Sister Midnight - Cult Film Review

For many of us, Bollywood isn't just a film industry; it's a foundational piece of our cultural identity, a vibrant, if sometimes predictable, force that has soundtracked our lives.

That deep-rooted familiarity is precisely what makes Sister Midnight such a startling and exhilarating experience—it’s the maverick film we desperately needed to shake the stagnation of mainstream Indian cinema.

At its core is Radhika Apte, an actress much like Emma Stone in that her career choices consistently show a more adventurous bent. Apte is fearless, choosing scripts that prioritize unusual vision over commercial safety and it is her presence here anchors a story that effortlessly mixes the deeply personal with the gloriously absurd.

The film takes the familiar cultural starting point of an arranged marriage and the modern malaise of ennui, and then violently shoves them off a cliff into the bizarre territory of vampirism and the raw, unflinching search for authenticity. These are waters few mainstream Bollywood productions dare to tread and the film is all the better for its audacity in portraying it in such an unusual and joie de vivre fashion.

What truly elevates Sister Midnight is its jaw-dropping aesthetic ambition. Writer-director Karan Kandhari's debut is a well-crafted visual feast, forging a true genre hybrid in Bollywood. There are elements of an introspective art film, a road movie, folk horror and stop-motion surrealism, all with gentle nods to Ozu, Kurosawa and Buster Keaton. Yup, it's a melange that works surprisingly well. This is all bolstered by an expertly placed soundtrack. This combination of styles and substance isn't just experimental; it’s extraordinary—it tells a story that literally could not be told any other way. Even as the film twists through its darkest and strangest corners, it never loses its pulse.

Sister Midnight is a brilliant, unsettling, and ultimately joyous experience. If there is any justice, this film won't just do well—it will establish itself as a genuine cult classic, carving out a new, surreal and authentic path for Bollywood’s future. Everyone likes masala films but there is always room for an original palette cleanser like this.

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Ginger Snaps - Cult Film Review

There are some films that just stick with you, even if you've only ever caught glimpses of them. For me, one such film has always been Ginger Snaps, now considered a bit of a Canadian cult horror gem. Released at the turn of the millennium, the film became a whispered legend among a couple of my friends. However, for years, my experience with it was frustratingly fragmented. Back in the late 90s, my friend Carlena had a knack for finding the most obscure and strange film, she was doing a Film Studies degree after all, so her house was our unofficial cinema, a place where we'd huddle around a flickering TV, armed with popcorn and a healthy dose of teenage bravado. Ginger Snaps was one of those VHS tapes that made the rounds. I remember catching unsettling scenes – a bloody nose, a tail transformation hand, the intense dynamic between the two sisters – but never the full narrative. Life, as it does, always seemed to interrupt. Now, nearly 25 years later, I've sought to rectify this oversight in my filmography. Armed with a proper streaming service (Amazon Prime) and an uninterrupted evening, I settled in to watch Ginger Snaps from start to finish. Now, let me tell you, it was every bit as good, if not better, than those fragmented memories suggested.

For the uninitiated (or those with fogged remembrances), Ginger Snaps follows the morbidly fascinated, death-obsessed sisters Brigitte (Emily Perkins) and Ginger (Katharine Isabelle). Their pact to die together before hitting sixteen is violently interrupted when Ginger is attacked by a werewolf on the night of her first period. What follows is a brilliant, bloody, and darkly humorous exploration of lycanthropy as a metaphor for the horrors of puberty, female adolescence, and the terrifying changes the body undergoes.

What truly elevates Ginger Snaps beyond a typical creature feature is its sharp, intelligent script. It doesn't shy away from the grotesque, but it uses the horror to amplify its themes. The bond between Brigitte and Ginger is the beating heart of the film, a complex tapestry of co-dependency, loyalty, and burgeoning resentment as Ginger's transformation pushes their relationship to its breaking point. Perkins and Isabelle deliver phenomenal performances, embodying their roles with a raw authenticity that makes their bizarre predicament feel eerily real.

The practical effects, a hallmark of horror from that era, hold up remarkably well, adding a visceral punch that modern green screen and CGI often misses. The transformation sequences are genuinely unsettling, a slow, painful unraveling of humanity that mirrors the awkward, often painful experience of growing up. But while it's undeniably a horror film, it's also laced with a biting wit and a surprising amount of heart.

Finally seeing Ginger Snaps in its entirety was like finding the missing pieces to a captivating, gruesome jigsaw puzzle. It's a film that was ahead of its time in many ways, tackling feminist themes within the horror genre long before it became a more common trend. Sure, it is of its time so some of the dialogue is a bit too edge lordy and clunky as was the style at the time ('On the rag' and 'He wants to get down your pants, stupid!') and the casual way a drug dealing dropout can attend a girl's PE lesson and talk to a student does not show the teaching profession in a good light, but it's smart, stylish, and genuinely unsettling, proving that horror doesn't need a massive budget to be impactful. In fact, many film genres, especially horror, can actively benefit from the economy of design due to budgetary constraints.

If, like me, you've only ever experienced Ginger Snaps in tantalizing fragments, or if you've never seen it at all, I implore you to give it a full watch. It's a cult classic for a reason, a howling good time that's as relevant today as it was when Ginger first started to shed her skin.

Daughters of Darkness - Cult Film Review

The dark and disturbing real-life account of Elisabeth Bathory, a Hungarian noblewoman who gained notoriety for the heinous deeds of murdering virgins in order to bathe in their blood to gain eternal youth, is well known. It is a dreadful tale of one of the earliest known serial killers and has been turned into several films, possibly most famously the Hammer Horror Ingrid Pitt vehicle Countess Dracula. However, I'd heard of another film version of the tale but a more controversial one: Daughters of Darkness. Suitably intrigued I tracked down a copy and, vegan sausage roll in hand (that's not a euphemism - I was just hungry) I settled down for a watch.

This big screen version introduces us to a modern incarnation of Bathory in form of the glacially glamorous Delphine Seyrig. Arriving at a desolate, off-season seaside hotel in Ostend, Belgium, with her beautiful and enigmatic young 'companion,' Ilona (a stunning turn by Andrea Rau), the Countess quickly sets her sights on the hotel's only other guests: a troubled pair of newlyweds, Valerie (Danielle Ouimet) and Stefan (John Karlen).

What follows is not a typical horror narrative, but a sophisticated, slow-burn seduction. The Countess, with her legendary legacy of perversion, senses the fragility and deep-seated dysfunctions within the young couple’s marriage. Seyrig, with her impossibly serene and seductive elegance, dominates every frame, her performance a masterclass in quiet menace and manipulation.

The two women subtly and deliberately insinuate themselves into the newlyweds' lives, unleashing a frenzy of suppressed violence, repressed sexuality and depraved desire. This version of the vampire myth is less about fangs and crosses and more about the seductive power of liberation and freedom from the shackles of convention.

Beyond the magnetic performances of its quartet of lead actors - the film’s visual artistry is paramount to its success; Daughters of Darkness is a glorious feast for the eyes. The deliberate pace allows the viewer to absorb the atmospheric set design of the grand, empty hotel, complemented by Eduard van der Enden's stunning, moody cinematography. With vibrant splashes of symbolic red, black, and ethereal blues, the film showcases elaborate sets and truly amazing costumes. Seyrig's wardrobe alone is a legendary aspect of the film’s decadent, timeless style.

Harry Kümel’s 1971 Belgian-French-West German co-produced film is one of the most exquisitely mesmerizing and transgressive films in the adult horror canon; it is a sumptuous, highly erotic psychosexual drama that moves artfully beyond simple titillation to create something truly intriguing and unsettling.

I did a little research after watching the film and found that its overt exploration of lesbianism, sadomasochism and dysfunctional sexuality made it a controversial sensation at the time - it was a picture that genuinely shocked both arthouse audiences and grindhouse crowds worldwide. However, in the decades since, this once-outrageous film has not only endured but grown in stature. Now viewed through a more appreciative modern lens, Daughters of Darkness is admired less for its sensationalism and more for its intelligence, style, and proto-feminist undercurrents, which posit the Countess as a potential liberator for Valerie from a deeply patriarchal and abusive relationship where she is being gaslit by her cad of a husband.

I can now see why this film is considered a true cult classic, revered today as a jewel of European Gothic horror whose style, sophistication, and psychological depth place it leagues beyond its contemporaries. It is a mesmerizing masterpiece.

Häxan - Cult Film Review

I've always been intensely interested in people's beliefs, cultures and the resulting social structures - it's what drove me to pursue a degree in Anthropology at UEL all those years ago. So, when I heard of a silent film from the 1920s that looked into witchcraft and the hysteria surrounding it I knew I needed a piece of that. On a cold October evening, with a cup of tea and a pack of digestives at hand, I settled down to watch director Benjamin Christensen’s Haxan.

The film is a quasi-documentary, exploring the history of witchcraft and superstition from the Middle Ages right up to the 1920s, but it's really a hybrid: part academic lecture, part lurid horror film and part social commentary.

The film opens with an extended sequence that acts just like a historical lecture, using close-ups on images of woodcuts, paintings, and texts to explain medieval cosmology and demonology.

Christensen then leans into a serious, chapter-based presentation, complete with illustrations and diagrams, with utterly terrifying and graphic dramatic re-enactments. These vignettes depict everything from Satanic Sabbaths (with the director himself gleefully playing the Devil) to the brutal torture and confessions of the poor women accused of witchcraft. It’s a shocking, grotesque and unflinching look at the persecution of women and the instruments of torture used to extract their false confessions. It is terribly horrific how these women were treated and living life - being in constant fear of being accused on being a witch - must have been an incredible hardship. Apparently, these scenes made the film so terrifying that it led to it being heavily censored or banned in many countries upon release.

The film's final section is particularly intriguing from an anthropological perspective. It attempts to re-contextualize the alleged 'witchcraft' of the past through the lens of early 20th-century psychology, suggesting that many of the supposed witches were simply victims of mental illness, particularly the diagnosis of hysteria. While this comparison feels dated now, I appreciate that the director was seriously attempting to use contemporary scientific thought to understand historical human suffering and belief system through an effort to contextualise the culture and paranoia.

For a film made over a century ago, one of the most remarkable things about Häxan is how surprisingly modern its technique feels. It’s incredibly prescient; the mix of archival imagery with a guiding, didactic narrative voice (conveyed through intertitles and the occasional wooden stick pointer on screen) is strikingly similar to the style of a contemporary video essay you’d find online today - just obviously more low-key due to the technology available at the time. There are a variety of visual tricks and techniques used including reversing film footage, stop motion and some early animation to convey the information in interesting ways so the 1 hour 45 minute runtime whizzed by.

Watching this, I am reminded of the works of Adam Curtis, in that both use a vast array of historical source material and dramatic re-enactment to construct a compelling, often unsettling, argument about how historical forces (like religious fear and misogyny) shape our present.

Häxan is an essential watch in my opinion as, it's not just showing you facts; it's weaving them into a visually arresting, polemical argument with a definite point of view.

Overall, Häxan is a shocking, brilliant, and still-relevant piece of cinema that has stood the test of time and shows how little has truly changed in the century since its creation.

Belladonna of Sadness - Cult Film Review

I stumbled upon Belladonna of Sadness (Kanashimi no Belladonna) through the intriguing corners of a Facebook group Incredibly Strange Films. The artwork alone, a swirling vortex of colour was enough to pique my curiosity. Little did I know I was about to plunge into a cinematic experience by Eiichi Yamamoto that was as visually stunning as it was emotionally raw, and one that definitely warranted a hefty trigger warning.

Set against a backdrop of medieval feudalism, the film introduces us to the innocent love of Jeanne and Jean. Their hopes for a blessed union are brutally shattered when they seek the Lord of the Manor's approval. Jean is violently ejected, and Jeanne suffers a horrific violation that leaves her broken in spirit and body. In her despair, a figure emerges – the Devil himself. He offers her power, a tempting path to revenge. Initially, Jeanne refuses, clinging to some semblance of her former self. However, as life throws relentless waves of hardship her way, she finds herself increasingly drawn to the dark bargain.

To call Belladonna of Sadness ‘strange’ is an understatement. It's an avant-garde beast, a mesmerizing and often disturbing tapestry woven from lush, flowing watercolors that form the majority of its visual landscape. Yet, this serene beauty is constantly disrupted and enhanced by a kaleidoscope of other animation styles, each transition feeling like a descent into a different layer of Jeanne's psyche.

The psychedelic sequences, particularly those depicting Jeanne's eventual pact with Satan, are a true highlight albeit a deeply unsettling one. The swirling colours and distorted forms, set to a hypnotic soundtrack, create a visceral sense of her descent. Then, out of the blue, a 70s musical number will erupt, somehow perfectly capturing the underlying emotion of the scene, be it anguish, burgeoning power, or a descent into madness.

Despite its artistic flourishes, the overwhelming feeling that permeates ‘Belladonna of Sadness’ is one of profound sadness. It's a lament for the violation and subsequent trials endured by this poor woman. As the narrative unfolds, it becomes clear that the film operates on a deeper level, exploring the historical subjugation of women and the terrifying absurdity of the witch trials.

Jeanne, with her knowledge of natural remedies, is inevitably labeled a witch by a community that ironically claims Christian piety. The hypocrisy of their actions, their willingness to condemn and ostracize her, leads to her loss of faith in their dogma. In its place, a different kind of power begins to bloom within her – a fierce independence forged in the fires of her suffering.

The film resonated with me on a similar level to Robert Eggers' The Witch. Both narratives center on a young woman unfairly blamed for the chaos and misfortune that befalls her community. In both cases, the true source of the darkness lies not within the accused woman but within the fear and prejudice of those around her. Jeanne, like Thomasin in The Witch, becomes a scapegoat, a vessel for the anxieties and insecurities of a patriarchal society.

Belladonna of Sadness is not an easy watch. It's visually arresting but often deeply disturbing. It's a film that will stay with you long after the credits roll, prompting reflection on themes of power, oppression, and the enduring consequences of societal prejudice. It's a testament to the power of animation to explore complex and challenging themes in ways that live-action often cannot. If you're brave enough to venture into its strange and beautiful world, be prepared for an experience that is both unforgettable and deeply unsettling. Just heed that trigger warning – you'll likely need it.

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Viy - Cult Film Review

I like to look out for quirky, strange, or cult films, as I find that there are often many fascinating ideas or unique themes that many mainstream films do not typically address or explore in depth; these unconventional movies can lead to intriguing conversations and allow for a deeper understanding of different perspectives within the realm of cinema. And so it was whilst looking through folk horror film lists that I first heard of the 1967 film Viy- a landmark of Soviet cinema apparently. With that kind of provenance it'd be rude not to watch it, so with the wood stove crackling away on a dark, cold and windy winter's night, I partook in this film.

Konstantin Yershov and Georgi Kropachyov created this chilling adaptation of Nikolai Gogol's short story, transporting viewers to 17th-century Kiev, Ukraine. The film follows Khoma Brut, a young seminary student (someone who studies scripture, theology and philosophy) who is more interested in revelry than piety, as he is tasked with performing a three-night vigil over the corpse of a suspected witch. This seemingly simple duty soon unravels into a terrifying ordeal that tests the boundaries between the living and the supernatural as he prays over the corpse of a woman who tried to seduce him in her crone form on one of his debauched nights. Over the course of the three nights, the test becomes sterner and the danger greater but will Khoma make it?

This visually arresting film, directed by Alexander Ptushko, delves into profound themes of temptation, sin, and the power of the supernatural and serves as a cautionary tale, reminding viewers of the dangers of straying from their faith and the importance of resisting worldly temptations.

Looking at the film now, with no nostalgia for it at all, I can say that I thought the story reminded me of Jim Henson’s The Storyteller series which also presented many European tales with a dark edge to them. Also, the section where the young men, freed from the seminary, go forth but get lost in the woods reminds me of Rudyard Kipling's The Way Through the Woods- another deceptively simple but incredibly creepy premise.

The film sets themselves are beautiful with vibrant colours and costumes that are lush and detailed. It looks like an expensive production and this lavishness extends to the special effects, which may look laughable now but at the time, and with I’d imagine a tight budget, were impressive. The film has little dialogue so the Russian vocal track shouldn’t detract non-Russian speakers as the visuals and simple story can be enjoyed by all. The actors, Khoma (wonderfully played with drunken indifference by Leonid Kuravlev) and young Pannochka (played by the beautifully feral Natalya Varley) are excellent in their role and are earnest in their portrayal of the respective characters. The soundtrack, by Karen Khachaturian, is wonderfully eerie in places and cheerful with the daytime countryside scenes or the rare moments of levity.

After nearly 60 years, I can see why Viy continues to captivate audiences with its chilling atmosphere and unforgettable imagery. It stands as a testament to the power of storytelling and the enduring appeal of classic horror.

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To The Devil a Daughter- 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, Twins of Evil, The Pit and the Pendulum and many, many more.

One of the films I'd seen only in passing was the Hammer horror film 'To the Devil a Daughter.’ I'd read the book by Dennis Wheatley in my teens but couldn't remember much about it. The film I only partially remembered as it featured Christopher Lee and a young Natassja Kinski, daughter of the legendary (and later found to be highly problematic for many reasons) Klaus Kinski. I remember her being beguiling in the film but grew to know her later through Paris, Texas. With the dark nights coming in, I thought I'd give 'To the Devil a Daughter' another watch as it had been about 30 or so years since I'd last seen and read it.

The story involves a battle between good and evil, as an excommunicated priest who has turned to Satanism (Christopher Lee as the understated yet evil Father Michael) battles against those who wish to stop his nefarious plans (Richard Widmark playing it straight as occult author John Verney). They want to use a young nun (an ingenue Kinski playing as Catherine) to act as a vessel for Satan's return. There is a constant game of cat and mouse as the opposing forces battle it out during the course of the film for the control of Catherine.

I thought that the premise was interesting enough but it lacks something - a bit of personality maybe. The characters are played straight and there is no hammy acting as in some of the earlier Hammer horror films but it feels very straight-laced and uptight. However, with many great British actors from the time, including a glamorous Honour Blackman and a suitably sweaty Denholm Elliot, so there is still a benchmark of quality.

It's an effective story, feeding into the whole 'Satanic Panic' that emerged from the counter-culture movement in the 1970s but lacks the bite of 'The Exorcist' or 'Rosemary's Baby'. However, the stock footage of old London is quaint and gives me a feeling of nostalgia, even though I was born 5 years after the film was made, as there were many buildings and sights I recognised, even though modern skyscrapers now dominate the skyline.

Overall, it's a strange film and was to be Hammer horror's last before it went into hibernation for over 30 years. It’s an interesting curio and well worth your time.

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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.

Young Sherlock Holmes- Cult Film Review

The 1980s was a golden age for cinema, offering something for everyone. From the high-octane action of Schwarzenegger and Stallone to the heartwarming coming-of-age stories of John Hughes, the decade was filled with iconic films that continue to resonate today.

When Young Sherlock Holmes was released in 1985 it looked like it would appeal to the youth demographic as it had some pedigree behind it; it was written by Chris Columbus, produced by Steven Spielberg and had involvement from Kathleen Kennedy. It all looked promising with this dream team of creatives but the film struggled to make back its £15 million budget. I didn't catch the film when it was first released, as I would have been 4 years old at the time, but caught it in my early teens. I liked the film immensely but thought I'd revisit the film and see if it had stood the test of time or whether my nostalgia had filtered an okay film with the golden glow of greatness.

The film has stood the test of time pretty well.

The film uses the characters developed by Sir Arthur Conan Doyle but reimagines them as pupils at secondary school. Narrated from Watson's view, we get a mystery as a successful businessman, a reverend and an ex-professor/ inventor are killed. Nothing seems to connect them except the fact that they all graduated from the same university in the same year. A cloaked figure uses a blowdart to infect the victims with a hallucinatory drug that leads to death but why are these people being killed? Using his powers of deduction, Holmes goes in pursuit of the truth and what follows is a tale of human sacrifice, a secret temple and a cult.

Watching this about 30 years after the first time, I do have to say that I think the film deserves to be remembered and appreciated as it is a bit of a forgotten gem. However, I also think I can see why the film did not find the audience it deserved; it's often the case that films aimed at a specific demographic can struggle to find their audience if they don't quite fit the mould. The scary hallucinations, which are integral to the plot of the film, set it apart from other movies aimed at the youth market but proved too shocking for many. It's a testament to Columbus who created a more complex and thought-provoking story that looked at the ill effects of colonialism and misadventure but when the opening scene, which sees a man hallucinating that his sentient chicken dinner is attacking him, his furniture is alive and that his house is on fire so he jumps from a window to save himself and dies upon impact, it is a pretty darned scary opening.

Later, the Pixar created CGI stained-glass knight and cemetery corpse puppets are very effective and would be too much for many a younger sensitive little soul. This is a shame as the rest of the film is an exciting adventurous tale full of intrigue and tension worthy of Indiana Jones (especially the Kali Ma sacrifice which here is the mummifying of the body of a teen girl, who is still alive, in wax) with the scary puppetry of Gremlins.

The production values are great in this film as the Edwardian Britain setting is well realised and brought to life with excellent sets and costume. The lighting adds a lot to the mysterious atmosphere and the music, created by Bruce Broughton, does much to crank up the tension when required but add levity and a sense of fun.

The actors are excellent all round but particular mention must go to the young actors Nicholas Rowe as Holmes, Alex Cox as Watson and Sophie Ward as Elizabeth, who excel with their roles, even if the script isn't as meaty or as quotable as many other classic films from the time.

Overall, the film was well produced, looked great and was acted and I enjoyed it immensely but won't be showing it to my kids for a few years yet.

Chungking Express- 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. It was also around this time that I really got into foreign language films, devouring the works of Akira Kurosawa, Krzysztof Kieślowski, Shunji Iwai and Wong Kar-Wai.

In the case of Kar-Wai, the first film I remember seeing of his was Chunking Express. I have the film on DVD in its Artificial Eye version and remember liking it. However, it has been 30 years since its release and about 27 or so years since I last saw it so I thought I'd revisit it.

Since watching the film, I have had the fortune and misfortune of staying at the Chungking Mansions twice. The first time, I had intended to stay there for just a couple of days whilst travelling through Hong Kong in 2011 on my 6 months sabbatical from teaching. Unfortunately, the Japanese earthquake put paid to my plans so I remained stuck in Hong Kong for an extra week whilst altering my travel plans to include Shanghai. Now, accommodation is incredibly pricey in Hong Kong and the Mansions were the only really affordable place so I stayed there, biding my time before I could travel on to Sydney, Australia.

The buildings have a bad reputation as a den of inequality and crime and, whilst they are indeed incredibly cramped and a huge fire risk (there was only a couple of lifts for the whole building from my recollections) I found the people there to be friendly, welcoming and reasonable with their prices for tourists like me. In fact, I had some of the most authentic Indian and Asian food from there and all at under £5 (in 2010 prices mind you).

The second time, my wife and I stayed there for a couple of days whilst on holiday for a week in Hong Kong from Cambodia. Indeed, my wife appreciated the food and great location but less so the cramped but clean room and the interminable waiting in the queue for the lift.

Anyways- away from my own personal reverie- watching the film now fills me with nostalgia as I can spot some places that seem familiar to me and feel the vibe that Director Kar-Wai and Cinematographer Christopher Doyle have captured so vividly in this work.

There have been several film movements which revolutionise the language and aesthetics of the medium including Soviet Formalism, German Expressionism, the French New Wave, Italian Neo-realism and Dogme 95. Film movements are the result of a shared common philosophy on the film-making process or a political agenda. The first Hong Kong New Wave included the works of Tsui Hark and John Woo, who were outward looking as Hong Kong and it's financial clout rose in influence in the late 70s and 80s.

The second Hong Kong New Wave, of which Chungking Express is a part of, took the references of Western globalisation but filtered it through a local cultural lens. There were anxieties about Americanisation, growing Western influence, mental health, isolation and, more worryingly, the handover of the territories back to China in 1997. These uncertainties bled into the post-modern films that looked at these concerns in an artistically creative way. The second Hong Kong New Wave style in Chungking Mansions reminds of the French Nouvelle Vague as both movements sought to break free from traditional conventions and experiment with new forms of storytelling- the two stories wend and wind into each other in playful ways.

The first story- such as it is- involves a policeman names Wu, played by Takeshi Kaneshiro, who operates in and around the Mansions. He is broken-hearted after being dumped by his girlfriend of five years, so he tucks into cans of nearly expired pineapples and calls up old girlfriends and acquaintances. It's very sad really. Meanwhile, a mysterious blonde-wigged woman operates a drug running business but when her mules run away she is on borrowed time to get them back. The pair meet by chance late night in a bar and connect after a tetchy initial exchange- both seem like lost souls and connect on this night in a platonic way, revealing a bit of their true self only to part and never see each other again.

In the second story, we meet Faye who works at a takeaway in the mansions. She likes her music loud and plays California Dreaming a lot. She meets a cop (played by a dashing Tony Leung) who is heart-broken after his air stewardess girlfriend leaves him. Faye falls for the cop but he is surrounded by things that remind him of his ex at home so he can't move on. She decides drastic action is needed and manages to obtain his house keys and slowly start to replace the items that illicit hurtful relationship memories as well as watering his plants, buying him new goldfish, getting him new bedsheets and cleaning his house.

Writing that I can see how problematic this sounds now but back in the mid-90s this was considered cute and not stalker-like behaviour. Different times man. Obviously, this is a romantic part of the film so flights of fancy are allowed but in real life this is most definitely a red flag and a long costodial sentence!
However, under Doyle's cinematography and Kar-Wai's direction, this is a whimsical tale of love in the most unconventional sense. The themes of love, loss and remembrance are central to the story but so is the idea that life is an adventure and we must be open to it.

The soundtrack for this film is amazing, taking in the South and East Asian melting pot cultures that exist in the Mansions and adding a dash of Western pop music from The Cranberries and The Mamas and Papas. The latter especially features heavily in this film.

I really love this film as the characters are not stereotypes but seem genuine and bizarre- y'know, real with agency, idiosyncracies and nuance. The storytelling seems freewheeling but is actually poetic, showing the real human interactions that can happen in oppressive big cities where it can be easy to be seen as another faceless person in a sea of people. The film is all about connection and this truth; people are more complex, less shallow and self-absorbed than they may appear at first glance. We are all idiosyncratic and individual in our own ways.

LINK: Japan: My Journey to the East

LINK: Battle Angel Alita: And So It Ends

LINK: Fire Tripper: Cult Manga Review

LINK: Akira Soundtrack Vinyl Review

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)

LINK: Hammer Glamour- Book Review

The 3 Worlds of Gulliver- Cult Film Review

I was doom scrolling through Amazon Prime seeking a new film or series to watch when I came across The 3 Worlds of Gulliver. The cover looked familiar and triggered some long forgotten memory I must have had, either that or some Mandala effect had occured by I was sure I must have seen this film at some point, probably in my childhood on a cold Winters day or Bank Holiday as was often the case when these types of films were often shown. I read that it was a Ray Harryhausen and Charles Schneer production and so I ordered it and waited with excitement. I am a huge fan of their work and had quite recently revisited the three Sinbad films they had collaborated on.

I am aware of Gulliver's Travels but only loosely. The premise of a man who travels and gets shipwrecked on an island where he is a giant to the Lilliputians is well known. However, I did not know that there were further adventures where he travelled to a land where he was small. Either way, the story of a compassionate and caring man dealing with man's vanity and hubris was a powerful political polemic by author Jonathan Swift on release. The ridiculousness and petty-mindedness of the situations Gulliver has to deal with shows the corrosive elements of power.

The first thing to note is that the opening music by Bernard Herrman is amazing, not Seventh Voyage of Sinbad amazing but definitely noteworthy as it sets the mood well. Actor Kerwin Mathews has a strong screen personality and is a likable personality. His fiancée Elizabeth, ably played by the tragic June Thorburn, complements him well and there is real chemistry on the screen but the musical-like interludes are intrusive and don't fit the film that well in my opinion.

The costume, set and sound design are all uniformly great and there are a lot of clever perspective shots using great matte paintings to give the illusion of space. However, there are only two of Harryhausen’s signature Dynamation techniques; one of is a squirrel and one a crocodile. The squirrel is especially impressive as it captures the jittery frenetic energy of the animal well but this is a short animated piece.

Director, Jack Sher, does a good enough job but it lacks the cinematography or director’s eye that stronger directors would have. What comes across is a solid piece of film making but neither dynamic or remarkable.

Make no mistake, this is a relatively low budget affair but economy of design has helped maximise what has been achieved, much like what The Singing Ringing Tree would achieve years later. It's a joyful and pretty innocent film and worth an hour and a half of your time.

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.

Excalibur- Cult Film Review

I'd heard a lot about John Boorman's Excalibur but had never seen it before. I knew of Boorman through his masterwork Deliverance but not much more of his ouvre.

Being British, the Arthurian myth is a huge part of our national identity. Myth, legend or based on some part of history, the tale of a boy who draws the sword from the stone to become king is a potent one. I had seen Disney's The Sword in the Stone but had also read a lot about the daring-dos of the knights of the round table in my youth. The animated show Prince Valiant was a firm favourite of my youth and I learned a lot of the lore and mythos from that alongside reading Mallory's Mort d'Arthur.

Excalibur covers the birth, rise and fall of King Arthur. Merlin is a more complex figure in this retelling, rather than a benevolent old father figure, he is sometimes an agent of change who makes some really poor choices for someone who is apparently so intelligent. The actor, Nicol Williamson, plays Merlin straight for the most part but there are flourishes of melodrama and humour. Whether this is a good or bad thing depends upon your tolerance for this broad acting style. Nigel Terry gives a solid performance as King Arthur, a man who dreams big but is betrayed by his greatest knight.

The rest of the cast of the film is impressive and features many actors who would go on to achieve acclaim and success later in their careers including- Patrick Stewart, Liam Neeson, Helen Mirren and Gabriel Byrne. There are also many actors who you will probably recognise from various TV shows from the 80s and 90s, including Hyacinth's Bucket's long suffering husband, Clive Swift.

One of the things I appreciate most about this film is the set and costume design. This film uses practical effects which, when combined with effective cinematography, created a cohesive whole. True, it is messy in places and does feel like a Cliffs Notes of the long and complex Arthurian story but the grime on the faces and costumes, purposeful lack of polish, and general lived-in atmosphere created adds a level of authenticity that many modern fantasy films lack. When Perceval goes on the Grail Quest, the story becomes more cohesive and focussed. The final battle with O Fortuna/ Carmana Burana playing as the knights ride through a recovering landscape with cherry blossoms falling is spectacular.

Overall, I liked the film just fine and, having never seen it before, my opinion is not based on nostalgia. I am nuanced  enough to overlook its 40 plus year old production values in order to appreciate its sheer exuberance and elegance. There are scenes in the film that are true spectacle and I am glad that Boorman reached for the stars. Whilst not achieving the success he would have liked, it is a singular film that is well worth a watch.

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

Return to Oz- Cult Film Review

I've have fond yet horrific memories of Return to Oz, which I watched in my early teen years. Like many films from the 80s (such as The NeverEnding Story, The Dark Crystal, The Secret of NIMH and Labyrinth) the film didn't patronise the youthful target audience; the film was a darker, more macabre children's film than had often been portrayed on the screen.

The story is quite interesting as we see Dorothy six months after the tornado took her house to Oz. Her aunt and uncle don’t believe her when she recalls her adventures and so seek advice from a clinic. After nearly undergoing electric-shock therapy, Dorothy escapes with a mysterious girl in the middle of a stormy night and finds herself back in a much-changed Oz; the yellow brick road and the Emerald City are in ruins and the land is under the control of the Nome King. With her new friends, Tiktok, Jack Pumpkinhead and The Gump, she sets off to rescue the scarecrow, the tin man and the lion. Along the way she faces the Wheelers (a rolling band of Mad Max-style costumed henchmen) and the horrifying Princess Mombi, who collects and wears the heads of the maidens of the land.

Back when this was released in 1985, I'm guessing people were clutching their pearls as they were used to the happy, singalong, technicolor Wizard of Oz movie which had turned into a bona-fide classic. I think in this day and age, where children are used to films such as Coraline, Monster House and Frankenweenie, something like Return to Oz would find a much more appreciative audience. The fact that this film was from the House of Mouse must have been additionally surprising, but people often forget that before the Disneyfication of fairy stories, the original source material was often much darker. Just think about the core themes behind Cinderella, Snow White, Beauty and the Beast and Sleeping Beauty; they are all horrific tales which support the status quo and the subservient role of women. Something like Return to Oz, where Dorothy fights against the patriarchy, must have been shocking in the macho 80s but Frank L. Baum’s stories are creepy as heck and, remembering them from my youth, quite trippy in places.

Adults nowadays know that children can handle being a little scared and aren't as fragile as they seem, in fact, many like being a little frightened and boy does this film have these moments:
- Dorothy being tied down to a gurney to receive electric shock therapy,
- The creepy wheelers with their 80s Mad Max style fashion, just with less leather,
- Princess Mombi chasing Dorothy whilst all her heads come alive,
- The Nome King appearing from out of the cliff face.

As well as these practical special effects, which give the film the same timeless quality as Jim Henson's The Storyteller or The Green Knight, and you have a film that really has stood the test of time extremely well.
Whatever the reason the film flopped, I don't care- I love it and think it deserves a reappraisal.

The Wolves of Willoughby Chase- Cult Film Review

I knew of the works of author Joan Aitkin initially through her books with illustrator Jan Piekowski, such as A Necklace of Raindrops. The Lotte Reiniger-style silhouette artwork is indelibly imprinted in my mind as my local library had a small recessed reading area with these art pieces displayed on large boards all around. It created a magical space that I loved and has remained with me over these 35 or so years.

I'd also known of Wolves of Willoughby Chase as I had seen it in my youth, probably on a wet Sunday afternoon as it does feel like a cozy family matinee movie. On a nostalgia kick, but also on a family film option scout, I thought I'd revisit the film to see if it would be a good one to show my own children.

The film is dark fantasy, kind of... As it is very much Victoria/ Edwardian England with workhouse, orphanages and stagecoaches but through the lens of an alternate timeline with King James III ruling.

On the Willoughby estate, the Lord and Lady of the Manor decide to travel for a while. In their stead they leave their daughter Bonnie and her cousin Sylvia with a new governess, Ms. Slighcarp. However, once the parents leave Ms. Slighcarp starts to show her dark side by being a cruel woman with a penchant for forgery. She plans to sink the ship the Lord and Lady are travelling on and gain access to the Willoughby fortune. What follows are escapades through the gothic secret tunnels of the daily home and adventures in a Victorian laundry workhouse.

The whole thing has a whiff of a made-for-TV movie but that's not a knock on it as it is effectively produced and is dramatic. Stephanie Beacham is beautiful yet imperiously cruel and scary in this film. She escalates things near the finale and the sight of her in the steam punk styles ice sledge is great. It's suitably daft yet dramatic, adding much needed drama to a quite melodramatic film. The two children in the main roles (Aleks Darowska and Emily Hudson) are pretty solid all-in-all but won't win any prizes for their acting in this role, however the other adults are quite broad too.

The film is cheesy yet sweet and, whilst there is no real peril for our heroines, a young lad does get squished in the laundry rollers. It doesn't reach the heights of later gothic Victorian set kids films like The Secret Garden or A Little Princess, which were in the early to mid 90s, but for an early 80s film, The Wolves of Willoughby Chase is quite effective.

Magnetic Rose (Otomo's Memories)- Cult Film Review

Katsuhiro Otomo is a manga legend, rising to prominence with his seminal masterpiece Akira. It was the first real breakthrough worldwide manga hit, spread initially by word of mouth and then gaining a cult fandom until it broke through to the mainstream thanks to the terrific but confusing film.

For his follow up work, Otomo went a little more left field, creating a comic anthology series of which 3 were turned into an animated film called Memories. I knew of the film due to the soundtrack that I purchased at Forbidden Planet for a then-princely sum of £25. I was intrigued by the cover and when I saw that one of the composers was Yoko Kanno, whose work I'd loved in 'Macross Plus, I bought it. The music was mesmerising, bringing together Puccini's Madame Butterfly with Kanno's wending jazzy brassiness. It is a hauntingly beautiful score and I played it for years before ever seeing the film.

In the late 90s, the emergence of the internet made buying, selling and trading anime much easier and so, after striking an friendship with a fellow manga and anime fan, I received a copied VHS of Memories.

Now, all three short films are worthy of attention but for this review I specifically want to shine a light on the first, Magnetic Rose. I only read one comic from the anthology series and that was Magnetic Rose, but that was after having watched the 50 minute enthralling sci-fi horror/ psychological film

I only recently found out that Magnetic Rose was written by the late, great, gone-too-soon Satoshi Kon who made Paprika, Perfect Blue, Millenium Actress, Paranoia Agent and Tokyo Godfathers, and looking at those works, the psychological angle is obvious. The storyline is about a salvage ship on their way home receiving a distress signal. Following protocol, they go to provide assistance only to find a graveyard of ships all merged together in the shape of a rose. As the crew explore the interior they encounter a facsimile of a baroque world but there seems to be a presence within which means harm.

I won't spoil it but the atmosphere created, enhances by the evocative operatic soundtrack, is second to none and the film will linger in your mind long after the denouement. The animation is sublime and has some of the most technically impressive multi-plane shots seen at the time, lending the film a lived-in free movement which is appropriate for space.

I've been into manga and anime for over 30 years and this particular film is one of my all-time favourites. Even after all these years, the film haunts me.

Chocky- Cult TV Series Review

I have a penchant for cult TV series from the 70s and 80s and, having watched quite a few of these serials, what I find holds up the most are the shows with an economy of design. Often, it is the simple production designs, sparing use of music and often the silences that create the moments of tension that bring many of these classic productions much acclaim. Even though I never watched them at the time, programmes like 'The Stone Tapes' and 'Children of the Stones' had stood the test of time and I found them incredibly watchable today with no nostalgia attached. The excellent writing and characterisation brought these works to life and it is no wonder that many of these series have left a lasting impression on the generations that watched them as a result.

The works of British sci-fi author John Wyndham have often been turned into movies and television series. I was aware of his work due to my father having read ‘Day of the Triffids’ back in the 70s when he was in school but I never had read any of his works. I watched the 1980s BBC Triffids series and found it enjoyable as his kitchen sink drama mixed with a sense of dread made his work instantly engaging. Wyndham also authored 'The Midwich Cuckoo' (which the ‘Village of the Damned’ series of movies is based on) and 'The Chrysalids,' which I read recently. I was less aware of his final written work, Chocky, but had heard that the Thames Television 6 part TV series was worth a watch and so, after liking his previous work, I watched the show. Was it worth my time?

Chocky, follows the tales of a young boy named Matthew (excellently played by Andrew Ellams) who develops a friendship with Chocky, however this friend is imaginary... or is it? Eager to find out if this imaginary friend may not be a figment of his imagination but rather an intergalactic intruder, the fraught parents seek advice in whether the presence is benign or malign and it turns their world upside down.

It's an interesting premise as it sounds very much like the demonic possession story trope that was popular in the 80s but actually it is much more nuanced than that; it is a tale about relationships. It could have been overacted and the drama could have escalated to ridiculous proportions but generally it is the growing bond between Chocky and Matthew as well as the familial bonds between Matthew and his father (ably and sympathetically played by James Hazeldine). Rather than panic, like the mother (again, wonderfully played by Carol Drinkwater), the father seeks to understand Chocky and seeks advice. This isn't to say that the mother figure is presented as a harridan or scold but rather she is concerned as even friendly possession is possession and so, frightening to witness in your child.

I thoroughly enjoyed the programme and loved the way the family dealt with this existential threat to their unit in a plausible and sympathetic way rather than descending into histrionics and melodrama. Wyndham is a quintessential British sci-fi storyteller, with his less is more and subtle approach. Chocky is wonderful stuff which brings back waves of 80s nostalgia; the hair, the fashion, the transport and the shops. Make no mistake, this is a Cold War inspired film about an alien host but this is one about mutual respect and understanding rather than blowing each other to oblivion. With a heartfelt message like that Wyndham’s final tale is one of hope and reconciliation. One we could heed in these interesting times.

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- Mario 3D World- Videogames As Art

LINK- The Last Guardian- Video Games As Art

LINK- The Mysterious Cities of Gold Retro Soundtrack Review

LINK- Twin Peaks Retrospective

LINK- Twin Peaks: The Return Series Review

A Chinese Ghost Story- Cult Film Review

Back in the early 90s, Hong Kong cinema (as well as much of world cinema) was still quite niche, cult and difficult to find in England. You'd get the occasional Bruce Lee movie on television and that was about it. I knew Bruce Lee through Enter the Dragon but that was it, my knowledge of the wider genre was very slim. That changed as Channel 4 (and later cable channels) started to show anime, manga and Asian Cinema more frequently and when Crouching Tiger, Hidden Dragon became a worldwide smash the floodgates opened. I may be misremembering but I think I was introduced to this film through Channel 4 or by a close friend who was a huge Jackie Chan fan before he became a 'name' in the West with the success of Rush Hour. However, by whatever means, A Chinese Ghost Story was one of the first HK films I saw and I fell in love with it, purchasing the Hong Kong Legends DVD for the then princely sum of £20 years later (that’s in the early 00s mind you so that’s mega expensive!)

Later I would realise that, whilst incredibly beautifully shot with sumptuous costumes and detailed sets, the film was a sum of the genre parts rather than a truly innovative picture. Another earlier Tsui Hark picture, Zu: Warriors of the Mountain (which I also purchased later, again by HKL) did a lot of what is shown here however, at the time I didn't mind as I didn't know any better and even now it doesn't bother me as the tale of a lowly, down on his luck tax collector falling in love with a spirit and trying to save her cursed soul still captivates me. The leads, played by Leslie Cheung and Joey Wong, are both wonderful with Cheung being awkwardly endearing whilst Wong playing all coyly seductive striking a magnificent chemistry. The swordsman, played by Ma Wu is amazing and his drunken rap is hilariously bad but purposefully so.

The wu xia string kung fu on show is sumptuously shot and the sight of flapping white veils against the dark blue nighttime sets is gorgeous and sets the appropriate spooky mood. The stop motion human husks look cheaply produced but with the tight budget this production no-doubt had, I can't complain as Director Hark makes them creepy and effective to the whole story. The last half an hour is just plain bat crazy with a evil bad who controls trees and has a giant slimy tongue, a trip to the ghost world and a battle to end all battles with the undead.

For those looking for some old fashioned fun horror, A Chinese Ghost Story is great watch, especially as all 3 movies are now on Amazon Prime.

The Color Out of Space- Cult Film Review

Whilst suffering decision paralysis, caused by having too many choices available on Netflix and Amazon Prime, I came across a film that popped up and intrigued me… The Color Out of Space. I was familiar with the short story from H.P. Lovecraft, having read it about 20 years ago, and had loved the strange premise of a meteorite landing on a farm and bringing dreadful consequences for the creatures and humans that lived in the area. However, I didn’t know how this story could be effectively adapted for the screen as Lovecraft’s Cosmicism and existential dread, about humanity’s insignificance in the eyes of unknowable beings, would lose its power if the creature (in this case, a colour) were presented on screen as nothing is scarier than the unknown. So, suitably intrigued I selected to see who was involved and upon seeing Nicolas Cage front and centre, it kinda clinched the deal for me that this was a must watch… the man is an enigma and is pushing acting boundaries- both good and bad.

I watched the movie late at night over a couple of days and, at times, it felt like a strange lucid dream. In fact, on the second night I had to rewatch 10 mins from the previous night as I wasn't sure that I hadn't fallen asleep and dreamt it. I can reassuringly say that no, I hadn't dreamt it and yes, it was in fact as strangely, magnificently, hauntingly beautiful as I had thought.

I only knew the director, Richard Stanley, from the amazing documentary Lost Soul: The Doomed Journey of Richard Stanley's Island of Dr. Moreau when he went into the rainforest and survived off the land, playing an extra under disguise after being fired from the film shoot. However, based on this film, I can say that he is a solid director and has great vision which would have made Moreau a more exciting proposition than what we ended up with.

The Color Out of Space is a glorious B- movie and the whole feel is very The Thing or, more recently, Annihilation as it is a slow burn that slowly brings out the scares without being too graphic or gory. Cage keeps it reigned in for the first hour before he starts to Cage Rage out but he never goes Full Cage (FC) or gives the powerhouse gonzo performance we are used to and expect (Think The Wickerman bees scene). Rather, this is a more tempered and measured approach with occasional FC elements like the alpaca shooting and 'family always sticks together' speech. The rest of the supporting cast are solid and play it straight.

The cinematography is stunning and there are moments of pure spectacle. The trippy visuals and practical special effects give the film a timeless vibe in that the CGI is very good for the budget and the practical effects work well in an 80s way- the period it most recalls in its homage to the sci-fi horror genre. The soundtrack by Colin Stetson is reminiscent of dark 80s synth wave but also with some heavier beats. Overall, it's an excellent soundtrack that complements this unusual film.

I know that this is the first of a planned Lovecraft trilogy and I eagerly await the next one, which I hope will happen even thought this film was disastrous financially but won general plaudits from fans and reviewers alike. If you have a spare couple of hours and want something very unique, this may well fit the bill.

LINK- Children of the Stones: Cult TV Series Review

LINK- The Stone Tapes: Cult TV Review

LINK- Dead of Night: Cult TV Review

LINK- Tom’s Midnight Garden: Cult TV Review

LINK- Children of the Dogstar: Cult TV Series Review

LINK- Supernatural (BBC): Cult TV Review