WAX MASK (blu ray)

THE WAX MASK(aka M.D.C. – Maschera di cera ,Italian 1997) (Blu Ray) release date Jan 31st,,2017 by One 7 Movies .$29.95 .color 94 minutes.      https://www.amazon.com/Wax-Mask-Blu-ray-Robert-Hossein/dp/B01N40CACQ/ref=sr_1_1?s=movies-tv&ie=UTF8&qid=1485396004&sr=1-1&keywords=wax+mask

THE WAX MASK is a wonderful throwback to the Italian Gothic Horrors of the 1960s, mixed in with considerably more graphic gore and nudity as was more permissible in 1997 when this film was made.

                       DARIO ARGENTO

Dario Argento, the reigning king of Euro Horror ,had tried for a year to raise funds to produce a film to be directed by Lucio Fulci. Fulci , who had his own niche in gory Italian horror (ZOMBI 2, aka ZOMBIE ,1979) ,had fallen out favor ,due to lending his name to projects that he was not involved with ,as well as Fulci being ill at various times from the early 1980s .

 

At first, they had thought of an update of THE MUMMY (Universal,1932) before deciding on a semi remake of HOUSE OF WAX(WB,1953, itself a remake of the 1933 WB classic MYSTERY OF THE WAX MUSEUM) .Fulci wrote a screenplay ,but more delays occurred due to Argento’s THE STENDAHL SYNDROME (1996.)

 Mystery Of The Wax Museum (WB ,1933)
Fulci passed away March 13,1996 from diabetes . Argento had the script reworked by Daniele Stroppa (who had worked on the screenplays for two of Fulci’s later films ,HOUSE OF CLOCKS(1989) and VOICE FROM BEYOND (1991) .How much the scripts  vary is unknown by this reviewer .
However ,to quote an interview with Massimo F Lavagnini (printed in DRACULINA # 24)
Fulci said:

 

…. I think we start shooting in September. About the story, I can say it isn’t a carbon copy of the original HOUSE OF WAX, which obviously inspired us. Our story is settled in 1915 in Torino. The protagonist is a frustrated artist who kills and becomes a monster, because of the faults of society. …………..We have seven or eight ultra-violent scenes . *

 

 

 

Sergio Stivaletti, who had handled effects for Argento on PHENOMENA(1985,aka Creepers) ,OPERA(1987) and THE STENDAHL SYNDROME, as well as DEMONS(1985) and CEMETERY MAN (1994),stepped into the director’s chair . Having directed second unit for Argento, Bava, and Soavi, he had picked up a few pointers on how to director horror with style. Supposedly, Stivaletti, who had been preparing the films effects, had only two weeks’ prep time. If so, it makes the film even more impressive.

The film opens December 31,1900 in Paris (why does every room in Paris seem to look out upon the Eiffel Tower in movies?). However, the new year brings the discovery of a gruesome double homicide, and the police find that the only witness is a frightened 12 year old girl.

 

The film then jumps 12 years ahead to Rome. At a brothel, Luca (Daniele Auber, who also works in effects, later winning an Emmy in 2002 for Outstanding Makeup for a Miniseries, Movie or a Special (Prosthetic)) bets others there that he can spend the night in a newly opened Wax Museum which recreates some of history’s most notorious killings. The idea of spending the night in a spooky place seems to be lifted from CASTLE OF BLOOD(DANZA MACABRA,1964),showing that the filmmakers know their classic horror films. Sadly, it does not end well for Luca,who supposedly dies frightened to death.

Museum owner Boris Volkoff (the name a nod to Boris Karloff?)(portrayed by French actor Robert Hossein (THE BURGLARS/Le Casse,Columbia 1971)plans a series of new exhibits to exploit the press that the unfortunate death brings to the museum .

Volkoff, however, has a dark secret -he and his assistant Alex (Umberto Balli,who seems to have only done one other film)are creating their lifelike figures by capturing people and then injecting them to keep them alive and immobile under the wax!

Volkoff hires Sonia (Romina Mondello, later in Harry Alan Towers’ DEATH, DECEIT, & DESTINY ABOARD THE ORIENT EXPRESS (2001)) to create costumes for the figures. Sonia however, happens to be young girl from the film’s opening, and the violent tableaux’s bring buried memories of her parents murder back. Luckily , Inspector Lavin (Aldo Massasso,later in Argento’s PHANTOM OF THE OPERA (1998) and SLEEPLESS( Non ho sonno ,2001))who had investigated the murders of Sonia’s parents is in Rome . With the help of Andrea( Riccardo Serventi Longhi,who appeared in the t.v. film CAVE OF THE GOLDEN ROSE 4 aka Fantaghio 4,1994,for Lamberto Bava) they start to see if they can uncover the mystery of the wax museum .

The ending is wildly delirious, and lurches into TERMINATOR (Hemdale,1984) territory. Up to then ,however, it is a gory tribute to older horror films with some marvelous effects (though the early CGI, in particular, the fire effects ,were not effective even when the film first came out).

 

Reviews were for the most part positive  like this one :

(Variety April 20, 1997 )
Gothic horror is alive and kicking in “Wax Mask,” a luridly entertaining return to the style of Britain’s Hammer productions of the ’60s)

 

and the film appears to have done decent business throughout most of the world, but only garnering a token home video release via Image Entertainment a few years later.
The French-Italian co-production looks stunning. From costumes to set designs, the film looks so much more expensive than it’s reported $1.25 million budget (though some estimates put it as high as $3 million). Adding to the sweep and grandeur is the magnificent orchestral score( with choir ) by Maurizio Abeni (who would also compose for Stivaletti’s THE THREE FACES OF TERROR (I tre volti del terrore,2004 ) . The English dubbing is good ,though some of the dialogue is a bit clunky.

 

The original VHS/DVD releases back in 2000 had very muddy colors and a dark print ,and though Dolby mixed the sound was very flat .

Now One 7 Movies (whose DVD release of JESTER’S SUPPER we reviewed back in 2015 https://www.facebook.com/SCARLETreviews/posts/1584658468439774 ) have released WAX MASK in a glorious 1080p version in 1.85.1 (original aspect ratio) blu ray .The Dolby Digital 5.1 sound really lets the score fill your room ,and the sound effects are quite effective. Most impressive are the truly vibrant and rich colors and the clean almost three dimensional photography by Sergio Salvati (who shot many of Fulci’s as well as many Empire films produced by Charles Band). I cannot say how marvelous the transfer is and it puts many a major studios release to shame.
Extras on the disc include
–Backstage Scenes– some raw video behind the scene footage shot during the making of the film . It is a fun look at the cast and crew working and relaxing during the production. In Italian.

–Special Effects Scenes– the effects team working on the practical on set effects used throughout the film .At one point they get a package from Tom Savini ,and look through his makeup book GRAND ILLUSIONS(Imagine,1983).Producer Argento watches fascinated as they test a mechanical robot arm . In Italian .

If you are a fan of Italian Horror, this is a must get disc for you. Many fans may have head of the film but up to now may never have seen it. Now is your chance to scoop this film up.
Recommended!

-Kevin G Shinnick

*- DRACULINA issue 24 appears to be sold out but you can always see if some valuable issues turn up by visiting http://www.draculina.com/draculina2.html

SABOTAGE (1939)

SABOTAGE(Republic,1939) B&W.67 minutes – Blu Ray released by Olive Films. $29.95 http://olivefilms.com/product/sabotage/ (also available on DVD $19.95 )

 

 

SABOTAGE is one of those films that very few film fans may be aware of. Not to be confused with Hitchcock’s earlier SABOTAGE (aka A WOMAN ALONE, General Film Distributors,1936) or his later SABOTEUR (Universal,1942), it does have certain parallels with those two films, especially the latter film.

 

While not a classic, it is a solid example of film making that came out of the Hollywood Dream Factory regular to fill cinemas.

Filmed under the title ‘HEADLINE NEWS’, it had been announced that Sidney Salkow was supposed to direct. When it went into production on August 12,1939 (wrapping by the end of the month), it was under the direction of Harold Young (who had directed the Leslie Howard THE SCARLET PIMPERNEL (London Films,1934) and later several Universal horror films like THE MUMMY’S TOMB (1942).

 

At the time, studios were being cautious of making product that might end up banned in Europe, and the U.S. was going through an isolationist mood.

 

Republic made most of their films for rural America, keeping their budgets low to make profit easier. Not being as dependent on overseas income, they were freer to tackle issues of spies. They may also have been encouraged by the box office returns by the then daring CONFESSIONS OF A NAZI SPY (Warner Brothers, released in May,1939), which did outstanding business despite being banned in certain countries.

 

War began September 1,1939 when Germany invaded Poland and in response England and France both declared war in response. Within a month and a half (October 13,1939) SABOTAGE was on movie screens.

 

While the Republic film does not name who is doing the espionage (as the United States would not officially enter the conflict for over two more years), audiences would infer that it was German interference going on in American factories.

Tommy Grayson(Gordon Oliver ,a good looking character actor who later switched back and forth from acting and producing for television on shows like PETER GUNN(Spartan,1958-1961) ,a mechanic at the Midland Aircraft Corporation ,has convinced actress Gail(Arleen Whelan, who played Sarah Clay in YOUNG MR LINCOLN,Fox,1939) to leave showbiz and marry him .She was afraid of the small town reaction to actors (we see later how they look down on her, so she was not being paranoid) but is convinced to stay when Tommy’s family goes out of their way to embrace her and welcome her.

 

The day before their marriage, a new plane is being tested, and the whole town turns out to watch the test flight. However, the test ends in disaster, with the plane crashing and burning (superb as always model work by the uncredited Lydecker brothers).

 

There have been other failures due to engines from the plant, and tests point to Tommy, as all the failing pistons came from his bench.

 

Major Matt Grayson (Charley Grapewin,most beloved as Uncle Henry in THE WIZARD OF OZ(MGM) from the same year) , and his Civil War Vet friends Mel(J.M. Kerrigan, THE INFORMER(RKO,1935)) ,Smitty (Frank Darien (Uncle John in THE GRAPES OF WRATH ,Fox,1940),and Eli (Lucien Littlefield(Dr Horace in SONS OF THE DESERT (Hal Roach,1933)) investigate to clear Tommy’s name .

 

The film surprisingly shows the dark side of Middle America (they readily turn on the Grayson family, blaming them for the factory closing). However, it also shows that when we work together we can defeat evil (subtly done by having vets from both side of the Civil War working together).

 

 

SABOTAGE is full of wonderful character actors, including Joe Sawyer as Gardner, who also works at the factory with Tommy. Sawyer is one of those actors who could go from good guy to bad guy with ease, and be acceptable as both.

 

Towards the end of the film, there is a scene that harkens back to the underworld capture of M(Nero-Film,1931), though here it is the vets from the various wars who capture the spies and bring them to the factory. Extra tension is within the scene as there is a bomb planted by the terrorists that is set to go off shortly.

The old vets are played very slapstick to provide comic relief throughout the movie so that they solve and fix everything is a nice twist.

One little continuity goof at the very end of the film has the happy hero & heroine flying off for the honeymoon. You see that a string of pots and pans afe attached to the tail as it taxis for takeoff, but when the plane is in flight the items are not there.

Olive Films has released a superlative clean and sharp print of SABOTAGE. The mono sound is pop and hiss free. The optional English subtitles ae clear and easy to read. There are no extras, though that such an overlooked film is released in such a magnificent print is reason enough to buy it.

I don’t recall seeing this film airing on Turner Classics Movie, so for many, this will be the discovery of a small gem of a film.

Recommended.

Kevin G Shinnick

(note -frame grabs are not mine and do not do justice to the sharpness of the actual print).

 

PS- for those surprised that there were still Civil War Vets in 1939, here is a photo from that same year of an actual Civil War Survivor .

THE CRAWLING BRAIN

 

THE CRAWLING BRAIN (2002) released 2016.Blood Banquet Theatre.
$10.99. DVD. Color. Shot on Video. Available from
http://bbtheatre.xyz/collections/1423514-blood-banquet-theatre-distribution-dvd-titles/products/18388604-the-crawling-brain-dvd

   “Has he health insurance?”Behind the scenes photo

 

If Andy Milligan (GURU THE MAD MONK, Nova Int.,1970) made movies for Independent International that were produced by John Waters, it would give you an idea of the craziness that is THE CRAWLING BRAIN.

The term “camp” was made for films such as this. The film is a loving if inept tribute to classic b movie camp like THEY SAVED HITLER’S BRAIN (Paragon/Gold key ,1968), BRAIN OF BLOOD(I.I.,1971) MAD DOCTOR OF BLOOD ISLAND(Hemisphere,1968) and most obviously, FIEND WITHOUT A FACE (MGM,1958). Gore and nudity are sprinkled liberally throughout.

The story has Stefan (Randal Malone) finding out his grandmother is the former nurse/lover of Franz Kindler (the name of the Nazi from Orson Welles classic THE STRANGER(RKO,1946)), a mad Nazi scientist who has his spine and brain placed into a tank until a new body can be found for him.

        (Young Anita Page Ziegfeld Follies;92 year Ms Page in this film)

 

The grandmother Anita is portrayed by then 92-year-old Anita Page, who starred in the first sound film to win an Academy Award for Best Picture, BROADWAY MELODY (MGM,1929). She passed away in 2008, her last film being released posthumously in 2010, FRANKENSTEIN RISING (Sterling), which also starred Malone.

The brain suddenly decides to take over Stefan, who manipulates his brother (Mark Shady) into helping him. Every once and awhile the brain crawls from its tank and takes things into its own-err— spinal column, and kills people itself.

People visit the house end up being used as experiments for surgery, until a new nurse named Jillian (Heather Beaton, EYES OF THE WEREWOLF, Leo Films,1996) arrives to care for Grandma. Jillian, it seems, looks exactly like Anita did when she was young (also played in flashback by Beaton) and it seems once the evil brain finds a new body for itself, Anita may have herself a new host body as well.

The whole film has a “Hey I got a camcorder, let’s make a movie” feel to it. Shot on video, the entire budget wouldn’t stretch to craft services for one meal on a T.V. show. That said, the film is unlike a lot of s.o.v. product at least competently put together, though the dialogue suffers at times from microphones being too far away.

Hey there IS a script!

 

Music (credited to Ronald Stein) sounds like it is mostly lifted from DEMENTIA 13(AIP,1963) with certain sounds effects taken directly from FIEND WITHOUT A FACE.

As to the “acting”, always a major bugaboo of mine in these s.o.v. films:

Randal Malone, who it seems has more than 50 films to his credit, minces through his part like a bitchy Divine wannabee.

At the other end of the spectrum we have Stephanie Beaton, who never seemed to get a film that truly showcased her actual acting talent.

The effects are a fun throwback to the onset physical effects of the films that inspired them (at points reversing the film has the spinal column appear to wrap around its hapless victims).

(Because You’re Mine, I’ll steal your spine ….)

A well -staged car crash surprised me, although I was left wondering did they just do the stunt and leave?

               (How dis-arming !)

Indeed, I wish there was a commentary track from those involved, to hear what it was like on set and their thoughts of the final product (and indeed, how they got Anita Page to be in their film).

Extras are limited to an alternate opening (full nudity as it stands now, topless nudity in the alternate, both supplied by actress Athena Demos) and an alternately edited flashback sequence (which I admit I saw no difference).

Also included is an over the top trailer that would have put people into their local drive ins had it been made in the 1970s. Finally, there are trailers for other films to be released by BLOOD BANQUET (including DEVILS’ NIGHTMARE(French,1971)).
Blood Banquet also sells a 3D version of MANIAC (Roadshow,1934), GRAVE OF THE VAMPIRE (Ent.Pyramid,1972), as well as other S.O.V. titles by Ron Ford.

Should you wish to see a modern-day exploitation film, leave your brain outside as you watch THE CRAWLING BRAIN.

Trailer.
https://www.youtube.com/watch?v=RMBNzl1tIsc

–Kevin G Shinnick

              (note:some photos courtesy BLOOD BANQUET,some Frame Grabs from the DVD).

 

THE INCREDIBLE SHRINKING MAN: The Most Incredible Film Ever Made

The Incredible Shrinking Man
The Most Incredible Film Ever Made

                                                                            By Randolph Thanos

“I felt my body dwindling, melting, and becoming nothing. My fears melted away and in their place came acceptance. All this vast majesty of creation it had to mean something and then I meant something too. Yes, smaller than the smallest, I meant something too. To God, there is no zero, I still exist!”

                                                                          

And those were the final words of The Incredible Shrinking Man in Jack Arnold’s incredibly stunning and visually breathtaking film of the same name.

The Shrinking Man

Released in 1957 with a screenplay by Richard Matheson*, THE INCREDIBLE SHRINKING MAN(Universal)  tells the story of Scott Carey, an average guy who is exposed to a mysterious cloud while on a boat at sea. Scott’s skin is covered with a glittering substance that he cannot explain. Scott returns home and he begins shrinking and the only medical explanation is that he has become a victim of atomic fallout. Scott soon shrinks so far down in size that his clothes no longer fit him, he is reduced to living in a doll house and he has to fight off a house cat and spider much larger than himself. Now living as a 3 inch tall man, Scott has now become the hunted and has to fight for his survival in a world that he once towered over.

I first watched this incredible film in 1972 when I was 9 years old. I wanted to stay up late to watch The Big Show of the Week and the film that was being featured that night was The Incredible Shrinking Man. The Big Show of the Week was normally off limits to this young television viewer so I had to sneak down stairs, sit in the adjoining hallway and watch the film through the living room mirror opposite the television. My parents could not see me so they were oblivious to my special seat and therefore could not refuse me admission.

It was nothing like my eyes had ever seen before. At the Canadian National Exhibition, I watched a beautiful woman turn into a gorilla that year, I witnessed a horrific car accident and the monster from hell, my French teacher who was really really mean but nothing prepared me for the horrors that would face The Incredible Shrinking Man.

In one scene, he has to fight off his house cat who now is clawing him down in terror, a once normal sized cat who now towers above him in height and that fight with the spider in the basement is one of the greatest fight for survival scenes in the history of cinema. All I could think about was what it must feel like to shrink so far down in size that one’s life didn’t matter anymore, that one’s life had no more meaning?

 

 

As a child growing up around adults who were much larger than me, I could identify with the discomfort and fears that The Incredible Shrinking Man was feeling, feelings of insignificance and anxiety at the vastness of the world before me. The Incredible Shrinking Man didn’t just terrify me, it made me really think about my own place in the world and since then I must have watched it over a hundred times and each time I am amazed by its cinematic wonder.

 

 

I especially love The Incredible Shrinking Man because the hero of the story never gives up. Sure he is depressed (wouldn’t you be if you were smaller than a house spider?) but for all his bleakness he proves that big things like a heroic spirit, perseverance and fighting strength comes in a small package, a very small package. The other reason I love this film is because it is a humanity tale of how ones stature in life can become diminished and all hope can be abandoned but one can still plot ones future. Things in the world of The Incredible Shrinking Man do not always turn out the way he has planned but this does not mean that life is not worth living and fighting for.

 

 

Another reason, I love this film is that it depicts the age old lesson that when life deals you lemons, you make lemonade. If you cannot live in a dollhouse, move to a match box as the hero in the story ends up doing. No matter how large or small we become, the universe is always going to be bigger than us and at some point we must face how insignificant we are in comparison but we can still remember that like The Incredible Shrinking Man, we still exist and it is our existence that gives our life meaning.
The Incredible Shrinking Man is not only ripe with philosophical and metaphysical meaning; it is full of amazing special effects for its time. Director Jack Arnold, who made other fantastic science fiction films like, It Came from Outer Space (Universal 1953   ), Creature from the Black Lagoon(Universal 1954   ) and Tarantula (Universal 1955   ), spent almost a million dollars to make The Incredible Shrinking Man. The special effects were not cheap and technicians worked for almost a year on the photography for the special effects alone. Prior to the days of green screen and CGI, the special effects for this time were created by the film makers incorporating a pain staking process of creating and inventing props and camera manipulation to help the audience accept that what they were watching was real. Giant props were incorporated into filming key scenes to make it appear that actor Grant Williams had really shrunk down in size. Many of the props used were actually constructed just for these incredible scenes such as a gigantic 15 foot mousetrap and a sewing needle over 12 feet long and a match box which towered over Williams. These gigantic props were 40 times larger than normal size. A pair of scissors that weighed 40 pounds, a pencil that was 21 feet long was used in the flooded cellar scene was among the incredible props.

 

One of the pivotal scenes involves an exhausting battle between The Incredible Shrinking Man and a spider. The spider used in the film was an actual tarantula named Tamara and was the same spider used in the film Tarantula. Other fun (?) facts about The Incredible Shrinking Man are that Grant Williams almost died during the shooting from key scenes like the flooded basement where he almost drowned and on another scene he almost faced electrocution. And the remember the scene of the water heater exploding, the giant drops you see falling over the Incredible Shrinking Man were created by filling up condoms with water to create the perfect water drops falling in perfect unison.
Many films I have seen as a 9 year old that have special effects have not really held the test of time, many of these effects now appear cartoonish but the special effects in The Incredible Shrinking Man have held up over the past 50 years because of the painstaking effort that went into them to create such memorable movie scenes not to mention the films central themes of isolation, existentialism, survival and loss that are prevalent in today’s world.

 

 

The magic of The Incredible Shrinking Man comes from not only these philosophical and metaphysical themes and the special effects but from the power that the Incredible Shrinking Man is a humanity tale for all times, it is a fantasy yet the viewer is left with the question: What If? What if we did become smaller and had to carefully orchestrate our way through the world that we had once taken for granted? Would we find our meaning in life or just let ourselves shrink away into nothingness? That is the real horror we must not only confront in the world of The Incredible Shrinking Man and that we must confront in our reality today. This is why The Incredible Shrinking Man still fascinates and terrifies me today, more than 50 years after its release. The Incredible Shrinking Man is the most incredible film ever made.

*-based upon his novel ,”The Shrinking Man” (first published in 1956 by Gold Medal

 

 

 

                                                                                                     (There is trouble in the marriage)

Win a free Blu Ray/DVD Combo of DEATH RACE 2050

UPDATE : January 18,2017. CONTEST OVER.  

WINNERS!!!!!!

Here are the winners of the UNIVERSAL /SCARLET DEATH RACE 2050 Blu Ray Contest .

Death Race 2000 was based on the short story “The Racer” by Ib Melchior.

The people who were picked with the correct answer were:

Sean Fernald
Los Angeles, CA

Allison Bennett
Peoria, AZ

Ken Sleeth
Lusby, MD 20657
Mike Shields
Prescott Valley, AZ

Joe Covert
Baton Rouge, LA

Congrats ! Universal‘s representative in the contest has been contacted with the winner’s mailing information .Their prize ,each to receive one blu ray combo of DEATH RACE 2050, is being sent. .

Thank you for all the entries.

DEATH RACE 2050 is AVAILABLE NOW FOR PURCHASE .
https://www.youtube.com/watch?v=NGOI1v-WXIM

Like & Follow  SCARLET THE FILM MAGAZINE REVIEWS for upcoming articles and contests!!

Update: January 17th, contest over. Winners to be announced!!!!  

UNIVERSAL PICTURES and SCARLET THE FILM MAGAZINE REVIEWS would like you to win one of five copies of the BLU RAY/DVD combo release of the new sci fi action adventure film DEATH RACE 2050 .

How to win :
Answer : What story and by what author was the original DEATH RACE 2000 based upon?

just send an email to scarletthefilmmag@yahoo.com
in the heading ,put DEATH RACE 2050 contest .

In the body of the letter,
put your answer
and
you name and mailing address .

Contest ends January 15th,2017 .

Five winners will be pulled from all entries .

Open to readers within the continental United States .

LEGENDARY FILMMAKING ICON, ROGER CORMAN RETURNS
TO PRODUCE THE MOST EPIC DEATH RACE EVER
AS PRINCIPAL PHOTOGRAPHY BEGINS IN PERU

ROGER CORMAN’S DEATH RACE 2050

The MSRP is $26.98 for Blu-ray and $22.98 on DVD.
AVAILABLE JANUARY 17,2017.

MALCOLM MCDOWELL STARS IN THE SENSATIONAL ACTION-PACKED FILM
DEBUTING ON BLU-RAY™, DVD AND DIGITAL HD
IN 2016 FROM UNIVERSAL PICTURES HOME ENTERTAINMENT

Universal City, California, February 18, 2016 – An outrageous action-packed film and reboot of the original Death Race 2000, Roger Corman’s Death Race 2050 began filming February 8 in Peru. Filled with the full-throttle mayhem and black-hearted humor, this all-new film drops the flag on a phalanx of automotive gladiators who earn points for killing pedestrians — and their fellow drivers. Roger Corman’s Death Race 2050 is an original release from Universal 1440 Entertainment, a production entity of Universal Pictures Home Entertainment. The film will be available exclusively on Blu-ray™, DVD and Digital HD in 2017.

The Original DEATH RACE 2000

In the decades since well-known independent film pioneer and Academy Award® winner Roger Corman first put the iconic anti-hero Frankenstein into the driver’s seat in Death Race 2000, this over-the-top cult classic has hurtled headlong toward cinematic immortality. Among the most enduring of the prolific producer’s legion of memorable films, Death Race 2000 has inspired a growing fan base that continues to propel the popular franchise as it marks the 40th anniversary of its original release.

“This is an amazing opportunity for me and millions of Death Race 2000 fans to experience the intensity, thrills and dark humor of the original, fueled by a terrific young cast, spectacular vehicles and side-splitting action, literally” said Corman, the trailblazing writer, director and producer. “Roger Corman’s Death Race 2050 puts the pedal to the metal to bring this enduring franchise to a whole new level.”

 

Roger Corman’s Death Race 2050 stars Manu Bennett (The Hobbit franchise) as Frankenstein, as well as Malcolm McDowell (A Clockwork Orange) as the Chairman, Burt Grinstead (“NCIS”), Marci Miller (Viper), Folake  Olowofoyeku (The Beaver), Anessa Ramsey (Footloose), Yancy Butler (Hard Target) and Charlie Farrell (Cantar).

The film is directed by G.J. Echternkamp (Hard Candy)  from a script by Matt Yamashita (Sharktopus vs. Pteracuda) and G.J. Echternkamp, and produced by Roger Corman (Death Race 2000) and Luis Llosa (Anaconda).

 SYNOPSIS
In the not-too-distant future, America is controlled by an all-powerful corporate government that keeps the masses placated with violent virtual-reality entertainment. The event of the year is the Death Race, where a motley assortment of drivers compete in a cross-country road race, scoring points for running down pedestrians and killing each other. The reigning champion and popular favorite is half-man, half-machine Frankenstein — but little does he know he’s taken on a rebel spy as his co-pilot.

BLU-RAY^TM, DVD AND DIGITAL HD’s exclusive BONUS FEATURES:

• The Making of 2050 – This featurette goes behind the scenes of Roger Corman’s Death Race 2050 to explore why, over four decades later, the original Death Race 2000 has been remade, including what made this project appealing to cast and crew, what changes have been made, and what fans of the original will still love. Discover the movie magic behind the deaths, stunts and of course — the cars! Includes interviews with stars, director G.J. Echternkamp and Corman himself.
• Cars! Cars! Cars! – Go on the set with the drivers of Death Race 2050 as they introduce their one-of-a-kind killing machines: Frankenstein and his Monster, Perfectus and his Piece of Art, Tammy and the Tank, Minerva and her Sound Box and ABE.
• The Look of 2050 – An insider look at how the film’s visual style came together, including how shooting in Peru helped set the tone of the picture and how the costumes became stars in and of themselves.

The Blu-ray^™ Combo Pack includes a Blu-ray^™, DVD and Digital HD with UltraViolet^™.

• Blu-ray^™ features a pristine high-definition picture, theater quality sound and  extras.
• DVD offers the flexibility and convenience of playing movies in more places, both at home and away.
• DIGITAL HD with UltraViolet™ lets you watch movies anywhere, and plays on your mobile devices.

Website: http://uni.pictures/DeathRace2050
Trailer: http://uni.pictures/DeathRace2050Trailer
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About Universal 1440 Entertainment:
The Universal 1440 Entertainment banner develops and produces live-action and animated non-theatrical productions directly for distribution in all media worldwide. Since its formation in 2005, the group has assembled an exceptional roster of animated family fare, including the Daytime Emmy®–winning Curious George television series for PBS KIDS; the latest installment of the beloved The Land Before Time series, The Land Before Time: Tale of the Brave; as well as a string of hugely popular Barbie and Monster High movies, based on the world-renowned Mattel-branded properties. The group also has successfully built upon some of Universal’s highly celebrated live-action franchises, Scorpion King, Death Race, Jarhead, The Man With The Iron Fists and the terrifying Chucky movies, as well as debuting the Tony Award®–nominated hit touring stage production Bring It On: The Musical and the epic sci-fi adventure hit Tremors 5: Bloodlines. Among projects currently readying for release are the explosive action-adventure Jarhead 3: The Siege; the adrenaline-fueled actioner Hard Target 2, and the high-energy dance drama Honey 3.

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BOSTON STRANGLER/PRETTY POISON Twilight Time Blu Rays

THE BOSTON STRANGLER ( 1968 Fox)116min        http://www.twilighttimemovies.com/boston-strangler-the-blu-ray             / PRETTY POISON (1968 Fox)89min         http://www.twilighttimemovies.com/pretty-poison-blu-ray/ –Twilight Time Blu Rays      $29.95 each Limited to 3000 pressings each

 

 

1968 was a banner year for movies: 2001: A SPACE ODYSSEY(MGM), OLIVER(Columbia), ROMEO & JULIET(Paramount), ROSEMARY’S BABY (Paramount), PLANET OF THE APES(Fox). Among those films were two marvelous murder thrillers, both from 20th Century Fox, one a box office and critical success (BOSTON STRANGLER) the other a box office failure that has developed a strong cult following that continues to grow (PRETTY POISON).

First, we have THE BOSTON STRANGLER.

 

THE BOSTON STRANGLER was a big budget ($4.1 million) film released October 16,1968. Critical reaction was mixed for director Richard Fleischer (20,000 LEAGUES UNDER THE SEA(Disney,1954) and his then daring split screen and multiple images to show various points of views at the same time (also used in GRAND PRIX (MGM,1966) as well as THE THOMAS CROWN AFFAIR (U.A.,1968)). There was a more unanimous consensus of praise for Tony Curtis and his daring and solid performance as split personality Albert DeSalvo. Curtis won a Golden Globe for Best Actor, which must have been thrilling for him, considering that he was not considered able to play the role, but had to win the role by taking photos of himself in makeup and having director Fleischer slip them to the studio head, who said that was the type that they were looking for!

                                                                   (old VHS  print from Key Video)

 

Based upon Gerold Frank’s best-selling well researched non -fiction book of the same title (Hardcover, New American Library,1966), there was difficulty in finding the right screenplay adapter. The original choice, Playwright Terrence Rattigan who wrote stage plays like THE WINSLOW BOY(London,1946) was a friend of producer Robert Fryer. However, the screenplay that he turned into a comedy! Luckily, cooler heads prevailed and writer Edward Anhalt (winner of an Oscar for the adaptation he co-wrote with his wife Edna for PANIC IN THE STREETS (Fox ,1950) produced a script that was more faithful in feeling to the Gerald Frank book.

 

Henry Fonda portrays John S Bottomly, who leads the investigation into a series of Strangle Murders in Boston. The police get so desperate they even resort to a Psychic to aide them. The killings continue unabated until plumber Albert DeSalvo is apprehended for attempted breaking and entering. A series of incidents and clues lead them to believe that DeSalvo is killer whom they have been seeking.

Tony Curtis is superb playing the family man who has a dual life and even a dual personality. The fractured screen shots and isolated images also perfectly encapsulate the isolation and separation that DeSalvo seemed to be suffering from. That he was not nominated for an Academy Award (the best actor award going to Cliff Robertson for portraying another person suffering from mental problems in CHARLY (Cinerama,1968)) is one of the major shames in the whole award process mentality, as he gives a superlative performance.

Besides Fonda, other great performances are given by George Kennedy (a year after his best supporting actor Oscar win for COOL HAND LUKE(WB,1967)) and Murray Hamilton (who had performed on stage with Fonda, but is perhaps best known as playing the Mayor in JAWS(Universal,1975)as two of the detectives who piece together the various bits of evidence, as well as various members of law enforcement and society being portrayed by William Marshall(BLACULA,AIP,1972),Sally Kellerman (MASH,Fox,1970),Hurt Hatfield (forever Dorian in THE PICTURE OF DORIAN GRAY,MGM 1945),Jeff Corey (SECONDS,Paramount,1966),James Brolin (still a struggling contract player at Fox at the time before rising to fame as a T.V. heartthrob on MARCUS WELBY,M.D.(Universal,1969-1976) ,and many more .

William Marshall

(William Hickey as a suspect )

 

 

 

 

The 1080P transfer Region Free transfer is sharp and clean. Audio is an optional 2.0 or 3.0 DTS-HD Master. There are optional English (SDH)subtitles.

Extras on the Blu Ray reviewed include:

-An isolated music and sound effect track. The score by Lionel Newman (COMPULSION, Fox, 1959) is effective, but, to me, not memorable on its own.

-An informative and nonstop Audio Commentary with Film Historians David Del Valle and Steven Peros that covers both the production history of the film as well its cinematic style, as well as a lot of information about the actual murders, the doubts that exists that if DeSavlo was the killer of all the victims, and where the film deviates from the facts of the case.

– “Real Killer, Fake Nose”- is over a half hour long documentary about the making of the film, and how innovative its cinematography and editing was for the time. Interviews include Sally Kellerman (who plays one of the victims) and Mark Fleischer (the director’s son) and D.P. Richard H Kline.

– “Split Screen Personality” -has director William Friedkin (THE FRENCH CONNECTION,Fox 1971) discuss the real-life events and the film, plus how the film influenced his style.

-Original Theatrical Trailers (approximately 4 minutes)

-An 8-page booklet by Julie Kirgo about the film

Two extras ported over from the Fox 2004 DVD release are

– “AMC Backstory: The Boston Strangler”- a nice overview of the film made for The American Movie Classics channel when it was still about movies.

– A Fox Movietone News clip (roughly 3 ½ minutes) from the era about Albert DeSalvo.

Like Most of Twilight Times releases, this is limited to a print run of 3000.

Highly recommended.

 

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Next we have PRETTY POISON.

PRETTY POISON was and is a quirky little thriller that failed to find an audience when first released. The screenplay by Lorenzo Semple Jr (fresh from T.V.’s BATMAN (Fox,1966-68)) is a fairly faithful adaptation of the short novel “She Let Him Continue “by Stephen Geller (first edition: Hardcover E.P. Dutton,1966), save for a reduction of the pill taking so prevalent in the book.

 

            (note,this paperback edition says filming for EMBASSY PICTURES!)

 

Director Noel Black had only had a short film released by U.A. before he was given his feature film debut. He had seen Tony Perkins on Broadway, and thought he would be perfect for the part of Dennis Pitts, a young man who had killed his aunt when he set fire to their home when he was 15. So, sure that Perkins was right for the role, that Black waited at Perkins’ request until the play closed before filming began.

Dennis Pitts, after his release, is stuck in a dead-end job at a local chemical company. To break up the monotony, he thinks of young Sue Ann Stepanek (Tuesday Weld, who had been acting since age 13 in ROCK ROCK ROCK (DCA,1956)). Weld was a perfect choice for this role of the young innocent who it turns out is not as innocent as she first appears.

Dennis tells Sue Ann that he is secretly a CIA operative spying on the factory for dumping chemicals into the river. His harmless fantasies however fuel an amoral side to Sue Ann, who becomes the dominant partner in both sex, wanton destruction, and finally murder, starting with her mother (Beverly Garland, star of many Roger Corman 1950s films).

Weld supposedly hated her director, and would often refuse to do as he asked or would break down in tears. Perkins had no such problem with Black, and the finished film was affected by the behind the scenes dramas. Weld & Perkins would work together again in PLAY IT AS IT LAYS (Universal,1971), another wonderful film that was also a box office failure.

Though not hired with it in mind, it is hard to escape the idea that this is a variant of Norman Bates for Perkins. Indeed, parts of it could be a template for PSYCHO II (Universal ,1983). The film also seems to me to be a precursor of Terrence Malik’s BADLANDS (WB,1973), albeit with a darker sense of humor than that latter film.

Shot over 30 days on location in Massachusetts, with only an additional day of studio work, the film was brought in for a 1.3-million-dollar budget.

Sadly,1968 was a year when random gun violence was on the rise, with the murders of Robert Kennedy and Martin Luther King Jr happening earlier. The studio, which didn’t seem to have much faith in the finished film, dumped it into 42nd Street double bills. However, when Pauline Kael and Rex Reed championed it, the studio gave it a more halfhearted art-house release, again with little support.

Director Noel Black never seemed to have ever gotten the chance to ever match this film. Several aborted projects, some barely released (MIRRORS,1978, First American Films), and a lot of tv work.

His biggest theatrical success was the teen sex comedy PRIVATE SCHOOL(Universal,1983). Towards the end of his life, Anthony Perkins tried in vein to get Noel Black as director for PSYCHO IV, which eventually was directed by Mick Garris from an awful Joseph Stefano script (Universal TV,1990).

 

It was only when PRETTY POISON began showings on t.v. in a heavily edited edition that a wider group of people began to discover the movie. A rather bland vhs release and a no frills 2006 DVD from Fox (the region 2 DVD at least had a commentary by director Black) were also both released without fanfare.

TWILIGHT TIME, once again, has gone all out on bringing this gem to the attention of the movie loving public, and what a wonderful job that they have done.

First, we have the beautiful 1080p High Definition transfer. The magnificent cinematography by
David Quaid (whose previous work varied from SANTA CLAUS CONQUERS THE MARTIANS(Embassy,1964) to THE SWIMMER(Columbia,1968)) gets a proper framing and clean sharp images.

The original mono sound can be heard in crisp 1.0 DTS-HD MA, with optional English SDH subtitles.

As for extras:
At this point (January ,2017), I think of those who worked on PRETTY POISON, only producer Lawrence Turman (age 90!) is still with us. Turman’s latest production was the 2011 remake of THE THING(Universal), so we are lucky that TWILIGHT TIME could get him for the audio commentary. With him are film historians Lem Dobbs and Nick Redman. The trio keep up a lively commentary.

Also included is the audio commentary from the 2004 region 2 DVD. This has director Noel Black and film historian Robert Fischer discussing the history and tribulations of the film,

Johnny Mandel’s music and the films effects sound track are given an isolated sound track on the disc. Mandel’s score strikes the right balance between a thriller and a romance.

Optional English Subtitles are also available.

Julie Kirgo once again supplies an informative 8-page booklet about the film.

The BluRay sleeve is reversible with a stylized drawing of Perkins & Weld.

Also included is the audio commentary from the 2006 region 2 DVD. This has director Noel Black and film historian Robert Fischer discussing the history and tribulations of the film,

An interesting extra is a text script scene that was deleted that has commentary by Black and Fischer.

This TWILIGHT TIME release is limited to only 3,000 units.

Once again, I must say, HIGHLY RECOMMENDED. I may just have to save time at this rate and say TWILIGHT TIME -HIGHLY RECOMMENDED for all future reviews.

–Kevin G Shinnick

 

(Did I mention the 1996 remake?I didn’t? Good, because it was pretty bad.)