Review Category: DVD/Blu Ray

DVD REVIEW: BATTLE GIRLS: TIME PARADOX COLLECTION / CERT: TBC / DIRECTOR: HIDEKI OKAMOTO / SCREENPLAY: TOUKO MACHIDA / STARRING: BRITTNEY KARBOWSKI, SHELLEY CALENE-BLACK, EMILY NEVES, GENEVIEVE SIMMONS, CARLI MOSIER / RELEASE DATE: JANUARY 26TH

Movies based on video games tend to be among the most forgettable, and while cartoons may generally fair better, we’ve still got a long way to go. That said, it’s a genuine surprise that Battle Girls: Time Paradox, based on the CR Sengoku Otome arcade game, is actually pretty decent.

The show kicks off in the heat of battle, with a deliciously convoluted fight sequence. In an anime titled Battle Girls you expect as much, and fans of Red Sonja will appreciate the armour choices, as preposterous as they are impractical. Treat this as your litmus test; if this opening fails to ignite, the rest of the series won’t be anything to get excited about.

Despite the seemingly insurmountable differences between Eastern and Western entertainment, certain tropes are shared, and a normal student put in extraordinary circumstances is one of the most common. So schoolgirl Hideyoshi is a character we can all get behind, as she’s magically whisked off to an alternative Feudal Japan where the entire population is made up of women.

Hideyoshi is an endearing character, stand-offish, spry and accident prone, striking a similar impression to Naruto Uzumaki. Her growing rapport with the lord Oda is sweet, as she fights to gain all pieces of a crimson armour set which will enable her to rule the land.

The English dub is fairly decent, though sometimes characters do move their mouths when they’re not speaking. Voice over stalwart Brittney Karbowski does an especially good job with Hideyoshi, heads and shoulders above your average dub. In many ways Battle Girls is a typical anime, pootling along with a formulaic structure, but it is terrific fun, and a cunning piece of ‘what-if’ fiction. Throw in a talking dog, playful music and evocative settings, and you’ve got a winning formula.

The show dissects modern Japan and its cultural obsessions by looking to its past, but more than that the show explores its rich history, and by subverting it makes for an intriguing story. Though the feminist ideas or educational elements weren’t nearly as utilised as they could or should have been, Battle Girls is an enjoyable show nonetheless.

Special Features: Opening and closing credits /  Trailer
 

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DVD REVIEW: ATROCITY / CERT: TBC / DIRECTOR: JEFF S. CHIMENTI / SCREENPLAY: JEFF S. CHIMENTI / STARRING: RYAN CLAXTON, BRITTANY KARBOWSKI, LUKE WRIGHT / RELEASE DATE: VOD OUT NOW

One night, nineteen-year-old boy Zach Carter teams up with his band of brothers to get revenge on his girlfriend, who he believes to be cheating on him, by ambushing her at her house and catching her cheating on video. But soon, a horrific surprise strikes him and his friends, and the situation escalates out of control and results in an unbelievably shocking and grim climax. Seven years later, a police detective and sheriff that were involved in the original investigation begin to look over several videos that were recorded that night and reveal the true facts about the incident. It’s then that they realise the chilling discovery of a missing video, which reveals that the “real” truth behind it all that turns out to be something that much more disturbing than anyone could possibly imagine.

This is a film about people being corrupted by their own dark intentions and shows how monstrous they can become, and that isn’t far away from the allegories of Wes Craven’s Last House on the Left, which is also about violence and the corrupting nature of violence. However, the allegories of this movie end up getting lost amidst the increasingly stupid splatter. Torture porn is one thing, but pompous and pretentious torture porn is something else entirely, and at times, this veers towards Eli Roth’s horrific Hostel movies, which is not a good sign. In the case of horror movies, it is necessary to have some engagement with the characters in order for the narrative to work, but the main teenage characters are so grotesque, obnoxious and laddie, you just end up being fed up with their company.

There is also way too much unnecessary laddie, leery displays of women, and the movie seems very chauvinistic and reprehensible in its attitude towards women that it makes certain scenes very problematic. The whole found footage genre has been flogged to death now that when you look back to The Blair Witch Project (the start of this genre), despite how annoying the characters were in that, there was an idea at the heart of it and it was incredibly gripping. There have been so many found footage movies, and none of them have come up to the standards of Blair Witch. The idea in this movie is that it’s meant to act almost like a snuff movie, and that just only makes it closer to the unintentional echoes of Joel Schumacher’s best-forgotten snuff movie romp 8mm.

Overall, Atrocity is a film that is deeply unpleasant, and not in a good way. Its characters are obnoxious, its treatment of the female characters is deeply troubling, the found footage aspect is completely old-hat, and it thinks it has something to say about violence and how violence can corrupt, but the way it handles that message is best described as sketchy.

Special Features: TBC

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DVD REVIEW: ANGEL MAKER: SERIAL KILLER QUEEN / CERT: TBC / DIRECTOR: O.H. KRILL / SCREENPLAY: O.H. KRILLL / STARRING: ANDREW CHAPMAN, M.A. NICOLS / RELEASE DATE: TBC

Amelia Dyer was one of England’s most prolific but little known serial killers. She was a ‘baby farmer’, charging young mothers a hefty fee to take in their unwanted or illegitimate new-borns and then – unbeknownst to the parent – murdering the child in various gruesome ways, at first drugging them and starving them to death but finally, when the opium and malnutrition method took too long, she resorted to strangling her victims with edging tape.

Dyer travelled the country, changed her name, and eventually brought her own daughter into the family kiddie-slaughter business. And it was a lucrative business. Over several decades, Amelia Dyer murdered more than four hundred babies.

It’s a macabre story. Especially if you’re a fan of particularly twisted crime. Dyer would make a great character in the next season of Penny Dreadful.

So disappointingly, given the sensational subject matter, Reality Films’ Angel Maker is a bit of a mixed bag: as an Idiot’s Guide to Victorian England (the period when Dyer was operating) it covers all the usual checkpoints – poverty, workhouses, disease and prostitution, laudanum, madness and Jack the Ripper – and it tells Amelia Dyer’s story in an exceptionally simple uncomplicated way using period photographs, clips from public domain films and – above it all – a slow and steady narration that sounds like it’s being read from a particularly boring textbook.

And that’s the problem. This is a story that should have us locked to the screen, horrified by what comes next, but this narration could send an insomniac to dreamland. On top of that, although the majority of vintage clips and photos are well chosen (including a great moment from The Screaming Skull), very few of them actually relate to Amelia Dyer herself. There’s a picture of her – a hawk-nosed woman with black rimmed eyes and a funereal hat, an illustration of her in a newspaper, and some examples of letters she wrote from prison – but the rest are mostly generic sepia-tinted baby photographs (there’s one of a dead infant in a cot surrounded by flowers which is particularly uncomfortable) interspersed with some awkward especially-shot filler of roses burning in CGI flames, a baby’s hand covered in blood and – the one that really doesn’t work – a sequence where a pair of hands wraps a ribbon around an obviously plastic baby’s neck (yep, you can see it’s a plastic baby) and strangles it on camera, presumably for all those viewers who are unclear what strangling a baby looks like.

But the best part is right at the end, when a bunch of text screens give us some interesting pointers about infanticide. The first one? “The title character in Oliver Twist spent his first years in a baby farm.”

So at least I’ve learned something.

Oh – but the woman on the DVD cover looks scary. It’s not Amelia Dyer though.

Now, does anyone have a copy of The Screaming Skull I can borrow?

Special Features: TBC
 

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BLU-RAY REVIEW: TALES OF TERROR / CERT: 15 / DIRECTOR: ROGER CORMAN / SCREENPLAY: RICHARD MATHESON / STARRING: VINCENT PROCE, PETER LORRE, MAGGIE PIERCE, LEONA CAGE, JOYCE JAMESON / RELEASE DATE: MARCH 9TH

There are whispers in certain horror circles the only reason Tales of Terror works is little to do with Allan Edgar Poe at all. That the real reason this anthology works is due to Vincent Prince and the master of low budget gothic, Roger Corman. Poe is almost an afterthought in these tales. Screenwriter Richard Matheson and Corman use the Poe catalogue as a Pick ‘n’ Mix selection to build this adaptation in their own loose style.

The overall technique works well for the most part. The first story, Morella, is an exquisite gothic period piece. It has Corman’s trademarks of burning castles and prodigal relatives. This time, Lenora (Pierce) returns to the father (Price) who abandoned her as a child, only to discover the spirit of her dead mother (Gage) has deadly plans for their daughter. Full of dust, cobwebs and melancholy, Morella is a delight that takes you back to a more innocent age of horror.

The Black Cat is the second segment and is offered as something of a comic relief or a breath between the two real terrors. Peter Lorre is on form as the drunk playing against Vincent Price’s upstanding wine expert Fortunato Luchresi. This is a rebadged version of The Cask of Amontillado. The Black Cat is a battle of wills as much as a battle of swills and swigs. The story is an examination of guilt as much as revenge. Two of Poe’s great themes. Though often dismissed as the weak link in Tales of Terror, The Black Cat is still enjoyable to watch.

The final story, The Case of M. Valdemar, reverts back to a straighter gothic horror element and has Price playing the protagonist completely from his deathbed. He hopes the mystic hypnotist Carmichael, played by Basil Rathbone, can successfully arrest his life at the moment of death. Carmichael’s intentions toward Mrs. Valdermar (played wonderfully by Debra Paget) are unscrupulous. As this is Poe, we know the path to desire and immorality will not be without manifestations of guilt. The sight of Price in the final scene is shocking even after all these years.

Tales of Terror is a film that takes the viewer back to matte-painted scenes, soundstage sets, and 19th century romantic gothic sensibilities and is a treat for all of that. It’s also become a classic for good reasons; it was the first film to pick up Ealing’s Dead of Night legacy, even before Amicus, for example. It also set the tone for gothic horror for a generation on TV as well as cinema. So it’s fantastic Arrow Films have remastered it for a new generation of viewers to enjoy.

This transfer is better than average quality while any defects or flaws only add to the charm. That’s a statement that could describe the whole of Tales of Terror, in fact.

Special Features: The Directors: Roger Corman documentary / Cats in Horror Films featurette / Kim Newman on Edgar Allan Poe / The Black Cat short film / Trailer / Collector’s booklet
 

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DVD REVIEW: 3:33AM / CERT: TBC / DIRECTOR: DANIEL E. FALICKI / SCREENPLAY: DENIEL E. FALICKI, SHERI BETH DUSEK, ANTHONY E. GRIFFIN / STARRING: MATTHEW DENNIS, SCOTT BAISDEN, CHRIS KOTCHER, SHERI BETH DUSEK, MARY HOWING / RELEASE DATE: TBC

Back in the nineties, C&C Music Factory had a song called Things That Make You Go Hmmm… which is pretty much the feeling 3:33AM leaves you with when it’s finished.

John Spinelli (Dennis) has just left prison. His Parole Officer finds him a room at the Wellhome boarding house, which John isn’t too happy about. “Aren’t the folks that live there kind of retarded?” he asks. “Mentally challenged, John,” the Parole Officer corrects him. But from the moment John steps through the Wellhome front door to be smacked with a litany of rules by the clearly unhinged landlady, then gets bombarded by an assortment of neighbours who are so cartoonishly weird they would make a freak show blush, it’s kind of clear that John’s return to society is not going to go well.

But John’s biggest problem is the creepy broken-down house directly opposite his bedroom window; the house his landlady has her eye on but the others in Wellhome prefer to ignore. It wakes him up at 3:33AM every morning, pulsing a brilliant coloured light like an over-excitable UFO, and then at 3:34 AM the light is gone and the house sits there like nothing happened. Until John discovers his toupe-impaired ex-crime buddy ‘Easy Steve’ just got killed in the house, and was found with a limb removed. And then more people are found dead in the house, equally limb-deficient. And as the corpses pile up, John finds himself tagged as the prime suspect.

If he wants to prove his innocence and uncover the dark secret of the house, John’s going to have to start getting along with his neighbours…

3:33AM is a very strange movie. It’s a horror comedy without the horror and with comedy that – despite a raft of committed performances from almost everyone involved – fails to work on practically every level. The weird characters are supposed to be colourful and off-the-wall but they’re just loud and annoying – if you want creepy neighbours, dig out Rosemary’s Baby, The Sentinel or even the gross fat guy from Alice, Sweet Alice and do it properly, but the super-clichéd assortment of weirdoes in 3.33AM will just make your head ache.

It’s also clear that director Daniel E. Falicki and his co-screenwriters Sheri Beth Dusek and Anthony E. Griffin were beaten by their miniscule budget. Falicki does his best with the camera and manages a respectable number of interesting set-ups in a handful of very confined sets, but there’s way too much unnecessary goofiness and the dialogue-heavy script isn’t as sharp as it thinks it is.

Having said that, DP Todd Lewis does an impressive job with colour filters whenever the creepy house appears outside John’s window, and although none of the cast are particularly outstanding none of them are so bad they’ll make you squirm.

All in all, 3:33AM’s heart is in the right place. Unfortunately, the rest of its body is a car crash.

Special Features: Trailers

 

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DVD REVIEW: AWAKEN THE DEVIL / CERT: TBC / DIRECTOR: DANIEL E. FALICKI / SCREENPLAY: RYAN LIESKE, MATT SIMPSON SIEGEL / STARRING: JASON ROTH, MATT SIMPSON SIEGEL / RELEASE DATE: TBC

Horror movies have always made a virtue of attempting to balance low budgets with lofty ambitions, but only occasionally do they really succeed. Awaken the Devil marries an interesting idea with a fairly novel technique but sadly never really takes flight.

Roth and Siegel play two homeless brothers who decide to spend the night in an abandoned building and end up as pawns of the Devil. And that’s the entire plot; if the Devil has a cunning plan there’s very little evidence of it. Even the comparatively clever twist, which resolves the film, fails to make sense of what little has gone before, and the pacing is so bewilderingly slow that it’s hard to feel any tension as the plot inches forwards. One of the brothers is mute and wheelchair-bound, leading to two revelatory moments that wouldn’t surprise even the most credulous of spectators. Given that the siblings are pretty much the only characters in the entire film, there is a curious air of immobility that the story does very little to counteract.

All of which would be fine if any of the very few incidents in Awaken the Devil appeared either to serve a purpose or to have consequences. But neither of the brothers seems that eager either to extricate themselves from what’s going on or to try and understand it, with the effect that any peril they find themselves in lacks bite. The attempts to engender a sense of dread earlier in the movie fail miserably, making very little sense and failing to connect with subsequent events. A much stronger script was needed if even the paltriest of plot threads were to be tied together.

What raises the film above the mire of indifference it would otherwise inspire is the process by which it was produced, superficially similar to the rotoscoping of A Scanner Darkly, albeit highly inexpensively and therefore without the animation effect. Ostensibly this ought to allow the producers to locate their film anywhere they please, but with the first third set against the backdrop of a city street (essentially photographic backgrounds populated by oddly disjointed silhouette people) and the rest of it within an almost pitch dark room, the technique is all but wasted. Awaken the Devil ends up looking more interesting than it might, but that’s about all that’s in its favour. The animated succubae that turn up towards its climax look as incongruous as something out of Who Framed Roger Rabbit, and diminish any tension the film might have been attempting to build.

Undoubtedly there’s an audience for Awaken the Devil out there somewhere, but in the absence of any content as lurid as its title, it’ll have a hard time finding one.

Special Features: None
 

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DVD REVIEW: THE SEARCH FOR WENG WENG / CERT: 15 / DIRECTOR: ANDREW LEAVOLD / SCREENPLAY: ANDREW LEAVOLD, DANIEL HAIG / STARRING: WENG WENG, TIKOY AGUILUZ, ROY ARABEJO, DOLPHY / RELEASE DATE: JANUARY 26TH

There are many curious tastes in cinema, from Naziploitation to Bruceploitation, Sadomasochist Prison Camp films to Mexican Lucha films and even films about Sporty Crustaceans (Google take a bow). Indeed it seems that there really is a form of film to suit everybody and anybody and much of this stems from the video culture of the 80s. Within the international market, you could find copious amounts of genres and films to peruse. Perhaps though, one of the oddest examples is the cinema that comprises the filmography of a Filipino actor known as Weng Weng. An international, 2’9’’ actor, who lead numerous pictures in the 70s and 80s finding fame as super spy Agent Double O (essentially a pint-sized James Bond). However, despite the humorous novelty of such films, Andrew Leavold‘s documentary not only attempts to (re)discover these movies but also attempts to look into the little known life of Weng Weng. Is he still alive? Where did he go after this wave of films? And what was the world like from his eyes? Fair questions but ones that take us on an incredible journey filled with surprise, shock, greed, exploitation, laughter and sadness. 

Over the course of seven years, cult video storeowner Andrew Leavold embarked on a journey to uncover whom this enigmatic star of films like For Y’ur Height Only (1981) actually was. The resulting film is a dose of guerrilla documentary filmmaking, which tells a forgotten story of a flash-in-the-pan international star and the inner workings of not only cinema history but also the political history of the Philippines. The Search For Weng Weng is a film that relishes its unprofessional and independent spirit; it embraces the undisclosed areas of global cinema history and like the very best true-life stories is a blend of chance, research and downright oddness.

From the editor of Weng Weng’s movies to the (then) only surviving member of his family, Leavold manages to find (often by sheer luck) some very important people in this interesting, often funny, often sad, always bizarre person-centric puzzle. Weng Weng’s story and life is one that spirals outwards and into the most unexpected of places and not only does this fascinating film tackle this story with honesty and persistence, it does so with a level of affection. The Search For Weng Weng is of course a curio but considering the gobsmacking subject matter, this is hardly unexpected. The film explores areas of Filipino culture that many would quite simply leave well alone and in many ways evolves into a comment on the power of film under governance (the segment looking at former First Lady Imelda Marcos are startling) and the projection of personal beliefs and opinions onto larger than life (or in this case smaller) figures. It is hard to imagine anyone other than a guy born and bred on the crazed output of video culture, having the resolve to construct a film like this.

The Search For Weng Weng takes what many would call garbage and delves into it to find something rather poignant and rather fresh. This documentary is not merely a jokey look at a gimmicky intercontinental star but is a glaring assessment of prejudices, fame and exploitation. By the end of the film we are left to sit back, clear of all the ridiculous stunts and laughable dubbing and consider the real story behind these movies. Weng Weng’s story is not really a funny one but rather a telling one, which highlights many sordid areas of the movie business. True, the final credits warm sing-song routine could be seen as an attempt to cheer us up or make us think one way over another but Andrew Leavold uncovers all the story he can, from all the people he can and in the end manages to excavate one forgotten story in the countless that lay buried in the mud of worldwide independent cinema history. By the film’s end, there is a sense that Weng Weng’s localised cinema has gone onto cult fandom but in the end Weng Weng was a human being and this film treats him like one but the real question is, did the movie business? The Search For Weng Weng is a must-see example of underground documentary filmmaking and hard work paying off!

Extras: D’Wild Wild Weng Feature, “I Love Weng Weng” Music Video, Image Gallery, Deleted Scene, Extended Scenes, Q & A at Sydney Underground Film Festival, Director’s Commentary

Rating:
  

DVD REVIEW: THE SEARCH FOR WENG WENG / CERT: 15 / DIRECTOR: ANDREW LEAVOLD / SCREENPLAY: ANDREW LEAVOLD, DANIEL HAIG / STARRING: WENG WENG, TIKOY AGUILUZ, ROY ARABEJO, DOLPHY / RELEASE DATE: JANUARY 26TH

There are many curious tastes in cinema, from Naziploitation to Bruceploitation, Sadomasochist Prison Camp films to Mexican Lucha films and even films about Sporty Crustaceans (Google take a bow). Indeed it seems that there really is a form of film to suit everybody and anybody and much of this stems from the video culture of the 80s. Within the international market, you could find copious amounts of genres and films to peruse. Perhaps though, one of the oddest examples is the cinema that comprises the filmography of a Filipino actor known as Weng Weng. An international, 2’9’’ actor, who lead numerous pictures in the 70s and 80s finding fame as super spy Agent Double O (essentially a pint-sized James Bond). However, despite the humorous novelty of such films, Andrew Leavold‘s documentary not only attempts to (re)discover these movies but also attempts to look into the little known life of Weng Weng. Is he still alive? Where did he go after this wave of films? And what was the world like from his eyes? Fair questions but ones that take us on an incredible journey filled with surprise, shock, greed, exploitation, laughter and sadness. 

Over the course of seven years, cult video storeowner Andrew Leavold embarked on a journey to uncover whom this enigmatic star of films like For Y’ur Height Only (1981) actually was. The resulting film is a dose of guerrilla documentary filmmaking, which tells a forgotten story of a flash-in-the-pan international star and the inner workings of not only cinema history but also the political history of the Philippines. The Search For Weng Weng is a film that relishes its unprofessional and independent spirit; it embraces the undisclosed areas of global cinema history and like the very best true-life stories is a blend of chance, research and downright oddness.

From the editor of Weng Weng’s movies to the (then) only surviving member of his family, Leavold manages to find (often by sheer luck) some very important people in this interesting, often funny, often sad, always bizarre person-centric puzzle. Weng Weng’s story and life is one that spirals outwards and into the most unexpected of places and not only does this fascinating film tackle this story with honesty and persistence, it does so with a level of affection. The Search For Weng Weng is of course a curio but considering the gobsmacking subject matter, this is hardly unexpected. The film explores areas of Filipino culture that many would quite simply leave well alone and in many ways evolves into a comment on the power of film under governance (the segment looking at former First Lady Imelda Marcos are startling) and the projection of personal beliefs and opinions onto larger than life (or in this case smaller) figures. It is hard to imagine anyone other than a guy born and bred on the crazed output of video culture, having the resolve to construct a film like this.

The Search For Weng Weng takes what many would call garbage and delves into it to find something rather poignant and rather fresh. This documentary is not merely a jokey look at a gimmicky intercontinental star but is a glaring assessment of prejudices, fame and exploitation. By the end of the film we are left to sit back, clear of all the ridiculous stunts and laughable dubbing and consider the real story behind these movies. Weng Weng’s story is not really a funny one but rather a telling one, which highlights many sordid areas of the movie business. True, the final credits warm sing-song routine could be seen as an attempt to cheer us up or make us think one way over another but Andrew Leavold uncovers all the story he can, from all the people he can and in the end manages to excavate one forgotten story in the countless that lay buried in the mud of worldwide independent cinema history. By the film’s end, there is a sense that Weng Weng’s localised cinema has gone onto cult fandom but in the end Weng Weng was a human being and this film treats him like one but the real question is, did the movie business? The Search For Weng Weng is a must-see example of underground documentary filmmaking and hard work paying off!

Extras: D’Wild Wild Weng Feature, “I Love Weng Weng” Music Video, Image Gallery, Deleted Scene, Extended Scenes, Q & A at Sydney Underground Film Festival, Director’s Commentary

Rating: