Review Category: DVD/Blu Ray

THE CONJURING: THE DEVIL MADE ME DO IT

Stepping away from the haunted house style that we’ve seen in the first two movies, The Devil Made Me Do It is based on the horrific court story of Arne Cheyenne Johnson. After he killed his landlord in 1981, Arne wanted to prove his innocence by claiming that he was possessed during the violent altercation. It was a major documented media event in the US at the time, simply because nothing like this had ever happened before. At the centre of all of this, attempting to help Arne is none other than the legendary paranormal investigators, Ed (Patrick Wilson) and Lorraine Warren (Vera Farmiga).

After a whirlwind introduction that fans of The Exorcist will really appreciate, and discovering that Arne has been cursed, our paranormal duo goes on a trip through demonic obsession, in a race against time to try and support his alibi. Battling against The Occultist (Eugenie Bondurant), they march through psychotic mind games and nightmarish monsters to find answers. Between the court case plot, that Ruairi O’Connor holds up well, and those popcorn-throwing scares that The Conjuring fans are now used to coming from The Occultist, The Devil Made Me Do It quickly becomes a fun and intriguing horror. We also get a look into the history of our paranormal heroes, which firmly connects the trilogy.

Alongside sleek acting work from the core cast members, it would criminal to not mention John Noble’s take on Kastner. Just like we’ve seen John do in shows like Fringe, his character dances around crucial answers, that the audience wants, right up until the time is exactly right.

Looking at the bonus features, there’s a section of small (A die-hard fan might be after a little bit more content), but informative interviews from the main cast and crew. From directors Michael Chaves and James Wan, right through to the acting leads themselves it’s a quick look at what happened behind the scenes. Potentially, the most interesting part is when we see the real-life Arne Johnson and his late wife Debbie Glatzel, who both explain that surreal story, and what it was like to be involved with this project. Also, the audio comic and content about how the exorcism opening came together, add more background to what you’ve watched.

It’s obvious that Michael Chaves has really tried to do something different in this third outing. Instead of playing it safe by repeating that tried and tested Conjuring formula (Which works well!) he has given us a twisted, paranormal adventure that focuses on a savage, real-life court case, that also puts our leads in unfamiliar, yet testing terrain. After an ending that echoes The Shining, and once those unsettling credits finish, you might well find yourself further researching this huge paranormal universe, and of course, the Arne Johnson case itself. Many franchises are known for struggling on that third movie, but because of The Devil Made Me Do It, we now have another fantastic horror trilogy.

The Conjuring: The Devil Made Me Do It is available on 4K UHD, Blu-ray, DVD, and Digital now.

LABYRINTH (35TH ANNIVERSARY 4K UHD EDITION)

Exclusive to online retailer Zavvi, this is Labyrinth‘s second dalliance with the UHD format, following its first 4K release which coincided with the film’s 30th anniversary in 2016. While that original effort was certainly an agreeable endeavour, this latest edition benefits from Dolby Vision, which enhances the picture quality beyond what was seen in the previous release, and throws in enough never-before-seen extras that make the overall package more than worth your time.

The movie itself needs little in the way of introduction – slightly bratty but good-at-heart teenager heads into David Bowie’s puppet-filled labyrinth to rescue her baby brother – but there’s every chance that revisiting the Goblin City and its surroundings on this release may well give you a whole new level of appreciation for the work that went into the film’s production. The HDR makeover really brings out a lot of the finer details, to the point where you’re likely to keep reaching for the pause button to take everything in. The iconic “Magic Dance” scene is a prime example – try to get through the entire song without stopping to examine just how grotesque Jareth’s puppet pals really are. It isn’t possible! As great as everything looks, the upgrade does rather show up some of the more primitive special effects that were used, with a few scenes looking a bit more ropey than you might have wanted. Nevertheless, a couple of dodgy special effects aren’t enough to take too much away from one of the most magical films ever made.

26 minutes’ worth of alternate takes and extended scenes are included in the special features, many of which are in a sort-of-nearly-but-not-quite-finished state, with a fair few temporary visual effect markers and blue-screen shots. Highlights include a full-length version of “Magic Dance” with additional footage of the goblins larking about in Jareth’s chamber to the sound of a slightly wobbly demo vocal take, and footage of characters being voiced by their original puppeteers (so you get Red from Fraggle Rock voicing The Worm and Sir Didymus with the voice of Gonzo from The Muppets). As an added bonus, Brian Henson, son of Jim and the voice of Hoggle, provides a really warm, friendly, animated and informative audio commentary, too. As you’d imagine, after most likely languishing in some sort of storage container for 30-odd years, the picture quality isn’t too hot, but long-time fans of the film will surely be nothing less than absolutely delighted to get such a revealing glimpse behind the curtain. Elsewhere, we’re treated to almost a full hour of audition footage where seven different actresses try out for the role of Sarah. The most notable of these is Molly Ringwald, but eagle-eyed viewers might also spot a budding future scream queen (Jill Schoelen) and Marty McFly’s original significant other (Claudia Wells). Again, the video quality isn’t great, but it’s still fascinating and very welcome look into a world that few of us get to see.

The package also contains the previous Blu-ray edition, extras and all. If you already own that one, there’s nothing else new on this BR disc, but if you might be catching up from the DVD era then this second disc provides a further two hours’ worth of extras to get stuck into, including a really wonderful hour-long behind the scenes documentary. To top it all off, there’s some fancy packaging and a 28-page book, neither of which were provided for review but the photos sure make them look fancy!

It’s hard to imagine what more anyone could want from a 2021 edition of Labyrinth – the main feature has been tarted up to the highest possible specifications, all of the previously-released extras make an appearance, and you get to spend an hour and a half with some truly fascinating “lost” footage. If you’re a fan of the film and you’ve got the hardware to get the most out of the UHD format, there’s no doubt that this 35th anniversary edition 100% needs to be part of your collection.

OCCUPATION: RAINFALL

It seems pertinent to begin this review with a health and safety warning. If you feel slightly unwell, perhaps have the beginnings of a headache, or are simply in a calm, reflective mood, then Occupation: Rainfall is not the film for you. At least not today. Because it’s loud. Very loud. With nausea-inducing effects. And there are lots of explosions. And did we mention it’s loud?

A sequel to his relatively low-budget 2018 film Occupation, this time around writer and director Luke Sparke has some money to work with. Instead of hiring new actors – many of the original’s cast return – or polishing the script, he has spent his windfall on visuals. And you can tell. In bringing on board the visual effects team behind Star Wars: The Last Jedi, Sparke has created an aesthetic that would put many a Hollywood blockbuster to shame. The action sequences are immense, from the terrifying air combat sequences that would challenge even the most hardened rollercoaster aficionado, to the bombastic, eardrum-shaking ground battles, this is a film where everything is turned up to the maximum.

And the aliens look pretty good too. The variety and quality of the creature design work is excellent, better than you would reasonably expect, giving a depth and sense of realism to the world.

The issues are when the explosions stop. The cast struggle to add conviction and emotion to the script and the plot is lifted from routine cinematic sources, leaving you with a sense you’ve seen it all before somewhere.

But if it’s dumb, loud, action thrills where you can disengage your brain for a couple of hours Occupation: Rainfall delivers. Just keep the ibuprofen handy.

OPERATION: RAINFALL is out now on DVD/Blu-ray and Digital

HAMMER HORROR (1971-1972) FOUR GOTHIC HORROR FILMS

Hammer Film’s early ‘70s output is often maligned, but the films the studio released during this period have had something of a re-appraisal over the past few years. The four movies featured in the Australian boutique label Imprint’s box set benefit from a fresh set of eyes and are backed up with a wealth of special features that add to the collection’s value.

The four films included here are Countess Dracula, Twins of Evil, Hands of the Ripper (all 1971), and Vampire Circus (1972). What’s surprising about these movies is that Hammer stalwart Peter Cushing only appears in one, Twins of Evil. Despite the lack of the main talent that was synonymous with the studio, these films have a freshness that some of the numerous sequels that Hammer was churning out were lacking.

Where this new box set really excels is the numerous bonus features. Each film has at least two highly informative commentary tracks, and there is a nice mix of brand-new features and some ported over from previous releases. Among the highlights is a feature-length look at the Karnstein trilogy on the Twins of Evil disc, which is an essential watch and is full of information. Countess Dracula features two new visual essays by Kat Ellinger – on Ingrid Pitt and the depiction of Countess Bathory on film – that are equally impressive. Vampire Circus includes a bonus disc (exclusive to the box set, we presume) that features an upscale of Ted Newsom’s superb documentary Flesh and Blood: The Hammer Heritage of Horror. This started out as a two-part doc that screened on BBC TV in 1994 and features the last appearance (albeit in voiceover only) of Peter Cushing. It’s now been updated and expanded and is arguably the definitive word on the studio.

There are plenty more extras in store on these discs, and these make this set a worthy purchase alone. The movies are presented in the best condition possible and are definitely worth another watch if you haven’t seen them for several years. Imprint has set a very high standard with this release.

BEAUTY AND THE BEAST (1978) [BLU-RAY]

If Juraj Herz’s Beauty and the Beast can be considered as part of the illustrious Czech New Wave, then it is arguably the movement’s most ethereally magical gift to cinema. Produced 10 years after the wave’s heyday by Herz – a unique filmmaker who shared little even with his Czech contemporaries – this version of the landmark fairytale finally finds new audiences in a fantastic release by Second Run. Renamed as Panna a Netvor (directly translated as The Virgin and the Monster), this obscure 1978 take boldly but appropriately exhibits a both grim and beautiful lapse from tradition in regards to fairytale films.

The premise is utterly conventional, and perhaps even simplistic compared to Madam Leprince’s original text. The movie’s ‘beauty’, here named Julia, (Zdena Studenková) sacrifices her freedom to replace her rich father as the sole prisoner of a decrepit castle that resides in a dark forest that skirts their small village. Her captor is the mysterious netvor (Vlastimil Harapes) – a hideous bird-like monster with a split-personality, a taste for live flesh, and, quite jarringly, a sentimental eye for beauty. He’s an eternally tortured soul, ashamed by his accursed appearance and guilty of his carnivorous appetite, making his inevitable love for the gorgeous Julia at times painfully distant, and at other times, ferociously dangerous.

This unflinching look at insecurity, violence and peril is the film’s biggest claim to originality and renders the tale as refreshingly mature. As noted in The Projection Booth’s revealing commentary track, the movie could be seen as a narrative copy of Jean Cocteau’s 40s masterpiece, La Belle et le Bête. But Herz’s version is starkly differentiated by its preference for the macabre and primal. Reflected in its harsh, raw and grimy production design is a definite desire for a thematically dirtier story.

While surreal and ultimately sentimental like Cocteau’s film, Herz’s shrewdly relayed themes of violence and eroticism sets his vision firmly in the vein of the morbid tales by the Brothers Grimm or Hans Christian Andersen. From the gory butchering of animals, to the drab and squalid locations, and especially the Freudian overtones of sex and subconsciousness, Herz welcomely recalls the intrinsically unsettling nature of the fairytale – something that’s regularly been forgone in recent history, no more so than in Disney’s recent comfort-food offerings. Most frightening of all is the shocking bird-beast himself, who is so operatically different to his leonine peers that his obscurity in cinema thus far is a tragic wonder.

And yet this transgressive approach is not for gratuity’s sake nor is without levity. Warmth and heart are also present, accentuated by Studenková’s vulnerable performance and Petr Hapka’s moving, if repetitive, score – but such technical flaws are easily forgiven. The production uses a low budget to its advantage by keeping its melodramatic story contained by gritty and minimalist means, restricted to one marshy location, with few characters and predominantly handheld camerawork. The talented Herz always keeps Beauty and the Beast visual as it is visceral, making as good a horror as it is a romance, and with a story that is both fresh and familiar. It is a brilliant film that should now finally receive a triumphant rediscovery.

Out now from Second Run

MORTAL KOMBAT LEGENDS: BATTLE FOR THE REALMS

Mortal Kombat, as if it needs an introduction, is the famous ultra-violent fantasy fighting video game, based on a tournament of deathmatches. The result of these matches determines the fate of the various realms – of which Earth is one. Mortal Kombat: Legends – Battle of the Realms is the latest entry in the franchise’s ongoing quest to conquer other forms of entertainment media. This is the second half of the story that started in last year’s animated release Mortal Kombat Legends: Scorpion’s Revenge. Viewers really need to have seen that animated kick, gouge, and chop gorefest before checking this one out as it addresses several plot threads that were left dangling like entrails at the end of any given match.

It’s not really a requirement to have played the game to enjoy these films, but it’s certainly useful. For one thing, it’ll prepare you for the stunning amount of stylised violence these animated films contain. They are literally dripping with blood, severed limbs, popped eyeballs, decapitations, and ruptured organs. They are not for the squeamish, sensitive, or easily upset. As violent as the live Mortal Kombat film of this past summer was, it doesn’t hold a candle to these two. And as Scorpion’s Revenge was only the opener – this one is where all hell is literally and figuratively let loose.

Inspired by the Mortal Kombat 2 and 3 games, Lord Raiden wants a conclusive end to Shao Khan’s terrorising of Earthrealm after the events of Scorpion’s Revenge. He proposes one final winner-take-all tournament. This will bring together the surviving characters from the first, as well as new ones, who’ll be familiar to fans of the games. Plotwise, that’s pretty much it. It’s practically ten minutes of exposition mixed with seventy minutes of unrelenting martial arts carnage. Match follows match to determine the ultimate winner with barely time to breathe. Truthfully, it’s like watching a video game being played by someone else. But there are some surprises as the writers were given free rein to kill any characters they wanted, and undoubtedly some fans will see their beloved favourites come to some spectacularly bad ends.

It’s a well-executed film (in every sense of the phrase). It’s clearly aimed squarely at the adult market and never shirks away from its well deserved 18 certificate. No doubt someone somewhere will think it’s “just a cartoon”, buy it at the supermarket for their kids, then get outraged and go running to the media. But until then, enjoy the punch to the guts and the kick to the head that this celebration of outrageously impossible violent fantasy delivers.

The Blu-ray disc features a seven-minute ‘making of’ feature, audio commentary, interviews with the voice cast and a gag reel.

OCCUPATION: RAINFALL

Occupation: Rainfall is a sequel to the 2018 low budget Australian alien invasion flick Occupation, written and directed by Luke Sparke that, whilst well-reviewed, failed to make much of an impact at any box office and appeared to sink without trace. Curiously, it performed well enough on Netflix in the US to enable Sparke to get this lavish sequel greenlit and whilst as a film, it’s not hugely interesting and doesn’t really do anything new with the ‘humanity flattened by aliens’ trope, it’s an admirable achievement in its own right delivering an astonishing display of visual spectacle on a comparatively meagre 25 million Australian dollar budget.

Sparke has thrown literally everything at the screen here – we’re pretty sure we saw his kitchen sink hurtle past at one point. For those who may have missed Occupation (i.e. virtually everyone), a quick opening narration brings us up to speed as we’re told that two years have passed since the alien ‘Greys’ came to Earth and groups of human resistance fighters continue to fight the good fight, aided by alien defectors who are sympathetic to the human cause. Word comes of a mysterious device known as ‘Rainfall’ connected to a former military base at Pine Gap and a group of plucky humans (mostly characters from the first film) set off to find it in the hope that it might provide a valuable asset in their ongoing struggling with the vicious, armoured aliens.

What follows is over two hours of bombastic action, endless explosions, CGI aerial dogfights and a fantastically ambitious storyline that seriously cuts no corners in bringing some real visual oomph to the screen. Occupation: Rainfall looks extraordinary; frankly it has the scale and pallet of a film with a budget five times higher, topped and tailed by massive air battles with aircraft and alien fighter ships and studded with spectacular set-pieces throughout its running time (the best being a ground race between pod-like hoverships) and any number of alien lifeforms from the reptilian aliens themselves to strange dog/horse hybrids that roam the landscape, not to mention a sequence with a hideous arachnid creature and a cheeky lightsabre-lite fight. The CGI looks terrific on the small screen (although any deficiencies may be accentuated on a cinema screen) and it’s all stunning stuff but the downsides to the film frustratingly detract from the shock and awe of the massively accomplished visuals. The story itself is a bit dreary and unimaginative – and uninvolving – with the attention tending to wander when the attention focuses on the drab human characters – and the film is ultimately far too long and far too loud. There’s really not enough narrative here to justify a two-hour-plus running time and the inclusion of clunky comic relief sequences with The Hangover’s Ken Jeong feel not only misjudged but completely out of place in a film that is otherwise po-faced and humourless. By the time the film reaches its explosive conclusion it’s really hard to care what happens because we’ve been beaten around the head by the visuals and the sound design for two hours at the expense of interesting character dynamics and in the absence of standout performances from a largely-bland cast.

In the end Occupation: Rainfall is an incredible accomplishment on the available budget and this is clearly a labour of love from Sparke who has so clearly given this project his all. This alone makes it a worthwhile experience as proof that it’s not just Hollywood that can churn out big, brash sci-fi adventure movies and that sometimes these films really don’t need $200 million budgets to make their point. The ending suggests the potential for a third chapter in the story but next time we’d like to see equal time and energy expended on both the script and characters and the headache-inducing visuals.

Occupation: Rainfall is available on DVD/Blu-ray/VOD now. Read our interview with director Luke Sparke here.

PARANORMAL ACTIVITY LIMITED EDITION (2007)

For anyone who doesn’t know the story, Oren Peli’s 2007 Paranormal Activity is about a young suburban couple harassed by a malevolent demon. A straightforward premise, expertly executed for a reported budget of $15,000 (although reshoots and a new ending added a little more), that went on to recoup almost $200 million. It is the most profitable film ever, inspired a franchise and, like Jaws and Alien, has entered popular culture; if you haven’t seen it, you know about it.

So, why do we need a new Blu-ray release? The truth is you don’t.

The problem is that the film’s structure and concept are based around surprise and intrigue, the much-quoted and oft-maligned ‘quiet, quiet, BANG’ approach to filmmaking so prevalent in lesser found footage productions and modern horror in general. Once you’ve experienced that initial viewing, any subsequent watch will inevitably dilute the experience. While there is much more to Paranormal Activity than that simplistic generalisation suggests, the point remains relevant.

What is so easily forgotten is how influential a film this is. While The Blair Witch Project spawned the found footage moniker several years before, it was Paranormal Activity that really demonstrated what could be done. For independent, aspiring filmmakers, this changed everything. Since 2007 there have been almost 200 films produced that fall into this genre, with the majority made on limited or small budgets.

The extras here are fine, largely consisting of cast and crew interviews, and the clarity is certainly improved. But really, the only reason to purchase this new release is if you don’t already own it. Paranormal Activity is an important film, but one that doesn’t necessarily require repeat viewing.

Paranormal Activity Limited Edition Blu-ray from Second Sight is available on September 30th.

TIGERS ARE NOT AFRAID

Tigers Are Not Afraid is not just a horror film, it’s so much more than that. It’s a heartbreaking study of how drug cartels destroy lives. What happens to the children of the unfortunate victims of the violence and havoc that cartels inflict? Director Issa López addresses this question in her directorial debut.

After Estrella’s mother disappears she joins a group of street kids who have all been orphaned by cartel violence. Estrella soon accepts that she too is now an orphan when her mother makes her otherworldly presence known, and she wants vengeance. To add to the orphan’s woes, the cartel is searching for them as El Shine is in possession of a dead cartel member’s phone. A phone that holds incriminating evidence. With only three magical wishes as their protection and her mother’s guidance, Estrella and the orphans play a deadly game of cat and mouse as they try to stay one step ahead of the cartel.

Tigers Are Not Afraid is not a typical horror. There aren’t jump scares, there’s very little gore or blood. The horror derives from the plight of the street kids and the fact that the Mexican government all but ignores the problem. As a parent, it makes the viewing experience extremely harrowing as tragedy strikes unexpectedly. And yet the experience is tempered by moments of sheer unadulterated joy that the children discover in their surroundings. A pool of fish in a crumbling deserted hotel and a stage for a talent show.

What sets Tigers Are Not Afraid apart from other horror films is its gritty fairy tale and fantasy elements. A graffiti tiger drawn by El Shine bursts from its cage and a thin trail of blood follows Estrella home after school.

The Blu-ray has more extra features than are indicated on the packaging, which is a nice surprise. The Making Of feature is an interesting mixture of what you can expect from such features, but it also includes footage of an acting coach showing the child actors how to convey feelings and emotions that they will not have had to deal with in their young lives. The exception is Juan Ramón López who plays El Shine, as he has lost his parents to cartel violence and is cared for by his aunt. The results are worth it as every single performance is simply wonderful. The acting so real and natural that the kids could be the characters they are portraying in a documentary. The standout performance is the six-year-old Nery Arredondo who plays Morro. He conveys childlike wonder despite seeing such horror that he has lost the power of speech.

Guillermo del Toro interviews Issa López at TIFF in which she reveals that she wrote Tigers Are Not Afraid during a traumatic time of her life. Her father had died, as had her dog and she had experienced a horrible relationship breakup.

The casting sessions are an interesting watch and the deleted scenes, whilst noteworthy, wouldn’t have enhanced the finished film.

There are also three photo galleries that focus on concept art, graffiti art, and behind the scenes.

Finally, the director’s commentary reveals Issa López’s abhorrence of the Mexican government’s failure to help the street kids and her enjoyment of working with such a fantastic cast.

Tigers Are Not Afraid is a beautiful, lyrical, poignant, and heartbreaking film from an exceptionally talented director. Del Toro clearly agrees as he is producing Lopez’s next project, a werewolf western.

OVERRIDE

Ria (Jess Impiazzi) wakes every day with a smile and serves Jack (Luke Goss). However, each day is a different Jack. Ria, you see, is an android and the star of the top-rated reality TV show A Day with Ria. People across the country compete to be Jack and live out one fantasy day with Ria. Some – like Goss’ iteration – are nicer than others. However, when one Jack (Charlie Chapham) happens to be the son of the Vice President of the USA (Dean Cain), things go awry.

Jess Impiazzi’s portray of Ria is so on-the-nose, beginning as though she’s playing the life-size doll in Chitty Chitty Bang Bang, all stiff limbs and fake smile. Writer/director Richard Colton takes up half an hour of repetition before employing an impressive montage to depict the various Jacks and different choices of clothes and food the audience’s at home choose for Ria. The film goes from satire of reality TV to a Black Mirror-type hostage film far too slowly.

Sadly, the acting and dialogue are as stilted as Ria the android herself. There’s some good use of split-screen at times, but it’s not enough to save Override. There’s very little tension built as the situation unfolds and the political angle isn’t exploited enough. Despite having some good ideas and decent visuals, the result fizzles out like the public’s interest in Big Brother.