Amicus Productions was a British film company that was around from the 1960s to the 1970s. They tried to compete with Hammmer Films and used several of the same actors.
Amicus Productions main type of horror film was the anthology which they found some success with. They made seven anthology films, Dr. Terror’s House of Horrors (1965), Torture Garden (1967), The House That Dripped Blood (1971), Tales from the Crypt (1972), Asylum (1972), Vault of Horror (1973) and From Beyond the Grave (1974). Today we’re looking at the recently released on bluray The House That Dripped Blood. Continue reading “Sunday Matinee: The House That Dripped Blood”
The solemnity of Avengers: Infinity War didn’t quite hit me until the first few minutes of the frothy Ant-Man and the Wasp. A sequel to 2015 Ant-Man (the one Edgar Wright got bumped from), this chapter leans heavily on the comedy and well-designed set-pieces based on… size proportion. The film stands by itself for far longer than expected –given certain events in the MCU– and the limited stakes are a welcome respite from Thanos’ idea of redistribution.
Probably because of the absence of drama behind the scenes, Ant-Man and the Wasp is a lot more cohesive than the first episode. Returning director Peyton Reed and a team of five scriptwriters fail to fully grasp the whole subatomic shrinking business, but your tolerance for science-speak is rewarded in different ways.
Following the events in Captain America: Civil War, the titular Ant-Man, Scott Lang (Paul Rudd), has abandoned his career as a superhero and now endures a two-year house arrest sentence. Scott is willing to bide his time for his daughter, but is also fully aware his actions have forced his former companions –Dr. Hank Pym (Michael Douglas) and Hope Van Dyne (Evangeline Lilly)– to go on the lam. Continue reading “REVIEW: Ant-Man and the Wasp Is Marvel’s Amuse-Bouche”
Sergio Leone is known for making awesome westerns. A Fistful of Dollars, A Few Dollars More, The Good, the Bad and the Ugly and Once Upon a Time in the West. He didn’t direct a lot of movies but his last few are consider to be classics. Leone’s first full credited feature film though (he had co-directed a couple things) was this sword and sandals epic The Colossus of Rhodes.
Set in 280 BC on the island of Rhodes where the kingdom has just finished building a giant statue, a colossal statue if you will to Apollo in the harbour to help protect against invasions. A Greek military soldier named Darios (Rory Calhoun) is visiting his uncle on the island and gets caught up in several plots.
It seems there are rebels on the island are planning on overthrowing the king Serse (Roberto Camardiel). The king’s second in command Thar (Conrado San Martín) is planning on overthrowing the king too but with the help of the Phoenicians. He’s smuggled an army onto the island and is trying to have men reading to take over the statue in order to let a large Phoenician fleet of ships in.
Meanwhile Darios is helping the rebels and the they plan on attack the statue to free the prisoners who are kept in a dungeon below the statue. Lots of fighting and getting captured ensue. The movie is pretty good for a swords and sandals flick. It isn’t classic Leone but it gave him a big break and let go on to direct A Fistful of Dollars.
Regardless of your feelings towards the Catholic Church, it’s fair to say Jorge Bergoglio encountered a challenging situation when he became Pope Francis in 2013: The institution was noticeably out of step with the world, congregations were dwindling, and the matter of widespread sexual abuse perpetrated by priests wasn’t being dealt with as much as swept under the carpet.
Francis revealed himself to be more of a revolutionary than anybody expected (sure, the transformation of the Church hasn’t been sweeping, but the man is inarguably an improvement). Director Wim Wenders (Wings of Desire) focuses precisely on the Pontiff’s main drives in Pope Francis: A Man of his Word, a documentary built around a couple of wide ranging interviews with the Argentinian Jesuit.
Wenders cares little about Francis’ upbringing or how he became the man he is today. His main concern is the Pope’s view of the world and what is he doing about it. The Pontiff’s modest lifestyle (for Vatican standards anyway) gives away his game: Poverty is the chip on his shoulders and hasn’t hesitated in calling out capitalism. He is also the first environmentalist Leader of the Church to date, a stance that has alienated many Conservative Catholics, particularly in the US. You don’t have to agree with the man, but one has to admire the consistency.
From a cinematic perspective, Wim Wenders gets his hands on some eye-popping footage. Unfortunately, his decision of creating cheesy interstitials with the life of St. Francis of Assisi (as if shot by Carl Dreyer in the 1920’s) fails to achieve the desired effect of linking both Francises through history.
Bergoglio comes across as affable, but doesn’t take much to discover gravitas under his welcoming demeanor. One could argue Wenders is too soft on Francis, particularly when dealing with the matter of children’s abuse at hands of clerics. As biased as it is, it provides enough insight on a man who sees monumental tasks ahead –refugees, climate change, ever expanding poverty– and his reaction is simply to roll up his sleeves and get to work, which is more than the other guy did (the German one, who quit). Three planets.
Pope Francis: A Man of His Word is now playing at the Roxy Theatre.
Alongside Toy Story, Finding Nemo and Monsters, Inc., The Incrediblesis a foundational Pixar film, a veritable neoclassic that explores the changing dynamics of family life disguised as a superhero film from the 60’s. The film invigorated the career of Brad Bird, who crashed and burned with the Iron Giant, a critical darling that didn’t connect with audiences.
The Incredibleswas a smash hit, and Bird moved on to bigger things (the narratively ambitious Ratatouille, his first live-action film Mission: Impossible 4), but following another box office miss (the unfairly maligned Tomorrowland), the Pixar creative returned to Pixar to helm a sequel of his first hit… 14 years after the original.
Incredibles 2 picks up seconds after the original’s ending, mid-battle with the Underminer. The considerable destruction that ensued from that encounter forced the Parr family to go back into hiding. Broke and a little bored, when a millionaire offers them to spearhead a PR campaign to bring superheroes back, they are happy to accept. There is a catch, Helen a.k.a. Elastigirl (Holly Hunter) is the one chosen to be the face of the movement.
Suddenly a stay-at-home dad, Bob a.k.a Mr. Incredible (Craig T. Nelson) struggles mightily: Homework is ridiculously hard, daughter Violet is sullen as ever, and baby Jack-Jack has dozens of powers and can’t control a single one of them. Meanwhile, Elastigirl thrives in her new job, although the new villain in town –the Screenslaver– is getting on her nerves.
The home front chaos is far more compelling than the adventure that ties all together, mainly by how compelling Bob, Violet and Jack-Jack are, together and separately. Bob is not exactly ‘woke’ and even though he doesn’t get in the way of Helen, he is clearly begrudging his spouse. Violet’s priorities are not in line with the rest of the family, especially when facing the possibility of a boyfriend.
The relationship of Bob and Helen is another highlight. Never mind the disagreements, their partnership is one you can believe. Take recent superhero hits Deadpool 2 and Avengers: Infinity War: A good chunk of the plot hangs on coupledom, and yet the undoing of these pairs left me cold. Bob and Helen have a shorthand and know when to push a point and pull their punches. It’s a successful marriage in a nutshell.
I don’t plan to spoil the identity of the villain here. Suffice to say, like all good antagonists, it has a valid motive and a cool and unusual modus operandi. It’s not nearly as flashy as fanboy-gone-wrong Syndrome, but it has more depth.
The only aspect of the film that doesn’t quite work is the conclusion. Probably because the scenario is not particularly dramatic, or the threat is too mild to taste, the stakes feel low. That said, Incredibles 2 gets an easy pass on character strength alone. 3 ½ planets.
In 1958 Ray Harryhausen helped make The 7th Voyage of Sinbad which became a big hit with audiences. A rival film producer named Edward Small decided that he wanted to cash in on The 7th Voyage of Sinbad‘s success. He made Jack the Giant Killer which got released in 1962.
Small hired director Nathan Juran who directed The 7th Voyage of Sinbad and along with Sinbad actors Kerwin Mathews who played Sinbad and now plays the hero Jack and Torin Thatcher who played an evil wizard in Sinbad and in Jack plays an evil wizard called Pendragon. Continue reading “Sunday Matinee: Jack The Giant Killer”
In 1965 Sherlock Holmes found himself facing off against a mysterious and notorious killer for the first time. Jack the Ripper.
Three prostitutes have murdered in gruesome fashion with no clues to the killer other than the press call him Jack the Ripper. Soon after a mysterious package arrives for Sherlock Holmes (John Neville). It’s a case of surgical tools with scalpel missing. With the help of Dr. Watson (Donald Houston) Holmes starts looking into the case. Continue reading “Sunday Matinee: A Study In Terror”
Shout Factory has just released Larry Cohen’s It’s Alive trilogy on blu-ray and it looks fantastic.
I’ve written before about the first It’s Alive about a horribly deformed monster baby being born and then going on a rampage to get home to Mom and Dad. Cohen was a master of low budget horror movies. God Told me To and Q were both fantastic and the original It’s Alive is highly entertaining. Continue reading “Sunday Matinee: It’s Alive III: Island of the Alive”
Quentin Tarantino’s homage to grindhouse action, samurai, martial art movies was also a showcase for actress Uma Thurman.
Thurman stars as The Bride, a woman who was once a part of the Deadly Viper Assassination Squad. On her wedding day, while pregnant, her former squad members stormed the wedding killing everyone. The leader of the group Bill (David Carradine), The Bride’s former lover and father of her child shots her in the head. The Bride survives but is in a coma for four years. Continue reading “Sunday Matinee: Kill Bill”