After her mother dies from a heroin overdose, Jeliza-Rose is taken from the big city to a rural farmhouse by her father. As she tries to settle into a new life in a house her father had purchased for his now-deceased mother, Jeliza-Rose’s attempts to deal with what’s happened result in increasingly odd behavior, as she begins to communicate mainly with her bodiless Barbie doll heads and Dell, a neighborhood woman who always wears a beekeeper’s veil. Continue reading
Why you MUST give Krull a second look….
Author: Nathan castle
‘Fantasy’, in the traditional ‘Dungeons & Dragons’ sense, in the movies is often seen by the general public as a warning sign (and often rightly so). On the surface, Krull does seem like standard fantasy cliche. Prince must rescue princess from monster. Not very promising so far, is it? Already starting to lose interest? YOU FOOLS! Consider these additional elements: An orchestral soundtrack by the mighty James Horner (Titanic), which is possibly the best score he has ever written, possibly even THE best score ever written; A brilliant mostly-British cast, including Liam Neeson, Robbie Coltrane, Tucker Jenkins and a host of other distinguished actors; A script which is so corny that it cannot fail to be fantastic when delivered with such hammed-up enthusiasm by the actors; and finally a few brilliant touches such as the boyhood-dream-weapon the Glave – a giant mind-controlled shuriken. This film falls in to the same category as Flash Gordon which was released a few years before – epic, brit-centric, totally entertaining masterpieces of camp grandeur. Don’t write it off until you’ve seen it enough to appreciate its subtleties. Continue reading
Plot :The Cat People originated way back in time, when humans sacrificed their women to Leopards, who mated with them. Cat People look similar to humans, but must mate with other Cat People. We follow brother and sister – who seem to be the only ones of their kind left
Without question one of the true classics of hardcore, Through the Looking Glass is yet another perfect example (like Café Flesh or even Thundercrack) of how porn can be used to craft and/or embellish a film so it works as erotica as well as a legitimate movie. Also released in a highly successful ‘R’ rated version, without the hardcore sex, “Glass” is a genuinely engaging and nightmarish supernatural/possession story with some superbly crafted sequences. The film is just alive with decadence and taboo, eroticism and depravity.
The effective music score, of harpsichord ditties and female harmonies, is co-credited to Harry Manfredini of all people, who would go on to do the classic Friday the 13th score. And this period sounding music works perfectly in highlighting the decadence of the movie…one of the most powerful and unusual hardcore films ever to be produced, and as such is nothing less but essential viewing for any fan of Exploitation, and extreme Underground cinema.” – Beardyfreak.com Continue reading
Scrooge is a 1951 film adaptation of Charles Dickens’s A Christmas Carol. It starred Alastair Sim as Ebenezer Scrooge and was directed by Brian Desmond Hurst, with a screenplay by Noel Langley. It was released as A Christmas Carol in the United States.
Comparison with the source material:
In the film, Mrs Dilber is the name of the charwoman, whereas in the book the woman was unnamed and the laundress was named Mrs Dilber. The charwoman’s role is greatly expanded in the film, to the point that she receives second billing in the list of characters. Continue reading
An evil troll, Torok, the transformed state of the ex-husband of an old friendly witch named Eunice St. Clair, has chosen her apartment building to be the heart of the restoration of the world he once knew. To do this he uses an Emerald ring, and takes possession of a little girl named Wendy, whose brother Harry immediately suspects something wrong. Torok, often in the form of the little girl, goes into each occupant’s apartment, hideously transforming people into plant pods. Continue reading
It has often been said that Jean Cocteau was the first major poet and writer to treat the cinema with total seriousness. But actually it was the cinema that made him into a major artist. “The movie screen,” he said, “is the true mirror refecting the flesh and blood of my dreams.” And one of his most poetic, dreamlike films was La Belle et La Bête.
Watching it now, you can’t feel its audacity as you might have done at the time. Faithfully, but not totally innocently, based on the fairy tale by Madame LePrince de Beaumont, it is almost purely visual, even if a Freudian analysis is possible. And it is certainly completely different in atmosphere and style from anything that had gone before, at least in the commercial cinema.
The team who made it in 1946 – and it was a team – broke a good many rules at the urging of Cocteau. Georges Auric’s memorable music didn’t so much underline the visuals as frequently cut across them, reaching a synthesis at vital moments. Henri Alekan’s equally extraordinary cinematography, which the studio described unsympathetically as “white cheese”, is the opposite of conventionally fantastic. Continue reading