2017, cult, diy filmmaking, dvd, film, genre, independent, independent film, Joshua Kennedy, Mystery, OLDIES.COM, review, reviews, Rondo Awards, Sherlock Holmes, thriller, tv film radio books theatremusic storytelling horror mystery fantasy science fiction thrillers drama, Uncategorized

The RETURN OF SHERLOCK HOLMES (2016)

THE RETURN OF SHERLOCK HOLMES (Alpha New Video) DVD-r. Region 0. Released March ,2017. $ 7.98. 69 Min. Color. BONUS:  Lost in Limehouse (1933) B&W. 20minutes 33 seconds.

http://www.oldies.com/product-view/1103D.html
Sherlock Holmes continues to be popular with fans of mysteries ever since his first appearance in Beeton’s Christmas Annual ,1887. Stage plays, movies, radio, television shows, books continue to explore and exploit the Master Detective’s adventures in both canonical and original works. New fans discover the tales of Holmes and his Boswell, Dr. Watson, and celebrate his tales.
One of those is 22-year-old Joshua Kennedy. Beginning at the tender age of five, Kennedy has made a dozen projects, including this his latest. Kennedy is obviously a true classic movie buff, as his previous efforts have been inspired by the output of Ray Harryhausen ,1950s science fiction, and Hammer films. The director has been twice nominated for a Rondo Award.


THE RETURN OF SHERLOCK HOLMES is perhaps his most accomplished piece of cinema. The opening titles and uncredited music suggest the great Holmes adventures like THE PRIVATE LIFE OF SHERLOCK HOLMES (U.A.,1970). The cinematography and editing throughout the film are first rate. Camera set ups reference THE HOUND OF THE BASKERVILLES (Hammer,1959) and the Jeremy Brett series (Granada ,1984-94). The choice of locations (shot on or around Pace University, NY) for the most part suggest Edwardian London. The costuming is serviceable, considering the ultra-low budget under which that the film was shot. The story is a good one that weaves in elements of Arthur Conan Doyle’s “The Empty House” (1903) and “The Adventure of The Six Napoleons (1904), both later part of the collection The Return of Sherlock Holmes (1905).


Where the film fails for me is a common bugaboo in no and low budget films is one of the most important- the acting. Joshua Kennedy gives himself the lead role, and acquits himself quite nicely. He is energetic, quirky, and holds the viewer’s attention with his portrayal. Sadly, the rest of the cast is defeated by British accents, often cockney, that would make Dick Van Dyke wince.

(‘Oi!”)

 

The range of performances go from monotonic to wildly gesticulating. The best actor in the film, Mark Redfield, appears in a blink or you’ll miss it cameo as Professor Moriarty. Dr. Watson is played by actress Bessie Ellis. Having a female Watson follows the precedent set by James Goldman’s stage play THEY MIGHT BE GIANTS (London,1961, later the basis for the 1971 Universal film) and more recently delightfully played by Lucy Liu on TV’s ELEMENTARY (C.B.S./Paramount ,2012-). Interestingly, all the women Dr. Watsons are intelligent companions to Holmes, often providing essential information to the Master Sleuth.
I wish that these films would take that extra step and audition performers who can perform. For me, a grating performance takes me out of a film faster than an ineffective special effect.


It would have been nice had there been a commentary track on the making of the film, as I am sure that many like myself would be interested in the director/writer’s process. There is a blooper reel (8 minutes 23 seconds) that shows that the cast and crew had an appropriate time making the movie, as well as how carefully shots had to be set up or modern traffic would be shown rolling by.

An interesting extra is the two-reel comedy short LOST IN LIMEHOUSE or LADY EMSERELDA’S PREDICAMENT (Masquers Club ,1933). The Masquers Club is an L.A. group founded in 1925 by former Broadway actors who moved West to make motion pictures and would be instrumental in helping to form The Screen Actors Guild in 1933.Their motto is “We Laugh to Win” and they would often put on skits or “Revels “of which proceeds went to various charities. From 1931 to 1933 the Masquers produced a series of comedy shorts that were co-produced by R.K.O. Radio Pictures. Their best remembered work is THE STOLEN JOOLS (1931) which had a large cast of major film stars, such as Laurel & Hardy.The Masquers,note Boris Karloff

LOST IN LIMEHOUSE is a broad spoofing of Victorian melodramas with British Stiff Upper Lip clashing with cads and dastardly Tongs. Lady Esmeralda (Laura LaPlante, best known for Universal’s 1927 silent THE CAT & THE CANARY and 1929’s SHOWBOAT (released silent and sound)) seeks help from Sheerluck Jones (Olaf Hytten, later to appear in a small role in Universal’s 1942 SHERLOCK HOLMES & THE VOICE OF TERROR) and Hotson (Charles McNaughton). Her father, the Duke of Dunkwell (Ivan F Simpson) is held captive by mustache twirling Sir Marmaduke Rakes (John Sheehan). The trail takes them to Limehouse, where they meet tongs led by a Fu Manchu like evil mastermind.

 
The film is pure silliness, full of lines like: “It was then I realized my dear Hotson that the victim was dead.” “How did you deduce that?” “His head was missing.” Plus, when someone sneezes at one point, they are clearly saying “Hashish!”. The film ends with everything blowing up (via some stock footage). Silly but fun.

 
How much you enjoy this disc depends on how much you are willing to overlook budgetary constraints (I was) and the mixed acting (I couldn’t for the most part). That said, Kennedy has a loyal fan base and I am sure that this disc will be well received.

 

 

See the trailer here: https://www.youtube.com/watch?v=I47tddDo8UA

Kennedy already has another film finished (his last as a Pace University student, a remake of THE OMEGA MAN, W.B.,1971) and was doing a Kickstarter campaign to do a tribute to Harryhausen in an upcoming story of THESEUS AND THE MINOTAUR.
I understand that Kennedy is planning on moving to England. Perhaps when there, Kennedy will do a Holmes sequel using actual London locales and a stronger cast.

Kevin G Shinnick

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THE CRAWLING BRAIN

 

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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

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   “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.

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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.

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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.

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        (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.

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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.

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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.

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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.

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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.

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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.randal-malone

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.

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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).

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(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?

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               (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).

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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).

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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)).img_20170117_114835
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.

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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

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Kevin G Shinnick

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

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NO STOPPING THE STOVER

NO STOPPING THE STOVER – (ALPHA NEW CINEMA,2016). Color /B&W. 91 minutes. Documentary /DVD. $7.98
Available at

http://www.oldies.com/product-view/1100D.html

 

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2016 is shaping up to be the year of the Stover. Retromedia just released a limited edition of THE ALIEN FACTOR (reviewed recently https://scarletthefilmmagazine.wordpress.com/2016/07/08/the-alien-factor-1978-limited-edition-blu-ray-1000-copies-only/ )

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and he has at least nine (!) films that he appears in awaiting release or currently filming, including MANOS RETURNS, NIGHT OF THE LIVING DEAD: GENESIS (which stars Judith O’Dea from the original N.O.T.L.D (Continental,1968)) and RETURN OF THE DEVIL BAT (which co-stars Lynn Lowry (THE CRAZIES, Cambist Films1973), Ruby LaRocca (FLESH FOR THE BEAST, Media Blasters,2003), and Conrad Brooks (Ed Wood star). Now for his 70th birthday, we have a documentary of the life of the Baltimore Maryland cult film actor.

MANOSRETURNS

One of the nicest and modest people whom you might ever wish to meet, George was in the forefront of self-publishing genre fanzines, publishing the tiny wonder BLACK ORACLE.BLACK O                                           For ten issues, this ¼ size fanzine sold bloody hair hunksBloodyHunksRev                     as well as wonderful articles overlooked by a lot of the larger genre magazines. cinemacabre7Later he followed it up with another slicker fanzine called CINEMACABRE that published at least seven issues.

Having acted in a college school authorized production of a STAR TREK play called ‘One Cube or Two?”, wherein he played an alien in heavy makeup, Star-TrekStover continues to appear in off beat film roles. His first was in John Waters classic FEMALE TROUBLE (Saliva Films,1974) and he soon became a staple in Maryland Indie filmmaking, while supporting himself working in a regular 9 to 5 job.

He endeared himself to genre fans when he began appearing in films by fellow fanzine publisher(CINEMAGIC) Don Dohler. He appeared in Don’s first feature length film THE ALIEN FACTOR (Cinemagic Visual Effects, 1978) and appeared in all of Dohler’s films in roles of various sizes throughout.

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  (I think my favorite Stover performermance in a Dohler produced film ,STAKES ,2002 Timewarp Films)

In February,2012, George was attacked and robbed in his own home by a career criminal who rather than just leaving, shot George and left him for dead. Even though he was in hospital, he made sure that he called the director of a film that he was working on (DANGEROUS DECEPTION, Lee Doll ,2012) to apologize that he would not be on set! Hearing the actual phone message is quite chilling and yet also shows the professionalism of Stover. Luckily, George survived this real life horror, and is still with us, still sharing his joy of appearing in films.

(You can read local coverage after the event here: 

http://www.baltimoresun.com/news/maryland/baltimore-county/towson/ph-tt-george-stover-1128-20121127-story.html   )

 

Several filmmakers and fellow performers are interviewed to talk about working with The Stover, including director Fred Olen Ray (ATTACK OF THE SIXTY FOOT CENTERFOLD, Concorde ,1995), writer director Mark Redfield (THE DEATH OF POE (Alpha New Cinema ,2006) and many others who have had the pleasure of knowing and working with the man himself.

jj northCenterfold(  George and the charming  J.J. North on set of 60 FT CENTERFOLD )

If you’d like to have a good idea of what it is like to work in low budget films, find out why there is NO STOPPING THE STOVER.

Recommended.9848bf_2c5af2d3381a4f409d509b65ec1873e8

-Kevin G Shinnick

(Full disclosure -I have known of George since subscribing to his original fanzine Black Oracle, and have had the pleasure of meeting him on many occasions.).

If you have a completed  film seeking distribution, contact BRIAN KREY at  briank@oldies.com .Alpha New Cinema has released films by cult directors such as Brett Piper  Mark Redfield to great success.

 

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THE ALIEN FACTOR (1978) limited edition Blu Ray 1000 copies only

ALEINTHE ALIEN FACTOR (1978) Blu Ray Limited SIGNED Edition (Retromedia) only 1,000 (signed by actor George Stover) color 1980 80 minutes. Anamorphic, Color, Widescreen $19.99
https://www.amazon.com/ALIEN-FACTOR-Blu-Limited-SIGNED/dp/B01GW7PNRE/ref=sr_1_1?s=movies-tv&ie=UTF8&qid=1467754988&sr=1-1&keywords=the+alien+factor

 

From the 1960’s through the 80s, you could actually go to the theatre and see films that were shot independently by regional moviemakers. Some could be eerie classics like CARNIVAL OF SOULS (Herts-Lion,1962) from Lawrence Kansas, and NIGHT OF THE LIVING DEAD (Image 10/Continental,1968) from Pittsburgh, Pa; and THE TEXAS CHAINSAW MASSACRE (Bryanston ,1974) from Round Rock, Texas. Others were not so impressive like THE GIANT SPIDER INVASION (Group 1,1975) from Merrill Wisconsin or GURU THE MAD MONK (Wm Mishkin ,1970) from New York.

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A film that kind of falls in the middle ground is THE ALIEN FACTOR (Cinemagic Visual Effects 1978) from Perry Hill, Maryland. Quite ambitious (several varied extraterrestrial creatures from space terrorize a small Maryland town), the subject stretches way past it’s tiny budget. It does succeed, however, in being quite entertaining, though sometimes not in the way it expected.

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The acting, to be charitable, is often of the mumble or shout “look at me-acting “school. That is due to the bugaboo of many a low budget films, using non actors in roles. Often crew members stepped before the lens to be vanquished by one of the monsters before stepping safely back behind the camera. Plus, Don Dohler had no experience in directing (save for some Super 8 monster films) and so was unable to tamper or balance the performance. Having written the script as well, he was unable to hear the clumsy dialog often given to his performers (“Jack-stick it out” often is greeted with laughs due to its double entendre nature).

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Where the film does shine is in its special effects. From the opening title on *we are treated to both optical effects as well as stop motion, perspective miniatures, and several monster suits and a victim of progeria (though how they felt the victim, who looks like a werewolf who has gone green, suffered from a disease that causes the appearance of rapid aging is amazing to me).2zf4cqd The creatures work with various degrees of success (a basement reveal of one is an actual effective jump scare), though the longer that they are on camera the easier it is to find flaws, especially as they are often out in snow exteriors during the day.

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The film became a regular on television syndication due to the success of STAR WARS (Fox,1977). Gold Key Entertainment, anxious to cash in on the new sci fi craze, bought distribution rights to anything that might fall into that category. The package included DARK STAR (Bryanston ,1974), FANTASTIC INVASION OF PLANET EARTH (aka THE BUBBLE, Arch Oboler Productions, 1966) and many more. Here is the press video sent out to various markets to sell the package to the local tv stations https://www.youtube.com/watch?v=nagBkBZ2a98&feature=youtu.be .

The Alien Factor VHS

Plus, at the same time, the burgeoning video market saw the film become a staple at video stores from VCI and MEDIA (MEDIA having been found in 1978 by filmmaker Charles Band). RETROMEDIA picked up the DVD rights in 2002, and then in 2005 it was released with FIEND as a co bill. The co-bill release had an audio commentary by George Stover, as well as a blooper reel (as well as a FIEND blooper reel) and photo gallery. In 2011, Mill Creek Enertainment somehow added the film to a 50 (!) film 12-disc set called SCI-FI INVASION, with very low quality prints and no extras.alien-fiend-don-dohler-collection-george-stover-dvd-cover-art

For this new BLU RAY release, RETROMEDIA didn’t just reissue their previous release, but went all out and found an original print, cleaned it up and gave it a new 2K HD WIDESCREEN scan from the 16mm negative.

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What results is an amazingly sharp print.

Having only seen the film in boxy and grainy tv and video prints, I was astonished to see how really clean and sharp a lot of the photography is. The film was shot in 16mm and blown up to 35mm, which probably accounted for the grain and poor lab work the muddy colors that were previously the only ones available. However, the sharper images also reveals a few more of the flaws, such as the small openings in the eyes of the Alien Pilot (who resembles a George Pal Morlock in a track suit).alienfact16

Rather than just port over the previous commentary, George Stover recorded comments from the cast and crew who were scattered all over the country and edited them into the appropriate sequences, as well as adding his own insights and bios of those who were involved that are no longer with us.

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Other extras include a
– “Behind The Scenes “Featurette-George Stover showing some of the original props as well as the painting used for the video cover, as well as showing that an acetate of an alien was placed over a screaming woman depicted, as it was felt that she looked too cartoonish.The Alien Factor VHS

alienfactorThe Television Years Featurette (appearances and plugs on Dick Dyzel’s Count Gore De Vol series)

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– ‘Meet The Cast & Crew” Featurette -various clips shot of cast and crew talking about their experience on making the film and showing some of the props today.alienfact23

– ‘Alien Factor Reunion” -home video recording of the cast and crew at a local convention, though director Don Dohler was unable to attend. You get to see how truly funny the late actor Don Liefert was in his recollections.Cinemagic09-1

Ported over from the previous 2005 Retromedia release are

An Alternate Leemoid Sequence with Commentary Trackalienfactor7.jpgorinal lemoid

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-and the Original Retromedia “Drive-In Theatre “introduction featuring Fred Olen Ray and Kymberly Ray. fred kym

This release is limited to only 1000 copies and previous RETROMEDIA releases (like BIOHAZARD ,21st Century ;1985) that have gone out of print are now fetching at least three times the original cost, so definitely grab this title for your collection quickly.

ALIEN FACTOR has been the subject of good natured kidding by CINEMATIC TITANICposter - alien factor-sm (an off shoot of MYSTERY SCIENCE THEATRE 3000), as well as mentioned in various documentaries such as

BLOOD BOOBS AND BEASTS (superbly done by filmmaker
John Paul Kinhart in 2007 and released by Troma)BBBPost

And the recent DVD release NO STOPPING THE STOVER (Alpha New Cinema ,2016, to be reviewed shortly)
http://www.oldies.com/product-view/1100D.htmlno stop

but I suggest that you definitely pick up this labor of love  Blu Ray release of ALIEN FACTOR from Retromedia release.alienfact23

Highly recommended.

Kevin G Shinnick

*- Ernie Farino, who like others who worked with Dohler, went on to careers in major motion pictures. Farino, for example, worked on THE TERMINATOR (Hemdale,1984).alienfact26

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HORROR FILMS BY SUBGENRE

HORROR FILMS BY SUBGENRE by Chris Vander Kaay and Kathleen Fernandez-Vander Kaay (McFarland, January 2016) softcover 252pages. $35.00

http://www.mcfarlandbooks.com/book-2.php?id=978-0-7864-9837-6

 

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When I first received this book, I was a bit unsure that I’d have any interest in it. The idea of breaking the genre down into sub categories seemed to me a bit anal to say the least. Plus, glancing through it, I was huffy, saying that the authors were missing a lot of old films when referencing suggestions for films that best illustrated the subcategory.

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Then I began to read further and I realized that the authors had a great understanding of horror on screen, and that the choices the made were wonderful ways of introducing fans and the curious to recent films that many of us may have missed.

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I began making a list of titles that they suggested, and I found that if the films were not classics, they were definitely entertaining and I am very glad that they brought movies to my attention.

 

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Yes, as I read further there WERE some of the usual suspects like CABINET OF DR. CALIGARI (Decla-Bioscop AG ,1920) for example, but I had missed ASYLUM BLACKOUT (Artemis Productions,2011), which is sort of a house of crazies variation on ASSAULT ON PRECINCT 13(Turtle Releasing ,1976). Plus, there were relatively new categories (single person horror) that had some movies which, while I have not caught them yet, the descriptions convinced me they go into my must see list (THE LAST WILL AND TESTAMENT OF ROSALIND LEIGH (Rue Morgue Cinema ,2012) by Rue Morgue founder Rodrigo Gudino, which I had heard about, but this book reminded me I had shamelessly missed viewing.

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Several other tasty morsels were promoted that I wish to view such as Nazi horror in THE DEVIL’S ROCK (Entertainment One ,2011), found footage horror of A NECESSARY DEATH (Brickwall ,2008), and buried alive horror in OPEN GRAVE (Tribeca Films ,2013). The authors champion filmmakers that I have enjoyed in the past such as the works of Larry Fessenden (THE LAST WINTER, Glass Eye Pix, 2006 among many) and so I do understand what they are doing with this reference tome.

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You might question why certain titles were chosen while others were overlooked. I feel that the two writers wanted to stimulate debate and discussion, as well as have you seek out little gems that might have slipped through the cracks. Isn’t that what a good film book should do?

Recommended.
Kevin G Shinnick

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TRICLOPS

TRICLOP0S BIG

TRICLOPS– Alpha New Cinema / Oldies.com – Director Brett Piper– released May 17 ,2016 -80 min- Color DVD Region 0 – $ 7.98

http://www.oldies.com/product-view/1098D.html

Brett Piper is the Bert I. Gordon of the New Millennium. Like Mr. Big, Brett writes, directs, does cinematography, edits, and does the effects in his films. Doing Bert one better, Brett is an accomplished special effects stop motion animator (no enlarged iguanas* or grasshoppers here).

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Even more impressive, his average film budget** is about the same (or even less ) than that spent by Mr. Gordon on his first film in 1954 (that film was KING DINOSAUR, shot for $15,000 in black and white ,released by Lippert Pictures ).

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Brett’s latest effort is perhaps his most loving tribute to Bert ,the king of Do-it-Yourself Filmmakers . The film TRICLOPS is basically an homage/remake of B.I.G.’s THE CYCLOPS (Allied Artist,1957).

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Not to be confused with Brett’s earlier effort, PSYCLOPS (Edgewood Entertainment, MTI ,2002), TRICLOPS concerns Samantha Katzman (Erin Waterhouse) who is searching for her lost fiancé Glenn Edwards. Edwards’ plane supposedly crashed in a mysterious crater, and so she gets a team to help her in the manhunt. Flying over the crater, the plane is swarmed by a strange flock of bat like creatures that forces the plane] down. Landing, they find a lot of other freakish mutated bugs, killer plants and creatures.

TRICLOP

Searching the area, they encounter the Triclops (Kurt Jordan, though producer Mark Polonia donned the outfit on occasion), a gigantic three eyed mutants. Could this be Edwards?

The film is a love letter to the films Brett grew up with, containing visual and verbal references to many effects films from the 1950s and 1960s. Keeping his already tiny budget low, Brett recycles many animation models from previous films to populate the irradiated canyon.

To me, the Triclops is a bit of a disappointment. Since Brett is such a wonderful animator, I had hoped that her would animate the title creature. For time and to save himself the extra work, he put a mask and gloves upon a performer. Supposedly the makeup went through various permutations before the one used was picked.

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The actors in the film have appeared in previous films for Piper, except for Miss Warehouse’s gamely goes through the wringer for director Piper, and will be appearing in his next film, OUTPOST EARTH (currently in post-production).
The film is more entertaining than the majority of the films that I have come across on the SY FY channel, and with often better effects.

The DVD boasts an audio commentary with Piper and the cast (with Miss Waterhouse phoning in literally her comments). Also included is a blooper reel.

If you are one of those who says why can’t they make monster films like they used to, then seek out TRICLOPS.

-Kevin G Shinnick***

ALPHA NEW VIDEO

For any D.I.Y. filmmakers seeking distribution, ALPHA New Cinema is looking for your films.

In the last few years, they have distributed films as varied as DOCTOR MABUSE (2013), AMICUS HOUSE OF HORRORS, SAM Z ARKOFF FANEX FILES, ASTRO ZOMBIES M3 CLONED, COLD HARBOR, THE DEATH OF POE, MAGDALEN, THE SERPENT’S TONGUE, SEX LOVE & FANTASY, TALES OF DRACULA, and many more.

Contact Brian Krey at briank@oldies.com on how to submit your work for review.

*- I know it sounds like a sexual euphemism

**-THEY BITE (1996,MTI) was rumored to have had a budget of $130,000.

***- full disclosure – I appeared in Brett’s film SCREAMING DEAD(EI) in 2003.

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