Review Category: DVD/Blu Ray

For readers (particularly male) of a certain vintage, the name Mary Millington will be rather familiar. A cause célèbre in her day, her tragic story is as fascinating as it is depressing.

Mary was a glamour model-turned-porn-star who became the most famous and notorious character of the dirty mac brigade in the seventies. She was reviled in public, but beloved in private, and by some of the most powerful figures in the country. Respectable covers all aspects of the star’s life, from her humble upbringing to her rise to sex superstardom and rather unorthodox business practices.
Along the way, we hear from those who knew her, loved her, and worked with her. A key figure in Mary’s rise was David Sullivan, who made an empire out of ‘filth’ is open and emphatic about Mary, even letting his usual bravado slip on occasion. Despite the perception of her famous British films being pure porn, they were merely slightly more risqué Carry On movies; populated as much by familiar faces from TV and film as naked ladies. As such, we hear from characters such as Dudley Sutton (best known from TV’s Lovejoy) about how well they got on with Mary and were disgusted at the way the establishment treated her. Françoise Pascal (Mind Your Language) recounts working with her on Keep it Up Downstairs, and writer/director Michael Armstrong (Mark of the Devil) and the legendary Stanley Long (who passed away not long after his interview was filmed) have nothing but good memories of Mary.

It’s not all nice stories, however, as filmmaker Sheridan (who has written several definitive books on the subject of British sex films and their alumni) doesn’t shy away from the seedier and unethical side of Mary’s life too. Her friendships with Diana Dors, a film icon at the time, and her husband Alan Lake sparking a particular downwards spiral for the star.

It’s easy to label glamour and porn stars as being exploited by the industry, and while that probably does happen, it’s clear from what everyone says here that wasn’t the case for Mary. Or, indeed, the other former models who provide their insight.

For anyone with a modicum of interest in the history of the ‘other side’ of British cinema, Respectable is a must-see. The film that Sullivan financed, Come Play With Me, was, after all, the longest-running movie in the West End It’s a riveting and enlightening watch and isn’t afraid to show the tragic side (particularly when it came to Mary’s self-destruction) without being either sensationalist or over-sentimental. One can’t help feel for the poor woman, though after getting to know so much about her. Among the eye-opening revelations are her dalliances with people like sports pundit Jimmy Hill and Prime Minister Harold Wilson; a much better prospect than a dead pig’s head, surely?

A slight downside to the documentary, but put right in the extras on the DVD, is the absence of Sue Longhurst. A prolific star of the scene, her footage appears as part of a collection of other anecdotes in the special features. It’s only here that we here about her appearance in the Sex Pistols film The Great Rock n’ Roll Swindle, too. Eddie Tudor-Pole recounts his meeting with her and the amusing comments that came from the much-missed Irene Handl, and how he was disappointed that he didn’t get the same treatment as Pistols’ guitarist Steve Jones did.

All in all, it’s a highly recommended documentary and it’s refreshing to see that the BBFC has allowed the clips that illustrate it to be passed through uncut. There’s nothing too extreme (certainly when compared to films that have been released over the past few years), but certainly more than we were used to seeing in the so-called ‘hard core’ releases back in the day. It’s a subject that has been swept under the carpet and ignored for too long and shines a new light on a very important part of British cinema history. As stars go, Mary Millington is as cult as you can get.

Extras: Trailers / More interviews / Uncut 8mm film starring Mary.

RESPECTABLE – THE MARY MILLINGTON STORY / CERT: 18 / DIRECTOR & SCREENPLAY: SIMON SHERIDAN / STARRING: DEXTER FLETCHER, DAVID SULLIVAN, DUDLEY SUTTON, PAT ASTLEY, LINZI DREW, FRANÇOISE PASCAL, MICHAEL ARMSTRONG / RELEASE DATE: MAY 2ND

Once in a while, a low budget indie film comes along and completely defies expectation. It’s our pleasure to say that Roulette is one such movie.

Three people, with nothing in common other than attending a weekly group therapy session, have met up in a dark room. Dean (Baldwin) is confined to a wheelchair, Richard (Haza) a despairing alcoholic, and Sunny (Lukowski) is an angry Christian; one thing they all have in common is a will to kill themselves. They are playing a twisted version of Russian Roulette with a bottle of whiskey. It’s not long before Dean suggests upping the stakes and introduces a gun to play for real. Initially, the others are terrified, but after Dean’s goading, they agree to play, while we find out what has driven them to this state. What problems have they faced to want to end it all, and why do they feel like they have been drawn to each other and the situation?

It’s difficult to discuss Roulette without too many spoilers. That said, the three separate tales that make up the whole are each as strong and shocking as each other, and the way the audience is drip-fed information adds perfectly to the tension and allows one to truly get to know the characters and their flaws. Although it’s an approach that has been used before (we’d say Pulp Fiction, but that might give the wrong impression as Roulette is certainly not attempting to emulate Tarantino’s style), the way writer/director Myers handles his film is amazingly refreshing and confident for an inaugural feature director.

As a viewer, one runs a gauntlet of emotions while the stories unfold. Although we can be expected to feel sympathy for some of the situations the characters find themselves in, we quite often we feel the opposite – it’s difficult to find something to like about them. Suicidal tendencies are a sign of mental illness, something we should be compassionate about, but we can’t help but feel the trio have brought their problems on themselves. As the characters degenerate into the state we find them in at the beginning, we understand more and can understand the processes that led them to the moment of wanting to end it all.

All three of the main leads excel in their roles, but this is in no ways a feel good movie or fun watch. It is, however, utterly enthralling and directed amazingly well. Roulette manages to take the anthology approach to storytelling, while keeping everything completely relevant and engrossing, and tying the threads together in a satisfying manner, before delivering a wonderful coup de grâce.

The film was made and released some time about in 2012, but never made it to the UK; hopefully, someone will put that right at some point. In the meantime, we strongly urge you to import the US DVD, as it’s a movie well worth watching.

ROULETTE / CERT: TBC / DIRECTOR & SCREENPLAY: ERIK KRISTOPHER MYERS / STARRING: MIKE BALDWIN, WILL HAZA, ALI LUKOWSKI, MICHELLE MURAD / RELEASE DATE: VOD OUT NOW

Billed as ‘an adult Twilight’, Heartless is Scandi-noir, but with a supernatural twist. It’s the story of Sebastian and Sofie, two orphaned twins who have the ability suck the life-force from their victims, however, if they are unable to control their hunger and stop in time, their prey combust into flames. They must feed regularly to survive, and after an unfortunate incident, they decide to attend the boarding school, Ottman Manor, in order to find out the truth about their curse and whether if it’s possible to reverse it. Comparing this to Twilight is ultimately misleading, because, even though this series does include a love affair between a human and a supernatural vampire-like creature, there aren’t really any similarities. In fact, this feels more like a cross between Interview with a Vampire and TV’s Lost Girl than anything else.

There are many familiar devices and tropes that link this series back to the sub-genre of YA Gothic horror: The fact that the main protagonists’ arousing appetite started at the age of 12 or 13 has connotations of puberty and sexual maturity, and their hunger and means of feeding through a kiss is almost caused by a lust and longing for both romantic and sexual desires. The theme of an absent mother is also present here, not just with both Sofie and Sebastian being abandoned by their mother, but also with Manor Headmaster Just having lost his wife and is left to raise his three daughters and keep them separate from the other students at his school (albeit unsuccessfully). Also, even though the common trope of repressed eroticism is littered throughout the series, at its core, it’s really about teenage angst and the notions of being sexually abstinent from those you desire.

All these things work in the series’ nature, and its core concept is what drives the series, even that’s not all what’s good about it. Visually, the series has a very artistic sensibility about it, but that visual style is also understated so that it doesn’t overshadow everything else. What makes the visuals striking though is in its lighting; it creates the perfect mood and atmosphere whilst the chiaroscuro monochrome colour palette is used effectively, like Sofie and Sebastian’s dark clothes contrasting with Just’s daughters’ white dresses or the bright exterior of Ottman Manor contrasting heavily with the dark interiors. Plus, the soundtrack’s song selection is well-utilised, especially the material by Roxy Jules and the theme song ‘Don’t Believe the Demons’.

The performances are solid all round with both Julie Zangenberg and Julie Christiansen standing out in particular. As Sofie, Zangenberg is mesmerising, giving a performance that is the perfect combination of sultry and wicked with raw vulnerability and emotion. She is truly electrifying, as is Julie Christiansen as Just’s daughter and Sofie’s lover, Emilie; Christiansen gives off a charismatic portrayal of a rebellious, love-struck teen, and her chemistry with Zangenberg is the most compelling part of the show. In fact, the way the show deals with this lesbian relationship is effective, believable, and both Zangenberg and Christiansen make us believe that Sofie and Emilie really want each other both physically and emotionally. Also, Sebastian Jessen is solid as… erm… Sebastian and gives it his very best, even if the series didn’t give his romantic story arc as much polish and care as Sofie’s.

This leads into some of the issues this series suffered from. Firstly, the love triangle between Sebastian, Nadja and Josefine felt incredibly drawn out and poorly developed. It almost descended into soap opera territory that kept switching back and forth, which feels irrelevant to a show of this calibre. Plus, the character of Nadja is just a plain misfire who always grinds the series to a halt whenever she shows up. Not that’s any fault at all to Frederikke Dahl Hansen, who does give a nuanced performance and does exactly what’s asked of her, but at times, Nadja became a bit insufferable, yet this is all down to the poorly contrived love triangle. Actually, there were quite a few contrivances here and there; For example, Emilie is deeply in love with Sofie, yet she suddenly voluntarily goes out with the creepy Pieter, who she doesn’t like and was all arranged by a dad she has been rebelling against throughout the series. Speaking of Pieter, the Prefects of the Manor weren’t compelling antagonists and weren’t given enough depth, other than the fact that they were sexist, misogynistic fascists for… reasons.

Despite its flaws, Heartless is an engaging piece of YA supernatural fiction that has a unique concept, rich thematic lore, striking visuals, and some compelling characters that are helped by strong performances. It’d be a shame if this was the only season that’s out there seeing as a second season is yet to be announced, but as it stands, this is a welcome antidote to the supernatural Gothic fairy tale subgenre, which had once been swamped down due to teenage-clichés.

HEARTLESS: SEASON 1 / CERT: 15 / DIRECTORS: NATASHA ARTHY, KASPAR MUNK / SCREENPLAY: VARIOUS / STARRING: JULIE ZANGENBERG, SABASTIAN JESSEN, NICOLAI KOPERNIKUS, ALLAN HYDE / RELEASE DATE: OUT NOW

 

In the mid Eighties you had all these awesome comedy films that achieved cult status. Think Beverly Hills Cop, Weird Science, Police Academy, Ghostbusters and Ferris Beuller’s Day Off. Big hair – check. Catchy synth-pop theme tune – check. Lovable, interesting, goofy characters – check. Ticking all the boxes is 1985’s Fletch, starring the brilliant Chevy Chase as investigative reporter Irwin M. Fletcher. It’s one of Chase’s most appealing roles, offering him a platform to simply do what he does best: be funny.

Based on a character created by Gregory Mcdonald in a novel of the same name, Fletch writes for the Los Angeles Times under the pseudonym Jane Doe. A smart-aleck nuisance to his bedevilled editor, Fletch specialises in undercover investigative journalism. To his boss, the bizarre expenses and erratic behaviour often yield great stories, and Fletch engages in some strange and hilarious methods to gain his intel.

While at the beach investigating a story about drug trafficking, Fletch is offered an interesting proposition. Alan Stanwyk (played by Tim Matheson, of Animal House fame) offers Fletch $50,000 to murder him. Claiming he suffers from an incurable disease, Stanwyk outlines a plan, complete with a foolproof method of escape. Little does Stanwyk know that he is talking to the one and only Fletch, who introduces himself as Ted Nugent.

Sensing a story Fletch starts digging, only to discover that Stanwyk is not ill. In fact there is a much larger picture, which eventually reveals a drug-smuggling operation between Stanwyk and the chief of police. Ultimately, Stanwyk plans to kill Fletch, using his body as a decoy, while absconding to South America. On his way to uncovering the truth, the chameleon-like Fletch takes on a variety of aliases, complete with outrageous disguises that he uses to fool unsuspecting sources.

John Cocktoasten infiltrates a tennis club in order to speak to Stanwyk’s wife. Dr Rosenpenis accesses the records room at the hospital. Arnold Babar gets an appointment with Stanwyk’s doctor. Mr Poon schedules an interview with the chairman of Stanwyk’s company. Igor Stravinski talks to a realtor about a shady investment. These scenes provide the funniest parts of the film, where Fletch’s quick thinking and witty replies are echoed in Chase’s gifted ability to improvise.

Directed by Michael Ritchie, Fletch manages to present an air of plausibility, while inserting a bumbling lunacy into normal situations. The end result is an almost deadpan presentation that pops with Chase’s wit and charm. Fletch is a fully-fledged, basketball-loving, beer-drinking smart mouth. He’s also an extremely gifted journalist. He’s joined by some great characters, played by notable names such as Richard Libertini, Joe Don Baker and even Geena Davis in one of her earliest roles. Kareem Abdul-Jabbar makes an excellent cameo as himself.

The Blu-ray disc features the film in 1080p, in 1.85:1 anamorphic widescreen, with a Dolby Digital 5.1 surround track. There are a couple of short featurettes with cast and crew, but they lack the input of Chevy Chase himself. If you own Fletch on DVD there is no reason to upgrade – it’s exactly the same presentation and added content. If you don’t, or you have never seen it, this is a must buy to add to your collection. It’s a shame that Fletch, while considered a commercial success by Universal Pictures, never really proved as popular as other films of its era. There are moments of comedy magic in this funny film. Yes it’s dated, but Fletch provides us with one of the best characters in Eighties cinema.

FLETCH (1985) / CERT: PG / DIRECTOR: MICHAEL RITCHIE / SCREENPLAY: ANDREW BERGMAN / STARRING: CHEVY CHASE, TIM MATHESON, JOE DON BAKER, RICHARD LIBERTINI, DANA WHEELER-NICHOLSON / RELEASE DATE: OUT NOW

As any pub-quiz geek knows, Cliff Richard’s first movie role was Curley Thompson in Serious Charge (1959). But unless they really fancy an argument with the quizmaster that they’re unlikely to win, they’ll always write down that the answer is Bert Rudge in Expresso Bongo because Curley was very much a cameo and he hardly had a line. So here’s a 19-year old Cliff when he was a pop sensation (complete with The Shadows) alongside Laurence Harvey and no less that Sylvia Sims, in the film adaptation of the previous year’s West End hit (although none of the aforementioned were actually in the stage show).

Johnny Jackson (Harvey) is a sleazy agent looking for some musical talent he can make a quick buck from. While taking his stripper girlfriend Maisie (Sims) to an espresso bar, he comes across Bert the Barista (Richards) jamming with The Shadows on his bongos . But Johnny isn’t interested in Bert’s bongos (which aren’t very impressive, it has to be said); it’s Bert’s voice he rates. To be fair his voice was certainly better than his acting but Bert just wants to, like drum, maaan (or possibly cat). But Johnny changes Bert’s name to Bongo Herbert (which probably wasn’t quite as funny in 1959) and after a few amusing entanglements with record companies, he’s soon attracting attention from the public as well as the not-quite-over-the-hill singer, Dixie (Yolande). Dixie thinks Bongo is getting a raw deal and she’s going to put things right.

While there is a great deal of interest in Expresso Bongo, one can’t honestly say it’s still particularly entertaining. The strip club scenes are remarkably risqué for a 1959 movie with only an A-certificate and Sylvia Sims as a stripper is quite a surprise only a year after Ice Cold in Alex (1958). There’s also an interesting twist as Johnny cynically attempts to get Bongo accepted by the establishment with some religious-type song about his mother. Bearing in mind Cliff’s later career, this seems like life imitating art (or something). But it’s not until the 45-minute mark that someone bursts into song in the middle of a conversation that we’re reminded that this is actually supposed to be a musical. Unfortunately, not a very good one, as the songs are completely forgettable. In fact, even Cliff’s properly staged songs with The Shadows are a bit ropey, which might explain why the then-very-hot Cliff’s EP from the movie failed to go top 10.

So today the best we can say about the movie is that the opening credits are great and that the strippers’ historical review (featuring Sylvia Sims in a mortar board) has to be seen to be believed. “Get you Brutus”, indeed. Oh, and there’s a nice (but short) turn from Wilfrid Lawson as Burt’s Dad. Other than that, this is strictly for historical pop interest. Did we mention Cliff’s acting is dreadful?

Special Features: Shorter cut with fewer songs / gallery / Youth Club: A documentary about juvenile delinquency / illustrated booklet.

EXPRESSO BONGO (1959) / CERT: 12 / DIRECTOR: VAL GUEST / SCREENPLAY: WOLF MANKOWITZ / STARRING: LAURENCE HARVEY, CLIFF RICHARD, SYLVIA SIMS, YOLANDE DONLAN, ERIC POHLMANN, HERMIONE BADDELEY, GILBERT HARDING, WILFRID LAWSON, SUSAN HAMPSHIRE, THE SHADOWS / RELEASE DATE: OUT NOW

In the mid Eighties you had all these awesome comedy films that achieved cult status. Think Beverly Hills Cop, Weird Science, Police Academy, Ghostbusters and Ferris Beuller’s Day Off. Big hair – check. Catchy synth-pop theme tune – check. Lovable, interesting, goofy characters – check. Ticking all the boxes is 1985’s Fletch, starring the brilliant Chevy Chase as investigative reporter Irwin M. Fletcher. It’s one of Chase’s most appealing roles, offering him a platform to simply do what he does best: be funny.

Based on a character created by Gregory Mcdonald in a novel of the same name, Fletch writes for the Los Angeles Times under the pseudonym Jane Doe. A smart-aleck nuisance to his bedevilled editor, Fletch specialises in undercover investigative journalism. To his boss, the bizarre expenses and erratic behaviour often yield great stories, and Fletch engages in some strange and hilarious methods to gain his intel.

While at the beach investigating a story about drug trafficking, Fletch is offered an interesting proposition. Alan Stanwyk (played by Tim Matheson, of Animal House fame) offers Fletch $50,000 to murder him. Claiming he suffers from an incurable disease, Stanwyk outlines a plan, complete with a foolproof method of escape. Little does Stanwyk know that he is talking to the one and only Fletch, who introduces himself as Ted Nugent.

Sensing a story Fletch starts digging, only to discover that Stanwyk is not ill. In fact there is a much larger picture, which eventually reveals a drug-smuggling operation between Stanwyk and the chief of police. Ultimately, Stanwyk plans to kill Fletch, using his body as a decoy, while absconding to South America. On his way to uncovering the truth, the chameleon-like Fletch takes on a variety of aliases, complete with outrageous disguises that he uses to fool unsuspecting sources.

John Cocktoasten infiltrates a tennis club in order to speak to Stanwyk’s wife. Dr Rosenpenis accesses the records room at the hospital. Arnold Babar gets an appointment with Stanwyk’s doctor. Mr Poon schedules an interview with the chairman of Stanwyk’s company. Igor Stravinski talks to a realtor about a shady investment. These scenes provide the funniest parts of the film, where Fletch’s quick thinking and witty replies are echoed in Chase’s gifted ability to improvise.

Directed by Michael Ritchie, Fletch manages to present an air of plausibility, while inserting a bumbling lunacy into normal situations. The end result is an almost deadpan presentation that pops with Chase’s wit and charm. Fletch is a fully-fledged, basketball-loving, beer-drinking smart mouth. He’s also an extremely gifted journalist. He’s joined by some great characters, played by notable names such as Richard Libertini, Joe Don Baker and even Geena Davis in one of her earliest roles. Kareem Abdul-Jabbar makes an excellent cameo as himself.

The Blu-ray disc features the film in 1080p, in 1.85:1 anamorphic widescreen, with a Dolby Digital 5.1 surround track. There are a couple of short featurettes with cast and crew, but they lack the input of Chevy Chase himself. If you own Fletch on DVD there is no reason to upgrade – it’s exactly the same presentation and added content. If you don’t, or you have never seen it, this is a must buy to add to your collection. It’s a shame that Fletch, while considered a commercial success by Universal Pictures, never really proved as popular as other films of its era. There are moments of comedy magic in this funny film. Yes it’s dated, but Fletch provides us with one of the best characters in Eighties cinema.

FLETCH (1985) / CERT: PG / DIRECTOR: MICHAEL RITCHIE / SCREENPLAY: ANDREW BERGMAN / STARRING: CHEVY CHASE, TIM MATHESON, JOE DON BAKER, RICHARD LIBERTINI, DANA WHEELER-NICHOLSON / RELEASE DATE: OUT NOW

The BFI Flipside series has been created to uncover and re-release films from the past; whether overlooked, mis-appraised at the time of their release, or simply having passed into cinematic folklore. The latest in a line of unheralded classics is Symptoms, José Larraz’s 1974 melancholic gothic drama that was once considered lost altogether.

Helen (Pleasance) is a frail, sickly, almost ethereal young woman who has suffered from an unnamed illness for some time. To aid her recuperation, and accompanied by her newly single friend Anne (Heilborn), she retreats to her family’s country home. There Helen is plagued by strange visions and noises, perhaps within her head, perhaps not, and the seedy attentions of the estate’s handyman Brady (Vaughan).

There is a clear nod to Polanski in the way Larraz constructs his narrative. While not wholly original in its plotting, certainly by today’s horror standards, it is in the way Larraz draws you inevitably towards a finale that is interesting. From the outset you know something is amiss. A brooding, malevolent undercurrent flows through every scene; you’re aware that there is more to what you are watching, and are uncomfortably expectant, but so little is revealed for much of the film that you could argue virtually nothing really happens. This theme is signified by the belated introduction of Cora (Mailleux), a woman from Helen’s past who may or may not still inhabit the house.

An unexplained sound here, or a cryptic vision there – nothing is ever straightforward. That is, until Larraz wants it to be and the repressed violence you’ve been expecting is released in a flurried pique of passion.

Much of the intrigue in Symptoms comes from the lesbian courtship at the heart of Helen and Anne’s relationship. Mostly platonic, more so from Anne’s side, this is a burgeoning love that is never truly given clarity, and their subtle verbal and gestured exchanges are soon interrupted by Anne’s prim and proper ex-boyfriend. This dose of reality fuels a pathological reaction in Helen that changes the film’s pace and tone; the narrative now spinning out of control towards a darkly shocking conclusion.

As a psychological thriller, and one that follows a character’s descent into madness, Symptoms is not as impressive an example as Polanski’s Rosemary’s Baby. That said this is a film that warrants attention. Larraz understood how to draw every gothic breath from an English countryside rarely pictured so bleakly. Mysterious portent flows down from the trees, oozes from the estate’s lake, and seems to both influence and judge the films events. Symptoms may not be a classic, but as a previously lost rarity it is a film to be enjoyed.

SYMPTOMS (1974) / CERT: 15 / DIRECTOR: JOSÉ RAMÓN LARRAZ / SCREENPLAY: JOSÉ RAMÓN LARRAZ, JOSEPH LARRZA, STANLEY MILLER, THOMAS OWEN / STARRING: ANGELA PLEASENCE, PETER VAUGHAN, LORNA HEILBRON, NANCY NEVINSON / RELEASE DATE: OUT NOW

Stuart Gordon’s 1985 Re-Animator is an iconic horror effort famed for its splatter-gore goodness. As with any good horror, of course a sequel followed. And that’s where 1990’s Bride of Re-Animator comes into play.

With Re-Animator producer Brian Yuzna on directing duties, not to mention having worked on the film’s script, we once again get to see the twisted and tormented antics of Dr. Herbert West (Jeffrey Combs). Joined once more by Dr. Dan Cain (Bruce Abbott), West is still on his crusade of re-animating dead tissue. When we meet up again with the duo, they’re working deep in war-torn Peru, using the readily-available spew of wounded soldiers as test subjects for West’s demented schemes. Returning back to the US, it doesn’t take long before the invasive Lt. Chapman (Claude Earl Jones) is hot on the tail of West following the events showcased in Re-Animator. Whilst both West and Cain have this to contend with, this still doesn’t put a halt to Doc West’s insatiable dedication to his mission objective. As for Dan, he’s seen making goo-goo eyes at Francesca Danelli (Fabiana Udenio), although it’s his strong affection towards the terminally-ill Gloria (genre fave Kathleen Kinmont) that’s always going to prove most problematic, particularly when West’s latest concept is to use body parts and organs to literally create new life means that terminally-ill no longer means a thing, particularly when one of the aims of the day is to build the perfect female specimen. On top of this, West also has to contend with the heady presence of the first film’s Dr. Hill (David Gale), who’s re-animated severed noggin’ ends up barking orders at poor old Dr. Graves (Mel Stewart) as he looks to get his revenge on West.

Bride of Re-Animator is a fun, gory follow-up to the splatter-tastic Re-Animator, although it never quite hits the heights, be it story-wise or gore-wise, of its predecessor. The change of focus of the narrative towards actually creating new life and sculpting the perfect woman is certainly an interesting twist on the ideals established in the original movie, and it’s with this particular plot point that we’re treated to some truly terrific SFX work. Sure, to some modern eyes said SFX work may seem a little dated, and it certainly is of its time, but that still doesn’t take away the charm and excellent craftsmanship on display from the likes of John Carl Buechler, Greg Nicotero and the Screaming Mad George team.

As Herbert West, Jeffrey Combs is again the star of the show, with the actor even allowing some semblance of care to come through in his second turn as West. Granted, said care is proved to merely be a façade as West bulldozes on with using anyone and every situation to his advantage in achieving his goal, but it’s a slightly more nuanced performance from Combs. And that’s not to say we don’t see West at his maniacal best, including the awesomely-egotistical line of “I created what no mind’s mind nor woman’s womb could ever hope to achieve” when his God complex comes to the fore, but there’s just the slightest of difference in the character this time out. For the rest of the cast, Dave Gale hams it up maybe a little too much as the severed head of Carl Hill, and Bruce Abbott’s acting is, much like his turn in Re-Animator, still a tad cringe-worthy. The rest of the supporting cast are all fine in what they’re needed for, and the stunning Kathleen Kinmont makes for an excellent choice as the eventual “bride” of the piece.

All in all, if you enjoyed Re-Animator, there’s a whole lot to be enjoyed about Bride of Re-Animator. Is it as good as the first movie? Frankly, no. But that still doesn’t mean that there’s not plenty of blood, guts, shuffling corpses, grotesque creations, and crazed antics to take in. As for the special features of this new release, the three audio commentaries are all great accompaniments, although the featurettes are all maybe a little too short for what longstanding horror hounds would be hoping for.

Special Features: Three audio commentaries / ‘Brian Yuzna Remembers Bride’ featurette / ‘Splatter Matters’ featurette / ‘Getting Ahead in Horror’ making-of / Theatrical trailer / Deleted scenes

BRIDE OF RE-ANIMATOR / CERT: 18 / DIRECTOR: BRIAN YUZNA / SCREENPLAY: RICK FRY, WOODY KEITH, BRIAN YUZNA / STARRING: JEFFREY COMBS, BRUCE ABBOTT, CLAUDE EARL JONES, FABIANA UDENIO, KATHLEEN KINMONT, DAVID GALE / RELEASE DATE: OUT NOW

Despite supporting roles in films such as Scott Pilgrim vs. the World and 21 Jump Street, Brie Larson wasn’t a big name in Hollywood until early this year, when she beat strong competition to win the Best Actress Oscar for Room. With the amount of films out around awards season, however, it’s possible you missed this indie drama from Frank director Lenny Abrahamson and writer Emma Donoghue – thankfully, it’s now available on DVD.

Based on Donoghue’s novel, itself inspired by the Josef Fritzl case, Room doesn’t have the most cheery of concepts – Larson plays Joy “Ma” Newsome, who was abducted at seventeen and now lives in a squalid shed as a sex slave to Old Nick (Bridgers). But the film rightfully doesn’t linger too long on Nick’s abuse of Joy, rightfully refusing to give reasons for the captor’s actions or even to show his face for longer than is necessary. Instead it’s told from the perspective of Jack (Tremblay), Joy’s son – and Nick’s too, though she refuses to let the five-year-old see Nick as a father. Jack believes that their home, ‘Room’, is all there is. The people on TV are magic, and the blue through the skylight is Space. Jack and his Ma do daily exercises, bake birthday cakes, and get on with life in Room. Sometimes they scream to the aliens together, but none have ever responded. It’s all routine. And then one day, Joy decides it’s time to tell Jack the truth about ‘The World’.

It’s not too much of a spoiler (hey, it’s on the poster) to reveal that, at some point in the film, Joy and Jack escape Room – and the sequence in which they do is knuckle-chewingly tense. Life in The World isn’t easy, though – having never known anywhere but Room, Jack finds himself overwhelmed by the onslaught of new people and places, while the pressure of helping him adjust takes its toll on Joy, as do awkward family reunions and the prying media.

Yes, Room can be a tough watch. But it’s never grim for long, balancing the horrors of Joy’s ordeal with the, well, joy of Jack’s curiosity and readjustment. The emotional ups and downs are numerous, yet perfectly handled by Donoghue’s touching script and Abrahamson’s sensitive direction. The performances are flawless, too; while Larson’s Oscar was well deserved, Room is Jack’s story, and Jacob Tremblay is that rare thing – a child actor who convinces with a full range of emotions and hits all the right notes. He was eight when this was shot. Eight! 

Room isn’t easy teatime viewing, but it is a stunning film that takes a horrific yet all-too-believable crime and gives the victims a voice. It’s tough but ultimately uplifting. If you missed it in cinemas, pick up the DVD. 

Extras: Featurettes / Commentary

ROOM / CERT: 15 / DIRECTOR: LENNY ABRAHAMSON / SCREENPLAY: EMMA DONOGHUE / STARRING: BRIE LARSON, JACOB TREMBLAY, JOAN ALLEN, SEAN BRIDGERS, WILLIAM H. MACY / RELEASE DATE: MAY 9TH

At the end of the ‘50s there were many things the British liked to think we were world-beaters at: winning wars, creating the NHS, conquering unconquerable mountains, designing jet engines, inventing hovercraft, losing empires, being humiliated over Egyptian canals… Oh well, maybe not. But at least there was one thing that made us the envy of the world. Thanks to the mighty Hammer Studios, we did horror flicks like no one else. Hammers were popular all over and nowhere more so than Italy. So did those stylish-yet-saucy Italians have a go themselves? Of course, and they became something of an erotically horrifying genre in their own right, but there was a brief period when they were a bit more faithful to the Hammer model.

The Playgirls and the Vampire actually starts out more like Scooby Doo than Hammer with a troop of dancers dodging a hotel bill and being forced by the inclement weather to stay at that castle everyone just told them to avoid. Even the occupants tell them to clear off until a low budget bridge gives way (so low budget we never see it) and they’re stuck. But why does Vera (Rocco) think she’s been here before? Why does the resident Count (Brandi) look so startled to see her? We can’t possibly imagine. Well, it’ll all be OK as long as they stay in their rooms, which they don’t. They wander about in their babydoll nighties (although Vera’s is a bit longer as she’s the romantic lead). Next thing we know, one is dead and there are mysterious goings-on afoot. Well it is supposed to be a horror movie.

Actually, that’s the one thing that is wrong with Playgirls. While it has aspirations to be creepy (nice castle etc.), it just isn’t. Director Piero Regnoli looks like he simply wasn’t trying hard enough on that front. Nice opening shot of a coffin and that’s about it. Mind you, he probably wasn’t paid very well as this is micro-budget stuff. It’s a good natured film and there’s much hilarity to be had from the fact none of the dancers can actually dance (that scene is brilliant) and that when Vera sees the painting of “Margherita Kernassy: 1746-1782” who looks (not very much) like her, the Count says: “She lived here and died in 1785”. We actually rewound to check. Curiously, in the subtitled version he says “a hundred years ago” which is even further adrift. But to be fair there’s a nice twist and the climax even riffs on Hammer’s Dracula (1958). Anything particularly Italian about it? Not really. These were early days and there’s none of the style, sex and horror we get from later Italian offerings, unless you count a lot of nighties, an incongruous and ineffective striptease and the fact that the dead woman comes back to life and spends the rest of the film naked but tastefully lit.

So not a terrible movie but not what you might expect. Mario Bava it isn’t.

Special Features: Kim Newman interview / 8mm version of Last Fling of the Vampire / trailer / extra scene from French version

THE PLAYGIRLS AND THE VAMPIRE (1960) / DIRECTOR: PIERO REGNOLI / SCREENPLAY: PIERO REGNOLI / STARRING: LYLA ROCCO, WALTER BRANDI, MARIA GIOVANNINI, ALFREDO RIZZO, MARISA QUATTRINI, LEONARDO BOTTA / RELEASED: 2ND MAY