THE DIABOLICAL

Phew. Where to start with this one? Really. Plot-wise, Ali Larter plays a skint and desperate single mother whose home is being terrorised by some apparent ghostly goings on. With seemingly no way out of her situation, it’s down to Larter’s Maddison and her convenient-by-profession scientist boyfriend (Arjun Gupta) to get to the bottom of these traumatic happenings. Yes, so bad are things, even the local rent-a-Ghostbuster group of paranormal experts won’t touch the situation.

To his credit, Alistair Legrand does try to do something different with a film that has the potential to just be standard genre fodder full of overly familiar tropes and tricks. Unfortunately, The Diabolical falls short of reaching its aim. As the movie plays out, we get introduced to things that we’ve seen many, many times before, and worryingly nothing of any real substance happens for the first hour of the film’s 86-minute duration. By the time that things do get spiced up in the final half hour, the twists and turns seem ludicrous and as if they’ve been thought out purely to maximise the surprise value… even if things come off as almost laughable.

On the plus side, The Diabolical is rather well shot for such a relatively low budget effort, and Legrand certainly seems to have a good eye for suspense at times. Similarly, Ali Larter does her damnedest with the material she has to work with, and she’s assisted by some great turns from Max Rose and Chloe Perrin as the poor children by her side throughout the traumatic events of the tale. Sadly, bar an okay performance from Gupta, the rest of the supporting cast are all as bland as a stale Victoria sponge. Only further souring the experience is a completely erratic (and not in a good way) score; one that at times seem to give a warmth and fuzziness during some of the moments that are supposed to rile up the scares. Then there’s the SFX work on show, which is largely dismal, although the film’s budget obviously has to be taken into account when looking at this aspect of the movie.

Despite trying to do something different, The Diabolical is a film that is let down by an embarrassingly familiar and flavourless script until it pulls off that twist. By the time things do spark to life, even the most Red Bull-fuelled of viewers will feel themselves dozing off as Legrand’s movie has by that point become a literal non-event of a film.

When all is said and done, sadly for The Diabolical it well and truly lives up to its name. And not in a good way.

THE DIABOLICAL / CERT: 15 / DIRECTOR: ALISTAIR LEGRAND / SCREENPLAY: LUKE HARVIS, ALISTAIR LEGRAND / STARRING: ALI LARTER, ARJUN GUPTA, MAX ROSE, CHLOE PERRIN / RELEASE DATE: OCTOBER 19TH

 

NIGHTMARE CODE

Mark Netter’s directorial debut is a merciless, calculated beast of found-footage horror. Nightmare Code tells the story of a young, hopeful computer programmer, Brett, brought into finish a top secret surveillance project left unfinished thanks to the mysterious death of its creator. However, the deeper he loses himself in the programme at hand, the more inescapable he finds himself, until the stomach-wrenching truth behind the project becomes all too real.

Made up from found footage via security cameras and laptop recordings, Nightmare Code paints a masterfully varied canvas in how its story is presented. Fusing scenes where the screen is made up of four security cameras at once with laptop camera calls, Netter drags the audience as close to the action as possible, giving the film a very personal flavour. The Nightmare Code itself centres on the effects of behavioural recognition through computers that keep a 24/7 surveillance. Bearing that in mind, one has to think if we’re seeing Brett tell his story or if we’re seeing the code’s story.

The film’s script is nothing out of the ordinary, but its familiar atmosphere of innocent individual turned inside out via a growingly intangible enemy compliments the direction to great effect. Netter deftly crafts a superbly isolated environment within the 10th floor of a business hub where Brett and his colleagues attempt to piece together the surveillance programme. In the grand scheme of all things horror, this is nothing new, but Netter’s crisp, brisk handling of the film and some fine performances from the main cast gives Nightmare Code a deft yet throttling indie charm.

Spinning off from this, Nightmare Code’s indie background gives the film’s horror tendencies some earthy ground, making them feel almost all the more genuine. The inevitable blood-splattering may not be entirely convincing, and in someone else’s hands the bare set pieces may feel unimaginative and hastily put together without much care. But here, the layout of the film works. The stripped-down surroundings collide with the claustrophobic nature of the film strikingly well, arming Nightmare Code with an endearingly simple yet highly palpable force with which to smack the audience with.

Nightmare Code is a snappy, thoroughly modern take on sci-fi horror. It has tension, effect and some emotional hook in a minimalist yet stylish delivery. It may not go down in history as a turning point in the journey of horror cinema, but it’s got more than enough enthusiasm to warrant a few kind words in any pocket-sized anthology on the subject.

NIGHTMARE CODE / CERT: TBC / DIRECTOR: MARK NETTER / SCREENPLAY: MARK NETTER, M.J. ROTONDI / STARRING: ANDREW J. WEST, MEI MELANCON, GOOGY GRESS, IVAN SHAW, NICHOLAS GUEST / RELEASE DATE: OUT NOW (US VOD), OCTOBER 27TH (US DVD) TBC (UK)
 

TOUR OF DUTY

Equipped with just enough charm to keep things hooky past its seemingly none-too-flash budget, Tour of Duty is still a rather limp, uninspired effort in quasi-sci-fi military filmmaking. There’s an undeniably odd mixture here of a run-of-the-mill story being coupled with a script that’s trying to translate some of the excitement it feels into something the audience can enjoy. Fact is, it’s the script that’s having the most fun with this film, and it just can’t seem to get anyone else to exude any form of individuality for the film.

Tour of Duty’s well-tread plot focuses on a crack team of mercenaries sent into the barren and volatile regions of snowy Afghanistan to retrieve a package. However, each member blacks out mid-mission and they awake to find themselves in a top secret military facility that’s desperately keen to know what became of their mission. As the soldier’s fuzzy memories slowly return to them, piece by piece, secrets are spilled like blood, and a mission for a package morphs into a mission for survival.

Aside from the above plot featuring a script that delights in flashbacks that piece together the story’s wider picture, everything here is rather two-dimensional. The heroes are all tough, rugged solider-types without much uniqueness to separate their personalities. If anything, it’s the heroes’ appearances that manage to distinguish them, as if they all know just how tradable their personas are. Tahmoh Penikett spends as much time with his shirt off as possible so you can separate his abs from sidekick Lesley-Ann Brandt’s unkempt, bronze shock of short air.

Because of this moulding of the characters, the audience can’t feel for them, even when the film tries valiantly to make them give a damn about Penikett’s character, Major John Cafferty, via some groan-worthy family issues. The other characters aren’t even given some form of backstory, rendering them as near-irrelevant shells that only exist to drive the surprisingly tense script along as briskly as possible.

But there are still some things to enjoy about Tour of Duty. Director Peter Winther does a commendable job in maintaining a damp, claustrophobic atmosphere throughout the film. From the snow-laden mountains of Afghanistan to the sterile interiors of the military centre, everything has a downer chill about it that gives Tour of Duty an effortless smoothness. The atmosphere that Winther creates lends a small but welcome amount of suspense to the plot, giving the film something of a kick.

Tour of Duty isn’t the sort of film to set the box office alight with earnings. It’s the sort of film one whacks on in the background on a Friday night when there’s beer and company flowing throughout the evening. Any deeper watching won’t exactly reward the viewer, but it’s got just enough juice in it to keep things rolling till the end without any beer bottles being thrown at it.

TOUR OF DUTY / CERT: 15 / DIRECTOR: PETER WINTHER / SCREENPLAY: VARIOUS / STARRING: TAHMOH PENIKETT, LESLEY-ANN BRANDT, COLM FEORE, ERICA DURANCE / RELEASE DATE: OUT NOW

 

DOOMSDAY

Harlan Ellison has a lot to answer for. His influence can be felt across the entire sci-fi and fantasy genre. For example, his Outer Limits dramas, Soldier and The Demon with a Glass Hand are partly responsible for the plethora of movies featuring time-travelling rebels and evil robotic infiltrators. Or to put it another way, he’s responsible (in a round-about manner) for low-budget movie bore-fest, Doomsday. Though it’s just as fair to blame the Terminator franchise as well.

Doomsday (formerly known as Death Machine) begins in the far-future, which has been ravaged by a desperate battle between humanity and its robot overlords called Erebrus. Heroic rebel Achilles somehow makes his spaceship go back in time so he can infect humanity with an anti-robot virus that will prevent the robot uprising from ever happening. Of course, the Erebrus have sent back their own agent, a humanoid killing machine wrapped in biker leathers and a modified aeronautics helmet. This creature is toting around a huge laser cannon that closely resembles lashed-together plumbing supplies. Achilles wanders around trying to spread his humanity saving virus, and the robot follows him, killing anyone who may be infected.

Low budget sci-fi movies are difficult to do well, and Doomsday is ambitious in its scope. Sadly, the story is let down on every level. The acting is constantly on the edge of high-drama, meaning that from scene to scene there’s nowhere for the action to go. The pacing is too slow for what it is and cinematography either spends way too much time sweeping across the prettier parts of the United Kingdom or focusing on the grimier parts of seaside towns. The plot itself is hardly original and though there are some nice nods to Greek myth, it fails to have a theme or deeper meaning. Though the actors are quite good, the characters they play are pretty unlikeable throughout.

There are better low-budget movies of this kind out there. Doomsday is one for completists only.

DOOMSDAY / CERT: TBC / DIRECTOR & SCREENPLAY: NEIL JOHNSON / STARRING: ALAIN TERZOLI, AMY PEMBERTON, DARREN JACOBS, RICHARD LAWRENCE / RELEASE DATE: TBC
 

CAPTAIN EARTH PART 2

In their ongoing fight against eccentric invading aliens the Kill-T-Gang, the Midsummer’s Knights duck out for a quick vacation, or to put it in more familiar terminology, the ‘beach’ episode.  It’s an episode as good as any to illustrate a floundering show, undermining its own sense of style.

Every character, main or inconsequential, sticks rigidly to their set archetype, hindering any kind of real growth or development. From episode 20 onwards, however, relationships undergo minor shifts and characters are more focussed on events rather than their binary parameters; most notability computer whizz Akari Yomatsuri whose magical girl shtick is, thankfully, toned down.

And from this point on, with the action shifting to the space station and conspiracy and terrorism bubbling to the surface, it’s more akin to Babylon 5 or Deep Space Nine. On the subject of Star Trek, it does – eventually – explore the heavy responsibility and stress of a captain, with Daichi Manatsu’s greatest plight revealed. It’s brief moments like those that Captain Earth reveals glimpses of its innermost strength.

Episode 23 takes Daichi beyond the token nice guy constraints. Quietly creepy and pensive, it’s a moment of calm in the calamity. Captain Earth explores its central themes of the weight of the future on children and the death of adolescence, with its motif of waning summer. Daichi is a child left an orphan by a father whose heroism left him dead amongst the stars, which makes the disappointment of the show’s cliché ridden conclusion that much worse. Its twaddle, which for a moment went far above its station for an hour of something sensational.

Special Features: Clean opening and closing / Trailers

CAPTAIN EARTH PART 2 / CERT: 12 / DIRECTOR: TAKUYA IGARASHI / SCREENPLAY: YOJI ENOKIDO / STARRING: MIYU IRINO, HIROSHI KAMIYA, AI KAYANO, KOTORI KOIWAI / RELEASE DATE: OUT NOW

 

CREEPER

There seems to be an acceptance amongst up and coming filmmakers that the path to getting noticed is easier when adopting shock and awe tactics. Most recently James Cullen Bressack has had the most success with this low budget, on-the-edge brand of filmmaking that panders to no-one and garners as many fans as it does detractors. Cullen Bressack’s films may not be to everyone’s tastes, but they do have a sense of troubled style that matches the director’s convictions. But as is the way of things, the good must be balanced by the bad.

A “creeper” is apparently a form of internet troll; a pervert who spends their time prowling dating sites and lonely hearts links to get their sexual kicks. To gain revenge on one in particular, a sad loner who initially appears to have done little wrong, three young women decide to see how far they can push things through a series of humiliating tasks. Obviously events get out of control and the tables are turned.

Creeper will possibly satisfy fans of extreme horror cinema, but for most it will come across as the worst form of indulgent filmmaking. Writer and director Matthew Gunnoe wants to have made a modern exploitation film, a feature that throws a light on the shadowy underbelly of online dating through exposing the seedier corners of the sites. Instead Creeper feels like the result of the most troubled teenage boy’s sexual fantasy. After kidnapping the girls, their former victim and issue-laden psychopath Tobin (Darrly Baldwin) subjects them to various violent, sexually-influenced tests that result in them running around the woods semi-naked covered primarily in blood and gore. Gratuitous and excessive certainly, but there is little style or wit to proceedings. Neither Tobin nor the girls are remotely relatable and you find yourself wishing they’d all just wind up dead; at least then the incessant fake screaming would subside. Films such as Cannibal Holocaust or I Spit on Your Grave generated a certain empathy despite their grisly natures, a sense of morality necessary to give the audience some hope. Creeper ignores that entirely, settling instead for deeply unpleasant characters who end up doing deeply unpleasant things to each other. Simply put, there’s just no reason to care.

There will always be a market for extreme cinema and for low budget exploitation films that will shock and surprise. Creeper is like the grim and grubby little offspring of this subgenre, a film that screams “look at me” at the top of its lungs, desperate for attention and utilising any nasty little tactic it can to be noticed while lacking any genuine sincerity. Ignore, and it might just go away.

CREEPER / CERT: TBC / DIRECTOR & SCREENPLAY: MATTHEW GUNNOE / STARRING: DARRYL BALDWIN, MONICA CHAMBERS, ROHNJA MORROW, TARA PRICE / RELEASE DATE: TBC
 

DARK MATTER: SEASON ONE

What with all the superheroes/zombies flying/shuffling their way around our TV screens, there’s not a lot of space sci-fi at the moment. Those missing the days of Firefly and Battlestar Galactica may want to check out Dark Matter, from Stargate writers Joseph Mallozzi and Paul Mullie.

It’s a neatly simple concept: six people wake up on a spaceship. They’ve all lost their memories and their shoes. They find the shoes pretty quickly, and soon after discover that they’re a mercenary crew composed of wanted criminals. Yet many secrets are left to be unveiled, not least who was behind the memory wipe…

These six characters name themselves after the order they emerged from stasis (One, Two, Three, etc… you’ve seen Sesame Street, you know how this works), which fits in nicely with how they’re basically a list of sci-fi clichés. There’s the gun-toting, selfish tough guy, the quirky, vulnerable kid with genius computer skills, the silent Japanese warrior who’s an expert at swordplay. It is nice, however, that it’s a female character, Two, who ends up in charge of the gang and who often gets to kick ass and save the day.

As the series progresses, the team take various mercenary jobs (gotta pay the rent) in between following up leads related to their forgotten pasts. Like the characters, several plots lack originality – a derelict infected by a zombie virus, a spacewalk to repair the ship, a suspiciously helpful ‘entertainment’ robot – and so this season, particularly in the first half, can feel like a slog. It doesn’t help that the interaction between the team is terribly clunky – attempts at Joss Whedon-style wit fall flat 95% of the time, and the less said about the unbelievably cringeworthy romantic subplot the better.

But behind all the tropes, there is something interesting fighting to get out, and Dark Matter improves towards the season’s end, as darker secrets threaten to tear the team apart. The fact that one crew member wiped everyone’s memory looms large, and just when you think you can trust someone, a new revelation makes you not so sure. The final episodes bring to the fore every underlying conflict, and Dark Matter becomes a Reservoir Dogs-esque edgy whodunit, in space. This is made more intriguing by their differing views on whether the crimes committed in their past lives should define who they are after the clean slate granted by their lost memory.

At its worst, Dark Matter is a clunky, unoriginal mess. At its best, it’s a tense thriller of trust and deceit. If space sci-fi fans can put up with the bad bits, the good bits may just be good enough to fill up this gap in the market.

Extras: BTS Featurettes

DARK MATTER: SEASON ONE / CERT: 15 / CREATED BY: JOSEPH MALLOZZI, PAUL MULLIE / DIRECTOR: VARIOUS / STARRING: MARC BENDAVID, MELISSA O’NEIL, ANTHONY LEMKE, ALEX MALLARI JR., JODELLE FERLAND, ROGER R. CROSS / RELEASE DATE: OCTOBER 12TH 

 

MONSTER MADNESS – MUTANTS, SPACE INVADERS AND DRIVE-INS

Did you know that 1950’s Destination: Moon was one of the first proper space-race science fiction films? Did you know that Invasion of the Body-Snatchers taps into and allegorises America’s McCarthy-era paranoia? Have you heard of Ed Wood, the famous cult bad movie director and that his Plan Nine from Outer Space is widely-regarded as one of the worst films ever made? Did you know that Americans used to watch movies in outdoor drive-in theatres?

Of course you did. You’re a STARBURST reader, this stuff is your bread-and-butter. The latest DVD documentary from Herberger (he’s made a number of similar titles dealing with different eras and areas of genre history) is available to import should you so wish, but don’t expect any startling revelations or extraordinary conclusions here. It’s generally a fairly bog-standard talking heads piece interlaced with clips from films we’ve all seen time and again (many of them absolute classics that never wear out their welcome, of course, as well as intriguing oddities like 1959’s The Hideous Sun Demon). But what makes the piece worth consideration (apart from some cheesy, grainy footage from early 1950s US sci-fi TV hit Space Patrol) are some of the archive interviews with the likes of Samuel Z. Arkoff, Robert (The Day The Earth Stood Still) Wise, Anne (Forbidden Planet) Francis, and Famous Monsters legend Forrest J. Ackerman, as well as the cast of obscure B-movies such as The Man From Planet X. Many of these folk have long since gone to meet their maker, so Monster Madness offers the opportunity to see and hear their recollections of their moments in the sun, even if the film doesn’t contextualise or explain the provenance of most of the footage – although it doesn’t take a genius to realise much of it was filmed at small and long-forgotten gatherings of science fiction fans. It’s a random and undisciplined wander through a very specific genre of filmmaking – pulp monster movies, alien invasion flicks – but there’s some lovely stuff here from classics such as The Thing From Another World (the original and best), Fiend Without A Face (flying brains!) and the genuinely influential Forbidden Planet (Star Trek in all but name) and some interesting historical narrative about the rise and fall of the drive-in cinema phenomenon.

Monster Madness doesn’t come to any conclusions about its subject matter as much as it just comes to a crashing and sudden end. But really, it’s just a warm celebration of a much-loved era in genre filmmaking and it allows us to put faces to names we’ve seen on the credits of umpteen creaky black-and-white movies, many of which form the sturdy backbone of the genre which brings us all together. Monster Madness won’t change your life or provide any deep new appreciation of its subject matter, but it’s an inoffensive and lovingly-collected amble around very familiar territory. That’s never a bad thing.

MONSTER MADNESS – MUTANTS, SPACE INVADERS AND DRIVE-INS / CERT: N/A / DIRECTOR: JEFF HERBERGER / SCREENPLAY: A. SUSAN SVEHLA / STARRING: VARIOUS / RELEASE DATE: OUT NOW

 

BLEACH – COMPLETE SERIES 14

The second part of the Arrancar: Downfall arc starts in the thick of the fight with Aizen Sōsuke, former captain of the 5th Division in the Gotei 13, and his arrancar army. Soul reaper Ichigo Kurosaki is nursing a crippling blow, while the cavalry arrives in the form of the Vizards and shinigami for a devastating showdown.

With its exceptional use of music and swordplay, Bleach maintains a style that’s completely its own; the score is so startlingly effective that it elevates the events on screen to new heights; battle plays more like theatre and, as the soul reapers fall, it’s a tragic orchestration of melodrama and choreography, while at other moments it’s a full blown gothic opera.

The show’s stock and trade is combat, and Ichigo dipping in and out of his hollified state makes for some lively fights. Even when the parts of the story start to waver, the combat is always fresh and exciting. In amongst the average animation are some playful visuals and time for the odd frame of something pretty. Taken as a whole, it’s testament that when Bleach is good, there’s not a lot that comes close.

Startling revelations from Aizen changes the way you view the events of previous series, well and truly pulling out the rug from under poor Ichigo. It revisits the earlier arcs, with a montage of past skirmishes, lasting the length of almost two episodes, with a recalibration and review of each clash and what he learnt there.

In the present, Ichigo learns strength through mediation, and the results are as potent as they are severe. This is Ichigo as the sacrificial lamb, caught somewhere between a willing gesture and the weight of responsibility. But if Ichigo shows growth, it’s only in response to Aizen. He’s a complicated character, formidable and desperate to show it, but in the revelation of his motives we learn his journey is laced with pathos and despondency. Coupled with fellow traitor and follower Gin Ichimaru, they make for a unit full of passion, hunger, hate and deception.

In amongst the meat of the series are several filler and promotional episode, drumming up the fourth movie, Hell Verse. The following episode, likewise, is a prologue to the movie, and neither have any bearing on the events of the series. Then there’s the New Year special, and the following filler before it returns for a poignant and invigorating end to the arc. And then more filler.

If Bleach is guilty of anything, it’s the glaring inconsistencies, and the lengthening void between its best and worst parts. You get a dose of both with Series 14, but the former triumphs over the latter.

Special Features: Opening and closing

BLEACH – COMPLETE SERIES 14 / CERT: 15 / DIRECTOR: NORIYUKI ABE / SCREENPLAY: VARIOUS / STARRING: FUMIKO ORIKASA, MASAKAZU MORITA, AKIO OHTSUKA, ATSUKO YUYA / RELEASE DATE: OUT NOW

 

THE OTTO PREMINGER FILM NOIR COLLECTION

Three movies? Two with Dana Andrews, two with Gene Tierney and two with Charles Bickford? Although, confusingly, never the same two. It must the BFI’s Blu-ray Otto Preminger Film Noir Collection. Nothing looks quite as stunning as a bit of noir in HD so expectation is high.

Fallen Angel (1945): Eric Stanton (Dana Andrews) is a down-on-his-luck drifter (and, sadly, not the risqué comic artist of the same name who shared a studio with Steve Ditko) who winds up in the smallest of small town America only to fall for Stella (Linda Darnell), the town’s tough-but-alluring waitress. By law, every American town was required to have a tough-but-alluring waitress until 1961 and, prone to mixing with the wrong sorts, they nearly always met a sticky end. Stella is no exception and Eric becomes suspect number one. Will he solve the case? Well he’s rather busy chasing after the local rich girl too but you never know.

Fallen Angel is actually a splendid piece of noir and the hopelessness of the location really adds to the dourness of it all. Bonus for the sci-fi/horror fan: there’s a dodgy séance act in town played by Olin Howland (the old guy in Them! and The Blob no less) and John Carradine (far better cast here than he ever was as Bela Lugosi’s eventual replacement in Universal’s later Dracula-outings).

Whirlpool (1949): Ann Sutton (Gene Tierney) is the posh wife of a psychoanalyst (Richard Conte) who, having too much time on her hands, also nicks stuff from department stores. In the intriguing opening she’s arrested for shoplifting but the apparently heroic David Korvo (Jose Ferrer) steps in to save the day. As it happens, he’s also a hypnotist (of course he is) so he offers to cure Ann of her kleptomania. But why are other socialites who’ve crossed his path so keen to warn Ann off him? Then one winds up strangled with Ann’s scarf. Oh dear.

Arguably Whirlpool isn’t really noir at all, just a thriller with a mental illness/hypnotism twist which at least makes fairly interesting for the time. While it’s the weakest here, it’s still pretty solid and Ferrer does an excellent job of stealing the show.

Where the Sidewalk Ends (1950): We’re back on firmer noir ground here with a probably-tougher-than-he-should-be detective (Dana Andrews) accidentally killing a not-actually-guilty suspect (Craig Stevens) in a murder case. Turns out the suspect had a silver plate in his head from an old war wound and was a decorated hero. Has anyone said “oh dear” yet? As this is film noir, he does the entirely stupid and dumps the body in the river while trying to blame it on another (probably guilty) suspect in the case he was investigating. Then he tops it all by falling in love with the war veteran’s estranged wife (Gene Tierney).  Oh for heaven’s sake. All film noir tropes present and correct then.

Actually, this one’s a gem. Dark stuff with its glimpses of the New York underworld and its contagious violence that even drives our hero who is, like all good noir heroes, doomed from the outset.

One minor moan: these films were all in a previous BFI DVD boxset that also contained (the non-Preminger) Night and the City (1950). Pity we couldn’t get the same deal on these fantastic looking Blu-rays .

Special Features: Commentaries / Interview with Otto Preminger / Trailers / Booklet

THE OTTO PREMINGER FILM NOIR COLLECTION / CERT: 12 / DIRECTOR: OTTO PREMINGER / SCREENPLAY: VARIOUS / STARRING: DANA ANDREWS, GENE TIERNEY, CHARLES BICKFORD, ALICE FAYE, LINDA DARNELL, RICHARD CONTE, JOSÉ FERRER, BARBARA O’NEIL, KARL MARDEN, CRAIG STEVENS, TOM TULLY, GARY MERRILL, OLIN HOWLAND, JOHN CARRADINE / RELEASE DATE: OUT NOW