Review Category: DVD/Blu Ray

CREEPSHOW (SEASONS 1 – 4)

Since its debut in 2019, Shudder’s Creepshow anthology series – based, of course, on the original 1982 film of the same name (and its two lesser-regarded sequels) – has become one of the most-anticipated staples of the TV genre calendar. The format is simple and yet hugely effective; each fifty-minute episode tells two ‘tales of terror’ framed by lurid cartoon illustrations in the style of the old EC horror comics of the 1950s. These are the stuff of classic horror featuring ghosts, vampires, werewolves, and zombies alongside an assortment of all-new grotesques and monstrosities. The tone is resolutely tongue-in-cheek despite some spectacularly gory practical visual effects (the emphasis here is very much on the practical, surely the influence of FX guru Greg Nicotero, who is one of the show’s exec producers), and many of the early instalments are based on short stories by the likes of Stephen King, Bruce Jones, Joe R Lansdale, and King’s prolific son Joe Hill. Blobby monsters, disembodied heads and assorted body parts, wolfmen, sinister scarecrows, and more populated the first series and this diet of the diabolical has continued throughout the run of the show, now comprising four seasons – 25 episodes, including two seasonal specials.

This new easily shelvable Blu-ray set (which includes commentaries and behind-the-scenes footage amongst its bonus material) collects all four seasons, and, in the nature of anthology shows, the episodes can be hit or miss with the caveat if you don’t like the current one, the chances are the next one will be more to your taste. But the hit-to-miss ratio is pretty good in Creepshow, with stand-outs including Season One’s Skincrawlers (leeches), Season Two’s Public Television of the Dead (Deadites) and Sibling Rivalry (vampires). Season Four keeps up the show’s tradition of arch, self-aware yarns with the likes of The Hat, in which a struggling writer achieves fame and fortune when he wears a hat previously worn by horror writer ‘Stephen Bachman’, Meet the Belaskos. in which vampires live uneasily alongside humans and George Romero in 3D!, in which the horror legend reappears to help a struggling bookstore owner fend off an attack by zombies.

Creepshow is a generally un-starry affair (although Keifer Sutherland voices a character in the animated special, and the occasional familiar face like Giancarlo Esposito, Michael Rooker, David Arquette, and Darcy Carden turn up here and there). There’s a whiff of the low budget about the series, but that’s really very much in the tone and purpose of the whole enterprise. Creepshow doesn’t take itself too seriously and offers up some clever, witty and occasionally stomach-troubling tales probably best appreciated by old-school horror fans.

CREEPSHOW Season 1 – 4 is available now on Blu-ray and DVD.

THE JESTER

A distraught father, John (Matt Servitto), rings his estranged daughter, Emma (Lelia Symington), for the first time in many years. The call doesn’t go well, and it’ll get worse as a tall, mask-wearing chap is following him we’ll know as the Jester (Michael Sheffield). While he might be suicidal, the Jester magically tightens a noose around his neck, deciding for him. Emma turns up at his funeral and meets up once more with her half-sister, Jocelyn (Delaney White). They reluctantly have to join forces to defeat the silent but deadly force of the Jester.

What might strike you with director Colin Krawchuk’s film (which he co-wrote with Sheffield) is the similarity to the Terrifier movies. However, Krawchuk doesn’t take the overly explicit gore route (although it does have its moments), and the comparison pretty much end with a non-verbal stalking mime. Deep inside the horror overtones is a tale of depression, grief, wrong decisions, and forgiving. It may not be handled perfectly – it’s the director and writers’ first feature, after all, which expands on a trilogy of shorts with the same titular character – but there’s something more than just a relentless killing machine. Sadly, the pacing lets it all down. Just as we’re getting to grips with something horrific, there’s a shift to the more drama-based approach.

This mix of drama and horror doesn’t quite gel here, which is a shame. It picks up as it progresses, and there will certainly be times when you’ll question whether you’re being shown reality or if it’s a projection of what’s inside the characters. Like Art the Clown, the Jester is a great, simple concoction that is creepy enough to enter the imagination of fans.

THE JESTER is out now on Blu-ray, DVD, and digital download from Dazzler Media.

THE FRIGHTENED WOMAN (aka FEMINA RIDENS, 1969)

Director Piero Schivazappa’s visually stunning S&M masterpiece has a journalist, Maria (Dagmar Lassander), facing off with sadistic Dr Sayer (Philippe Leroy), who kidnaps her to subject her to depraved acts. As the pain and the humiliation progresses, Maria turns the tables on the increasingly disturbed Sayer.

It’s easy to get carried away with the pop art psychosexual glory of The Frightened Woman as almost everything is stylised to the nth degree. It looks glorious, sounds glorious (the Stelvio Cipriani score is particularly infectious), and is way ahead of its time in its themes. While it might appear to be nothing more than misogynistic fantasy for most of the runtime, when Maria gets the upper hand, it builds to a perfect climax.

Shameless’ new HD release presents the film looking amazing as it’s from a new, restored 4K transfer, with the original Italian language alongside the British dub. The main feature is accompanied by a pair of interviews, including a brand new one with star Lassander, which is very enlightening. There’s a limited edition slipcase for those who care about these things, too. Regardless of the bells and whistles, this is an essential movie for fans of Italian cinema, particularly those interested in erotic thrillers.

SCALA!!!

Subtitled Or, the Incredibly Strange Rise and Fall of the World’s Wildest Cinema and How It Influenced a Mixed-up Generation of Weirdos and Misfits, this documentary picks up the story of the infamous London repertory cinema. In all its guises, it was a magnet for a certain kind of film fan, and the eclectic screenings provided an impressive alternative to the stuffy National Film Theatre.

The full story of the cinema in its three incarnations, including the most famous in Kings Cross, was told in Jane Giles’ enormous book, which was released by FAB Press. Giles co-directs here with the book’s editor, Ali Catterall. With the limited time allowed for a film, the content is a little more focused on one side of the cinema’s appeal rather than taking in every aspect and special guest that appeared there. So we don’t get to hear about the times that outside promoters brought in Hershell Gordon Lewis, Joe D’Amato, or Chow Yun Fat, but there’s still plenty of interesting history brought to life by the recollections of those who were there.

People like actor Ralph Brown (who worked in the coffee shop), musician Barry Adamson (who also provides the impressive soundtrack for the documentary), FrightFest founder Alan Jones (whose ‘Shock Around the Clock’ all-nighter was the precursor for the iconic, world-famous festival), and punter Adam Buxton all have fun and interesting anecdotes about frequenting the cinema. The film takes the cinema’s blending of music and obscure cinema as its basis to tell the story of the member’s only mecca of the weird and wonderful. An important part of what made the cinema successful was its appeal to all sections of counterculture, particularly the gay community. The always-wonderful David McGillivray (writer of Satan’s Slave and House of Whipcord, amongst others) has many of the best moments, recounting some of the debauchery that took place there and is the star of a Marvel-ous post-credit scene.

As a testament to the power of outsider art and off-the-wall characters, Scala!!! is just a mere taster of a place that was the nearest the UK had to a grindhouse cinema and is sorely missed.

SCALA!!! is in UK cinemas from January 5th and Blu-ray/DVD from January 22nd, 2024

ANNE RICE’S MAYFAIR WITCHES: SEASON 1 [BLU-RAY]

Best known for her vampire texts, such as Interview with the Vampire, Anne Rice explored other areas of the macabre with a trilogy of witchcraft novels. Beginning in 1990 with The Witching Hour, this series follows a family known as the Mayfair Witches. AMC acquired the rights to all of Rice’s works in 2020 – with the indulgently entertaining version of Interview released in 2022 – and now we have the equally lavish production of Anne Rice’s Mayfair Witches to stimulate us visually.

And visually stimulate it does, with its atmospheric, Gothic New Orleans setting and a series of glitzy balls and parties, both joyful and funereal. The costumes are striking, the sets suitably bewitching, and the strong direction guides you skilfully through this exotic world.

But there is something – dare we say it? – sadly rather restrained about this witchy tale.

The story follows Alexandra Daddario’s Rowan as she discovers her place in a family she knew nothing about while learning to control her emerging powers. Mayfair Witches is a time-switching narrative that spans generations but one that never quite engages in the way you feel it should. There is an interesting story here, albeit tentatively ponderous, yet you feel somewhat peripheral rather than immersed in events. Intriguing characters flit in and out – Harry Hamlin hungrily devours the scenery as an outrageous uncle while Jack Huston broods as the mysterious Lasher – though Daddario’s Rowan feels hollow by comparison in the central role and our window to this world.

As stunningly realised as the world of The Mayfair Witches is, it is a passive beauty compared to its toothier cousin.

ANNE RICE’S MAYFAIR WITCHES: SEASON 1 is available on Blu-ray, DVD, and digital from January 8th.

ESSENTIAL FILM NOIR: COLLECTION 5

Australian boutique label Imprint’s latest collection of four vintage film noirs is a mixed bag that pushes the definition slightly but is never less than entertaining.

Island of Doomed Men (1940) sounds more horror-tinged than it actually is, although it does star the wonderfully sinister Peter Lorre. He plays the owner of Dead Man’s Island, a place where paroled prisoners can be sent to work. Little do they know they’re just being set up as slaves. An undercover agent is sent there and attempts to bring the corrupt system down.

Surprisingly sadistic, this fantastic film – directed by Charles Barton (Abbot and Costello Meet Frankenstein) – gives Lorre a chance to shine, doing what he does best: be intensely creepy and cruel. It’s interesting to see the white slave trade being a topic for this largely forgotten B-picture.

The Red Menace (1949) is the most overt and least compelling of the movies on offer here. It paints the communist party as a brainwashed cult, and when an ex-soldier gets no help from the government, he’s easy prey for the commies. Filmed at the height of McCarthyism, in which the US Senate sought to persecute anyone with left leanings, and is ripe propaganda.

Based on a novel of the same name, 1957’s The Burglar is a much more worthy inclusion. Starring Dan Duryea and Jayne Mansfield in her feature debut, it’s an often tense and violent movie that should be better known. Duryea is the head of a group of petty crooks who plan a big heist on the home of a rich spiritualist. Making off with the jewellery, they head to Atlantic City, pursued by others who want the pricey necklace they stole. Both Duryea and Mansfield are fantastic in the lead roles. The film boasts some neat twists, tight direction from Paul Wendkos (The Mephisto Waltz), and is atmospherically photographed.

Rounding out the set is 13 West Street (1962), in which Alan Ladd plays a respectable chap roughed up by a gang of youths. When he finds the law (ably portrayed by Rod Steiger) ineffective in bringing him justice, he buys a gun and sets about finding his assailants. While the story doesn’t go as far as Death Wish, it’s a strong tale of a good guy pushed to extremes.

This fifth set of borderline film noir films may not have any real heavy hitters, but it’s a solid collection of rarely-seen thrillers. It’s let down on the extras front, with the only inclusions on The Red Menace, with a feature-length documentary about the McCarthy persecution of Hollywood being a highlight and arguably better than the main movie.

MAUSOLEUM (1983)

Mourning the death of her mother, Susan (played as an adult by Bobbie Bresee in her first feature) enters an old mausoleum and becomes possessed by a demon that has plagued her family for generations. Years later, she’s married to Oliver (The Food of the Gods’ Marjoe Gortner) and leading a seemingly idyllic life. However, the curse she’s under begins to take over, and a trail of death follows the otherwise demure housewife.

Mausoleum is, in several ways, typical ‘80s horror film fare. It’s a mix of gore, nudity, naff optical effects, and a goofy demon (with additional bitey nipples this time!). It might not always hit the mark, being fairly pedestrian in its pace, but it has plenty to recommend. There’s a great turn by LaWanda Page (who’s best known for Sanford and Son, the US version of Steptoe and Son) as Susan’s maid, whose mutterings to herself add a touch of humour to the proceedings, although the stereotype she represents isn’t PC in the slightest. Susan’s unlikely seduction (or entrapment) of her lecherous gardener also provokes more titters than chills – especially as it’s proceeded by a montage of him working away at various tasks.

While the film is no classic, it merits its cult reputation thanks to plenty of fun moments, mainly when the demonic Susan is around, and the gore is effective if sparsely used. The presentation makes up for the film’s shortcomings, with the movie looking great, boasting a clean print scanned from the original negative. There are also two great commentaries (one brand new for this release) and some interview featurettes that shine more light on the production, including an audio-only chat with Bresee. A passionate tribute to the film’s reclusive star, Gortner makes up for his non-inclusion in the extras, and Stephen Thrower’s appreciation for Mausoleum rounds things out well. The included booklet is interesting and a great read, and the collectors’ cards are a nice touch. If you order directly from the Film Treasures website quickly enough, you also get a magnet and a poster. If you’re a fan of ‘80s schlock, what are you waiting for?

MAUSOLEUM is out now on Blu-ray.

LITTLE BONE LODGE

There is something… unsettling from the opening scenes of Little Bone Lodge, something you can’t quite put your finger on. Mama (Joely Richardson) and her teenage daughter Maisy (Sadie Soverall) live off-grid; no internet, no phones, no television. Just them, caring for a disabled Pa (Roger Ajogbe) in what could easily be the 1950s rather than the present day. Life is simple and straightforward until brothers Jack (Neil Linpow, who also wrote the screenplay) and Matty (Harry Cadby) turn up on their doorstep, the former hurt from an accident that wrecked their car. Being nice people, the family bring them in.

Of course, the brothers are not quite what they seem, but then very little is. As secrets and motivations are slowly revealed, the viewer is challenged repeatedly, trying to identify who is the victim or victim in this strange scenario. Themes of grief, familial loyalty and revenge pepper the subtle narrative, either simmering in the subtext of a seemingly innocent conversation or boiling over due to shocking revelations.

Much of this is down to Linpow’s deflecting, unpredictable script and tight, tension-building direction from Matthias Hoene. Yet a great deal of credit must go to the performances. Richardson is outstanding as the protective mother who is absolutely hiding something (clear from the outset, you just can’t quite figure out what) and Linpow as Jack, who is as luckless as he is desperate.

The only real issues arise in the final act when, as each person’s truth finally seeps out, more players are introduced, and the delicate character balance suffers. That aside, this is a taught, twisty thriller that rewards careful viewing.

THE GINGER SNAPS TRILOGY

Released in 2000, Ginger Snaps garnered a cult following for its snapshot of teen life in the late 1990s and early 2000s, and for its interesting use of lycanthropy as a puberty metaphor. It was raw, bloody, and different to what had gone before, and with references to teen suicides and ‘death-obsessed’ characters, it’s also a film that would not be made now. While some of those themes are rightly dated, Ginger Snaps remains a strong, if flawed, entry in the genre.

With sequel Ginger Snaps: Unleashed and prequel Ginger Snaps Back: The Beginning, Second Sight have gathered a haul of interviews and featurettes for a new, rather fancy boxset release of the trilogy. And while all the extras offer an intriguing insight into the production and impact of the films – a panel discussion on puberty in film being an interesting inclusion – upon rewatch the films themselves do vary in quality somewhat.

Ginger Snaps itself remains an impactful piece, angry and emotional, full of moments relatable to anyone who remembers the bleaker side of teenage life. The other two films are, for varying reasons, less so. The sequel continues from directly where its predecessor ended and feels very much like extended scenes that were rightly left on the cutting room floor. With a curious tonal shift, it’s difficult to root for any of the characters and as such is a rather forgettable follow-up. And the prequel is just dull, woefully attempting to blend Native American mysticism into the lore.

Undoubtedly another lovely release from Second Sight, but perhaps one for the more hardcore fans of the series.

THE GINGER SNAPS TRILOGY is out now on Blu-ray

INTERVIEW WITH THE VAMPIRE: SEASON 1 [BLU-RAY]

There are moments early on in Interview with the Vampire, AMC’s lavish, lascivious new adaptation of Anne Rice’s revered novel, when you begin to forget what you are watching. So hedonistic is the depiction of New Orleans’ Storyville – or Red Light – district, so sumptuous the design and so intoxicating the atmosphere that you could be walking those streets, a heady smell of smoke and sweat in the air. And then the there is an explosion of rage, and you remember where you are.

This has always been a story of morality, of legacy and how immortality is both a curse and a blessing. And AMC have leaned into those themes, removing the homosexual subtext that existed in Neil Jordan’s 1994 film to add weight to emotions vampires remain plagued by over decades. Casting was always going to be crucial in realising this, and Sam Reid is suitably suave and sinister as Lestat de Lioncourt. However, it is Jacob Anderson as Louis de Pointe du Lac that is most compelling, his journey from a Black businessman railing against a racist society to primal killer an intriguing and interesting one.

Yet the issues that emerged in Jordan’s film do so again, and to potentially more detrimental effect. The nature of immortality is dull, and the excitement present in early episodes gives way to morose brooding; if you struggled at all with the story once Lestat was ‘sidelined’ you will do so again.

Beautifully produced and impressively performed, Interview is undoubtedly spectacular. But as the series progresses the rewards for persevering grow fewer and you may begin to appreciate the vampire’s immortal plight.

INTERVIEW WITH THE VAMPIRE: SEASON 1 is available on Blu-ray from November 6th