an effectively atmospheric synthy score from Daniel Elms) to keep the
audience engaged in this slow-burn build up. It’s when events predictably go
south when Road Games derails and takes some majorly
nonsensical turns. Pastoll’s insistence on steeping absolutely everything and
everybody in ambiguity obscures any clear character motivation, plot
development or idea of what the hell is going on. Even on a second viewing it’s
not clear why several characters make the decisions they do and consequently
there’s just no stakes or sense of real danger. The constant interchanging between
English and French language only serves to dissipate this dwindling sense of
suspense further.

 

Unfortunately, Road
Games’ incoherent plot is not
held up by the strength of its characterisations either. All of the characters
remain undercooked, uninspiring and uninteresting. The film’s success depends
heavily on the romantic connection between Jack and Veronique but their
relationship is both poorly developed and unconvincing. Perhaps it’s unfair to
attribute this failure solely on Pastoll’s script as Simpson makes for a bland,
lacklustre leading man and his delivery often feels amateurish.

 

Road Games also features some of the most bizarre and unintentionally
humorous attempts at suspense and drama we have ever seen on screen. One scene
plays out more like a Laurel and Hardy sketch as characters incomprehensibly
fall over to serve the action of the plot. In another instance a chase sequence
staged around a single barrel of hay (yes really) had us in fits of laughter
when we should have been riddled with anxiety over the lead duo’s fates. Road Games’ promising opening makes everything
that follows all the more frustrating; there was a good movie in here
somewhere, this just isn’t it.

ROAD GAMES / CERT: 15  DIRECTOR & SCREENPLAY: ABNER PASTOLL / STARRING: ANDREW SIMPSON, JOSEPHINE DE LA BAUME, FREDERIC PIERROT, BARBARA CRAMPTON, RELEASE DATE: AUGUST 29TH

Ah, the 70s… It might seem (to crib
from a moderately popular film of that decade) ‘A long time ago…’ but really
it’s not so different these days: dubious wars, political upheaval, financial
crises, immigrants, casual sexism and racism, and the threat of imminent
destruction (then: nuclear apocalypse, now a demented Wotsit inching closer to
being the Most Powerful Man in the World).  Misogyny is still going strong
too, though it’s arguably of a different flavour now.  One thing we have
left back there in the main is old-school horror of the Hammer-like
variety.  In the early part of the disco decade, with censorship relaxing
and profits diminishing, Hammer was still making much the same film as nearly a
decade or two before, but adding lesbianism and boobs to pull punters in. 
Other studios and filmmakers also took note of trends and one such feature was
1974’s Vampyres.  As with many films of the time it has developed a cult
appeal.  Vampyres (subtitled pointlessly for the UK market with ‘Lust for
Blood’…it’s hardly going to be a Lust for Quilting, is it?) is a remake that’s
been languishing for a couple of years and is now heading straight for a budget
Sainsbury’s chart near you.

That doesn’t automatically mean it’s
rubbish, though.  It’s got genre icon Caroline Munro in it, that was quite
promising.  The basic premise is the same as the original: Two female
vampires pick off unsuspecting travellers, both male and female, to take back
to their home for some sex, bloodletting, and ultimately death.  A camping
party doesn’t know two of their friends are already on the list of the missing
and eventually end up stumbling into the lair of the vampires (or vampyres,
whatever).  The original was notorious for being (even for the time)
unusually graphic in both the sex and murder and was heavily cut for
release.  This being the modern age, writer-director Victor Matellano can
expect no such censorship and so he aims full-tilt for a mix of eroticism and
sadistic violence.  Whether any of this is any good is open to personal
interpretation on amounts of gore and body parts necessary in a film of this
kind, and how much patience you have with idiots.  Take away the nudity
and savagery and you’re mostly left with a stupid-people-in-the-woods film
(hint: if you’re camping and the first night’s sleep is interrupted by ominous visions
of horrors ahead, perhaps consider moving on to a Butlin’s or something). 
 

On the plus side, it’s nice (well, not
nice, but you know what I mean) to have some actually murderous, unrepentant
vampires in films again.  No sparkling here, or attempts to humanise
creatures of the night.  For what it is, it’s made well enough and
mercifully short, with some attempt at the dreamlike approach of the
original.  If you like sex and death, nakedness and blood together, well
there’s lots of that.  It’s alright, I suppose.

VAMPYRES: LUST FOR BLOOD /  CERT 18 / DIRECTOR: VICTOR MATELLANO / STARRING: CAROLINE MUNRO, VERONICA POLO, ANTHONY ROTSA / RELEASE DATE: SEPTEMBER 5TH
 

Novelist and director Ib Melchior was a Danish immigrant who, following his service in the US counter-intelligence in World War II, formed a career producing pulp fiction and b-movies in the United States. He died last year in West Hollywood, probably most famous for having conceived the original idea for Space Family Robinson in 1960, which Irwin Allen plagiarised for the conceit of Lost in Space five years later. The Time Travelers is, alongside 1959’s The Angry Red Planet, one of only two features Melchior directed, and is finally receiving a Region 2 UK DVD release having previously been available as an Italian import.

The Time Travelers is one of those vividly coloured low-budget movies that would turn up in the middle of the afternoon TV schedules of bygone decades. Taking its cue from George Pal’s 1960 adaptation of The Time Machine, it’s filled with stern-faced men and groovy technology, its greatest accomplishment an ostensible time paradox that leads to a concluding sequence very similar to the one at the end of the recent Doctor Who episode Heaven Sent – but that viewers who remember this from childhood television screenings will be disappointed to discover is as spurious as much of the science in Melchior’s film.

A small group of scientists, who are experimenting with a device that allows them to look through time, are surprised when technician Danny – brought along for ‘comedy’ value, but actually about the only character who feels remotely human – discovers the screen has become a gateway into the future. Arriving in 2071, the scientists find themselves in a post-apocalyptic environment, befriending a small group of fellow scientists hiding in some nearby caves, desperately trying to finish the rocket ship that will take them from the deadly, radiation damaged surface of Earth to a new home in the Alpha Centauri system.

Meanwhile outside the underground city, mutated humans are running out of food supplies and are intensifying their attempts to break in and destroy the scientists’ work. It’s a scenario that Russell T Davies borrowed almost beat-for-beat for his 2007 story Utopia, and Doctor Who fans will recognise any number of other plot elements, including the premise of 1965’s The Space Museum – included here almost as a throwaway incident ten minutes from the end.

Incorporating interminable sequences involving the construction of some camp and rather bogus-looking androids, unlikely romances, dull-witted comedy and preposterously serviceable dialogue, The Time Travelers is entertaining enough as long as you’re prepared to forgive it its longueurs and scientific simplicity. Fans of a certain kind of unfussy mid-1960s screen sci-fi will doubtless love its lack of ambiguity, while those who prefer something a little more sophisticated will be reaching for their painkillers.

THE TIME TRAVELERS (1964) / CERT: PG / DIRECTOR & SCREENPLAY: IB MELCHIOR / STARRING: PRESTON FOSTER, PHILIP CAREY, MERRY ANDERS, STEVE FRANKEN, JOHN HOYT / RELEASE DATE: TBC

Filmed over a few days in 1978 but unable to find a distributer until 1983 (and when you consider how much crap was released in that period that’s quite an achievement), this ultra-cheap comedy horror curio was originally intended as a starring vehicle for comedian Rodney Dangerfield who, unsurprisingly, passed up the opportunity. Undaunted, director Wayne Berwick then cast fading stand-up Jackie “King of the Deadpan” Vernon, best known as the cartoon voice of Frosty the Snowman, as his kitchen-based mass killer. Smart move: he is far and away the best thing about the movie.

Vernon plays Donald, an aging construction worker with little to get excited about except a freshly cooked meal in the evening. When his demented spouse May (Claire Ginsberg) knocks even that on the head and starts zapping everything edible in the biggest microwave you’ve ever seen, Donald completely loses it, murdering and dicing his wife in short order before stuffing her in the fridge. Oh, and he also wees on the carpet for some reason. Later, somewhat hungover and looking for a tasty snack, he accidently eats a foil-wrapped chunk of wifey and – would you believe it – she tastes mighty fine. This triggers an obsessive spiral of luring loose woman back to his place, having sex with them, killing them, chopping them up, zapping them in the microwave and eating them with a giant helping of mayonnaise. By the way, best not screen this one in your University’s female ‘safe space’, it might not get the best response.

Plenty of movies have drawn inspiration from the Ed Gein murders but they tend not to be outright comedies and for good reason. Microwave Massacre does nothing to reverse that reasoning; just about every attempt at a joke falls flat, the tone is bizarrely uneven, the performances from everyone except Vernon are practically non-existent, and the ‘gruesome’ dismemberment effects make even the worst efforts of 1960s gore-lord Hershell Gordon Lewis look Oscar-worthy. But, for all that, it’s an oddly lovable mess delivered with a giant wink to the audience that suggests everyone involved had an absolute blast making it.

This is confirmed by the documentary accompanying Arrow’s nicely remastered print that has the cast and crew, a motley band of brothers, looking back on the movie with a great deal of affection. Particular praise is reserved for the late Jackie Vernon’s twinkling hangdog turn. Even when he’s shagging, smothering and chopping with abandon, you sort of root for the old rogue. Yes, they knew they were making a stinker but, according to the director, decided to just “embrace the stupidity”. Sit yourself down in front of Microwave Massacre with a dangerously hot Ready Meal and you may find yourself doing the same.

Special Features: Audio commentary / Making-of / Original treatment and 8-page synopsis / Trailer

MICROWAVE MASSACRE / CERT: 15 / DIRECTOR: WAYNE BERWICK / SCREENPLAY: GRAIG MUCKLER / STARRING: JACKIE VERSON, CLAIRE GINSBERG, LOREN SHEIN / RELEASE DATE: AUGUST 15TH

There is an interesting interview, billed as an appreciation, included with this small collection of early films from German auteur Rainer Werner Fassbinder. Ulli Lommel, an actor who appeared in many Fassbinder films, relates his experiences of working with the notorious director for the first time. Already an established performer, Lommel recalls those early days on set, with no script present and no shot list planned; in many ways, no plan at all. Just a few days into production Fassbinder asked Lommel if he could bring his brand new, red MG sports car to set the next day. When asked why, Fassbinder said they needed to sell it in order to raise funds to continue filming. That Lommel did just that despite having reservations each day as to whether to even continue with the film is testament to the strength of the director’s influence, and the belief he ultimately inspired. The film, Love is Colder Than Death, initially booed at the Berlin Film Festival, is now one of Fassbinder’s most revered, and the one that demonstrates his raw early promise.

Notably a stripped-down gangster film, Love is Colder Than Death contains all of the hallmarks that would make Fassbinder such an interesting and frustrating filmmaker. Languid, overly-long scenes shot with implied disinterest portray characters shamelessly unaffected by their lowly position in life. Fassbinder plays central pimp Franz who, after befriending Bruno (Lommel) in prison, invites him to his home where they plan a heist. Messy, unpredictable and full of those long tracking shots for which the director would become famous, Love is Colder Than Death feels like a student calling card; a film made by a director confidently announcing himself.

Undeniably tedious in places, and pessimistically morose throughout, Fassbinder’s second feature, Katzelmacher, continues the tropes established in Love is Colder Than Death, and adds themes that the director would return to in future work. Adapted from his own play, this is a film of failing youth, as a disaffected group moan, argue, get drunk and indulge in some of the most passionless sex ever committed to film. Katzelmacher is Fassbinder testing his audience, and taunting his early critics. The camera holds for even longer this time, and characters offer little in the way of likeability, as Fassbinder’s obsession with equal opportunity presents all as selfishly morose.

With two short films, and some intriguing behind-the-scenes footage and press conference material, this small collection is a perfect introduction to one of cinema’s great enigmas. Dead at just 37 years old, Fassbinder completed 40 feature films and 24 stage plays in a career that lasted just 15 years. Ultimately self-destructive, yet driven with an artistic fervour rarely seen, he is the filmmaker synonymous with the New German Cinema of the late ‘60s and ‘70s. Not always enjoyable, but impossible to ignore.

Special Features: Two short films / End of the Commune? documentary / Interviews / Original theatrical trailer for Katzelmacher

THE EARLY WORKS OF RAINER WERNER FASSBINDER / CERT: 15 / DIRECTOR: RAINER WERNER FASSBINDER / SCREENPLAY: RAINER WERNER FASSBINDER / STARRING: HANNA SCHYGULLA, ULLI LOMMEL, CHRISTOPH ROSER, RAINER WERNER FASSBINDER / RELEASE DATE: AUGUST 15TH

Finally, the eagerly anticipated sequel to Scooby-Doo! WrestleMania Mystery arrives in a new explosive and entertaining crossover; Scooby-Doo! and WWE: Curse of the Speed Demon. The 26th film in the Scooby-Doo! direct-to-video series features a superstar cast of some of WWE’s best athletes, including The Undertaker, Triple H and even the Bulgarian brute himself, Rusev.

Not content with entertaining the WWE Universe inside a wrestling ring, Vince McMahon ventures out further by creating a racing competition. However, this attracts a mysterious demon who threatens to disrupt the race at any cost. To investigate the matter, Vince hires the help of Mystery Inc.

The story isn’t necessarily phenomenal by any standards, but it’s aided by a script that will at least garner some laughs, especially from WWE’s younger audience. Scooby and Shaggy eventually find themselves teaming up with The Undertaker, whose previous partner, the late Dusty Rhodes, is injured by the deadly Speed Demon.

The cast is sure to appease any of the younger fans who have a favourite, as The Miz, Paige, Lana, Stephanie McMahon, Kofi Kingston, Sheamus, Goldust and Stardust, and even Los Matadores all make an appearance. Perhaps the inclusion of WWE’s ex-Shield members would’ve been appropriate but unfortunately, like John Cena, they’re not seen here.

Thankfully, despite being a direct-to-DVD sequel, the animation style provides decent designs for these wrestlers. For example, Paige and Rusev really fit into the animation style of the Scooby-Doo universe, by exaggerating their body structure and facial features in all the right places.

However, the car models seem like an afterthought. The cars are slightly modelled on the drivers, such as Triple H’s aptly named ‘Company Car’, but they just don’t have the same polish that the 2D animation boasts. Still, the races are explosive enough to keep younger fans happy.

Perhaps not surprising to many, but The Miz provides the best performance from the entire roster. He gives it his all, which truly confirms his status as an A-list Hollywood actor. Triple H and Stephanie also provide a commendable voice-acting role, and Vince McMahon channels himself perfectly.

The reveal of the Speed Demon is a tad underwhelming, but it’s so ridiculous that it works within the realm of Scooby-Doo mysteries. Some members of the WWE Universe may assign an identity to the demon based on the car design, but there aren’t many surprises had here.

It’s an almost perfect mash-up for children who enjoy both Scooby-Doo and WWE. Shaggy and Scooby get stuck into their usual hijinks, and the addition of wrestlers such as The Undertaker helps build the angle they’re going for. Fans would never have assumed that The Undertaker would partake in such an amusing role, but then again that’s why it works.

The story is serviceable, the animation is decent, and it’s a small treat to see Dusty Rhodes appear in the film after his unfortunate passing. It also provides Michael Cole’s best performance on commentary in his entire career. It’s ideal for children, and entertaining enough to keep the older fans happy.

SCOOBY-DOO! & WWE: CURSE OF THE SPEED DEMON / PG / DIRECTOR: TIM DIVAR / SCREENPLAY: ERNIE ALTBACKER  / STARRING: FRANK WELKER, MATTHEW LILLARD, THE MIZ, THE UNDERTAKER, TRIPLE H, SHEAMUS, RUSEV / RELEASE DATE: OUT NOW

In The Return of the Vampire (1943) an air raid is integral to the plot. In The Return of Dracula (1958) the titular vamp’ sports a quiff. But why, we hear you ask, are we telling you this in a review of Count Yorga, Vampire (1970) and its sequel The Return of Count Yorga (1971)? Well until Hammer dug up the Count in the ‘50s with the trappings of gothic melodrama, vampire flicks tended to be set in the “present day” and we like to think that if you’re going to put the evil past into the present then a modern “twist” would be nice. When Hammer updated (possibly because of Yorga’s success) they gave us a live performance from the (not very good) Stoneground in Dracula AD 1972 (1972) and some genuinely modern tropes in Satanic Rites of Dracula (1973). And how groovy was Blacula (1972)? Even Stoker himself managed a phonograph and some blood transfusions.

And herein lies the problem with Yorga. These are basically perfunctory Dracula stories with Yorga (Quarry) turning up in modern-day Los Angeles and then San Francisco (his resurrection from the first movie unexplained) and falling in love with some woman while biting lots of people. He wears a cape, a smoking jacket, even a bow tie and sits on a throne in an inexplicably gothic house with absolutely no concessions to modernity. The fact that the rest of the cast are dressed for the present day in contemporary locations just makes it look like an old Hammer with a reduced budget that didn’t stretch to cover the costumes. As Yorga is so obviously a vampire from the moment you clap eyes on him, there isn’t even much suspense to be had. The modern twist on his Renfield-style sidekick? There isn’t one.

If we can be a bit defensive, we will note that once the ‘70s started in 1968 (he’s correct you know –Ed) paranoia had been the watchword in cinema so we do get some interesting surveillance-style shots of the lead characters’ exposition scenes (think of the opening of 1974’s The Conversation). It’s just a shame that it doesn’t serve any actual purpose other than to give a hint of artsiness.

But for all that, there is fun to be had here. The sequel starts with a brilliant Romero-esque scene with the “brides” coming out of their graves (until Yorga ruins it by turning up in a cape) and there are some quite effective slow-mo scenes of vampire attacks. The not-so-gradual realisation that the heroes are dealing with a vampire is a bit tired but it’s still quite amusing when they tool up with stakes and crosses and, although it’s not supposed to be funny, Yorga’s disintegration into a sandcastle is still a chuckle. Both movies also end in a wonderfully dark ‘70s fashion. And nice to see the same actor (Perry) turn up as a different central character in the sequel after he is inconveniently killed in the first.

Watchable but not essential.

Special Features: Audio commentaries / Kim Newman interview / Trailers

THE COUNT YORGA COLLECTION / CERT: 15 / DIRECTOR: BOB KELIJAN /SCREENPLAY: BOB KELIJAN, YVONNE WILDER / STARRING: ROBERT QUARRY, ROGER PERRY MICHAEL MURPHY, MICHAEL MACREADY, DONNA ANDERS, MARIETTE HARTLEY, YVONNE WILDER, RUDY DE LUCA, EDWARD WALSH, CRAIG T. NELSON / RELEASED: OUT NOW

Midnight Special is an odd film. It opens with two men and a boy on the run. The boy, Alton (Jaeden Lieberher), is the biological son of one of the men, Roy (Michael Shannon). Roy and his friend Lucas (Joel Edgerton) have abducted Alton from the Texas ranch on which he was brought up. Cut to the ranch, where we find out Alton’s adoptive father is the pastor of a fervently zealous congregation who believe that Alton has predicted the apocalypse. Alton, you see, has some kind of superpowers – he does this trick where light blasts from his eyes, can control any electrical system with his mind, and can pick up Radio Five Live, among other stations ­– and has drawn the attention of both the FBI and the NSA, particularly NSA analyst Paul Sevier (Adam Driver). Roy, Lucas, and Roy’s wife Sarah (Kirsten Dunst) are taking Alton to… well, to say any more would be to spoil the film’s many surprises.

One of the oddest things about Midnight Special, if you’re going into it blind, is trying to work out when it’s set. Director Jeff Nichols has clearly gone for a 1970s Amblin look, with vintage cars and timelessly fusty suits aplenty, a look reinforced by Adam Stone’s unflashy cinematography; the people on the ass-backwards ranch, meanwhile, dress as if they’re from the 1870s. But then, is that NSA techie using a laptop? This sounds like a very specific critique, but it’s typical of the disorientating classic-meets-modern feel of Nichols’ movie, which takes influences from E.T. and Close Encounters, but also from modern superhero fare and from sadder, darker, grittier dramas. Whether this works or not is up for debate; at times, the film feels a little too pleased with its own profundity, and the confusing final act doesn’t answer half of the questions you’ll have been asking about the mysteries of Alton’s powers.

But yet, there’s something magical and moving about the whole thing, largely due to the family story that anchors all the weird gubbins. A constant sense of trepidation surrounds Roy and Sarah, desperate to get Alton to safety and fearful that events will take him from them, just like when he was originally adopted. It’s a film about a father and mother who can’t begin to understand their son but love him unconditionally anyway, and Michael Shannon and Kirsten Dunst portray these characters with a tragic believability. Just don’t expect all these issues to be sorted out and tied up in a bow – Nichols may cite Spielberg as his main influence, but uplifting this is not.

And whether you’re up for such uncertainty will determine your feelings on Midnight Special, but we’d recommend you dive into it. A modern vintage sci-fi with sadness and superpowers – it’s an odd film, but an oddly wonderful one.

Special Features: Cast and crew interviews

MIDNIGHT SPECIAL / CERT: 12 / DIRECTOR & SCREENPLAY: JEFF NICHOLS / STARRING: MICHAEL SHANNON, KIRSTEN DUNST, JOEL EDGERTON, ADAM DRIVER, JAEDEN LIEBERHER / RELEASE DATE: OUT NOW