Lifeforce - Cult Movie Review

A couple of years ago, I watched a documentary about Cannon Films called Electric Boogaloo: The Wild Untold Story of Cannon Films. I watched it as I recognised the logo from the trailer and it tickled something in my memory about a few films I had watched back in the 80s and early 90s. Watching it, I heard about the maverick and unusual lifestyles of Menahem Golan and Yoram Globus.

One of the films that was mentioned was 1985s Lifeforce, their biggest, most ambitious and expensively financed film. Unfortunately, it was not a success and contributed to the studios downfall however it has been reappraised and is considered by some as a bit of a failed folly but also a bit of a throwback gem. With this in mind, I thought I'd dive in a see what all/ lack of fuss (dependent upon your thoughts on the film) was about.

The films starts with an opening crawl about a joint American-British space mission to investigate Halley's Comet. We see the spacecraft approach the comet but an alien spaceship, which looks like a huge nerve cell, appears. The crew decide to investigate and find some giant dead bat-like creatures as well as two naked bodies, two make and one female. The astronauts decide to take the bodies back to Earth but all hell breaks loose as the female alien (played by the beautiful Mathilda May) escapes and seeks to revive her species by taking the life force of Earth's population. She starts off with London and as the apocalyptic events unfold a scientist and remaining astronaut from the initial voyage try to take her down.

I have to say, having watched the film I can see why it is considered a cult classic; it very nearly gets there but it just feels a little off in places to be considered truly great or a genre classic. The story of vampires in SPAAAACE is fun but is let down by wooden lead performances. It tries for John Carpenter but feels so much less so as the cast just can't pull it off- there is no actor of the calibre of Kurt Russell, Rowdy Roddie Piper or Keith David. Sure, we have May, who plays the ethereal alien woman and is naked all the time for sound plot purposes (I’m sure) or for the usual Cannon exploitative element, but there is no gravitas - even when an early Patrick Stewart steps in. What we have is a confusing film which mixes the usual sci-fi tropes with some lightly restrained titilation.

Mathilda May is a beguiling presence in this film.

However, I do have to say that the soundtrack by Henry Mancini is excellent and the VFX, which were supervised by John Dykstra, are amazing. The set design in the first 20 minutes is immaculate and still stands the test of time. The matte painting and miniatures skills of the artists is amazing and makes the alien ship interior look like a cohesive whole. The animatronic zombie husks are pretty effective but the scenes where there are riots and crowd scenes in London look pretty awful though. The background actors flail around and newspaper remnants are whipped up by the wind machine which looks cheap and tacky after the exciting introduction.

Overall, Lifeforce is still pretty watchable and quite entertaining. It hits the same spot as some of Hammer Studios’ lesser works in that you need to see it, at least once.

Countess Dracula- Cult Film Review

I have been an avid film fan for a long time, developing and growing my love for cinema by exploring the world of classic films that my father introduced me to. This included classic comedies like Laurel and Hardy and Charlie Chaplin to the epic works of David Lean and the sword and sandals films of Ray Harryhausen.

During my time at university, I immersed myself in cult TV shows and movies, taking full advantage of the tonnes of films available on campus. Despite being limited to borrowing only 8 films at a time, I managed to consume a large number of them. While I appreciated the wide variety of movies and shows, I have always had a penchant for the cult or unconventional. 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, Twins of Evil and many, many more.

One film that piqued my interest was Countess Dracula- the tale that intertwines the narrative of Dracula with the dark and disturbing real-life account of Elisabeth Bathory. She was a Hungarian noblewoman who gained notoriety for the heinous deeds of murdering virgins in order to bathe in their blood to gain eternal youth. It is a dreadful tale of one of the earliest known serial killers and thus would make a traumatising film as is, so the Hammerfication has made it slightly more palatable.

Central to the film is Ingrid Pitt's portrayal of the countess. She is captivating in the role, injecting a compelling element of drama into the role of an older lady who is enthralled by a younger soldier, played earnestly by Sandor Elés. She is a force of nature and demands attention on the screen- oozing charisma and confidence. The film's opulent sets and costumes contribute to its visually striking appearance, perfectly complementing its eerie storyline and gothic leanings.

The Kiss of the Vampire- Cult Film 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 some classic horror films from yesteryear. The Kiss of the Vampire, the 1962 production, is one very such film I sought out as it is a lesser known Hammer horror film.

The story follows a young well-to-do honeymooning couple end up stuck in some backwater in Bavaria. Whilst finding accommodation in a nearby hotel they are invited for dinner by Doctor Ravna, an aristocrat who lives in the nearby castle. It all seems too good to be true as the host and his family are revealed to be the disciples of  vampires. When the wife is kidnapped, bitten and turned into a vampire, her husband looks to rescue her from the clutches of the doctor.

This film is a gorgeous production with a vibrant colour palette, beautifully decorated sets and detailed costumes. The cinematography is excellent and sound design dramatic in just the right way. The actress who plays the wife Marianne, Jennifer Daniel, is beguiling in this and plays the role of the ingenue well. This film is unconventional in its ending too as there is no stake through the heart, great fire or anything of the sort. Rather an incantation brings about the demise of the coven of vampires. The special effects for this section are laughably bad but the idea is a good one- even though it is a deus ex machina

I would recommend this film as it is old skool Hammer and existed before the studio went through its difficult years of excess where there was too much gratuitous sex and violence. I'm not saying that there is no place for these but in short sharp bursts it's more effective than where Hammer ended up.

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

Captain Kronos: Vampire Hunter- Cult Movie Review

I've been reading Hammer Glamour, an impressive art book about the many actresses who played roles in the multitude of Hammer films. Hammer Horror actress Caroline Munro, an iconic cult movie figure from her time on The Golden Voyage if Sinbad as well as a kickass Bond girl, discussed her love of Captain Kronos, one of the films she starred in. I'd heard the film mentioned elsewhere and it was described as a bit of a cult classic so I thought I'd seek it out. Luckily, it was available on a streaming service I subscribed to so, snacks in hand, I settled down to watch it one evening.

I'd heard that it was a vampire killer movie so expected the usual Van Helsing thing but this is a different beast; it felt like an old Leone Spaghetti Westerns or Kurosawa films, where a lone traveller helps a people against seemingly impossible odds.

The film starts off with a cold open. A couple of young women are discussing beauty and vanity when a mysterious hooded figure approaches one of the women whilst the other is occupied. When the friend returns, she sees her friend has aged and is a husk of her former self. This startling opening is a great start to Captain Kronos: Vampire Hunter.

We then see a mysterious stranger riding across lush landscapes. He is followed by a wagon pulled by 4 white horses, riden by a man in a smart black suit laden with various tools of the trade- vampire hunting. On their way, the rider (revealed to be handsome Horst Jansson) frees a woman (Munro) who has been placed in stocks for 'dancing on a Sunday'. The dramatic music kicks in and the opening credits roll as the party travel across the country through beautiful landscapes and vistas. The film opening kind of reminds me of Aguirre: Wrath of God but this film doesn't have the sublime Popul Vuh soundtrack but rather Laurie Johnson’s boombastic and effective sound pallette.

We find that Kronos, and his colleague Grost (played with aplomb by John Cater) have been called for by an old comrade to investigate the death of the young girls in the area whose youth has been drained from them by a vampire. What follows is a cat and mouse game as Kronos closes in on the threat, but not before encountering some aggressive locals who don't like outsiders in their village.

I really quite liked this quite original take on the old vampire myth as it challenged a few of the old tropes and conventions; for example, when a young woman seeks solace and safety in a church a crucifix shadow, the crucifix shape moves and she is killed. This scene is pretty amazing and raises the stakes (dad joke-sorry/not sorry) as it shows that nowhere is safe.

The dialogue is pretty basic but I did like Munro's characters aphorism: 'Beauty fades eventually, but a kind soul remians forever.'

I thought the cinematography was well done too and the set design shows an economy of design; Hammer films were cheap and often reused old costumes and sets. However, this frugality lends the film a feel of authenticity with the grime and rot of the olden days that feels really lived in.

Overall, I thought it was a great watch, not a masterpiece but definitely worth your time at only 90 or so minutes.

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

Sinbad and the Eye of the Tiger- Cult Movie Review

Sinbad and the Eyes of the Tiger is the third and final trilogy of Sinbad films that stop-motion maestro Ray Harryhausen made for Columbia, the others being The 7th Voyage of Sinbad (1958) and The Golden Voyage of Sinbad (1973). It was not a commercial success apparently but I have fond memories of watching it in my youth, either on a rainy weekend or some national holiday or half-term. Of the three Sinbad movies created by Harryhausen and director Charles H. Schneer, this movie is the one I remember the most because of the iconic bronze minotaur creature but was my fondness well placed or was it sepia-tinted memories of a poor film? To answer this, on a typically rainy Easter half-term afternoon, I decided to watch it again and see- thus completing my journey of the three Sinbad films.

The story is quite simple, as it has been in each time; A sorceress (and evil stepmum) wants her son to ascend to the throne and so curses the actual prince of the land, turning him into a baboon. Along the way, she tried to kill Sinbad and his crew to prevent them from helping the prince but he prevails. He also learns of a way to transform the prince back in order to repay a favour and make himself a hero worthy of the princess. He travels to an island to seek advice from a wise man, Melanthius, who might be able to turn the prince back but they need to travel to the icy north. Will the plan work though?

Patrick Wayne plays Sinbad but, whilst he certainly looks impressive with his groomed beardline, curly hair and gold earring, his acting it a bit wooden and lacks charisma, a major flaw when you are the main protagonist who is known to be dashing, swashbuckling and daring. Jane Seymour is Princess Farah and does okay with what she is given, speaking earnestly and with a slight accent to make herself suitably 'Arabian'. Margaret Whiting chews the scenery as the evil sorceress Zenobia and is effective in a Mighty Morphin Rita Repulsa kind of way. Meanwhile, Patrick Troughton's Melanthius plays the old wise man well but makes ridiculous choices like giving a hornet a potion that makes it grow larger and it then proceeds to attack him: not so wise then…

There is earnestness in the acting but the plotting is wonky at best and the special effects are not as effective as they were in the earlier film. Harryhausen is still a master but the imagination isn't flowing fully here, sure the Minoton bronze minotaur is impressive looking (and is pretty much a glorified rower) but Talos in Jason and the Argonauts was better (and done earlier). The other fantastical creatures such as the gryphon and cyclops from the earlier Sinbad films are lacking here, being replied by a huge walrus and hornet, hardly the special effects showcase we'd come to know and love from the myths and legends of the Arabian Nights. However, the final battle between the smilodon and troglodyte is well staged and suitably dramatic but is too little to late to save this film from mediocrity- a sin with a world as ripe for interpretation as Sinbad.

That said, the matte art is impressive and the location shooting in Petra, Jordan and some Balearic isles makes it a pretty journey. The costumes are great too and the soundtrack and sound effects suitable for this type of movie.

Taking the movie as a whole, it is simple daft fun; it is still worth a watch but it does lack the heart and, dare I say, fun and creativity shown in the earlier Sinbad films.

Out if the three, I'd say this was the worst of the bunch but it isn't bad per se, just underwhelming.

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

The Golden Voyage of Sinbad- Cult Movie Review

The Golden Voyage of Sinbad is the second of the trilogy of Sinbad films that Dynamation stop-motion monster movie creator Ray Harryhausen made for Columbia, the others being The 7th Voyage of Sinbad (1958) and Sinbad and the Eye of the Tiger (1977). In the three movies created by Harryhausen and director Charles H. Schneer, it often sits comfortably in the middle or at the top but it's all relative and heavily based on nostalgia. Nonetheless, what it does have is a popular b-list cast of actors, amazing mythical monsters and a simple but engaging enough story.

The plot follows Sinbad as he comes into possession of part of a tablet which is dropped by a mysterious homunculus. He finds out that the tablet is a single part of three which shows a nautical chart to the mysterious land of Lemuria and a special treasure. Ably supported by the Grand Vizier Of Marabia, a slave girl (played by genre favourite Caroline Munro) and his loyal crew, Sinbad attempts to get to the Fountain of Destiny before the evil magician Koura (an effectively villainous pre-Dr Who Tom Baker) who wishes to extend his life and use the power for his own nefarious means.

I remember watching the film in my youth and falling in love with the Harryhausen monsters (as well as stunning Munro). The sweeping cinematography and Arabesque music lent it all a sense of the exotic and, I can say even after all this time, it is still thoroughly watchable.

Even though the production was made on a shoestring budget you wouldn't know it as the film has some stunning matte art for the backgrounds, seemingly inspired by the Angkor complex in Cambodia, giving it a sense of grandeur and space. The costumes are sumptuous and present the atmosphere of Arabian Nights. The dialogue is basic but does feature some great one-liners like, 'My heart is full of bravery but I have very cowardly legs.'

However, once again, it is the Harryhausen Dynamation process that raises the whole production as we see a possessed ship's figurehead come to life as well as mythical beasts like a centaur and griffin and the goddess Kali.

If you're looking for a quick matinee fix for a rainy afternoon over Easter, this is the movie for you.

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

The 7th Voyage of Sinbad- Cult Movie Review

The word myth comes from the Greek word 'mythos' which means 'to tell a story'. Myths are the oldest and most powerful of all story forms; they were usually passed on through spoken word as books had not yet been invented. They often carry an important message for a culture or group, their function was to explain, to teach lessons, and to entertain. Every culture has its own myths that are centuries old and even now through various mediums the creatures and monsters from myths and legends emerge.

For a certain generation of people the name Ray Harryhausen is synonymous with myths and legends. The mere mention of his name conjures up many images of wonderful creatures from such matinee classics as 'Jason and the Argonauts,’ 'Clash of the Titans' and the various Charles H. Schneer helmed Sinbad movies from the 50s, 60s and 70s.

Harryhausen was a legend, a genius, an artist, a filmmaker, a magician, but more than all of that he was an inspiration whose work inspired many generations of film-makers including such luminaries as James Cameron and Steven Spielberg.

I recently rewatched 1958 film The 7th Voyage of Sinbad for the first time in many years and was pleasantly surprised at how well the film held up.

The story has Sinbad and his crew travelling past the island of Colossa when they see a cyclops attacking a black-robed man. They come to his aid and rescue him, finding out that the man is a magician named Sakurah who was on the island seeking a lamp. He wants to go back but Sinbad refuses. In revenge, the magician shrinks Sinbad’s betrothed and slyly offers to restore her to her normal size if they go back to the island and retrieve the ingredients needed for the potion. Thus, Sinbad and his crew travel back to the island and battle the cyclops, the Roc, a dragon and the signature skeleton. Can Sinbad save his beloved and find out the truth about the evil magician?

Director Nathan H. Juran and Harryhausen are obviously having a lot of fun and turn Sinbad (played by a dashing Kerwin Matthews) into a swashbuckling Errol Flynn type hero. The Dynamation process, which combines video footage with the stop-motion beasts and shrunken princess (earnestly played by Kathryn Grant), is impressive and must have blown minds nearly 70 years ago. Sure, in this day and age the special effects have dated but what was achieved back then was mighty impressive. Throw in an impressive score, which I have been humming since seeing this film in my youth but could never quite placing until seeing this film again, by genius Bernard Herrmann, and you have a truely impressive audio-visual treat. Sure, it would be eclipsed by the later Sinbad films but what a great rainy Sunday afternoon film to watch with the family!

Kolchak: The Night Stalker- Cult Movie Review

Recently, I've finally 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. However, I'd never seen the made-for-television movies which predated the series so, whilst in the right mindset, I thought I'd give it a go.

This movie is over 50 years old and has aged pretty well.

Kolchak: The Night Stalker is the 1972 movie which follows a down on his luck investigative reported Carl Kolchak, exploring the murders of young women in Las Vegas. He sees it as a modern day vampire case whilst the local law enforcement see it as a serial killer. Kolchak is determined to find out the truth, which is indeed stranger than fiction.

The first thing to note is that the production values on this are high; the crowd scenes, the main strip car scenes and creepy house setting are well realised. It also offers a window into the past of Las Vegas, showing areas that, I'm sure, have changed and either been cleaned up and gentrified or left to decay.

Also, Kolchak's enlightened attitude to his girlfriend's showgirl night work is enlightening and especially ahead of the curve from the time. His characters attitudes are more forward facing than the inspector who claims the murderer must have been 'high on pot.' I'm not sure the murderer would have any enthusiasm and I'm sure there would be a case of the 'munchies' but this is an extreme case.

The movie is also a slower paced affair and cranks up the tension quite a bit, it's a lot less jokey than the television series would become but it is an interesting watch and has aged pretty well. The outside shots are well done and lends the film a sense of place, whilst McGavin's acting gives the character of Kolchak a likeable personality. The tightness of the film makes it watchable and exciting, even now. Okay, the makeup effects are dated but at least they don't look like dated Dorito-effect CGI (I'm looking at you ‘The Scorpion King’). Watch this film if you can, it’s a blast.

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

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