Review Category: DVD/Blu Ray

Anthology horror is back in a big way, from fully-formed franchises like V/H/S to experimental showcases like The ABC’s of Death, short films are back in vogue for the horror genre. Monsterland, from Zombieworld producers Dread Central, contains eight tales of terror (and a wrap-around narrative) that take place in a monster-filled world where humans have sunk to the bottom of the food chain.

Helmed by fresh-faced filmmakers, Monsterland looks like it was made on a slim budget by some far-reaching underdog horror fans. After confronting us with a chaotic cityscape terrorised by all kinds of monstrosities, Monsterland follows a lone survivor into a cinema where he settles in, not-too-bothered by the corpses that litter the auditorium or the screams that sound outside. The wrap-around narrative, though not as grating as the one used in V/H/S: Viral, doesn’t really do much except offer the audience a break between every few films. And those films are a mixed bag.

The McCoubrey Brothers’ The Grey Matter feels like a reworked Brain Damage and ends up being one of the best humoured, and best filmed, entries. But then, a talkative brain parasite that sounds like Michael Keaton’s Birdman is difficult not to enjoy. Erik Gardener’s Hag is a similarly well-executed segment and easily the scariest entry, utilising simple frights to make the most of a Sleep Paralysis-imbibed thriller.

The two animated films are pretty fun. Jack Fields’ Happy Memories is a colourful trip kicked-off by the accidental ingestion of monster blood. Using puppets, paintings, and all manner of surreal sculpture, we are dragged into a parallel world where a cupcake seems to be reincarnated. Mysteriously, there’s a short film that looks an awful lot like an excerpt from Frank Sudol’s Dead Fury, but there’s no mention in the credits. It’s a pretty cool type of animation that plays like a prolonged cut-scene from a ‘90s side-scrolling video game, and has the gore to match.

Sander Maran’s Curiosity Kills is the worst entry, even though it embraces some of the most enjoyable aspects of horror: killer pets and ludicrous violence. The farcical plot, along with some of the hyper-gore, should have been a laugh except sloppy filmmaking, over-gurning, and a lack of focus make it a surprisingly grating experience. Similar could be said for Corey Norman’s dopey scenario-re-tread Don’t Go Into the Lake or Patrick Longstreth and Robert McLean’s creature-feature Hellyfish. Although Hellyfish has the most excessive use of dodgy digital monsters, it deserves credit for at least using its effects to create something preposterous.

Too often, sloppy digital effects and juvenile humour outweigh fresh interpretation, solid scares, and good old-fashioned entertainment. Monsterland flaunts some cool ideas and talented filmmakers, but unfortunately, its lows are pretty low and its highs ain’t high enough to make it anthology gold.

MONSTERLAND / CERT: TBC / DIRECTOR & SCREENPLAY: VARIOUS / RELEASE DATE: VOD OUT NOW

This 1985 science fiction drama from Wolfgang Petersen, hot on the heels of Das Boot and The NeverEnding Story, must have seemed like a sure-fire hit at the time. A hot director, a sexy young star, a recent Oscar winner to add gravity to the whole thing, plus an allegorical tale to appeal to the intellect and warm the heart. Fox must have been expecting the box office tills to be chiming.

But a troubled production, which included Petersen being brought on board after a week of shooting with original director Richard Loncraine was scrapped and that helmsman fired, a massive overspend on the budget and less than ecstatic reviews resulted in Enemy Mine disappearing pretty quickly down a mine-sized hole.

And, strangely, it has stayed buried there ever since, with no re-appraisal via the home cinema market which so many other and, frankly less enjoyable, box office flops seem to have achieved. This Blu-ray release dusts off the cobwebs and gives you a chance to judge for yourself whether the film’s neglect is warranted or otherwise.

In the future, deep space colonisation by humans results in a war with the dracs, an amphibious race doing the same thing. Following a battle, gung-ho fighter Dennis Quaid shoots down an enemy ship onto an unknown planet and crash lands there himself. The drac he shot down is, however, still alive. With little hope of rescue, the two enemies can either continue the war and kill each other, or learn to live together to survive in a hostile environment where the elements and an underground beasty with a very big mouth doesn’t mind of it’s a human or a drac that gets it first.

As the story progresses and, you guessed it, the enemies become friends, relying on each other and learning about each other’s culture and lives, there’s a surprise in store when the asexual drac reveals it is going to have a baby. And when the chance of escape does come, it’s in the form of a mercenary mine craft occupied by humans who use captured dracs as slaves.

With Quaid and, fresh from his Oscar win in An Officer and a Gentleman, Louis Gossett Jr. as the human and the drac, both actors give fully committed performances – a good job, as it’s mainly the two of them on screen for most of the running time. Quaid convinces as both a hot head and, later, a man who sees through his own prejudice. Gossett, unrecognisable under some pretty outstanding scaly make-up courtesy of Chris Walas (who would win an Oscar a year later for The Fly), fascinates as the reptilian creature who is, ultimately, more civilised than the human being.

There’s no denying the theme of racism which underpins the whole thing – the dracs all seem to be played by black actors and when you see them being whipped at the mine, slaves to human masters, the point is rammed home.

The effects are lovely, even the ones which have dated poorly just feel charming. A few years after telling the Blade Runner himself that it’s ‘time to die’, Brion James makes a suitably nasty villain and, if the story ties itself up a little too neatly, in the end, the ambition of the piece is all over the screen. 

ENEMY MINE (1985) / CERT: 12 / DIRECTOR: WOLFGANG PETERSEN / SCREENPLAY: EDWARD KHMARA / STARRING: DENNIS QUAID, LOUIS GOSSETT JR., BRION JAMES, RICHARD MARCUS / RELEASE DATE: JUNE 20TH

The terms ‘cult classic’ or ‘cult following’ are thrown around a lot these days, with many indie films being labeled “future cult classics” at an excessive rate. However, all these labels could not be any more appropriately placed than when used to refer to the work of Ralph Bakshi. Bakshi is a cinematic figure that defines the word ‘cult’, with a body of work that could be described as perverse, strange, innovative or just flat out weird. From his racially controversial 1975 satire Coonskin to his best known film, X-rated animation, Fritz The Cat (1972), Bakshi is not known to everyone but those who know the man or his work, either love, hate or admire from a distance. So, with all that said, we see another DVD Release of Bakshi’s odd 1977 animated post apocalyptic fantasy film Wizards. 

Wizards is set in an unspecified future, where nuclear war has destroyed the world we know, with only a few humans surviving, the rest have been transformed into mutants and it has taken millions of years for the clouds to clear and allow the sun to even shine again. But, the following thousands of years of peace in the civilization known as Montagar- ruled over by fairies, elves and dwarves- is soon to change, as the queen gives birth to two sons, Avatar (Bob Holt) and Blackwolf (Steve Gravers). Over the years these brothers are polar opposites of dark and light and when their mother dies the two go to battle, with Avatar vanquishing his vengeful brother. However, some years later, Blackwolf is back and has supposedly gained hold of a device that will allow his dark forces to finally overthrow the world. Only an older Avatar, his love interest Elinore (Jesse Welles), Elf warrior Weehawk (Richard Romanus) and (former assassin of Blackwolf) Peace (David Proval) stand in the way of Blackwolf’s mutant world domination.

Most of Wizards’ background and mythos is explained in some picturesque sequences, narrated in truly compelling ye olde legend storytelling style by Susan Tyrrell, and Bakshi’s film is a rare case of substance over style. Bakshi has always been an auteur that provokes and challenges and while many consider Wizards a middling effort from the man who would helm The Lord of The Rings only a year later (cited as an influence on Peter Jackson’s live action adaptations), this is a film brimming with innovation and ideology. Time has not diminished Bakshi’s Tolkien tale of fantasy, with socio-historical comments on the power of propaganda and the evil of fascist leaders. However time has certainly affected some things in Bakshi’s film, which remains an experience unlike any other but is certainly one that will repel as many as it appeals.

The story is deep and stimulating but the visuals are divisive, occasionally becoming more of an artistic statement than a smooth accompaniment to this adventure epic. Clearly not intended to be a Disneyfied (though they were struggling a little in this particular era) family animated classic, Wizards is sometimes chaotic, often dark and very, very adult aimed. The animation is a tale of two halves in many ways, the narrated sequences and comic book style drawn backdrops (Blackwolf’s dark realm- known as Scorch- is a perfect impressionistic nightmare) are stunning and the rotoscoping also adds a distinctive edge to the movie- the climatic battle (which ends in a wholly original way) is enough to recommend the film alone. Sadly other, simpler moments, with the traditional hand drawn animation, seem to move in a jarring manner and look a little dated or pedestrian next to the more grand or fast paced creative moments.

Also an issue is the script, which is imbued with invention but set back by lacking character development for certain characters (Elinore is especially underwritten) and some old fashioned approaches. In many ways, in spite of the technological and post apocalyptic trappings of the story, this is a blend of old school fantasy with surrealist cartoons, WW2 history and anarchic ‘70s attitude (denoted by Andrew Belling’s strange, sometimes oddly placed and psychedelic score). As such it is a product of its time in some senses and yet has elements to its story that break down the era barrier and still resonate to this day.

Bob Holt is brilliantly colourful as Avatar- far from a holier than thou goodie- and Steve Gravers is terrifyingly memorable as Blackwolf. The two wizards are the best characters and their confrontation in the past- shown through the aforementioned narration- would have been much more welcome in the main crux of the story. Still Bakshi’s plot is a sprawling and twisted tale that features big breasted fairies, Nazist political statements, tank riding mutants, religious satire and dark comedy. PG Rated it may be but it will scare children half to death with its bloody gore, monsters and dark imagery. There are standout characters in the midst of this madness, mainly David Proval’s troubled red warrior Peace but a lot of the supporting cast merely melt into the bizarreness of this tale- with Elinore and Weehawk failing to stand out as they should and there is also a small vocal turn (and it is short) from Mark Hamill- pre-Star Wars fame- as mountain fairy king Sean.

Wizards will mean less to some and so much more to others but it is a film designed to make a statement and while some elements have aged, others have not, in a film that challenges your mind and will have newcomers completely freaked out. For all its flaws, Ralph Bakshi’s vision cannot help but maintain this magical grasp on you and as the years fly by, there is still not really a film like it. In many ways you could write a different review after every viewing. By very definition, a flawed masterpiece cannot exist but if it could, this cult curio could be deemed as such.

Special Features: Directors Commentary / Music and Effects Track / Ralph Bakshi Featurette / Trailers / TV Spot / Stills Gallery

WIZARDS (1977) / CERT: PG / DIRECTOR & SCREENPLAY: RALPH BAKSHI / STARRING: BOB HOLT, STEVE GRAVERS, JESSE WELLES, RICHARD ROMANUS, DAVID PROVAL, MARK HAMILL, SUSAN TYRRELL / RELEASE DATE: 13TH JUNE 

Recently, ITV Studios have been struggling to get a family adventure series out and make it successful only for it to get cancelled after just one season as seen with both Jekyll & Hyde and Beowulf: Return of the Shieldlands.

While it’s evident that those shows failed to find an audience, Houdini and Doyle stands a good strong chance at achieving that. Despite going through some fundamental bumps along the way, this is nevertheless a solid show with a lot to appreciate, particularly in the areas of both storytelling and performances. Unlike Jekyll and Hyde or Beowulf, this show didn’t feel the need to be ‘breakout television’ like those other shows tried and failed to be. In this case, it’s like as if the production team involved wanted to properly develop the series and actually put some real effort into the stories and characterisation to make it work, despite how farcical it can be sometimes.

You need to have a good, strong script and a good cast in order to bring it to life, and all that is evident here, yet that’s also helped by terrific production and costume design, which helps make everything contained within the narrative ‘pop out’ essentially. One of the aspects of the show that has been often overlooked by some people is how well-designed it, and it’s clear that the show’s creators and producers have been very respectful in capturing all of the various elements of that time-period in London, as well as being very respectful about remaining true to what we, as an audience, already know about both Harry Houdini and Arthur Conan Doyle. Plus, it doesn’t take itself too seriously and at no point does it descend into gritty depth or dramatic intensity for the sake of it, otherwise we would’ve been in for a joyless ride. 

True, this show doesn’t offer the ‘edge of your chair’ thrills that you would find on shows like Sherlock or Doctor Who, but it’s clear that wasn’t the intention the makers were going for. However, the downside to the show is in its format, because in each episode, if you look close enough, they almost follow the same formula: New case arises, Houdini and Doyle investigate, clash over different ideologies, practical solution wins out, case solved, the end. We do get some form of a story-arc seeded throughout involving Constable Adelaide Stratton’s mysterious past, but even that becomes part of the formula since the characters bring it up in some form in each episode. 

Despite this, the show manages to thrill and be entertaining thanks to some credible performances; at the centre of the drama, we have a nice comedic friendship dynamic between Houdini and Doyle, because here, they are almost portrayed as being like the bickering couple that needs each other, despite how many times they try to contradict that. This helped by strong performances from both Michael Weston and Stephen Mangan, who both bounce off each other brilliantly, handling the comedy with pure charm, and their dramatic moments are believable. The real surprise, however, is in the third main character in Adelaide Stratton, played remarkably well with style by newcomer Rebecca Liddiard. Liddiard brings real weight and emotion to her role, and despite both Mangan and Weston going at an incredible pace, she manages to keep up to their level and all three have strong chemistry throughout. On the downside, Tim McInnerny doesn’t really get to do much, except to look grumpy whenever the three main protagonists cross paths with him, which is a shame considering that McInnerny is an actor of high calibre.

Despite some of the noticeable flaws, Houdini and Doyle manages to be a consistently entertaining adventure with charming performances, a good procedural element that everyone will be able to latch onto, exquisite set and costume design, and a tone that never takes itself seriously. True, it’s not ‘event TV’, but that was never its intention, and when you consider just how flawed both Jekyll & Hyde and Beowulf were, this is the better of the crop.

HOUDINI AND DOYLE / CREATOR: DAVID N. TITCHER / STARRING: STEPHEN MANGAN, MICHAEL WESTON, REBECCA LIDDIARD, EMILY CAREY / RELEASE DATE: OUT NOW

Doing a new take on beloved characters is always a risky move – just look at the abuse hurled at the new Ghostbusters cast before anyone’s even seen the film. The prospect of a new take on Dad’s Army, meanwhile, elicited much tutting and mutterings of “this won’t end well” – a gentle disparagement befitting the classic British sitcom. Unfortunately, in this case, the cynicism turned out to be accurate…

The problem isn’t with the cast. If you’re going to make Dad’s Army today, Toby Jones is the perfect Mainwaring; he nails the Home Guard captain’s frustration and lack of authority, plus shows off a surprising talent for slapstick pratfalls. As the charming, Oxford-educated Wilson, Bill Nighy is a great counter to Mainwaring (it’s not a British comedy without some class struggle, after all), while the likes of Tom Courtenay, Michael Gambon and ex-Inbetweener Blake Harrison fill up the team nicely, though often seem to be doing impressions of the original cast rather than anything particularly new. Where the film does differ from the ‘70s incarnation – and to its benefit – is by giving greater focus to the female characters than the sitcom ever did; Catherine Zeta-Jones entertains as a wily Nazi spy, while Felicity Montagu (of I’m Alan Partridge fame) gets more to do than you’d expect as Mainwaring’s long-suffering wife.

The plot feels like a sitcom episode stretched out longer than it ever should have been; Zeta-Jones’ Rose Winters embeds herself in Walmington-on-Sea under the guise of a journalist, writing a feature on the Home Guard, and over the course of the film, everyone in the platoon obliviously falls for her.

It’s all just an excuse for the series of comedy set pieces, really, and that’s the main problem – they’re just not funny enough. The gags are never any riskier than an innuendo about jam roly-poly, and the outcomes of the physical set pieces are as foreseeable as the twists in the plot. All the catchphrases (and the theme tune, of course) are trotted out, but feel like a desperate attempt to mine for nostalgia. Half an hour after viewing, you’d be hard-pressed to recall the funniest moments of the film, because nothing ever elicits laughs, only chuckles.

So although its astute casting ensures it’s at least watchable, Dad’s Army is not much more than a poor imitation of the original. If you want a fresh, modern comedy, this isn’t it, and if you want something that resembles the classic sitcom, then, well, watch the classic sitcom again. It’s much better than this.

Special Features: Featurettes

DAD’S ARMY / CERT: PG / DIRECTOR: OLIVER PARKER / SCREENPLAY: HAMISH MCCOLL / STARRING: TOBY JONES, BILL NIGHY, CATHERINE ZETA-JONES, MICHAEL GAMBON / RELEASE DATE: JUNE 13TH

Whilst the Western and horror genres might seem an unusual mismatch, Bone Tomahawk – the debut film from author, screenwriter and cinematographer S. Craig Zahler –provides one of the best examples of either genre that we’ve seen in recent years.

The stripping away of our orderly society and the prospect of relative lawlessness in an untamed environment is inherently terrifying. The Walking Dead uses this as its basic premise, as well as transposing many of the tropes of Westerns to its post-apocalyptic setting. It’s a surprise then that horror movies set in the old West are few and far between, and good ones even rarer.

Bone Tomahawk – which draws inspiration from John Ford’s The Searchers – sees a group of people, including a young woman (Lili Simmons) abducted from a small town by a group of Native Americans known as Troglodytes. Her crippled husband (Patrick Wilson), local sheriff Kurt Russell (still sporting his magnificent Hateful 8 facial hair), professional Indian Killer Matthew Fox and sheriff’s deputy (Richard Jenkins) form a rescue party and set off in pursuit.

There’s no hint of the captives’ fate for most of the film, so it’s these four who are at the heart of the story. Russell can do world-weary and grizzly in his sleep by now. Jenkins provides him with solid support and providing much of the film’s comic relief, and Fox proves a curious hybrid, part gentleman, part ruthless killer. It’s Wilson however who provides the film with its heart: he’s fully aware that his injured leg is holding the group back, but determined to rescue his wife.

As their journey progresses – mired by encounters with Mexicans, horse thieves and eventually the Troglodytes themselves – things begin to turn very dark indeed. What starts as a traditional, if dark, Western gradually morphs into something very different; twisting into full-blown horror by the time the group reach the end of their journey.

And it’s the last half hour – when the group catches up with the Troglodytes – that makes Bone Tomahawk really stand out. The cannibalistic group may not be based on any actual group (the film even brings in Wilson’s Native American Fargo co-star Zahn McClarnon to emphasize the point) but that doesn’t make them any less sinister.

The group are reminiscent of the barely-human monsters conjured up by early-era Tobe Hooper or Wes Craven. Whilst they may not be wholly original, they are nonetheless a terrifying creation, and the horrors the Troglodytes inflict on both the rescuers and captives alike some may find hard to watch. One murder in particular – in which the titular weapon is put to good use – is amongst the most wince-inducing scenes we’ve seen since Audition.

Bone Tomahawk is one of 2016’s best to date, effectively injecting the Western with a shot of horror. Combining an impressive cast (including cameos from the likes of Sid Haig, Sean Young and David Arquette), great villains and a brilliantly dark climax, it should be essential viewing for both Western and horror fans alike.

BONE TOMAHAWK / CERT: 18 / DIRECTOR: S. CRAIG ZAHLER / SCREENPLAY: S. CRAIG ZAHLER / STARRING: KURT RUSSELL, PATRICK WILSON, MATTHEW FOX / RELEASE DATE: 13TH JUNE

With some brands you know you’re getting an excellent product. With The Asylum, caveat emptor. 

Just when you think you’ve seen it all in the world of the living dead, The Asylum brings zoo animals gone wild when a virus turns all the animals in a safari park into flesh eating zombies. Its Jurassic Park meets The Walking Dead in this version of Zoopocaplypse Now. 

Faster than you can say ‘lions and tigers and bears, oh my (none which are featured in this movie. Well, one lion at least.)’, an infected lab monkey brought back to life goes gonzo and begins his flesh-eating rampage, infecting all the other animals that have predators – that includes a giraffe and a cute koala bear, which Thea (Nestor), the daughter of the lead park scientist, Dr. Ellen Rogers (Neilson) bashes its cuddly little, zombified body to eye-popping, smithereens with a baseball bat all done off screen. How humane.

As more and more scientists, park rangers and irritating interns get devoured by these exotic, bargain basement CGI’d beasts, enter reluctant, hero, Gage (Asper) who teams up with ranger, no stranger to danger, Lizzy (Butler), Rogers, and her daughter, Thea. 

Incorporating George Orwell’s Animal Farm dogma that all animals are equal, but some animals are more equal than others, you’ll experience a man-eating giraffe (complete with prosthetic head for the close ups) and the above mentioned, eucalyptus-eating, spaced out koala bear.

Included are fast-moving zombie wasps that create havoc while our four heroes try to escape riding elephants – well, the backs of something that resemble elephants, at least. Budget constraints, you see. It is an Asylum movie after all.

Still, we do get a man in a gorilla suit. Yes, you read this right. You will see a man in a gorilla suit that Ed Wood would be proud of. That’s Lizzy’s lovable best friend, Kifo, who changes species right before your eyes. This film is full of whimsy… or something.

Nielsen does the best job in the acting department and Nestor has some good moments in her first feature film.

Extras: Gag reel, deleted scenes/alternate endings, making of, 5.1 Surround sound.

ZOOMBIES / CERT: 15 / DIRECTOR: GLENN MILLER / SCREENPLAY: SCOTTY MULLEN / STARRING: IONE BUTLER, ANDREW ASPER, LALA NESTOR, KIM NIELSON / RELEASE DATE: JUNE 13TH

 

Mizuki (Eri Fukatsu) has been alone for three years, ever since her husband Yusuke (Yadanobu Asano) went missing. And then, one day, he suddenly reappears. Yusuke explains that he is in fact dead, having drowned at sea, but his spirit has journeyed back to see her. Somewhat unfazed by this whole thing, Mizuki agrees to go on the road with her ghostly lover, so he can introduce her to all the people who helped him on his trip back from the dead.

Journey to the Shore is a supernatural love story from writer/director Kiyoshi Kurosawa, who’s more known for his work in the horror genre (no relation to legendary Japanese director Akira Kurosawa). The story is inspired by the Japanese word ‘mitoru’, which refers to the act of accompanying a dying person, and is meant as a drawn-out version of a conversation between a man on his deathbed and the loved one watching over him. Indeed, as the film goes on, we get to know Mizuki and Yusuke well, and they get to know each other, learning secrets they’d previously held and eventually working their way towards a more fulfilling conclusion to their relationship. This reflection is helped along by subtle, understated performances from Fukatsu and Asano; along with Kurosawa’s thoughtful direction and Akiko Ashizawa’s cinematography, which brings out the best of the beautiful Japanese countryside, this allows for a contemplative and oneiric atmosphere.

In all of the towns they visit, Yusuke introduces Mizuki to a range of people, all of whom have recently been affected by deaths in their own families, and some of whom are ghosts like Yusuke. However, though these characters and their sub-plots sometimes offer insightful reflections of our lead characters, the journey does, as Mizuki says herself at the start, “take a long time”. One visit, to a couple who run a restaurant, almost repeats the same plot points as the previous encounter; it’s unclear exactly how this half-hour chunk of movie actually enhances the story – and this isn’t the only point in the film at which the ponderous pacing becomes a chore.

Those willing to stick with it may find themselves absorbed by Journey to the Shore’s melancholic exploration of death, and impressed by both the performances and the cinematography, so it’s such a shame that Kurosawa’s film is let down by its repetitive, unclear plotting and its languorous pacing.

Special Features: Interview / Trailer / Booklet

JOURNEY TO THE SHORE / CERT: 12 / DIRECTOR: KIYOSHI KUROSAWA / SCREENPLAY: KIYOSHI KUROSAWA, TAKASHI UJITA / STARRING: ERI FUKATSU, YADANOBU ASANO / RELEASE DATE: MAY 23RD