The Book of Horror: The Anatomy of Fear- Book Review

I love horror films as I find that the genre encapsulates so much in its broad church; it is many things to many people often reflecting societal anxieties, cultural shifts, and technological advancements. The genre offers a fascinating historical context for the scares as they are a product of their time.

The book is a hefty tome and the paper stock quality is great.

For example, the classic monster movies of the early 20th century dealt with fears of the unknown, reflecting a world grappling with rapid industrialization and scientific advancements. Then came the Cold War era, and suddenly we have anxieties about nuclear annihilation and the loss of individuality, which manifested in films about alien invasions and body snatchers. It's not just big, sweeping societal issues either as horror can also reflect more personal anxieties, like those surrounding family, relationships, and even our own bodies. The slasher films of the 1980s, for example, often played on anxieties about changing social norms and the breakdown of traditional family structures.

Most recently, we've had horror films based on the theme of technology as we're living in a world increasingly dependent on technology, and with that dependence comes a whole new set of anxieties.

It's fascinating how the horror genre constantly evolves to reflect our changing world and looking at this evolution, we have Matt Glasby's The Book of Horror: The Anatomy of Fear in Film to guide us. Glasby, a seasoned film journalist, brings a wealth of knowledge and a palpable passion for horror to this project, resulting in a book that's as informative as it is engaging.

The book is a meticulously crafted exploration of the genre, dissecting the very essence of fear on screen by looking at the core films he sees within the genre, starting chronologicalally from Psycho all the way to It: Chapter 2.

The structure is both logical and accessible, with a grading system based on dread, the unexpected and other key theme and a graph of the key moments. Glasby's writing style is clear and concise, avoiding academic jargon and technobabble while still maintaining a level of intellectual depth for cinephiles. He manages to be both informative and entertaining, making the book a pleasure to read even for casual horror fans.

Given the wide expanse of horror content out there, Glasby can not cover the entire genre but he does cast his net wide and the recommended viewing lists provide plenty of avenues for further exploration for those so inclined.

Overall, The Book of Horror: The Anatomy of Fear remains an essential addition to any horror fan's library.  It's a beautifully designed, intelligently written, and thoroughly engaging exploration of the genre.  Whether you're a seasoned aficionado or just beginning to explore the world of horror cinema, this book is sure to provide you with new insights and a deeper appreciation for the art of fear.  It's a book that you'll likely return to again and again, discovering new details and perspectives with each reading.

Genocyber- Cult Manga Review

Genocyber is an enfant terrible of the manga world. I had never seen it before but knew of its reputation through the fact that it was part of the Cyberpunk Collection boxset, alongside AD Police and Cyber City Oedo 808. I thought I'd correct this oversight and give the series a watch. Woah boy, was it a strange 2 1/2 hour ride.

Coming hot off the heels of Akira, Genocyber offers a pretty similar dystopian vision of the future with mega corporations, kids with psionic powers and violence brought to the fore. The 5 part series looks at how scientific research and corporate espionage leads to the creation of powers beyond human kinds control- yup, it's the old 'man's hubris brings down society' tale.

The first, and most well known episode concerns two sisters who have been scientifically altered. They develop psionic powers and, together, they can form a killing machine called the Genocyber. Their military use is obvious but rather than be blunt tools for violence, the younger girl Elaine fights back with grizzly and gorey results against the older Diane. The story is a pretty straightforward tale of sibling rivalry, revenge and a quest for freedom of choice.

The second and third episodes continue the story arc with Elaine rescued by a navy ship. Onboard, she is befriended by a nurse who lost her own daughter in a tragic accident. However, when a scientist is experimenting on a bio weapon he realises that Elaine has powers and wants to utilise it for his own means. He creates an amalgamation of the Genocyber with is own reaseach but it gets out of control and Elaine uses her powers to become a protective hero to the nurse.

The final story arc of episodes 4 and 5 moved the story forward a few years and we see that society has risen up after the devastation of the previous episodes. The new city looks to be a modern paradise but is beset by an authoritarian leader, a religious cult and a poor, repressed working class. Underground, Elaine's Genocyber is worshipped as an angel of redemption but when a young couple discover the corruption of the city, they awaken Elaine and chaos ensues.

Overall, the premise of a man-made creature losing control and wreaking havok is interesting but the execution is uneven; it is no Akira. Episode 1 is the most consistently animated of the three arcs with use of live action and early CGI but the quality can be varying in quality, even within the same episode. Arc three has the worst animation of the series, which is a shame as its Beneath the Planet of the Apes premise of an underground religious resistance had great potential for artistry but, alas, it's all just dark and murky with no real flair in animation or scene setting shown.

The other issue I had was that the characterisation was paper thin; you don't know who you should root for. When you also factor in a wonky and stilted English dub, the lack of empathy or sympathy for the characters means you don't feel invested in their fate.

Genocyber is rightly remembered as an early example of ‘Japanimation’ hyperviolence and excess but it doesn't move beyond that into something profound. I'm no prude but violence just for the sake of violence seems to me pretty pointless. Overall, Genocyber is not fondly remembered or highly regarded within the anime community and, having watched it, I can see why. I do not recommend this series at all.

LINK: Japan: My Journey to the East

LINK- Blood, Sweat and Pixels- Book Review

LINK- The Offworld Collection- Book Review

LINK- Ico and SOTC: Reflections of a Gaming Life

LINK- The Rise of Retro Gaming During Covid

LINK- Japan: My Journey to the East

LINK- Children of the Stones: Cult TV Series Review

Paper House- Cult Film Review

I had heard of Paper House through the recommendations on my Amazon but also through several articles on old British TV serials that petrified kids in the 70s and 80. I had never seen the film but had seen the older 70s show Escape into Night several years ago when I went down a ‘Creepy British TV Shows’ YouTube rabbit hole a few years ago. The show was inspired by the same source material as the later film, Marianne Dreams by Catherine Storr, and tells the tale of a young girl whose drawings come to life in her dreams. So far so Penny Crayon, but when she draws a creepy house with a creepy kid inside, things take a slightly more sinister turn.

The Paper House film adapts Storr's novel further by adding a further layer that is similar to The Company of Wolves in that a young girl, on the onset of tweendom and puberty, is going through an emotional time and, whilst going through a lot of emotional turmoil, enters a dreamlike world which may or may not be real.

The film is more cinematic than the series, obviously, and the economy of design of the house, as well as the rugged landscape, made it more surreal and strange. Faure's Requeim is used effectively to bring this fantasy thriller film alive. The lead actress, Charlotte Burke, plays the role of the confused Anna very well. She starts the film a bit of a naughty pickle but shows growth and depth so that the audience is fully behind her as she tries to get to the bottom of what is going on and support the boy in the house.

I thoroughly enjoyed the film as it was a throwback in terms of fashion and sensibilities, but also because it is a good character study on what an adult’s alcohol abuse does to the child. If you’ve got a spare hour and a half you could do worse than watch this movie.

Vampire Circus- Cult Film Review

My love for old horror films started in my formative teen years. The BBC would show cult horror films late on Friday and Saturday nights in the early to mid-90s and, when we got Sky, late 90s/ early 2000s Bravo Channel. Some were the more salacious films of 60s and 70s European cinema, often in the horror genre but not always-  some were experimental pieces which had a deeply ethereal feel and long moments of quiet where the gorgeous scenery and silence would wash over you. It was here I first saw Circus of Horrors, Vampiros Lesbos, The Witchfinder General and many, many more.

Whilst flicking through the ITVX app, I saw the image for Vampire Circus. I vaguely remembered the film so decided to revisit it for the first time in 30 or so years.

Vampire Circus was produced in 1971 which was the start of the period of decline for Hammer. Hammer had risen to prominence in the two decades before with its gothic top tier b-movie films which were rich in detail and storytelling. However, by the 70s the audience’s tastes were changing and the drop in production quality led to a glut of poorer Hammer movies that seemed to be poorer imitations of what had come before. Luckily, Vampire Circus is not one of these films as it still stands as a great film- maybe one of the last great Hammer films before its decline. Taking inspiration from post-modern European films, it is an erotic dreamlike venture with lashings of gore thrown in for good measure.

The film is about a small town in a forest which is beholden to the evil Count Mitterhaus (played in bohemian Byronesque fashion by Robert Tayman). He feasts on the blood of children and preys on the beautiful women within this community. When the people rise up and kill him he curses them, saying that they and their children, and their children’s children etc will die. Cue the title card and the beginnings of an intriguing story.

We fast forward 15 years and see that the village is in decline as the neighbouring villages know about the curse and do not want the isolated village to spread the curse further. However, a travelling circus troupe, The Circus of Night, visits the village and performs for the people whilst secretly exacting revenge by killing the children of the families and dripping their blood onto the corpse of their cousin Count Mittterhaus. Will the village discover what is happening or will all the children of the village die and the Count resurrect?

I throughly enjoyed the film. Even though any film with child death is challenging to watch the overall plot of the story and the sheer sense of place in this Germanic town is well realised. Sure, there are bare bodies aplenty and lots of gore but the story at its heart of a class battle between the aristocratic class against the poorer and middle classes is still a relevant one even today. This film is not for the faint of heart but is well worth your time.

LINK: Kolchak: The Night Stalker- Cult TV Series Review

LINK- Dead of Night: Cult TV Review

LINK- The Stone Tapes: Cult TV Review

LINK- Twin Peaks Retrospective

LINK- On, and On and Colston (Or, ‘How We Learned to Talk About the Legacy of Colonialism in GB’)

LINK- ‘Natives: Race and Class in the Ruins of Empire’

Maris the Wondergirl- Cult Manga Review

I do love the works of Rumiko Takahashi and her Rumik World anthology series. Her Fire Tripper run in Manga Mania was the first complete manga series I read and I purchased quite a few of the OAV adaptations including Fire Tripper and Laughing Target. One of the OAVs I had not seen was Maris the Wondergirl so, with 50 minutes to spare, I sat down and watched this short film.

Maris is a super strong lieutenant in the Intergalactic Space Patrol but when she damages her third ship through her super Thanatosian strength, she has to take on part time jobs to pay the organisation back. When the playboy son of a  billionaire is kidnapped Maris dreams of romance as well as a big payday. The only thing standing her way is fellow super strong warrior Sue, who defeated Maris in a wrestling match once by cheating. As Maris makes her way to the fortress where the hier is kept all is not what it seems in the final showdown.

The 1986 animation is very impressive.

This is a cute and disposable OAV. It doesn't really stay long in the memory but is fun with good animation and great 80s hair rock music complementing the fight scenes. The opening two minutes are impressive as the Maris is involved in a dramatic dogfight. Maris is a goofy and flawed character and the moral of 'money doesn't buy happiness but it does make life easier' is a message I can get behind in this humorous 50 minute diversion. This is a great slice of mid 80s animation and is well worth a watch.

LINK: Fire Tripper- Cult Manga Review

LINK- Akira Soundtrack Vinyl Review

LINK- Monster City- Cult Manga Review

LINK: Japan: My Journey to the East

LINK- The Offworld Collection- Book Review

LINK: Manga Exhibition at the British Museum

LINK- The Midnight Library and the Idea That You Can’t Go Home Again

LINK- The Transportive Nature of Objects (And the Power of Mini Consoles)

Hammer House of Horror- Cult TV Series Review

I have been a film aficionado for a long time. My father brought me up on classics like David Lean's adaptations of Oliver Twist and Great Expectations as well as the various black and white classic comedies of Charlie Chaplin and Laurel and Hardy. However I became interested in cult TV series and films whilst attending university. Our campus was media-centered and as a result it had a huge catalogue of videos to rent, free of charge. I ploughed through many often taking the maximum 8 out at a time and consumed them voraciously. As a result I believe that I am quite literate in films and TV but the series that really attracts me are the more offbeat curios.

I've explained my love for old creepy films here before and it is in this vein that I wanted to explore Hammer House of Horror, the 13 episode anthology series which was shown on ITV in the early 80s. I had never seen the series before so thought I'd dive in. What intrigued me was how the 50 minute short films were shot in the style of the times rather than the usual Hammer fare that had been famed over the previous couple of decades. The provinciality of it all recalls Minder or the kitchen sink melodrama Play for the Day rather than glamourous Dracula, Twins of Evil or the more desperately lustier affairs that precipitated the studio going into receivership.

The series was the idea of Roy Skeggs and he wanted to create a grittier, more realistic (and cheaper) horror that blended slice of life with the supernatural or eerie, a modern gothic if you will. Local problems for local people. The result is an interesting time capsule that captures the fashion, sensibilities, technology and dour mood of the time. By doing away with the 'genre crap' that Hammer had helped to create and codify, it prevents the series from being the usual campfire stories or folklore and turns it more into urban legends or friends of friend tales- a much more horrifying prospect as there were definite social messaging contained upon it's release in the early 80s.

The series tweaks the 'tenets of genre' to create something all together more interesting. Anyways, here are my thoughts on the individual episodes:

Witching Time
On a dark and stormy night, whilst home alone, married man David finds a beautiful woman in his barn claiming to a witch from the 17th century. Thinking her a kooky eccentric, he humours her before locking her in a room and calling for a doctor.
Upon arriving, the witch disappears and the doctor thinks David is overworked and hallucinating. He gives him some stronger pills but the witch comes back and starts to wreak havok upon him and his returning wife. Things quickly go downhill as we don't know if David is self-sabotaging or if there actually is a witch who has a hold of him.

This is an interesting episode as it is quite meta in that David is the sound mixer for horror films and he is being haunted himself. The slow deterioration of his mental health as the witch takes hold is interesting to see. It's a pretty solid episode and had me intrigued throughout.

The Thirteenth Reunion
When a new dieting clinic seems to be getting astonishing results, a roving reporter goes undercover to investigate the secret of their success. She sees a tough love affair where people are insulted into 'thinking themselves thin'. She bonds with a fellow 'fatty' but when he unexpectedly dies after a road accident her suspicions are raised as this seems to be happening quite regularly.

This episode goes some places and what I initially thought of as some body harvesting scam definitely ends up something much more sinister and weird. The tension is cranked up all the way through and the ending is not what I expected at all.

Rude Awakening
When an estate agent is given a property to put up for sale, he visits it but gets more than he bargained for when the manor is a state of ruin. What follows is a weird mystery about a recurring nightmare and whether the agent is losing his mind or maybe his subconscious is suffering from guilt from the murder of his wife.

Denholm Elliot shines as a cocky cockney everyman estate agent who ends up getting himself caught up in a bit of a mess when visiting the property. He plays it well, sliming it up with his young secretary in various states of fantasy attire as he tries to work out what is going on. The ending is typically dark and catches you off guard as dreams and reality merge.

Growing Pains
A young boy dies after trying some of the growth formula that his research scientist father is using on rabbits to end world hunger. A short while later, the parents adopt an orphan who has a rabbit toy and an interesting personality. When visions of the dead son appear and the pet dog starts to behave strangely, the parents question their sanity.

This is a quirky episode as the boy who eats the medicine is dopey. I mean, who goes into their father's scientific lab and scoffs strange liquids and powders from a random jar on a shelf? The boy is about 10 years old so should definitely know better. Anyways, the replacement boy plays a slightly creepy role well and the setup is intriguing. The story goes place you would not think it would go and that keeps you on your toes.

The House That Bled to Death
When a young couple and their daughter move into a house, little do they suspect that their house was the scene of a gruesome murder some years ago. As they try to bed in, unsettling things seem to be happening around them... almost as if the house wanted revenge.

This is a solid episode with lots of shocks and scares as the tension slowly escalates. The blood flows generously but, once again, the episode goes to a different place.

Charlie Boy
When a friend dies, a photographer and his friends get a chance to rifle through his things and take souvenirs home. When the photographer takes an African fetish doll, known for being used in witchcraft, people start to die. Will he make it in time before his wife and he succumb to its dark power.

This is a great episode about the power we give objects. Is it the fetish or is it the paranoia and coincidence of it all? This episode is great and it was wonderful to see the young familiar face of Angela Bruce as the wife of the photographer. The relationship between the interracial couple was loving and they treated each other like equals which was surprisingly more sensitive than what I have been used to from shows from that era. Fair play to the show for doing that.

The Silent Scream
When a habitual petty thief is released after two years inside, he finds a job at a local petshop run by Peter Cushing. When tasked with feeding the trained exotic animals he keeps at the back whilst he's away, the thief tries to open a safe and is caged. Will his wife help him get out or will the thief be trained to curb his thieving ways.

Cushing is excellent in his role as a mad scientist who looks at creating a prison without walls. He is seemingly sane and his idea has merit in principle but at what cost to civil liberties and freedom?

Children of the Full Moon

After their car careens out of control, a young couple find themselves out in the sticks in the late afternoon. They find refuge in a creepy old country house in the care of an old lady and loads of orphan children. As the night draws in, the sound of wolves can be heard and the children start to act strangely. Whatever can it all mean?

This is a great episode with Diane Dors camping it up as the old lady of the creepy manor house. This is considered one of classics of the series and is so highly regarded due to the gothic feel of the mansion, creepy woods and quite good makeup work.

The Carpathian Eagle
When a series of men are murdered, with their hearts ripped out, an old legend seems to be bubbling to the surface. A police officer and a murder-mystery author try to get to the bottom of the serial killers crimes on this short thriller.

The central conceit of this episode is great as it plays out like a crime procuderal but has the obvious supernatural elements, much like Kolchak: The Night Stalker. This episode was a firm favourite of mine as there is a great central mystery.

Guardian of the Abyss
When an antique dealer comes across a scrying glass his world is turned upside down as satanists and an escaped sacrificial victim cross his path. When his scrying glass- which may have been Dr Dee's original one- is stolen, he goes on a hunt to find it and save the glamourous sacrifice at the same time.

It's an intriguing episode as the poor guy just wants to flip the item to get some moolah but he's caught up in a demonic mess involving Enochian, Choronzon and Aleister Crowley. Fascinating stuff with a dramatic and powerful ending.

Visitor from the Grave
When a rapist is killed by his prospective victim, his body is concealed to hide the crime. However, as she struggles to reconcile her life  with the crime she slowly starts to unravel as she sees the face of the rapist in her everyday life. Maybe a Swami from India can help, for a high fee of course.

This is a slow burn episode as the action happens right at the beginning and it's all about the trauma and unravelling as the victim goes all swiveleyed and anxious. This episode is not very sensitive at all but it isn't as egregious as much other media from the time- the portrayal of a woman who has gone through a traumatic experience isn't very sensitively handled whilst the brown face of the Swami is pretty racist but this was par of the course for the time and should be considered through those optics. Thank gosh things have moved on somewhat and we live in more enlightened times.

The Two Faces of Evil
When a family on a country drive pick up a hitchhiker during a storm it doesn't go well as he attacks the family. Waking up in a hospital the family try to get back to normal but life is forever changed. The question is: has the hitchhiker gone for good?

This is an excellent episode as the sense of  claustrophobia is achieved through tight and unusually low camera angles. It disorients you as you watch the episode and even the staff at the hospital look sinister from that angle. It's quite an achievement on such a low budget. The concept of a doppelganger is intriguingly covered in this episode and the chase at the end suitably dramatic.

The Mark of Satan
When a novice who works in a morgue is accidently pricked with the bloody neddle of a corpse who claimed to have been protecting his soul through self-drill applied trepanning, he undergoes an interesting transformation. He starts seeing patterns everywhere and is worried that there is a conspiracy against him.

I liked this episode as the number 9 is a recurring motif and occurs frequently throughout. I wonder if the creators of Inside Number 9 were inspired by this particular episode as they do cite this series as a foundational text within their ouvre.

Overall, I really enjoyed this anthology series. I can see how it has influenced many shows including Inside Number 9, Black Mirror, The League of Gentlemen and The Mighty Boosh. It's a quirky series that looks at the evil that lurks beneath the normal veneer of polite (and not so polite) society.

The series can be pretty bleak and I think a lot of it is to do with the way it represents an empire in decline. Britain held much of the world in its grasp for hundreds of years and the stripping away of this worried much of society. This anxiety brought fears of class, eugenics and 'replacement theory' to the fore- maybe that's why so many of the shows of the time are to do with class, a structure that very much exists in Britain but many will deny whilst claiming that we live in a meritocracy. Looking at the sorry state of current politics puts paid to this veneer as vestiges of this illusion are removed-as  it was in the 80s when this show was create and aired.

The cultural vandalism, misappropriation and bastardising of certain principles, values and societal narratives are things that happen all the time. One only has to look at social media with its 'the way things were' photographs of yesteryear to see the guise of nostalgia wrapped in right wing anemoia. Read the comments to see the vitriol spewing forth. This show looks at the worries and concerns from the time and amplifies them through the lens of horror.

Mermaid's Scar- Cult Manga Review

Rumiko Takahashi might be better known for her quirky comedies and romance tales but her Rumik World series showed her sharper, horror tinged edge. Her Fire Tripper run in Manga Mania was the first complete manga series I read and I purchased quite a few of the OAV adaptations from the Rumik World anthology series including Fire Tripper, Laughing Target and Maris the Wonder Girl.
One of the Rumik World films I had not seen but had read a bit of was Mermaid's Scar. I had picked up a grab bag from my local comic shop and it contained an issue of Mermaid's Scar comic in it but this was not the whole run. I'd only read this one comic and wanted to read more but never found any other issues. Also, I don't think the film was released in the UK. Setting out to right this wrong (and to gain closure after nearly 30 years), I sat down to watch it alongside it's companion piece Mermaid Forest. This is my review for Mermaid's Scar as I have already reviewed Mermaid Forest before.

Whilst doing some research about the film, I found that Mermaid's Scar is one of the many tales that makes up the Mermaid Saga. The series apparently ran sporadically in Japan and the premise is based on the Yao Bikuni, or Happyaku Bikuni legend, where eating the flesh of a mermaid will grant immortality or turn you into a terrible monster called a 'lost soul'.

The series follows Yuta, a young man of about 18 years old, who eats the flesh and is thus immortal. He seeks a way to gain his mortality whilst undergoing The Littlest Hobo or The Incredible Hulk TV show style adventures where he helps people before moving on in his quest.

In Mermaid's Scar, Yuta is joined by Mana, a young woman of similar age and affliction. In this OAV, we are not told how they met but they pass each other off as siblings and travel together.
They meet a young boy, Masato, who is travelling alone to meet up with his mother who lives in a mansion on top of some dramatic cliffs overlooking the ocean. The pair find work at a local building site nearby and see that the relationship between the boy and his mother is terse and abusive. Is there more to this ralationship than meets the eye? Well, when a Lost Soul turns up I'd say yup!

This is a darkly violent OAV with its fair share of blood including someone being shot, piano wired, tied in barbed wire, stabbed with scissors, strangled and then potentially beheaded with an axe. So yes, this isn't (or rather IS) very much your grandpa's Takahashi. The tale is about the perils of losing your humanity when you live forever and  Masato comes across as a real price if work, selfish and self-centred, like any 800 year old 10 year old would be.

This OAV is well animated and the music really sells the mood. It's a shame we didn't get more of this series in the West as I would definitely have invested in it. If you have a spare 50 minutes, this manga is well worth your time of you like twisted little horror films.

I'm now hoping to watch the 2003 Mermaid's Scar series and see if that is a more complete offering of the saga.

LINK: Fire Tripper- Cult Manga Review

LINK- Akira Soundtrack Vinyl Review

LINK- Monster City- Cult Manga Review

LINK: Japan: My Journey to the East

LINK- The Offworld Collection- Book Review

LINK: Manga Exhibition at the British Museum

LINK- The Midnight Library and the Idea That You Can’t Go Home Again

LINK- The Transportive Nature of Objects (And the Power of Mini Consoles)

The Rise of the Niche Book Scene

The physical books industry went through a torrid time in the 90s with many independent shops closing due to multiple factors. Competitors offering discounted books, supermarkets selling at a discount and the burgeoning online marketplace all ate their lunch and so the industry seemed in terminal decline, especially within niche interest books. However, something truly amazing has happened in recent years as small, niche publishers have been able to create a business for themselves by selling directly to their consumer or by being able to more easily reach their audience through targeted marketing online. It's been amazing as over the past few years I've contributed to a few Kickstarters or crowd funding projects to purchase books on such niche interests as diverse videogame essays (Offworld) and the animation of DIC (creators of series such as Mysterious Cities of Gold, Inspector Gadget and Jayce and the Wheeled Warriors).

Book publishing has evolved and, whilst it can't beat the experience of browsing a well-stocked bricks and mortar store, I appreciate that all tastes can be catered for.

This has faltered somewhat as in late 2023 (which will date this article) there has been a huge rise in paper and energy costs. The closing of pulp mills, rise in energy costs across the world and the slow economic rise post-Covid has had a knock-on effect but I foresee things settling and things getting better. Now, excuse me as I tuck into my book about the series The OA.

The Laughing Target- Cult Manga Review

I do love the works of Rumiko Takahashi and her Rumik World anthology series. Her Fire Tripper run in Manga Mania was the first complete manga series I read and I purchased quite a few of the OAV adaptations including Fire Tripper but also the adaptation of a curious one shot comic adaptation called Laughing Target. The cover was suitably sinister in this short horror tale and back then I had no idea what it would entail.

The cover of the film is quite dramatic.

This OAV holds a special place in my heart, even if it isn't even close to being creator Takahashi's best work. It is arguable what is but it's probably a toss up between Urusei Yatsura, Maison Ikkokou, Ranma 1/2 or Inuyasha but back then I didn't know any of that. All I knew was that this was an edgy horror anime featuring a fight to the death with bows and arrows. Looking back now, I can see that it is about trauma and how we process it.

The story outline is pretty straightforward: During her childhood, a young girl named Azusa goes missing. She encounters something sinister in the woods and comes back different- changeling style. When she turns 6, Azusa is betrothed to her cousin Yuzuru and they are set to marry when they are grown up. Fast forward 10 years and Yuzuru is a confident archer with groupies and a girlfriend, Satomi. When Azusa arrives, keen to keep to the promise, Yuzuru's world is turned upside down as malevolent forces seek to ensure Satomi's end and the union of Yuzuru to Azusa.

Laughing Target is an effective short horror film.

Laughing Target is well worth a watch as it stands the test of time as an intriguing horror OAV with enough chills to still genuinely unsettle. Rather than just a stereotypical evil shrew, the film elicits sympathy for Azusa, a survivor of abuse at the hand of three boys as well as an isolated girl by her eccentric and overbearing mother. The latent powers of summoning the ghosts of death when she is angry or scared seems understandable under these circumstances! The promise to her betrothed kept her anchored but when she sees that he has given his heart to another, and assaulted her in defence of his love Satomi , it triggers memories of past abuses and untethers her. It is quite powerful but I hadn't read it like that 30 or so years ago.

Rumiko Takahashi might be better known for her quirky comedies and romance tales but her Rumik World series shows her sharper edge. Laughing Target is a well done story, presenting difficult concepts at a time when they were often poorly represented.

The film is well worth 50 minutes if your time. Also, stay for the credits as it ends on a downbeat note that will linger long in the mind.

I Am (Not) a Number: Decoding The Prisoner- Book Review

A short while ago, I finally saw the entire 17 episode run of The Prisoner. It was the first time I had seen the show and viewing it with no nostalgia attached, I could still see why the series had maintained a cult status. Like Twin Peaks, of which I am a huge fan of, the more one delves into the quirkiness, lore and theories, the more one appreciates what was done. It has clearly inspired many shows including Lost, Kolchak: The Night Stalker, The X Files and so many more.

It is a singular show and it's tight episode run has kept it evergreen by avoiding the bloat and repetition that plagues a lot of series.

The series is now seen as cult with its allegory of socio-politics, but it was a prime time show when it was initially released. I don't know how Patrick McGoohan managed to get funding for it as it is so ahead of its time yet of its time; the Cold War was alive and well and the fear permeates this singularly psychedelic and Kafka-esque show with some real world analogies. However, it also embraced the Summer of Love with its fashion, crazy carnival of colours and The Beatles' All You Need is Love.

The show sure goes to some odd places and it can be difficult to parse what you have just seen, so a book promising to explain the key takeaways sprinkled across the episodes as well as a grand theory intrigued me enough to buy it.

Alex Cox gives a brief overview of each episode (in the order in which they were shot) and dissects aspects of them which builds to his grand theory or decoding if you will.

The book is slight but it does capture the zaniness and kookiness of the show well, showing how McGoohan created a vibe without necessarily spoon-feeding the audience with an ending that neatly tied the solution in a bow. Instead, what we get are little clues dotted throughout, which, if considered as a whole, makes sense and is cohesive. I agree with Cox's final analysis and also agree that the ending is rather obtuse but decodable if you consider the show as a complete tapestry with a overarching design that takes in the geopolitical situation of the time as well as the space race confirms my views too.

The book is a good read and enjoyable as a companion piece whilst watching the show.

Monster City- Cult Manga Review

This is a bit of the throwback and was considered a bit of a classic back in the early days of manga in the UK. Alongside Yoshiaki Kawajiri’s Wicked City and Ninja Scroll, we had the Cyberpunk Collection, Dominion Tank Police, Vampire Hunter D, Crying Freeman and Doomed Megalopolis, these were everywhere wherever manga was available in the early 90s.

Monster City or Monster City Shinjuki as I knew it from advertising in the UK, is a pretty good showcase of 80s animation. The opening fight scene set the mood as good fights against evil, but good loses and an area of Tokyo is take over by the demons. The area goes to pot (and real estate prices tumble) as the demons seek to revive an elder demon god. The son of the hero, Kyoya, is called upon when the President's daughter, Sayaka Rama, to help defeat the forces of evil and save her President father by going to the heart of Demon City Shinjuku, defeat the 3 sub-bosses before facing the acolyte, Rebi Rah, who is aiming to resurrect the eldritch gods from the demon realm.

Overall, the plot is pretty simple and makes sense as it is very videogamey. The animation is gorgeous, fluid and has that Kawajiri sense of style which was very evocative of 'Japanimation' that looked head and shoulders above most other animation studios from the time. The character designs are excellent and have aged pretty well considering it is nearly 40 years old. An aspect I appreciate is that it isn't too fanservicey or cringy but it is the 80s so we still get classics like, "I'm gonna tear his head off and shove it up his a$$". This is one of the most edge lordy things in this manga but then, it was the late 80s so that 'tude fits with the times. More problematic is when our' hero' decides to sleep on the floor and share the bed otherwise he might not be able to help himself to attack the woman who is accompanying him on this mission.

However, I do appreciate that Sayaka has some agency and is determined to find out what is going on in order to save her father. This is tempered by the fact that she is incredibly gullible and almost  gets assaulted before she is saved, but she does get swindled out of cash.

Kyoya is the stereotypical slacker who is a chauvinist but has the potential for greatness through his sword fighting skills, if he inky applied himself. Their team up works as they save each other a couple of times and it all is sealed with a (consensual) kiss after the defeat of 3 henchbeaasts and a disciple before the Elder Demon God's are released into our realm.

The film has voice acting that is indicative of the quality for the time. The American President's daughter sounds Zelda: Tears of the Kingdom plummy British whilst the kid who helps them sounds like the dreadful Slow Poke Rodriguez who has a stereotypical Mexican accent that is from those banned old Tom and Jerry. The kids supposed to be a tween but sounds like an old man who's smoked 20 a day all his life. The dub is so bad but I love it; it is a creature of its time but my gosh is the animation and framing lush.

Overall, whilst definitely not amazing, Monster City is better than most anime from the 80s and isn't too problematic. It's worth the 80 mins or so of your time.

LINK- The Transportive Nature of Objects (And the Power of Mini Consoles)

LINK: Japan: My Journey to the East

LINK- The Last Guardian- Video Games As Art

LINK- Shadow of the Colossus- Book Review

LINK: Manga Exhibition at the British Museum

LINK- My One True Gaming Constant in Life- Nintendo

LINK- Akira Soundtrack Vinyl Review

LINK- The Midnight Library and the Idea That You Can’t Go Home Again

The Prisoner- Cult TV Series Review

I have been a film aficionado for a long time. My father brought me up on classics like David Lean's adaptations of Oliver Twist and Great Expectations as well as the various black and white classic comedies of Charlie Chaplin and Laurel and Hardy. However, I became interested in cult TV series and films whilst attending University. Our campus was media-centered and as a result it had a huge catalogue of videos to rent, free of charge. I ploughed through many often taking the maximum 8 out at a time and consumed them voraciously. As a result, I believe that I am quite literate in films and TV but the series that really attract me are the more offbeat curios that were before my time and appreciating them for what they were, whether that be Kolchak: The Night Stalker, Twin Peaks, Children of the Stones, Ghost Stories for Christmas, Tales of the Unexpected, The Twilight Zone (in my opinion, the pop culture lodestone for so much that followed) or the myriad of niche films and series of yesteryear.

There was one series that I kept hearing a lot about so I thought I'd right that wrong; I would watch The Prisoner. I knew of The Prisoner through The Simpsons parody but also from reading various publications and magazines that spoke of the series in reverential tones.

Viewing the show with no nostalgia attached, I could see why the series has maintained a cult status. Like Twin Peaks, of which I am a huge fan of, the more one delves into the quirkiness, the lore and the theories, the more one appreciates what was done. It has clearly inspired many shows including Lost, Kolchak: The Night Stalker, The X Files and so many more.

It is a singular show and it's tight 17 episode run keeps it evergreen by avoiding bloat and repetition... I mean, there's only so many ways you can attempt to escape by boat!

Patrick McGoohan is compelling in the role as 6.

The series is now seen as cult with its allegory of sociopolitics, but it was a prime time show when it was initially released. I don't know how Patrick McGoohan managed to get funding for it as it is so ahead of its time yet of its time; the Cold War was alive and well and the fear permeates this singularly psychedelic and Kafkaesque show with some real world analogies. However, it also embraced the Summer of Love with its fashion, crazy carnival of colours and The Beatles' All You Need is Love.

The show sure goes to some odd places, such as Once Upon a Time where 6 is brainwashed and regresses to certain points of his earlier life, or Free For All where he becomes a demagogue.  However, it does make a weird kind of sense and shows the hopelessness of it all. In the words of 2, it doesn't matter if it's East or West who control the Village, it is '... a perfect blueprint for World Order'.

In Free For All, which is a very disorienting episode that looks at electioneering, it examines democracy in a vapid society where there is the guise of free media and culture. It could be analogous for much of the world today.
In Chimes of Big Ben, a pretentious art competition sees 6 create a flat pack boat and sell it off as a chapel door with a cross. He wins the competition, after being heavily supported by 2, and wins. This sideways look at the pretentiousness and corporate interests in art is a very unsubtle thumb of the nose to the art work of the 60s.

Other episodes I particularly liked include Hammer into Anvil, which sees 6 do some outlandish things in order to confuse and befuddle 2 into thinking there is a conspiracy against him, and Checkmate, which sees 6 combine with other uncooperatives to escape from the island. But, who can he truly trust?

There were a few others that I didn't care for, generally amongst the latter half of the series, but they were still worth a watch as they added to the mythos of the show.

The finale, Fall Out, is an extraordinary piece of work. It is utterly incomprehensible at first viewing, at least for me, but by piecing ideas from various episodes you can make a kind of sense, much like Twin Peaks: The Returns episode 8. I don't get it all but think The Prisoner is all about the power of the individual which is supreme but also about how individuality affects the social fabric so it is oppressed by those in power. The reason 6 resigned and what he was involved in are not the important things here, nor is the question of who or what number 1 is. What matters more is the vibe of the show which looks at the surreal, psychedelic and counter-culture movements and how it is seemingly a threat to common society- a fear held by many Libertarians.

I read the essential I Am (Not) a Number: Decoding The Prisoner by Alex Cox and his theory is one that rings true for me. I can get behind his theory and, with the passing of time, it seems the most accurate in my understanding of what the series is about.

Overall, I loved the show and even thought the central mystery remains for me, like it does for my theories of Twin Peaks, it will remain long in my memory.

LINK- Children of the Stones: Cult TV Series Review

LINK- Dead of Night: Cult TV Review

LINK- The Stone Tapes: Cult TV Review

LINK- Tom’s Midnight Garden: Cult TV Review

LINK- Children of the Dogstar: Cult TV Series Review

LINK- How to be Perfect: The Correct Answer to Every Moral Question by Mike Schur- Book Review

LINK- The Good Place and Philosophy- Book Review

LINK- On And On And Colston ( Or, How We Kinda Sort of Learned to Talk About the Legacy of Colonialism and the British Empire)

LINK- ‘Natives: Race and Class in the Ruins of Empire’ LINK: Elden Ring- Videogames As Art

For the Love of Cult (and Prohibitive Costs)

I have a deep love of cult films and series and this admiration started a long time ago. When I got into the scene in the mid 90s, it was quite a cheap experience as people were getting rid of their old VHS tapes and so they could be picked up relatively inexpensively from charity shops, which were plentiful in my hometown of Barking. I also watched many films at my university as the University of East London *braap braap etc* had a media course. In between lectures and on my days off, I watched many of my most formative films and shows; it was here that I got into Twin Peaks and the ouvre of Krzysztof Kieślowski, Ingmar Bergman, Werner Herzog, Wong Kar Wai, Shunji Iwai and a multitude of others.

When there was a move to DVD, I found loads more variety in the types of VHS tapes in charity shops in Barking, as people migrated to the newer format with extras such as documentaries, behind the scenes, slideshow and the director and cast commentaries. As time moved on, and streaming became a thing, DVD sets were found for cheap in these shops as well as CEX...that is, until they weren't.

About 5 years ago, I noticed a huge spike in the cost of cult films and TV box sets sets. I used to be able to get old BBC sets for a few quid but now most are over £10. I think the reason is two fold- rarity and an ardent fan base. Let me explain.

Before, many of the series I watched or wanted were deemed niche but with the internet, short and long form video essays on YouTube and hate watching popularised by shows such as MST3K, the cult and niche has become more mainstream. Everything has been commodified, more so than ever before. I know I sound like a hipster, or an old man shouting into the clouds, but it's very annoying to see how much things are marked up from even just a couple of years ago. I noticed the same thing with retro gaming as games and console prices have going through the roof over the past few years; this has been further exacerbated by Covid where the comfort of ‘better times’ and nostalgia has made these products highly desirable. With cult films and series, things are not quite the same- the horror movies in CEX are the premium... especially Hammer and Amicus classics. As a friend said, YouTube is your friend but sometimes it's nice to support the creatives and have a copy of something physical so it isn't scrubbed from a digital service or an ephemeral file downloaded from arrrr friends online.

I have built up quite a good collection but, in this area, there is no way I am or could be a completist. Many companies do small limited edition runs and, unless I feel incredibly strongly about a film or show, I can't justify the outlay. I am glad that many more people are getting to enjoy under-appreciated or semi-forgotten shows but I hope things calm down a little and we don't have a bubble like the retro game scene has had over the past few years. I am an analogue millennial in that I like to have physical versions of some things. I'm not a luddite as I see the benefits of streaming, digital documents and downloadable content but I don’t want it to be ephemeral as streaming services do have a habit of scrubbing stuff.

Vampire Hunter D- Cult Manga OAV Review

In Japan, manga has been a part of the culture for a long time. The origins of manga are debated and The Handscroll of Frolicking Animals by Kitazawa Rakuten is considered a major influence, but generally it gained prominence in the post World War 2 era where artists such as Osamu Tezuka brought some levity and lightness to proceedings with Mighty Atom or Astro Boy as he's known in the West. Tezuka was to manga what Will Eisner was to American comics; the medium existed before their arrival but they brought it to the fore and forever changed it.

As a young boy growing up in east London, England, I didn't know anything about manga or anime but I was consuming it unknowingly through shows such as The Mysterious Cities of Gold and Ulysses 31.
One Saturday, I went into my local WH Smith and saw issue 22 of a magazine called Manga Mania and was taken by the big eyes, spiky hair style and tiny mouth and nose of the cover star that reminded me so much of the animation style I liked. When I picked it up, from the top shelf next to the more salacious magazines, I felt a bit of a rebel but upon opening it the kinetic imagery and artistry blew me away. Flicking through it I saw a mention of The Mysterious Cities of Gold in the letter pages and knew I had found something special.

I was lucky enough to visit Japan in 2013.

My uncle who was only slightly older than me, saw that I had an interest in manga and gave me Devilman and Akira to borrow on VHS- not bad for a 13 year old kid enthralled by this new genre. At the time Akira blew my mind, I didn't understand it then and don't even pretend to now but I knew that I was watching something special.

One of the other manga VHS tapes I was given early on in my journey was Vampire Hunter D. I watched it at the time and loved the moody art style and its similarity to Castlevania, a videogame series I enjoyed on the NES and Megadrive at the time. Since then, I have become more aware of the artist Yohitaka Amano, who contributed to the D design as well as the art for many Final Fantasy videogames. So, on this wet, cold and dark night I thought I’d settle down and watch the Vampire Hunter D OAV film.

In the film, the world's humans live in fear of the vampires and beasts that haunt the land. When a young maiden, Doris, is attacked and marked as the new bride for the evil Count she seeks help from a mysterious swordsman. Known simply as D, the dhampir (part human-part vampire) rides to the castle and an epic battle begins.

Watching the film for the first time in about 25 years, one of the things that struck me is how like a videogame it really is. D goes to the castle to confront the Count but is sent down into the castles depths. He then goes through a sort of boss rush where he fights against various creatures, including the three Midwich Medusa sisters, a ghost wolf, a spider throwing hunchback, before rescuing Doris. However, this continues the story on from where a game would usually end. Doris’ brother is kidnapped so D has to go back and rescue him, then he is killed but rises again before he has a final confrontation with the big bad.

This 1985 OAV is a handsome piece of work, obviously created with a good budget that takes advantage of the format of the time to be a tight 81 minutes. The film does contain lots of gore and there is a bit of gratuitous nudity as the young maiden, Doris, is in the shower for a non-essential scene but, surprisingly for the time it was created, it remains relatively non-offensive.

Manga was one of my first true loves and one that has survived to this day, at least to a lesser extent. Manga is in my lifeblood and even though it doesn't feature as prominently in my daily life as it once did for me, it was formative in my youth and for that I am still grateful. Films like this remind me why I fell in love with the medium in the first place.

LINK- Japan: My Journey to the East

LINK- My Visit to the Cartoon Museum in London

LINK- Manga Exhibition at the British Museum: Review

LINK: Preserving the Spirit of Media Past

LINK- The Transportive Nature of Objects (And the Power of Mini Consoles)

LINK- My One True Gaming Constant in Life- Nintendo

LINK- On, and On and Colston (Or, ‘How We Learned to Talk About the Legacy of Colonialism in GB’)

Twins of Evil- Cult Film Review

My love for old horror films started in my formative teen years. The BBC would show cult horror films late on Friday and Saturday nights in the early to mid-90s and, when we got Sky, late 90s/ early 2000s Bravo Channel. Some were the more salacious films of 60s and 70s European cinema, often in the horror genre but not always-  some were experimental pieces which had a deeply ethereal feel and long moments of quiet where the gorgeous scenery and silence would wash over you. It was here I first saw Circus of Horrors, Vampiros Lesbos, The Witchfinder General and many, many more.

It was during this time that I first watched Twins of Evil. I decided to revisit the film for the first time in over 25 or so years to see if it was worth the cult classic status it has acquired over time.

The story is quite simple: At a village where superstition reigns supreme, a young woman is burned at the stake for being a witch by a band of puritans. Maria and Freida, played by the identical Collinson twins, are placed under the care of their puritanical uncle, played by an ever reliable Peter Cushing. The twins are identical in looks but very different in nature with Maria being kindhearted but Frieda being selfish and hedonistic. When Frieda secretly allies with the pleasure seeking Count Karnstein (played with suitable arrogance and charm by Damien Thomas) and is turned into a vampire, her sister seeks to get her back but is it too late?

The film is based on Sheridan Le Fanu's Carmilla but apparently this film changes quite a lot from the source material. As it is, the film is a very simple story of good and evil and the nature of humans. It's not a deep character study like The Blood on Satan's Claw or The Wicker Man but it is quick disposable fun that shows Hammer at its cheesy average.

The cinematography by the awesomely named Dick Bush is solid and the Harry Robinson composed music surprisingly jaunty, especially over the opening credits as a poor woman is writhing in agony as the flames overtake her body. Director, John Hough, knows his remit and that is to let his star actresses take the spotlight and shine in their title roles.

The film is fine but that's it. The twins are solid in their roles whilst Cushing and Thomas play their roles with suitable gravitas but the story is slight and there are few surprises. It's a recommend from me for nostalgia's sake but there are definitely better horror films from the period out there.

LINK: Kolchak: The Night Stalker- Cult TV Series Review

LINK- Twin Peaks Retrospective

LINK- The Transportive Nature of Objects (And the Power of Mini Consoles)

LINK- My One True Gaming Constant in Life- Nintendo

LINK- On, and On and Colston (Or, ‘How We Learned to Talk About the Legacy of Colonialism in GB’)

LINK- ‘Natives: Race and Class in the Ruins of Empire’

LINK: Let’s All Create a ‘New Normal’.

The Witchfinder General- Cult Film Review

My love for old horror films started in my formative teen years. The BBC would show cult horror films late on Friday and Saturday nights in the early to mid-90s and, when we got Sky, late 90s/ early 2000s Bravo Channel was a real boon. Some were the more salacious films of 60s and 70s European cinema, often in the horror genre but not always-  some were experimental pieces which had a deeply ethereal feel and long moments of quiet where the gorgeous scenery and silence would wash over you. It was here I first saw Circus of Horrors, Vampiros Lesbos, Twins of Evil and many, many more.

For this dark season, I thought I'd watch the unholy trinity of British folk horror; The Witchfinder General, Blood on Satan's Claw and The Wicker Man. No, not the Nic Cage remake. Now, say it after me…

A true crime against nature.

I saw Witchfinder General on Bravo back in the late 90s/ early 00s I believe. I hadn't seen it since then but remember the violence being quite disturbing at the time.

It starts off with a quiet countryside scene with lush green grass and lolling sheep. It quickly cuts to a hangman setting up a gallows on a hill whilst  a mob drags an old lady up to it. Whilst the priest recites the last rites the noose is put around the old lady and the stool is kicked away from underfoot, she swings and it smash cuts to Vincent Price as Matthew Hopkins, the Witchfinder General, watching from astride his white horse. For a cold open, this scene is brutal and it doesn't stop there. The statement of intent has been set and it's not backing down.

The smashcut of Vincent Price is brilliant and the beginning is brutal.

The music by Paul Ferris kicks in to offer a brief moment to catch your breath as the credits roll. When the narrator sets the scene about 1665 and the English Civil War, we see that the rule of law is broken and cruelly inequal- dispensed without due process.

When a Roundhead soldier, Richard, is given leave after saving the life of his captain, he goes to see his lady love, Sarah. Her uncle gives him permission to marry his niece but wants him to take her away as the threat of being accused of witchcraft hangs over the area. The soldier returns to his regiment but, unfortunately, the following day the Witchfinder General comes to town and falsely accused the priest. He makes advances against the niece and, in exchange for a night with her, promises to free the priest. When Hopkins goes to a nearby town, his second in charge, John Stern, assaults the niece too. The priest is then dunked in the water and hanged for witchcraft as the niece's sway is lost.

The soldier returns to his love and promises to avenge the priest's death and the loss of her innocence by killing the witchfinders. What follows is a cat and mouse chase as the soldier looks to catch up to the witchfinders whilst they continue to carry out their dreaded executions.

The film is brutal in it's portrayal of violence done against the innocent and voiceless but the threat of cynical Puritanism and greed that underline this dark tale, still persist in today's world. The cinematography by John Coquillon is stunning shot as the beautiful greens of the beginning  contrast against the autumnal colours when Hopkins comes to town and brings his brand of justice. The costumes are on point and whilst you can tell that this isn't an expensive production, the economy of design lends it a charming period look.

Even after nearly 50 years, the depravity shown is still shocking but the tale of systemic violence done against women whilst the community watches is still relevant and prescient even of the rise of the far right and populism where hardwon womens' rights and liberties are being rolled back for a similar puritanical zealousness, underpinned by greed and power. Director Michael Reeves, who died tragically young, has created a film that has stood the test of time and is prescient.

LINK- Children of the Stones: Cult TV Series Review

LINK- Dead of Night: Cult TV Review

LINK- The Stone Tapes: Cult TV Review

LINK- Tom’s Midnight Garden: Cult TV Review

LINK- Children of the Dogstar: Cult TV Series Review

Captain Sindbad- Cult Film Review

I've been on a bit of a Sinbad binge lately, I mean who hasn't right?, and I had half remembered memories of this one from my youth, in my head it was a mixture of this with The Golden Voyage of Sinbad where the hero goes to an island to kill the beating heart of an evil dictator who has separated it from his physical body to make himself invulnerable. After some research online, I found the film I was looking for was the lesser known Sinbad film Captain Sindbad (1963) and so stepped up to watch it.

The story was similar to what I remembered but quite different in many ways: Sindbad (with an extra 'd' for some reason) returns from a voyage and heads home to his beloved Princess Jana. However, in his absence, her kingdom has been taken over by an evil warlord who cannot be killed as his heart has been stored away in a far off tower. What follows is a treacherous voyage through a swamp to recover the heart, kill the fiend and return the kingdom to its rightful rulers.

The story is pretty basic but it's Sinbad so we are expecting swashbuckling and 'browning up' of people to be 'swarthy' and of uncertain Middle Eastern heritage. However, it is a product of its time so should be understood and appreciated as such. I don't bear it any ill will.

The cast are all uniformly matinee players, with the broad acting style that entails, Guy Williams makes a likeable but pretty bland Captain Sindbad, Heidi Brühl is a beautiful but deadpan Princess Jana, Pedro Armendáriz chews the scenery as El Kerim, all 'Kill him', 'Take him to the dungeons' and 'Raise the taxes, no double the taxes' kind of  acting whilst Abraham Sofaer plays magician Galgo as a weak, simpering coward with no self-motivation or drive beyond simply surviving for the next few minutes. However, the matt paintings, costume design and set pieces are pretty sumptuous here considering the small budget this film undoubtably had.

The special effects are definitely of their time, featuring the evil El Kerim spinning court magician Galgo's head around and the invisible creature (show by stencilled footsteps, some sparkler effects and a green hue). The magician later does a spell to grow and stretch objects and, I'm not proud of this, my thoughts went straight to the gutter, but he uses it to gain access to El Kerim's ring which takes away the villain's power. What this is definitely missing is the wonder of Harryhausen’s creatures as they became the draw that stayed long in the memory after the often forgotten stories. There is a hydra type monster but that looks like a flimsy rubber model which has red led lights for eyes and fake looking smoke machine smoke. The fight isn't fluid but rather the protagonist flailing his sword around windmill style with no flair or skill. The fact the creature is taken out by a conveniently placed square boulder dropped by his crew from a nearby cliff edge makes the fight seem pointless. There is no kinetic drama in this fight compared to Harryhausen’s work but what is to be done (except three better Sinbad films). Later on, when Sindbad fights the glove in the tower, again, it lacks drama. The use of the swanee whistle when Galgo uses magic to get El Kerim to the tower is poorly conceived as it gives a everything a comedic tone. I'm not saying everything needs to be grim dark but a bit more consistency in tone would be much appreciated.

Overall, the film is a lesser Sinbad film as it lacks the drama and magical effects that really propel the story along. It is an okay diversion but not really one I can recommend unless you have fond memories of it from your youth.

LINK- The Golden Voyage of Sinbad- Cult Movie Review

LINK- The 7th Voyage of Sinbad- Cult Movie Review

LINK- Into the Unknown Exhibition Shines Bright at the Barbican

LINK- Ray Harryhausen: Titan of Cinema Virtual Exhibition Experience- Review

LINK- Children of the Stones: Cult TV Series Review

LINK- Tom’s Midnight Garden: Cult TV Review

LINK- On And On And Colston ( Or, How We Kinda Sort of Learned to Talk About the Legacy of Colonialism and the British Empire)

LINK: Japan: My Journey to the East

LINK- Pure Invention- Book Review

Hammer Glamour- Book Review

I have been a film aficionado for a long time. My father brought me up on classics like David Lean's adaptations of Oliver Twist and Great Expectations, the various black and white classic comedies of Charlie Chaplin and Laurel and Hardy as well as the Dynamation works of Ray Harryhausen.

My love for old horror films started in my formative teen years. The BBC would show cult horror films late on Friday and Saturday nights in the early to mid-90s and, when we got Sky, late 90s/ early 2000s Bravo Channel. Some were the more salacious films of 60s and 70s European cinema, often in the horror genre but not always- some were experimental pieces which had a deeply ethereal feel and long moments of quiet where the gorgeous scenery and silence would wash over you. It was here I first saw The Witchfinder General, Circus of Horrors, Vampiros Lesbos and Twins of Evil and many, many more.

I became even more interested in cult TV series and films whilst attending university. Our campus was media-centered and as a result it had a huge catalogue of VHS tapes to rent, free of charge. I ploughed through many often taking the maximum 8 out at a time and consumed them voraciously.

Hammer was a name that stood out to me as you were guaranteed a strong performance from a lead actor, often Christopher Lee or Peter Cushing, and lashings of blood and glamour. It was here that I came across many actresses who I knew from other works like Caroline Munro (Sinbad), Nastassja Kinski (Paris, Texas) and Madeline Smith (Live and Let Die). It seemed like horror was the genre many a young lady had cut their teeth on and specifically Hammer.

Cushing and Lee get all the credit but the leading and supporting ladies added so much to the productions and needed to be spotlit. The women were often glamourous and their acting skills overlooked by many, including the film makers themselves, for mere tittilation but the coffeebook Hammer Glamour looks behind the scenes and  presents black and white and colour photographs from the Hammer archives of these actresses.

Usually, each of the 50 actresses gets at least 3 pages as well as biographies including candid interviews from the surviving actresses or archival quotes from past interviews for those who are no longer with us. These are no mere puff pieces but actually quite critical of the treatment many of these women received from an often mysogynistic and sexist British film industry of the time. Many were told that the nude scenes or candid photos they reluctantly took part in would only be for 'foreign markets' only to find the scenes shown in the home UK market. The author, Marcus Hearn does not shy away from this and, whilst having a clear love of the studio and it's works, he is aware of these issues and has shared them here. It isn't all doom and gloom though as many actresses had an amazing time and were well treated, however, many left the industry jaded, dependent on drugs or alcohol, whilst a few even committed suicide.

The book is a handsome tome with good quality paper stock and crystal clear photographs. The layout of the pages is consistent with large photographs of the actresses in their film roles as well as promotional shoots. This book is a respectful look at the first ladies of horror and is highly recommended by me.

LINK- Into The Unknown Exhibition Review

LINK- Kolchak: The Night Stalker- Cult Movie Review

LINK: Kolchak: The Night Stalker- Cult TV Series Review

LINK- Children of the Stones: Cult TV Series Review

LINK- Dead of Night: Cult TV Review

LINK- The Stone Tapes: Cult TV Review

Kolchak: The Night Stangler- Cult Movie Review

A while back, I watched the 20 episode television series of Kolchak, after having had the DVD collection for years. I had heard it mentioned often when The X Files was at its peak. I thought the series was excellent and could understand why it had achieved cult status over the past 50 or so years; it had a late night pulpy horror charm. I’d also watched the first movie and found that the production values were high in this slower paced affair. The tightness of the film made it watchable and exciting, even with the dated makeup effects.

It was with some excitement that I watched the follow up movie, Kolchak: The Night Strangler. It follows our intrepid investigator as he is down in his luck in Seattle a year after the incidence in Las Vegas. A chance meeting with his old editor Tony Vincenzo places him on a path to track down a serial strangler in Seattle. Every 21 years, a sequence of murders occurs within the same few blocks and so Kolchak seeks the killer who has possibly discovered the elixir of life.

Like its predecessor, the show is well produced with great cinematography highlighting the cityscape of Seattle. The story is intriguing and Kolchak (Darren McGavin) has lots of fun interactions with the office staff as he is trying to save the case. The old Seattle catacombs are an excellent location for this mystery and lends the whole film that 70s griminess.

The Watch House- Cult TV Series Review

British children’s television series during the late 70 right up to the late 80s period were quite interesting; slightly spooky but not too spooky, with a tinge of creeping dread. I'd never heard of ‘The Watch House’ but, had heard it mentioned in the same tones as Moondial, Children of the Stones and The Owl Service. Just hearing it mentioned with those greats had me interested and so, over the course of an evening, I watched all three 30 minute episodes.

The story is quite simple:
Following the difficult break-up of her parents, young teen Ann is left to stay with friends of the family at an old life-brigade watch-house. Whilst cleaning it up, she realises that the place is haunted but what is the spirit (or spirits) trying to tell her?

No-one does creepy folk horror quite like the British and this sort-of ghost story is effectively produced, featuring lots of location shoots that add some sense of place and atmosphere to proceedings. For a 1988 production, I can imagine it costing quite a bit but the shoot really adds a gorgous setting in which to set-up this ghost story. The special effects are obviously dated and we're made on a limited budget but, when the shipshead comes alive and the flashback of the ghosts is revealed, they are effective.

Whilst some of the adult actors do come across as quite hammy and theatrical, and some of the child actors precocious to the point of annoying, the whole thing generally works. Sure the story is quite basic and doesn't linger in the memory like the shows that left their endings more open (such as Children of the Stones), but what we do have is a short serial with a feisty female protagonist (played by Diana Morrison) trying to get to the bottom of a mystery.

As an adult with no nostalgia for this show, it is pretty forgettable but I don't feel like I wasted my time on this. Not every show has to be an all-time classic and this is pretty basis but effective enough.

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