Movies U must C - M to P

Movie Reviews - M

Mad Love – Peter Lorre stars as Doctor Gogol, a man whose obsession with renowned theatre actress Yvonne Orlac ultimately turns to madness. When her husband Stephen’s hands are badly crushed in a train accident, Yvonne asks Doctor Gogol to save the hands by any means possible. Gogol tells her that the hands are beyond repair; his solution is to graft the hands of executed murderer Rollo in place of Mr Orlac’s useless ones. The operation goes as planned, however Orlac’s new hands urge their unwitting owner to throttle people to death and kill them with supremely accurate knife throwing. When Gogol learns of Mr. Orlac’s little problem, he delights upon convincing the hapless former pianist that he is losing his mind, toying with him with diabolical relish. Gogol ultimately sees this as his chance to finally win the love of Yvonne, but when she rejects his creepy advances he goes completely over the edge. A memorably unsettling Horror Thriller, Mad Love is a daring and disturbing look into the unsavoury realms of the perverse obsession and mentally unhinged behaviour which can lurk within certain individuals.

Trivia: Based on a novel called The Hands of Orlac, it was originally released under the title of The Hands of Orlac in the UK. There are two other film versions which were made in 1924 and 1960 respectively.

Directed by Karl Freund – 1935 – 68 minutes – Starring Peter Lorre, Francis Drake, Colin Clive, Ted Healy, Sara Haden and Edward Brophy.

If you like this you may also like: ‘M’ [1932] – Fritz Lang’s classic Crime Thriller starring Peter Lorre as a psychologically disturbed child murderer. Bodybags [1993] – A made for cable John Carpenter/Tobe Hooper Horror Anthology, including a Mad Love-esque story in which baseball player Brent Matthews [Mark Hamill] loses his eyes in a grizzly car wreck, only to have an operation which enables him to see again… through the eyes of a recently deceased killer! Unfortunately the dead maniac’s perspective begins to colour Matthews’ and he begins to take on murderous impulses.

Reason U must C – Peter Lorre’s central performance is unbelievably demented.

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Maniac Cop Trilogy – The brainchild of Cult movie maestro Larry Cohen, with as fine a Horror/Exploitation premise as any, which has sustained three films to date. Ladies and Gentleman I give you… the Maniac Cop trilogy! Directed by William Lustig, the man responsible for the unbelievably grimy Horror/Exploitation classic Maniac [1980] and cannily utilising the ‘distinctive’ looking Robert Z’Dar as the un-dead central protagonist - thus ensuring that less time and money was spent on make up – Maniac Cop is Cult film heaven. The plot of Maniac Cop is a simple one; brutal murders are being committed by a man wearing a police uniform. The man in charge of the murder case is hardened veteran cop, Lieutenant Frank McCrae [Tom Atkins], who faces an uphill battle due to City Hall’s insistence that the police angle is covered up. To complicate things, Detective Jack Forrest [Bruce Campbell] becomes the chief suspect in the investigation when his wife is found brutally killed and he is known to be having an affair. While McCrae delves deeper into the various clues, Forrest must prove his innocence with the help of his girlfriend and fellow cop, Theresa Mallory. Ultimately they discover the murderer is one Matt Cordell, a respected cop who had been wrongly sent to jail by a shaky conviction and brutally killed therein by many of the prisoners he’d helped put away. An un-dead cop with a huge chip on his shoulder, Cordell is an unstoppable force of nature; will Lieutenant McCrae be able to stop his blood-letting onslaught before it’s too late? A slickly made, snappily paced Horror Thriller with ample twists and turns and featuring a fine cast, Maniac Cop is acquitted on the grounds of being a superior B-movie romp. The best however was yet to come, as Maniac Cop 2 emerged two years later. Picking up where the first film left off, the sequel quickly dispenses with the original’s central protagonists and brings a new character into the fold; tough, abrasive Detective Sean McKinney [Robert Davi]. It basically offers more of the same, only bigger and better than before. The stunts and murder set pieces are superior all round and include a thrilling car-chase which ups the ante by featuring a woman chained to the side of a car during the dangerous pursuit. Plus there is a superb set piece in which Cordell murders all the inhabitants of a police station; there is an incredibly cool shot of the Maniac Cop powerfully throwing a hapless officer through multiple office walls as if he were a bowling ball. Writer Larry Cohen is also savvy enough to add new things to the mix. Cordell meets a fellow maniac in this instalment, albeit a living, breathing, stripper killing weirdo. The two of them form a bizarre odd couple pairing, with the mad ranting of Cordell’s new found friend in particular injecting perverse, quirky life into the proceedings. The film builds up to a satisfying pay-off as Cordell and his deranged, female slaying amigo break into the very prison where Cordell had been murdered to allow the wronged Maniac Cop to dish out fiery retribution on the scummy inmates responsible. However the un-dead psycho is ultimately stopped in his tracks by his mad would be friend, which doesn’t prevent him from returning from the grave once again. Maniac Cop 3 sees Matt Cordell revived by Voodoo [!] for reasons unknown, whereby he continues his endless killing spree to hit and miss effect. Robert Davi returns as Detective Sean McKinney, the only cop who believes Cordell is back and up to his old tricks. He is out for justice and revenge when his friend, fellow cop Katie Sullivan is killed in a shootout and has her good name sullied by Cordell’s trigger happy activities, for which she has undeservedly taken the blame. The scene is set for the final battle between McKinney and the Maniac Cop. Maniac Cop 3 is a film which gets by on set piece action in spite of an undernourished storyline. Director William Lustig incorporates John Woo inspired gun battles throughout and the film culminates in an impressive car chase which pits a weary McKinney against the relentless Maniac Cop, who is entirely unwilling to back down despite driving a blazing automobile with his un-dead carcass slowly burning to a crisp. In summation the Maniac Cop films are all well worth tracking down, with each delivering a deft, involving mix of Horror and Action.

Trivia: Cult writer-director Larry Cohen wrote all three Maniac Cop films. Maniac Cop co-star Jill Gatsby is Larry Cohen’s daughter. Maniac Cop exists in an extended version which was made for Japanese television; this is the version available on the most recent UK DVD. Maniac Cop was originally cut by 5 seconds to obtain an ‘18’ certificate for its UK theatrical release; the prison flashback murder sequence was toned down. The current UK DVD is uncut. Maniac Cop 2 passed uncut for its UK theatrical release. However the Video release was cut by 4 seconds to remove shots from the prison murder flashback sequence repeated from the original film. Actor James Dixon is a regular in Larry Cohen films and appears in Maniac Cop 1 & 2 as different characters. Richard Rowntree [Shaft] and Sam Raimi [Evil Dead and Spider Man Director] make brief appearances in the first film. Actors Paul Gleason [The Breakfast Club] and Robert Forster [Jackie Brown] both make cameo appearances in Maniac Cop 3. Maniac Cop 2 and 3 were both cut to obtain an ‘R’ rating in the US; numerous bloody shootings were toned down. The UK Video/DVD releases contain these bloody shootouts in full.

Directed by William Lustig – 1988/1990/1993 – 85/88/85 minutes – Starring Tom Atkins [The Fog], Bruce Campbell [The Evil Dead], Laurene Landon [Hundra], Robert Davi [Licence To Kill], Claudia Christian [Babylon 5], Caitlin Dulany [Red Shoe Diaries], Sheree North, Julius Harris [Black Caesar, Live and Let Die], Michael Lerner, William Smith, Charles Napier [Supervixens], Gretchen Becker, Jill Gatsby, Clarence Williams III [52 Pick-Up], Leo Rossi, James Dixon and Robert Z’Dar as ‘Matt Cordell’.

If you like this you may also like: Maniac [1980] – William Lustig’s directorial debut, a seedy, disturbing Horror film focusing on the exploits of a mass-murderer. Joe Spinell stars. Vigilante [1983] – An uneven but entertaining Action Thriller from William Lustig. Starring Fred Williamson and Robert Forster.

Reason U must C – The Maniac Cop films contain a perfect unity of Horror and Action.

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Man of the West – Bleak, brutal, powerfully acted Western Drama from master of the genre Anthony Mann. Gary Cooper stars as Link Jones, a drifter who meets Billie Ellis [Julie London] and Sam Beasley [Arthur O’Connell] on a train; the three become travelling companions on foot after the train is held up by thieves. Link eventually runs into an old associate of questionable virtue, Dock Tobin [a brilliant Lee J. Cobb] who claims to be Link’s uncle. It transpires that Link used to ride in Dock’s gang, a group of robbing, raping, murdering, all round ne’er do wells. While Link is now an upstanding citizen his shady past has now caught up with him; he has changed drastically over time but Dock and his ‘boys’ are clearly every bit as wretched as they ever were. Link and his two companions reluctantly agree to stay with Dock; now the gangs’ lascivious eyes are all directed at Billie. In a truly disturbing scene, Billie is forced to strip at gunpoint in front of Dock and his gang; this is a horrifying, troubling scene, portrayed by director Mann as a nasty, degrading act while simultaneously allowing audiences to gawp at the attractive Julie London in her underclothes, making us complicit in the gang’s perversions since we too would like to see ‘more’. This allows for a dark, dangerous, admirably ambivalent edge which marks Man of the West as something special. Further muddying traditional perceptions of morality, Link later decides to get revenge for Billie’s humiliation. He starts a brawl with the man responsible and ultimately beats him to a bloody pulp, gradually stripping off parts of the man’s clothing during his onslaught while a fascinated Dock Tobin watches approvingly. This brutal scene demonstrates the dark side to Link’s character, as he arguably crosses the line, gloatingly subjecting the man to the utmost degradation, his actions sadistically returning the favour for the humiliation Billie was forced to suffer. Dock and his men have their sights set on robbing a bank and Dock wants more than anything for Link to rejoin the old gang and help carry out the job. Link plays along, agreeing to rejoin the unsavoury rabble, plainly stringing along a delighted, oblivious Dock. The rest of the gang however are deeply suspicious. The scene is set for an inevitable final showdown between Link and Dock and there is a clearly delineated irony in the fact that the apprentice has vastly outgrown and is ‘older’ and wiser than his amoral former mentor. A pioneering filmmaker in the progression of the Western genre, Anthony Mann is truly one of the great directors and Man of the West is quite possibly his finest achievement. Later Westerns from Sergio Leone and Clint Eastwood would be utterly unthinkable without Man of the West and Mann’s previous James Stewart Western collaborations. The moral ambiguities and complex anti-heroes of the Western largely began with the films of Anthony Mann and he has rarely been matched by any of his would be successors. This is real filmmaking.

Trivia: Despite playing leading man Gary Cooper’s uncle and mentor, Lee J. Cobb was in reality ten years younger. Leading lady Julie London recorded 32 albums throughout her career.

Directed by Anthony Mann – 1958 – 100 minutes – Starring Gary Cooper [High Noon], Julie London [The Red House], Lee J. Cobb [12 Angry Men, The Exorcist], Arthur O’Connell [The Poseidon Adventure], Jack Lord [Hawaii Five-O], John Dehner [Airplane 2], Royal Dano [House 2, The Outlaw Josie Wales] and Robert J. Wilke.

If you like this you may also like: The Westerner [1940] – Gary Cooper and the great Walter Brennan star in this brilliant, stunningly photographed, undervalued Western classic. Winchester ‘73 [1950] – James Stewart’s first Western collaboration with Anthony Mann is a strikingly told affair packed with great shoot outs and fine dialogue. Shelley Winters, Dan Duryea and Rock Hudson co-star

Reason U must C – It’s one of the finest Westerns you’ll ever see. Gary Cooper has never been better. Julie London’s enforced stripping at gunpoint; it’s a queasy, unsettling scene but you have to admit she looks rather fetching in her skivvies!

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Masters of the Universe – A Cannon produced movie spin-off of a popular animated series and toy line, Gary Goddard’s Action Fantasy didn’t really stand a chance to be taken seriously, or to be judged fairly based on its own merits. Cynics preferred to denounce it while many fans of the cartoon nitpicked about changes made in the adaptation from series to film. What few people can bring themselves to admit however is how well made and purely enjoyable a film Masters of the Universe truly is. Although hampered by a $17m budget which while hefty by Cannon standards was pretty tight given the epic nature of He-Man’s mythology and for a potential Sci-Fi Action blockbuster, Goddard rose to the challenge [despite an equally tight shooting schedule], delivering a rip-roaring example of 80s Fantasy cinema. Dolph Lundgren essays the role of He-Man, a muscle-bound, often scantily clad hero who lives on planet Eternia, bravely defending it from the evil Skeletor [Frank Langella] and his minions while the good Sorceress rules from Castle Greyskull. However when Skeletor takes over Castle Greyskull and holds the sorceress captive, He-Man and his companions Duncan [aka. Man-at-Arms] and Teela valiantly fight back in a huge skirmish on the castle grounds. When they become outnumbered by Skeletor’s soldiers, their new ally Gwildor turns on the Cosmic Key, a device he had been devising under Skeletor’s instructions which allows people to travel through time and space; He-Man and his allies jump through the resultant portal in order to live to fight another day and wind up on Earth in 1987. Dolph, in his first leading role, makes for an excellent, wholly convincing He-Man, a gratifyingly old fashioned hero with great strength as well as a sensitive side, all played to perfection by the charismatic, underrated Swede. He-Man’s allies are equally well cast; John Cypher plays the warrior Duncan with a pleasingly light touch and a twinkle in his eye, while Chelsea Field totes guns and kicks much arse as his tough, sexy daughter Teela. Billy Barty is also great fun as the mischievous Gwildor, clearly relishing every second of screen time afforded to him. Courteney Cox and Robert Duncan McNeill are also touchingly believable as young lovers Julie and Kevin, conveying a youthful innocence and naïve charm which compliment director Goddard’s Fairy Tale tone and give it greater resonance. Character actor par excellence James Tolkan [Back to the Future’s Mr. Strickland] also scores greatly as Lubic, a tough, foul mouthed cop who totes a mean shotgun and takes a disliking to young whippersnapper Kevin. The film’s bad guys however are better still; Frank Langella is monumentally awesome as the vile Skeletor, knocking his many villainous monologues out of the ball park with a powerful, operatic relish, propelling the melodrama into almost Shakespearean stature. Meg Foster is equally good as the ice cold Evil-Lyn; she uses her famously distinctive steel grey eyes to optimum effect, chillingly underplaying in an alluringly sexy-evil fashion. Skeletor’s myriad mercenaries are a memorable bunch too; Blade in particular has a great, fetishistic sword fight with He-Man, while Beastman serves as a frightening adversary for Kevin and Julie, relentlessly stalking them in the school gym in a surprisingly intense set piece; Saurod is nicely designed but sadly exits early on; Karg is the brains of the outfit, but while he has great 80s hair and is well voiced by Robert Towers he tends to stand back and order his seemingly subservient cohorts about. Overall Gary Goddard has crafted a supreme example of Action Fantasy cinema, a thrilling, expertly paced, frequently funny romp featuring some wonderful special effects, all generously complimented by a superb Bill Conti score which is suitably heroic and alternately bombastic, powerful, moving and thoroughly stirring in turn. It’s simply a hugely underrated film which is full of heart and very well acted by a great cast; a joyously entertaining cult classic which deserves a hell of a lot more love.

Trivia: Co-star Walter Scott, who played Julie’s father, was also the stunt co-ordinator for Masters of the Universe; he has worked on many other films including Face/Off, Die Hard: With a Vengeance and the Back to the Future trilogy. Richard Szponder, credited as ‘Pigboy’ in the film, won his blink and you’ll miss it role in a competition. Actress Gwynne Gilford, who plays Julie’s mum in the film, is in real life the mother of actor Chris Pine who plays the young Captain Kirk in the upcoming Star Trek prequel/revamp from director J.J. Abrams [Alias, Lost, Mission: Impossible 3]. Co-star Anthony De Longis is a renowned fight trainer/choreographer and weapons expert, specialising in the whip and sword. Recent films he’s worked on include Jet Li vehicle Fearless and Indiana Jones and the Kingdom of the Crystal Skull. Actor Tony Carroll [‘Beastman’] co-starred in the camp classic Hercules in New York [1969]; he played ‘Monstro’, the ‘bear’ who attacks Arnold Schwarzenegger in the park. Co-star Christina Pickles [‘The Sorceress’] had a regular guest spot on smash hit sitcom Friends, where she played fellow Masters of the Universe star Courteney Cox’s mum.

Directed by Gary Goddard – 1987 – 106 minutes – Starring Dolph Lundgren [Rocky IV, The Punisher], Frank Langella [Cutthroat Island, Small Soldiers], Meg Foster [They Live, The Osterman Weekend], Courteney Cox [Ace Ventura Pet Detective, Scream 1-3], Robert Duncan McNeill [Star Trek: Voyager], Chelsea Field [The Last Boy Scout], John Cypher [Hill Street Blues], Billy Barty [Legend, Willow], James Tolkan [Back to the Future 1-3, Top Gun], Christina Pickles [Friends, The Wedding Singer], Robert Towers, Anthony De Longis [The Sword and the Sorcerer], Tony Carroll, Pons Maar [Return to Oz] and Barry Livingston [Zodiac].

If you like this you may also like: Dark Angel [1990] – A highly enjoyable Sci-Fi Action buddy movie starring Dolph and Brian Benben [Dream On] as mismatched partners who come up against an alien drug-dealer who’s on a killing spree on Earth with hi-tech weaponry at his disposal such as flying disks.

Reason U must C – It’s a hugely enjoyable 80’s Sci-Fi Fantasy which is far better than it’s been given credit for.

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Midnight Sting – One of the most underrated films of the 1990s, Midnight Sting is a wonderfully entertaining film which deserves to be far better known. Director Michael Ritchie has crafted a truly delicious Sports Con-Comedy starring the superb James Woods and filled out by a cracking cast from top to bottom. Frequently lumbered with films far beneath his talent, Louis Gossett Jr. gets one of his best roles as Honey Roy Palmer, a retired 48 year old boxer recruited by a fresh out of jail Woods to take part in his latest scam. Roy must best any ten of Diggstown’s fighters in the ring in one day in order to win the hefty cash bet Woods has made with the town’s shady big cheese John Gillon. The great Oliver Platt is Woods’ hustling partner in crime Fitz and it’s a joy to see him given a chance to truly shine. Meanwhile Bruce Dern is as exemplary as ever as villainous uber-bastard John Gillon, a frighteningly powerful man with the entire town under his thumb. Heather Graham also co-stars in one of her earliest roles as Emily, sister to Wood’s jail cell buddy Wolf, a role assumed by the legendary Randall ‘Tex’ Cobb [Raising Arizona, Ace Ventura: Pet Detective]. The first half of the film sets up the characters and the bet; the second half focuses on the main event. Roy’s boxing bouts are bloody, sweaty, crowd pleasing affairs as he bravely battles against the mounting odds stacked against him; despite Woods having paid many of the fight challengers to take a dive, the crafty Gillon has some surprises of his own in store and isn’t going to let go of his money and assets so easily. Midnight Sting is a witty, action-packed, flawlessly paced, wonderfully acted gem; a truly great Sports Comedy by anyone’s estimation.

Trivia: The film was released under the title Diggstown in the US. Renowned Martial Artist and fight choreographer, Benny ‘The Jet’ Urquidez [Jackie Chan’s main opponent in Sammo Hung’s Wheels on Meals and Dragons Forever] makes an appearance as the boxing referee.

Directed by Michael Ritchie - 1992 – 94 minutes – Starring James Woods [Vampires, Best Seller], Louis Gossett Jr. [An Officer and a Gentleman, Jaws 3-D], Bruce Dern [Silent Running, The Driver], Oliver Platt [Bulworth, Executive Decision], Heather Graham [Boogie Nights, From Hell], Randall ‘Tex’ Cobb [Naked Gun 33 1/3, Blind Fury], Duane Davis, Thomas Wilson Brown [Renegade Justice, Honey I Shrunk the Kids], David Fresco, Willie Green, Kim Robillard and Orestes Matacena [The Mask].

If you like this you may also like: Another Day in Paradise [1997] – Stars James Woods and Melanie Griffith are both on fine form in controversial Kids director Larry Clark’s searing, brutal Crime Thriller. Bulworth [1998] – Warren Beatty directed, co-wrote and starred in this fabulous, woefully overlooked Comedy. A powerful, daring, uproariously funny Political Satire; Oliver Platt is simply brilliant in support.

Reason U must C – It’s quite simply one of the most entertaining movies of the 90s; Sports Comedies don’t come any finer.

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The Most Dangerous Game – A pulse pounding 1930s Horror Thriller which went on to influence all and sundry. It has been loosely remade countless times since, as the likes of silly, gory exploitation film Turkey Shoot [1982] and John Woo’s thrilling Hard Target [1993]. Joel McCrae stars as famous hunter Bob Rainsford. When the ship he is travelling on is shipwrecked, it kills all but him and two other passengers; Eve and Martin Trowbridge. The rest are drowned or eaten by ravenous sharks. Rainsford and his companions swim to the nearest island, an isolated place owned by the peculiar, well bred Count Zaroff, who insists that they stay with him. Unfortunately for them, Zaroff is a maniac who hunts humans for sport and he has found worthy prey in Rainsford’s renowned hunter. With its no-nonsense set-up and lightning pace, this macabre nightmare movie lays on the horrific thrills like there’s no tomorrow. The hero and heroine are beset by savage, relentless hounds which chase them around Zaroff’s island death trap, craving their blood. The camera work is restless and unusually dynamic for the 1930s, emphasising the relentless nature of Zaroff and his dogs of death and enabling the audience to feel as though they are on the run with the characters. The films’ brutality is also something to behold; men are brutally scolded by steam and cruelly devoured by sharks; a man is impaled by a spear and falls into the clutches of hungry hounds that proceed to tear him apart. Plus this might well be the first film to feature a Steven Seagal style bone-crunching sound effect, when during a climactic scuffle a man violently breaks another man’s back. The Most Dangerous Game is an unforgettable, ruthlessly effective chase Thriller, one which provides all the requisite horrific shocks with ample proficiency.

Trivia: The film was re-titled The Hounds of Zaroff for its original UK theatrical release. Ernest B. Schoedsack and Merian C. Cooper were shooting The Most Dangerous Game and King Kong simultaneously using the same sets and many of the same actors, including Fay Wray and Robert Armstrong. The film was heavily trimmed after US preview screenings proved too frightening and gruesome for audiences, cuts were made to now infamous shots of human heads in the hunter’s trophy room. This footage is thought to be lost. The film was cut by 52 seconds to obtain an ‘A’ certificate in the UK upon its original theatrical release; these cuts were restored to the ‘12’ certificate DVD release.

Directed by Ernest B. Schoedsack and Irving Pichel – 1932 – 63 minutes – Starring Joel McCrae [Foreign Correspondent], Fay Wray [King Kong], Leslie Banks [The Man Who Knew Too Much, 1934], Robert Armstrong [King Kong], Noble Johnson [King Kong], Oscar ‘Dutch’ Hendrian [Son of Kong] and William B. Davidson.

If you like this you may also like: Hard Target [1993] – John Woo retreads the same ground with this truly superb, hugely exciting Action Thriller starring Jean Claude Van Damme. Lance Henriksen essays the role of Emil Fouchon, a cold blooded villain who is in charge of setting up human hunting sessions for bored wealthy men.

Reason U must C – It is one of the most influential Horror Thrillers ever made and still packs a punch today.

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Mute Witness - Impressive feature film debut from writer/director Anthony Waller, who went on to make An American Werewolf in Paris. Set in Moscow the story involves a mute make-up artist working on a pretty awful slasher film. One night she has to return to the movie set to fetch her bag, only to stumble across a snuff movie being made. I’ll be honest and tell you that the rest of the movie does involve a lot of running and hiding, while minions of The Reaper (the sinister mastermind behind the snuff movies) try to stop her from talking to the authorities, no pun intended. Marina Zudina makes an impressive heroine, always being chased and unable to find anyone to believe her story. Waller shows a real talent for building suspense and tension, which coupled with some rather neat plot twists make this a really gripping movie to watch.

Trivia - Despite the obviously small budget the movie manages to include a rather nice cameo appearance from Alec Guinness, in what turned out to be his last feature film performance.

Directed by Anthony Waller - 1994 - 95mins - Starring Marina Zudina, Fay Ripley, Evan Richards, Igor Volkov and Oleg Yankovsky

If you like this you may also like: Anatomie [2000] horror/thriller involving some rather gruesome experiments taking place behind the scenes at a famous medical school. Tattoo [2002] slightly overrated thriller about the sale of stunning tattoo art, painted on human flesh. 8MM [1999] Nicolas Cage's private eye getting in too deep investigating snuff films.

Reason U must C - This really is a frantic roller coaster ride of cat and mouse chases from start to finish.

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Movie Reviews - O

The Old Dark House - What a pedigree this classic haunted house movie has. Based on a novel by J.B. Priestley, directed by James Whale and starring a cast of greats - nothing could possibly go wrong; that is unless you happen to be one of the unlucky travellers who get stranded in a gloomy, isolated mansion during a terrible storm. Of course nothing is what it appears to be, and once a power cut leaves the building in darkness, strange things begin to move in the shadows. The result is comic, mysterious and frightening in perfect measures, ensuring this fantastic, almost stage like, production has gone on to be copied (but never bettered) a hundred times.

Trivia: The film was remade by cheap shock-maestro William Castle in 1963. Director James Whale also made the classic horrors Frankenstein, The Invisible Man and Bride of Frankenstein.

Directed by James Whale - 1932 - 70mins - Starring Melvyn Douglas, Charles Laughton, Gloria Stuart, Boris Karloff and Raymond Massey.

If you like this you may also like: Frankenstein [1931] Whale and Karloff together in the classic horror story. The Cat and the Canary [1927] more strange goings-on in an old mansion. Abbot and Costello Meet the Killer [1949] silly murder mystery with the comic duo and Boris Karloff in a secluded hotel.

Reason U must C - This movie boasts more red herrings than Billingsgate fish market

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One Dark Night - Extremely enjoyable horror movie nonsense as an innocent girl Julie [Meg Tilly] agrees to spend a night in a mausoleum as part of an initiation into a college club ‘The Sisters‘. Little does she know that the leader of the club plans to use the night to get revenge on her for stealing her ex-boyfriend. As Julie settles down in the crypt for the night, two of the sisters break in and play tricks on her to scare her. Meanwhile in another part of the mausoleum the recently buried evil master of telekinesis and psychic phenomenon Raymar is beginning to raise the corpses from the dead to prove that his powers will continue to work from beyond the grave. It all builds to an exciting finale with Julie, the ‘Sisters’ and corpses in varying states of decay chasing each other around in the dark, while Julie’s boyfriend and Raymar’s daughter rush to save them. If you can allow yourself to overlook the rather cheesy and lovey-dovey montage with Julie and boyfriend Steve [David Mason Daniels] at the start and the inevitable comparisons with Poltergeist and Phantasm then the end result is a thoroughly pleasing piece of escapism. The opening scene with the row of coroners cars arriving at Raymar’s apartment also showed signs of some rather stylish filmmaking, which unfortunately director Tom McLoughlin wasn’t able to live up to in his subsequent career.

Trivia: Director Tom McLoughlin followed this with Friday the 13th pt VI before starting a steady line of TV work. Look out for Adam West (TV’s Batman) among the cast. The impressive special effects team of Tom Burman, Sonny Burman and Bob Williams have all gone on to work on top films and shows such as X-Files, Star Trek and Alien Nation.

Directed by Tom Schroeder - 1983 - 94mins - Starring Meg Tilly [Psycho 2, The Two Jakes], David Mason Daniels, Robin Evans and Elizabeth Daily [Voice of Tommy Pickles in Rugrats & Buttercup in The Powerpuff Girls]. AKA: Entity Force.

If you like this you may also like: Phantasm [1979] a teenage boy has to tackle mysterious grave robbers in Don Coscarelli’s flawed cult classic. Impulse [1984] Meg Tilly stars as an innocent country girl whose town is quarantined after an strange chemical gets into the milk supply making everyone behaviour strangely on impulses.

Reason U must C - An enjoyable popcorn horror flick, with Meg Tilly perfecting her run and scream performance before roles in Psycho 2 and Body Snatchers.

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Out for Justice – Steven Seagal stars as Brooklyn Detective Gino Felino [great name!], a tough cop who is out for revenge when he hears that his best friend and fellow cop Bobby Lupo has been brutally blown away in front of his family by psychotic Gangster Richie Madano [a superbly unhinged William Forsythe], an amoral scumbag they both knew when they were kids. Gino has connections with the Mob and he duly applies pressure to find out where Richie is holed up. However his job is made easier due to Richie more often than not leaving a trail of bodies in his wake where ever he goes. Gino also investigates Richie’s motivation for murdering Bobby, ultimately uncovering the seedy truth behind a web of lies via a slew of varying witnesses, while facing inevitable recriminations from certain parties. Gino ultimately breaks the case by literally breaking the bones of all guilty parties as well as their many lowlife associates in the films brutal, blood-soaked climax. As tough as Crime Thrillers get, Out for Justice is a well written, forcefully directed and convincingly acted Gangster movie with a fine cast; many of the excellent supporting actors/actresses went on to bigger things. As this is a Steven Seagal film, the action is naturally of the utmost importance and it is handled superbly. As well as the frequent punishment dished out to countless thugs via Seagal’s considerable hand to hand combat skills, there are also the following violent highlights; a pool ball filled handkerchief for knocking out teeth and cracking skulls; a meat cleaver pinning a hand to the wall during a skirmish; a leg severed via shotgun shell; a man beaten with a rolling pin before being stabbed with a corkscrew. In case you haven’t noticed, let it be clear that this is an incredibly brutal film, pulling no punches in its harsh depiction of violent carnage meted out to all and sundry; as such it is not for the faint hearted.

Trivia: Former E.R. star Julianna Margulies makes her debut performance in Out for Justice. Voluptuous former soft porn siren Shannon Whirry makes her acting debut as ‘Terry Malloy’. John Leguizamo [Summer of Sam, Land of the Dead, Super Mario Bros.] appears briefly as ’boy in alley’. Game of Death star Dan Inosanto features in a bar fight scene as Steven Seagal’s stick-wielding opponent. Co-star Nicky Corello also appeared in two other Steven Seagal films, Hard to Kill and Marked for Death [1990]. Amazonian babe Julie Strain, a Penthouse Pet and the star of countless low budget Soft porn and Horror titles, plays ‘Roxanne Ford’. Out for Justice was passed uncut for its UK theatrical release, however the subsequent video release was cut by 54 seconds, removing violent detail throughout and rendering the scene where Seagal takes out a roomful of men with a pool ball in a handkerchief incomprehensible. The film was passed uncut again for its DVD release.

Directed by John Flynn – 1991 – 91 minutes – Starring Steven Seagal, William Forsythe [The Rock, Raising Arizona], Gina Gershon [Bound, Showgirls], Jerry Orbach [Law and Order], Jo Champa, Julianna Margulies [E.R.], Shareen Mitchell, Sal Richards, Shannon Whirry [Animal Instincts 1&2, Retroactive], Robert LaSardo, Dominic Chianese [The Sopranos], Nicky Corello, John Toles-Bey [Midnight Run], Jay Acovone, Carl Ciarfalio [Casino] and Dan Inosanto as ‘Sticks’.

If you like this you may also like: Marked for Death [1990] – An extraordinarily sadistic Martial Arts Thriller starring Steven Seagal, joyously pitting the pony-tailed giant against evil ne’er do well Rastafarian drug lords. The brutal final showdown has to be seen to be believed! Under Siege 2 [1995] – An underrated follow-up to the much loved original, Under Siege 2 is even better than that highly entertaining film. Featuring more Akido beat-downs and a fine set of nasty villains, this train-based Action Thriller really hits the spot.

Reason U must C – It is Action maestro Steven Seagal’s finest film. Gritty, down and dirty and loaded with hugely satisfying bouts of brutal Martial Arts and blood drenched shootouts, Out for Justice is unmissable.

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Movie Reviews - P

The Phantasm Series – An unconventional rollercoaster ride of surreal cinema, Don Coscarelli’s Phantasm is arguably the ultimate American Cult Horror film of the 1970s. A strange, dreamlike saga about a young boy named Mike’s discovery of the sinister, powerful Tall Man [a wonderful Angus Scrimm] and his bizarre secret goings on at the local cemetery/mausoleum. These involve body snatching, an army of cloaked dwarf slaves and an array of metal spheres with the power to float and glide through the air complete with extendable drill appendages to deal with unwanted visitors; one poor soul suffers a nasty, extremely bloody forced lobotomy while wandering around the mausoleum at night in one of the films’ standout set pieces. Mike’s allies are his older brother Jody [Bill Thornbury], who also looks after him due to their parents’ untimely deaths, plus the local ice cream man Reggie [the legendary Reggie Bannister], a friend who often jams on guitar with Jody. Jody is initially reticent about Mike’s claims of a diabolical Tall Man and his evil yellow blooded dwarves, until that is Mike shows him the living severed finger of a dwarf who’d attacked him at the mausoleum. When the finger suddenly morphs into a flying creature and attacks the pair of them Jody resolves to investigate Mike’s claims. To divulge further would ruin the unbelievable surprises the film has in store, suffice it to say that alternate dimensions and transgender metamorphoses are part of the madcap equation! While highly regarded now, Phantasm was originally criticised by some for its’ purportedly confusing, unconventional narrative and bizarre, ambiguous denouement; these elements strike me as positives and only enhance Coscarelli’s intentions to maintain a dreamlike quality throughout Phantasm in order to perplex and create unease; the perverse character death ‘reversal’ in the finale deliberately invites the audience to question whether all of what they’ve seen has really taken place or whether it’s simply been one of Mike’s fantasies run rampant. Perhaps it has all been one of the mysterious Tall Man’s games. A great many people, including myself consider Phantasm to be a small but perfectly formed low budget gem; a self-contained Cult Classic. This made it all the more surprising to see Phantasm 2’s belated arrival ten years after the original. The sequel is a decidedly different beast to the artier original. For starters Universal produced it and they upped the ante considerably with regards to the films budget; they also implemented various enforced changes in a bid to reach the mainstream. First they bizarrely insisted that one of the actors had to be replaced [they didn’t care who]; this is why Mike is played by a different actor [James LeGros]. Then they demanded all the original actors should take screen tests; mercifully Reggie Bannister retains his trademark role of Reg. Finally they made Don Coscarelli remove all the traces of ambiguity which the first film was famous for; many dream sequences were re-edited or cut in their entirely. Surprisingly considering all the interference, the film works remarkably well. James LeGros is a fine replacement for A. Michael Baldwin while Reggie Bannister’s character delightfully takes centre stage as the middle age, balding, pony-tailed ex ice cream man Reg. Brothers in arms Reg and Mike take on the sinister Tall Man via more Action based means than before; Reg in particular is one of the most superbly unlikely action heroes in the history of film and this only makes Phantasm 2 all the more loveable. The ice-cool Reg faces off with The Tall man’s minions using flame throwers and multiple buzz saws while Mike psychically connects with a young lady named Liz [Paula Irvine]. Reg also finds himself a lucky lady in the delectable shape of Alchemy [an excellent Samantha Phillips], cue hilarious Reg sex scene. The Tall Man’s spheres of death are also on hand to cause more unpleasant damage to anyone in their path. It all leads to perhaps the best climax in all the Phantasm films; a wonderfully nasty denouement which begs the question; how will the characters/filmmakers get out of this one?! That answer was provided six years later with Phantasm 3. Phantasm 2 had proved a disappointment at the box office [the original had been a big hit] leading Universal to begrudgingly release the third instalment direct to video in most territories. A. Michael Baldwin returns as Mike while Mike’s brother Jody also returns to the fold. Most importantly, ass-kicking Reg is still front and centre. With part 3, Coscarelli delivers the most straight forward entry in the Phantasm series to date. Concessions to the mainstream include a new character, the young orphaned kid Tim [Kevin Connors] plus an army of zombies controlled by The Tall Man [his dwarf minions do make a brief, hilarious appearance at the beginning of the film]. Fortunately Tim’s character is not a soppy brat but a lone warrior type, complete with razor blade Frisbee to dispatch villains. The zombies are generally played for laughs, but at least allow for a different flavour than in previous Phantasms. This is probably the most overtly comedic of the Phantasm films. Rocky [Gloria Lynne Henry] is a decent addition; a strong, sassy female Martial Artist who doesn’t take kindly to any of Reg’s pathetic come-ons; hi- jinks ensue! An altogether entertaining romp which provides further insight into the mythology of The Tall Man while retaining the Action packed fun of the previous instalment. Phantasm 4 was released four years later and upon viewing the film it becomes immediately apparent that Coscarelli has injected some of the surreal, scarcely comprehensible weirdness of the first film into this latest entry. Mike’s journey reached a dark, cruel place towards the end of Phantasm 3 and here Coscarelli piles on the conflict and turmoil resulting from Mike’s deeply unpleasant confrontation with The Tall Man in that film. Alternate realities reveal more about the history of The Tall Man as Mike takes a metaphysical journey while walking about a desolate landscape. There is also another amusing sexual encounter in store for Reg as well as a Demonic trooper for him to dispatch. Meanwhile Jody reveals some unsettling truths to Reg and Mike who, with new tactics, try once more to defeat The Tall Man before his ultimate mind-boggling plan is carried out. The film’s denouement is truly unique and wonderfully surprising. It provides a fitting ending which is both chillingly unsettling and emotionally satisfying; let’s just say that we may or may not have heard the last of The Tall Man!

Trivia: Don Coscarelli cut a lot of footage out of Phantasm for pacing reasons when assembling the finished film in post production; much of this cut footage was cleverly integrated into the fourth Phantasm film. When Phantasm was originally submitted to the MPAA [US rating board], they gave it an ‘X’ rating; however the filmmakers used their connections to successfully appeal against this decision and insure a more commercially viable ‘R’ rating was obtained. Phantasm 2 however was not so lucky and received MPAA enforced cuts to obtain an ‘R’ rating; scenes involving The Tallman’s floating spheres bloodily drilling into people were the main casualties. This cut footage is sadly lost. Brad Pitt was a candidate for the role of Mike in Phantasm 2 but lost out to James LeGros. Phantasm 3 also suffered violence trims to obtain an ‘R’ rating in the US and was originally pre-cut in the UK to remove shots of Nunchaku [chain sticks] use; fortunately the film passed uncut for its DVD release through Anchor Bay. Pulp Fiction co-writer Roger Avary is a huge Phantasm fan and he makes a cameo appearance in Phantasm 4 as a ‘volunteer infantryman’. Bob Ivy co-stars as the ‘Demon Trooper’ in Phantasm 4; he is better known for his work as a stuntman/stunt coordinator whose credits include Phantasm 3 and 4, Near Dark [1987] and countless others. Christopher L. Stone composed the music for Phantasms 2- 4 and also provided the vocals for the Dwarf creatures in Phantasm 4. A 5th Phantasm film is apparently in development.

Directed by Don Coscarelli – 1978/1988/1994/1998 – 88/97/91/90 minutes – Starring Reggie Bannister [Bubba Ho-Tep, Wishmaster], A. Michael Baldwin, Angus Scrimm [Subspecies], Bill Thornbury, James LeGros [Zodiac], Samantha Phillips, Kathy Lester, Gloria Lynne Henry, Terrie Kalbus, Paula Irvine, Heidi Marnhout [Bubba Ho-Tep], Kenneth V. Jones, Kenneth Tigar [Magnum P.I.], Susan Harper, Mary Ellen Shaw, Kevin Connors, Mark Anthony Major, Cindy Ambuehl [JAG], Claire Benedek, John Davis Chandler [The Outlaw Josie Wales], Brooks Gardner, J. Patrick McNamara, Ruth C. Engel, Rubin Kushner, Stacey Travis, Irene Roseen, Sarah Scott Davis [Braindead], Ralph Richmond, Duane Tucker and Lynn Eastman.

If you like this you may also like: The Beastmaster [1982] – Don Coscarelli’s entertaining, memorable Sword and Sorcery romp starring Marc Singer as a warrior who can communicate with animals. Basically Doctor Dolittle with sword fighting with a side order of half-naked Tanya Roberts thrown in for very good measure.

Reason U must C – It’s the ultimate series of Cult Horror films and no self-respecting fan should be without them!

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Popeye – Starring as Popeye and Olive Oyl respectively, Robin Williams and Shelley Duvall essay the roles they were surely born to play in Robert Altman’s extravagant, lovingly realised Musical adaptation of E.C. Segar’s beloved comic strip. The story charts Popeye the Sailor’s arrival at seaside town Sweet Haven. He is searching for his long lost father Poopdeck Pappy. Instead he meets and falls in love with Olive Oyl while staying with her cuckoo family. One day the pair of them find an orphaned baby. They name the baby Sweet Pea and decide to raise him together; the baby turns out to be an expert gambler! Elsewhere Popeye has to fend off Bluto, a colossal hulk of a man who also seeks Olive’s affections and who is involved in nefarious schemes much to the detriment of Sweet Haven. Popeye is naturally distressed when baby Sweet Pea is kidnapped and he sets out to rescue the beloved tot, by coincidence reuniting with his long lost pappy en route. With its lavish sets, inventive visuals and countless extras representing the inhabitants of Sweet Haven, Popeye’s world is fully realised in all its surreal, slapstick-fuelled, comic book glory. Harry Nilsson’s songs are wonderfully catchy [‘Sweet Haven’ is fittingly anthemic] and serve to both further the narrative and embellish the colourful characters. The casting is absolutely spot on; Robin Williams has never been better and you have to look to his role as Aladdin’s genie to see anything comparable, while Shelley Duvall is perfection as Olive. The other parts are equally well essayed, particularly Paul Dooley as the hamburger obsessed Wimpy. Popeye’s trademark exaggerated fisticuffs is also depicted surprisingly vividly, especially considering that the film’s special effects were all done practically [this of course being a pre-CGI film]. All things considered, this film adaptation of Popeye couldn’t be better and will appeal equally to fans of the original comic strips, devotees of Max Fleischer’s brilliant cartoons and any film buff worth his/her salt.

Trivia: The UK version was completely re-edited, losing almost 18 minutes worth of footage, including most of the subplot about Popeye’s long lost father. This shorter cut was apparently released in other parts of Europe too; it renders parts of the film incomprehensible and is best avoided. The UK DVD is the shorter cut; The US region 1 DVD is the complete director’s cut of the film. Co-star Allan Nicholls featured in several of director Robert Altman’s films, including Nashville [1975]. Baby Sweet pea is played by Wesley Ivan Hurt, Robert Altman’s grandson.

Directed by Robert Altman – 1980 – 114 minutes – Starring Robin Williams, Shelley Duvall [The Shining], Ray Walston, Paul Dooley [Curb Your Enthusiasm], Paul L. Smith [Red Sonja], Donald Moffat [The Thing], Bill Irwin [Hot Shots!], Allan Nicholls, Wesley Ivan Hurt, Roberta Maxwell [Psycho 3], Dennis Franz [NYPD Blue], Donovan Scott [Police Academy] and Linda Hunt [Kindergarten Cop, Silverado].

If you like this you may also like: Danger: Diabolik! [1968] – Another extremely faithful comic book adaptation, Mario Bava’s colourful, sexy, ultra-stylish Action Thriller is a wonderfully fun romp you’ll never tire of.

Reason U must C – Popeye is a criminally underrated gem which is wonderfully faithful to its comic strip origins. It’s also a rare sight indeed to see Robin Williams in a genuinely decent film.

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Prey – An alien spacecraft lands in the remote countryside one night; out steps Anders, a flesh craving alien who wastes no time in devouring a nearby couple and assuming the identity of the male victim. He quickly spies a house nearby and approaches; the owners are two young ladies, Jessica and Josephine. Believing Ander’s to be inured, they invite him to stay with them. Jessica and Josephine are in fact romantically involved; Josephine is the domineering one while the slightly younger Jessica is submissive; she is evidently growing weary of Josephine’s clinginess. Anders emergence in the couple’s quiet, isolated existence quickly sparks Josephine’s jealous side, though she is decidedly off-base with regards to what his true motivations are! Director Norman J. Warren made this wilfully strange little film under very rushed and extraordinarily cheap circumstances; the shooting schedule was less than a week! Thankfully, while the low budget is often apparent, Warren armed himself with a talented cast [Sally Faulkner is particularly impressive] and some skilled technicians; all working in unison to produce a small gem of British Horror cinema. The film is a three-header; a character study operating under the hoary old ‘two’s company, three’s a crowd’ psychology. However, when the ‘two’ are lesbians and the ‘three’ are two lesbians and an alien, this cliché curiously becomes a lot more palatable! The character dynamics are also genuinely interesting, with the downbeat nature of the lovers’ relationship and some surprisingly graphic erotic couplings. This coupled with some gratifyingly grizzly gore and a downright nasty conclusion, adds up to a truly memorable work.

Trivia: Originally released under the title Alien Prey in the US. Star Barry Stokes appeared as ‘Axe Man 2’ in campy cult classic Hawk the Slayer [1980]. The film was originally cut in the UK, toning down sex and violence, in particular a scene containing gory violence in a sexual context. The film passed uncut for DVD. Co-Star Eddie Stacy played one of Brian Blessed’s Hawkmen in the awesome Flash Gordon [1980]. Stacy is better known as a stunt coordinator and has worked on many films including Willow [1988], Gladiator [2000] and Batman [1989].

Directed by Norman J. Warren – 1978 – 81 minutes – Starring Sally Faulkner [Vampyres, Confessions of a Driving Instructor], Barry Stokes, Glory Annen [Supergirl], Sandy Chinney, Eddie Stacey [Flash Gordon] and Jerry Crampton.

If you like this you may also like: Satan’s Slave [1976] – Norman J. Warren’s gory, sensationally sleazy Horror film about Satanic blood rituals. Starring Michael Gough. Inseminoid [1981] – Another memorable Warren effort. This gruesome Sci-Fi Horror shocker is about a space crew attacked by an unknown enemy. A woman [an excellent Judy Geeson] among them is ultimately raped by the space monster and this ‘insemination’ turns her into a wild eyed maniac who tries to kill her fellow crew members and gives birth to an alien offspring.

Reason U must C – The Alien cannibal meets lesbians synopsis is surely reason enough!

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The Prodigal Son – One of the finest traditional Martial Arts movies ever made in Hong Kong, The Prodigal Son is brilliant on all fronts. The story is not the thing here, being that it is a simple tale revolving around the personal growth of one Leung Chang [Yuen Biao]. The son of a wealthy family, Chang believes himself to be one of the greatest fighters in Canton, only to embarrassingly discover via his woefully effortless defeat by another fighter, renowned Theatrical star Tai Leung Yee [Lam Ching Ying], that his father has been fixing his fights all along in order to protect him from injury. Upon discovering this he determinedly sets about trying to convince Leung Yee to become his Martial Arts Teacher, much to the actors’ continual frustration. It is only when Wong Wah Bo [Sammo Hung] - a Martial Artist whose approach is entirely at odds with Yee Tai Leung’s - begins training Chang Leung that Yee finally relents and agrees to train the young man himself, a decision borne more out of his intense dislike of Wong Wah Bo than any honourable motivation. Other complications ensue involving the fate of a major character, which propel a now fighting fit Leung Chang into gaining retribution for brutally unjust deeds. Naturally the elaborate Kung Fu fighting and colourful acrobatics on show are the films’ true raison d’etre and the wonderful choreography and cinematography on display convey some of the most impressive feats ever captured on film, on a scale which belies the modest nature of the films’ budget

Trivia: Actor-director Sammo Hung appeared in Enter the Dragon as Bruce Lee’s first opponent before the opening titles - yes he is the same Sammo from the TV show Martial Law.

Directed by Sammo Hung – 1982 – 103 minutes – Starring Yuen Biao, Lam Ching Ying, Sammo Hung, Frankie Chan, Wu Ma and James Tien.

If you like this you may also like: Magnificent Butcher [1979] – An earlier and equally brilliant Kung Fu classic from actor-director Sammo Hung. Iron Fisted Monk [1977] – Sammo Hung’s directorial debut, a savagely brutal revenge tale which is not for the faint hearted. The Iceman Cometh [1989] – Yuen Biao brings his acrobatic skills to this violent, highly enjoyable blend of Sci-Fi and Martial Arts.

Reason U must C - An extravagantly violent mass throat-cutting scene whereby an entire hall full of sleeping men and women are brutally slain. Plus an incredibly cool sequence where villains swing a giant flame-covered sheet through the air to try and kill one of the heroes, who acrobatically jumps and flips back and forth over the flaming cloth, avoiding a potentially fiery demise to extremely impressive show-off effect.

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