Avid appreciator of all things outré, gainfully employed in the creative industries, writing these reviews as a personal outlet and because I think I have great cultural taste. I can hold a tune too, but am useless in most practical areas so the karmic scales are balanced.
Whether you love his work or hate it (and he does seem to raise a significant amount of ire with certain sections of film lovers), Christopher Nolan is one of the few modern directors with enough clout to ensure that the release of a new film is very much an event. So the release of the teaser trailer for his forthcoming film, Dunkirk, is definitely a cause for some people (the ones who don’t hate his work) to get excited.
And if the thought of Nolan taking on one of the most harrowing events of World War 2 doesn’t raise your enthusiasm for this (a last-ditch effort to evacuate 300,000 Allied troops who were surrounded by German forces), then perhaps the thought of seeing One Direction’s Harry Styles in a proper, grown up movie will have you rushing to the box office in a frantic sweat to buy a ticket. Those of us above the age of fourteen will just have to settle for the involvement of Tom Hardy, Cillian Murphy, Mark Rylance and Kenneth Branagh.
Nolan and his director of photography on Interstellar, Hoyte van Hoytema, shot Dunkirk using 65 mm and IMAX film cameras, so this is sure to look astonishing. I can only hope that Nolan decides not to infuriate large portions of the cinema audience again with another wilfully muddy dialogue mix (as per Interstellar) so we can actually hear what characters are saying. Which is always nice, of course.
In the mad, bad days of 1970s exploitation films, anything would go when it came to filmmakers and distributors attempting to satiate the cinematic hunger of the crowds who would flock to the grimy theatres and fleapits of 42nd Street. Any craze or genre would be leapt upon with gusto and promotion of the films would go to any length to pull in the punters – even completely changing one film to make something different!
Such was the case with Zombie Holocaust, directed by Marino Girolami, the father of Eurocult icon Enzo G. Castellari. Girolami’s film, made in 1980 under the pseudonym Frank Martin, is a budget-challenged take on Lucio Fulci’s classic Zombi 2/Zombie Flesh Eaters, which also throws in elements from the then popular cannibal genre, including such films as Ruggero Deodato’s Cannibal Holocaust.
The paper thin plot involves an unfortunate Manhattan morgue which is having problems keeping its occupants’ limbs from going missing. It quickly transpires that these dirty deeds are being carried out by a member of a Caribbean cannibal cult. A nurse, a health department chief, an annoying reporter and her friend soon go on a foolish excursion to a group of New Guinean islands where they run afoul of a mad doctor, zombies, cannibal natives and Jack the Ripper (that last one might not be true). Much spilling of blood and guts ensues.
While the film wins plus points for its canny combination of two popular genres, it’s something of a mess. It distinctly lacks the verve of Fulci and Deodato’s works, and it definitely won’t win any anthropological awards for its depiction of indigenous people, but taken in the right light (and possibly aided by rigorous consumption of alcohol) Girolami’s film is nothing if not entertaining.
Zombie Holocaust did the rounds in Europe and finally landed in the U.S., on the desk of Terry Levene, who acquired it for his Aquarius Releasing distribution company, renaming it Doctor Butcher M.D. (Medical Deviate). In an attempt to make the film seem less Italian and more American, Levene took some footage from an unfinished film, Tales That Will Tear Your Heart Out (directed by and starring Roy Frumkes, who would go on to script films such as The Substitute and the cult horror comedy Street Trash) and slapped it on the opening reel.
The footage, featuring Frumkes himself rising from the grave and wandering around like a Friday night office worker at closing time, is unconnected to the rest of the movie (despite some flash cuts of Girolami’s zombies appearing for no good reason).
But these additions, along with some trimmings in the original film’s running time and some wild promotional stunts (including misrepresenting the film as a slasher movie and hiring a truck splattered with Doctor Butcher artwork which drove around Manhattan in the run up to the film’s release) made enough of a difference to ensure that this cut would become a runaway smash on 42nd Street and a staple of the VHS gorehound’s diet in the 1980s!
However, the Levene Doctor Butcher cut has remained difficult to see, but this has now been remedied as dedicated cult label Severin have given both films the kind of gold star presentation usually reserved for somewhat less trashy sensibilities by the likes of Criterion!
Zombie Holocaust and Doctor Butcher M.D. arrive as a two disc set, with both cuts having been fully restored with 2K scans using the original negative elements from the Aquarius Releasing vaults, alongside an almost insane amount of supplementary material. Severin give us an in-depth interview with Aquarius head honcho Terry Levene, who regales viewers with a history of the company’s successes via films such as Deep Throat and Make Them Die Slowly/Cannibal Ferox. We’re also given a guided tour of The Deuce, the area of New York around 42nd Street which once housed some of the most notorious grindhouse cinemas and sex emporiums. Our tour guides include the previously mentioned Roy Frumkes, and Severin have also included footage from Frumkes’ film which made up the beginning of the Doctor Butcher M.D. cut.
There are a gaggle of interviews with interested parties, including star Ian McCulloch, effects maestros Rosario Prestopino and Maurizio Trani, Doctor Butcher M.D. film editor Jim Markovic, Enzo G. Castellari (who discusses his father) and more, including theatrical trailers and, for the first lucky 5000 copies ordered directly from Severin, a wonderful Doctor Butcher M.D. vomit bag (I have one and it’s a tacky, wonderful delight). There are major Hollywood productions which haven’t been given this much love and attention to detail on home video.
The film, indeed both versions of it, might be cheap and nasty fun, but Severin’s disc is first class all the way and will no doubt feature on many top disc lists for 2016. Take a number and get yourself comfortable, the Doctor will see you now…
The Japanese genre of Pinky Violence movies is stuffed to the padded bra full of sex, violence and bad girls, and towering over all of them is a quartet of films made (incredibly) between 1972 and 1973. The Female Prisoner Scorpion movies are delightfully lurid, containing lashings of not only the sleazy elements vital to enjoying Women In Prison movies (violence, torture, rape, shower scenes and lesbian sex) but also qualities that show the filmmakers attempting to create something far above the norm, as they are shot full of quite stunning, delirious imagery – particularly in my favourite of the series, Female Prisoner Scorpion: Jailhouse 41.
What sets them even higher above the competition, however, is the presence of the star of the films, Meiko Kaji. Actress and singer Kaji has appeared in around 100 films since the early 1970s, including the Stray Cat Rock and the Wandering Ginza Butterfly series and the two Lady Snowblood films (as well as making an appearance in the second Outlaw Gangster VIP film). Her screen persona is that of the lone outlaw, and this is perhaps never more sharply defined than as Nami Matsushima, wronged in the first film, Female Prisoner # 701: Scorpion, by her crooked police detective boyfriend and sent to prison after she attempts to murder him when he allows several drug dealers to gang rape her (buckle up, these films definitely aren’t for the squeamish).
Matsushima is allocated the prisoner number 701 and must fight to exist in a brutal prison run by corrupt, lecherous and sadistic male guards, as well as contend with the attentions of her fellow inmates.
Alongside Kaji, the first three films stand out as a result of the beautiful and often surreal work from director Shunya Ito (the fourth, Grudge Stable, is directed by by Yasuharu Hasebe). Ito worked at the grindhouse and tokusatsu farm, Toei Company, for most of his career and won a Directors Guild of Japan New Directors Citation for Female Prisoner # 701: Scorpion.
Opening the first film with a lovely piece of barbed commentary, the warden of the prison is awarded a commendation for his work in rehabilitating prisoners just as the sirens wail, announcing an escape attempt by prisoner 701, who takes time to explain to her fellow escapee that she’s bleeding profusely as a result of her period before beating a tracker dog to death with a log. 701 is then herself beaten brutally with a rifle butt by the guard who foils her escape.
701 is placed into a grim solitary confinement as she begins to recall the events that led her to this point, and it’s here that Ito’s direction begins to truly shine, with an expressionistic, dreamlike sequence showing Nami’s seduction and abuse by her slimy boyfriend. With shots through glass floors, vivid, comic book lighting and the motif of red used from Nami’s deflowering to her attempted revenge, this may be exploitation, but it’s avant-garde exploitation as seen through the eyes of an artist that transcends to become the very best the genre can offer. Orange Is The New Black this ain’t!
It would be all too easy for Nami/701 to become an unlikeable victim, but both the story and Kaji combine to give us instead a character who endures with a glowering, righteous anger and rises above these terrible events to finally become “Sasori” (Scorpion), an appellation for vengeance and a symbol of female resistance in a world dominated by untrustworthy men (as well as equally untrustworthy women). Virtually silent, absolutely unbreakable and hell bent on exacting revenge, it’s impossible to tear your eyes from the screen whenever she appears and she brings a simmering star quality to this extreme but thoughtful and inventive saga.
The films that follow, Female Prisoner Scorpion: Jailhouse 41, Female Prisoner Scorpion: Beast Stable and Female Prisoner Scorpion: # 701’s Grudge Song offer a wild cinematic experience. It’s little wonder Quentin Tarantino, that wonderful magpie of outré movies, would be a fan of them – enough so that he used Urami Bushi, the recurring theme song from the Female Prisoner series, sung by Meiko Kaji herself of course, for his film, Kill Bill Vol. 2.
Now Arrow Video, the most essential of home video companies (alongside Criterion) have released all four films in an exquisitely packaged and packed box set. As well as brand new 2K restorations of all four films in the series presented both on Blu-ray and DVD, the set contains a treasure trove of video interviews and essays (with the likes of Japanese cinema critics Jasper Sharp and Tom Mes) as well as appreciations by filmmakers including Kazuyoshi Kumakiri (Kichiku: Banquet of the Beasts) and Gareth Evans (The Raid). There are archival and new interviews with director Shunya Ito and assistant director Yutaka Kohira, a new interview with production designer Tadayuki Kuwana, theatrical trailers and more.
The 4000 copy limited edition (the films are likely to be released separately at a later date) also contains a beautiful hardback book on the series, with writing by Chuck Stephens, Chris D and Yoshiki Hayashi, as well as a reproduction double-sided fold out poster of two original theatrical posters. The whole package is illustrated by striking, newly commissioned artwork by Ian MacEwan.
I’ve been in love with these films since first seeing them almost a decade ago and I really cannot recommend them enough. Now Arrow have done a remarkable job, making any previous releases redundant and hopefully exposing them to a wider audience. If I were to nitpick (and I will) I would say it’s a shame Arrow didn’t include the two films in the less widely regarded New Female Prisoner Scorpion series, made in 1976 and 1977. While not as vital they do have their charms and it seems like a missed opportunity. Of course this is only the kind of first world problem likely to worry completists, and perhaps it’s simply an opportunity for another box set.
Meiko Kaji is a powerhouse in Japanese genre cinema and this set really is a fine tribute to one of her signature roles. You might say that prisoner 701 has finally gotten the justice she deserves.
There are certain film which, when you first hear about them, you feel might have been made just for you! Such is the case with The Great Wall.
Directed by Zhang Yimou (House of Flying Daggers) and starring Matt Damon, Pedro Pascal, Willem Dafoe and Andy Lau, The Great Wall posits the idea that the Great Wall of China was built not to keep out hordes of invading Mongolians but hordes of giant monsters. And then puts Matt Damon in the middle of all this to fight them.
So, while this film might not score major points in historical accuracy it does collect the gong for most outré concept of 2016 so far.
Universal will release The Great Wall, Yimou’s first English language film, in February, 2017. It is, apparently, the most expensive film ever shot entirely in China, with a budget of $135 million.
Since they seem to have made this film especially for me I’ll be booking my ticket early. I hope you’ll join me and bring some popcorn…
Marvel Studios president Kevin Feige continued his presentation at the 2016 San Diego Comic-Con with a whole load more exciting news!
After the Doctor Strange trailer came the premiere of the first footage from Spider-Man: Homecoming, which not only reportedly had a lighthearted, preppy John Hughes/high school feel, but also revealed the villain to be (as rumoured) The Vulture.
Next up, director James Gunn exploded onto the stage with the Ravagers and the full cast (some in costume) from Guardians of the Galaxy Vol.2, including Michael Rooker (now sporting a head fin much closer to the character’s original comic book design) and the one and only Kurt Russell!
Feige also announced that Guardians of the Galaxy: Mission Breakout is heading for Disneyland, as a brand new ride at the theme parks in 2017.
Finally came the news everyone was hoping for: Brie Larson (who won the Academy Award for Best Actress, for Room) has been cast as Captain Marvel, the company’s major space-bound hero, who will finally feature in her first Marvel movie (and Marvel’s first female fronted film) in July, 2018!
That’s all from San Diego and Marvel, but what an amazing day for news.
“We only want to come when we have a LOT of stuff to show you,” said Kevin Feige, president of Marvel Studios in his introduction at the Hall H presentation of the 2016 San Diego Comic-Con.
After debuting a new studio logo, which will now play before all their movies, with a new musical fanfare by Michael Giacchino (The Incredibles, Star Trek 2009), he brought to the stage the cast (Chadwick Boseman as Black Panther, Michael B. Jordan, who will play Erik Killmonger; Lupita Nyong’o, taking the role of Nakia; and Danai Gurira as Okoye) and director (Ryan Coogler) of Black Panther (and revealing a new logo for that film).
Feige followed this by revealing a whole bunch of art and designs (and new logo) for Thor: Ragnarok (which promises to include elements of classic comic book story, Planet Hulk – imagine the green giant in an outer space gladiatorial arena – as well as being a buddy movie). Directed by Flight of the Conchords’ Taika Waititi, the film looks like it will contain a broader streak of humour than previous Thor movies, and – alongside Chris Hemsworth and Mark Ruffalo – features Cate Blanchett as the villain, Hela.
Next up, director Scott Derrickson introduced his cast for the highly anticipated Doctor Strange (Benedict Cumberbatch, Tilda Swinton, Chiwetel Ejiofor, Mads Mikkelsen, Rachel McAdams and Benedict Wong). Cumberbatch took to the stage in a wild, smoke-filled laser light show, and premiered a second, and far stronger trailer for the film.
The presentation is still going on as I post this and I’ll be sure to bring more news as it hits, but Feige wasn’t exaggerating when he said Marvel had a lot to show!
King Kong is, somewhat bizarrely, the first film I remember seeing. I have vivid memories of watching these strange, flickering black and white images through the bars of my cot – which my Mum places at me being around just a year old! What can I say? I was obviously destined to be a Monster Kid of the 1960s.
So Kong has a special place in my affections, whether it’s the original 1933 masterpiece, the Dino De Laurentis/John Guillermin or Peter Jackson remakes or even the truly bizarro Japanese outings against Godzilla or Mechani-Kong (look it up, you’ll thank me).
I’m delighted to say this latest trailer has me very excited, mixing Apocalypse Now-style imagery with a fantastic, foreboding tone. And if Legendary Pictures and Warner Bros. have their way (and if this film proves a big enough box office hit) we’ll see the mighty ape doing battle with the Gareth Edwards version of Godzilla in just a year or two!
Kong: Skull Island stomps into your local cinema chased by Tom Hiddleston, Samuel L. Jackson, Brie Larson, Jason Mitchell, Corey Hawkins, Toby Kebbell, Tom Wilkinson, Terry Notary, John Goodman and John C. Reilly, in March 2017.
For anyone (like me) who thought that Batman vs Superman was pretty much a disaster of tone and character, the rumours appear to be true that Warner Bros took notice of the massive critical lambasting and have taken great pains to right their sinking DC ship into smoother waters.
Hot on the heels of the rather exciting Wonder Woman trailer , the San Diego Comic-Con has now seen the arrival of the first footage from DC’s all star team up, Justice League.
The film is directed by Zack Snyder (presumably now on a much tighter leash from the studio), with a screenplay by Chris Terrio, and features an ensemble cast that includes Ben Affleck, Henry Cavill, Gal Gadot, Ezra Miller, Jason Momoa, Ray Fisher, Amy Adams, Jeremy Irons,J. K. Simmons, Amber Heard, and Willem Dafoe. In Justice League, Batman, Superman, Wonder Woman, The Flash, Aquaman and Cyborg assemble a team to face the catastrophic threat of Steppenwolf and his army of Parademons.
This first footage appears far lighter in tone than the utterly grimdark, miserabilist tone poem that was Batman vs Superman, so it’s fingers crossed that Warner Bros really have learned their lesson!
Justice League arrives in theatres on November 17, 2017.
Created by the American psychologist and writer William Moulton Marston and originally drawn by H. G. Peter, Wonder Woman first appeared in All Star Comics #8 in December 1941 and first cover-dated on Sensation Comics #1, January 1942.
Over the decades the character’s role as an international diplomatic heroine fighting for justice, love, peace, and gender equality has led to Wonder Woman being widely hailed as a feminist icon.
On screen however she has fared less well, with the most memorable portrayal to date coming in the form of the high camp antics of Lynda Carter in the 1970s TV series.
So hopes are riding high (not least of which in this writer, as a self-professed Wonder Woman geek) that the latest incarnation from Warner Bros. will do the character justice.
The movie, due to hit our screens on on November 17, 2017, directed by the always interesting Patty (‘Monster’) Jenkins, and starring Gal Gadot as the demigoddess, and warrior princess of the Amazons of Themyscira, alongside Chris Pine, Lucy Davis, Connie Nielsen, Robin Wright, Lisa Loven Kongsli, Danny Huston, Ewen Bremner, Saïd Taghmaoui, Elena Anaya and David Thewlis. That’s a heck of a cast and a lot of great talent surrounding the first big screen outing for one of DC Comics’ most preeminent characters.
This first trailer (just released for the San Diego Comic Con 2016) bodes well and looks like a lot of fun, so here’s hoping the film successfully gives us the true feminist hero we deserve.
As an avowed Marvel Comics geek from way, way back (heck, I was even a member of F.O.O.M. – the Friends of Ol’ Marvel fan club – in the 1970s, and still have my membership card), I’ve been following the rise of Marvel’s film and TV properties with great excitement and enthusiasm. The fact that their productions are of a high standard has pleased me all the more.
After the huge success of the Netflix Daredevil show (the second season was given the green light virtually hours after the first one dropped to big ratings for the channel), it was genuinely thrilling to see them pushing ahead with some of Marvel’s lesser known properties.
Jessica Jones also proved to be a hit, and now here we are with trailers for not only Luke Cage but also Iron Fist. We’ll speak more of these guys after you’ve feasted your eyes on the trailers:
Cage, created in 1972 by Archie Goodwin and John Romita Sr.(with help from Roy Thomas), and Iron Fist (AKA Danny Rand), created by Roy Thomas and Gil Kane in 1974, were attempts by Marvel to capitalize on the Blaxploitation and Kung Fu crazes, but were later paired up as Power Man & Iron Fist – Heroes for Hire.
So it’s genuinely thrilling to see these second tier characters emerging to digital life (in the shape of Mike Colter and Finn Jones), especially as both look set to kick some major ass. I’m now hoping we’ll see Marvel dig a little deeper and give us major productions for Forbush Man and Frog Man (try Googling them) or, dare I even whisper it, Howard the Duck (after his cameo in Guardians of the Galaxy)!
Meanwhile, Luke Cage drops on September 30, 2016 and Iron Fist hits sometime in 2017.
UPDATE: As if that wasn’t enough excitement from Netflix for one day, we’ve also been treated to the first teaser (set to Nirvana’s Come As You Are, no less) for The Defenders, the show which will see all their characters team up. It’s a Marvel-icious overload:
out of dave's head 