Top 5 of 2011

2011 was an exciting year for film, particularly homegrown British efforts. For the first time on this blog I have knuckled down and found my top 5 films of last year. I thought a top 10 was a little too easy, so below are what I believe to be the cream of the crop of the most enjoyable features. Enjoy! Oh and let me know your top 5 list in the comments section below.

Attack The Block

The feature film debut of one half of Adam and Joe (Joe Cornish behind the camera and the script), we brits were treated to a taut and enjoyable 80s throwback in the vain of Gremlins and The Goonies via inner-city kids. It achieved the impossible by having the audience sympathize with a gang of hooded youths and by providing a few neat little twists towards the end. While its action set pieces are some of the best to be found within modern British cinema, also the monsters were worthwhile editions to film monster history.

 

Submarine

Again another feature film debut, this time from Richard Ayoade this is quite possibly one of the best British comedies in some time. Hilariously painful to watch at times, which is down to the central performance from newcomer Craig Roberts as Oliver Tate. While he is a hugely unlikeable protagonist at times, it still becomes an enjoyable watch. Full of subtle, intelligent jokes and a fantastic soundtrack from Alex Turner, this is one of the best British films this year.

 

Senna

Of all the sports documentaries to be released during 2011, Senna was by and large one of the best. Containing footage of the great man himself and of the fatal crash which ended his short life, it manages to do the impossible; Making Formula 1 racing interesting and accessible for those not interested in the sport. It is a heartbreaking piece of filmmaking and one that stands up to numerous viewings. We urge you to take a punt and take this for a spin with this harrowing and thought-provoking piece of cinema.

 

Arrietty

Less cutesy then Ponyo and better then Tales From Earth Sea, this feature from Studio Ghibli’s youngest animator Hiromasa Yonebayashi (at the tender age of 38) is a thrilling and heartwarming tale based on Mary Norton’s The Borrowers. The animation is richer and more beautiful then some of the more recent Ghibli features. The Borrowers home and tools of their trade are lovingly detailed, while feeling convincing and authentic within the films universe. Worthwhile, intelligent and hands down the best-animated feature of 2011

 

Drive

If some cinema from 2011 left you wanting then Nicolas Winding Refn’s ode to 80s cinema, Drive, was a shocking punch to the gut. Ryan Gosling turns out a career best performance as the no-nonsense and quietly aggressive driver. Gosling oozes style and charisma in each and very frame he is present in. While being surrounded with some of the best supporting actors such as the likes of Brian Cranston and Ron Pearlman. When the violence hits, it’s brutal, punishing and sickening realistic. And once the first gunshot goes off it reverberates throughout the rest of the picture with its interludes of graphic aggression. It also contains the best soundtrack of 2011, all of which only adds to the films perfectly paced tone. This is cinema perfection.

Lets see what 2012 holds for the world of film

Interview : I’m Your Bougie-Man!!

Cinema Sewer’s Robin Bougie

WARNING: This Interview is not for the easily offended or those lacking open minds. For those that are none of the above….Dive right in!!

Film theory and general criticism has felt far from fresh in recent years. Most film courses now teach the same ideas and even very few reviews seem to focus on the more obscure features out there. That wasn’t until I stumbled upon a Canadian artist and cult film fan Robin Bougie. Bougie started self-publishing his own fanzine under the name “Cinema Sewer”. But it isn’t until recently that curious fans of cult film have had the chance to read his work outside of Canada. FAB Press released Volume 3 of Cinema Sewer back in August, below is an interview conducted with him over several emails.

I found him to be gracious and patient (particularly for my first interview). So sit back, relax; pick up a selection of the sleaziest and most shocking features out there, while I introduce The Sultan Of Sleaze, Mr Robin Bougie.

Dom : Cinema Sewer has now been going for 14 years and continues to from strength to strength. What made you decide to start your own fanzine and particularly one that is as niche as your publication?

Robin Bougie : I’m a comic artist, and have been self publishing my stuff since I was 17, and most of my friends, even today, are into the same kinda thing. There was this little photocopied comic zine a pen pal of mine named Rick Bradford did back in the mid 90s called POOPSHEET, and he asked me to do a column for it (It probably only had a print run of about a hundred or so copies). Since I was just getting into cult movies at the time, I decided to do it about that, but his zine went under after only one appearance of my Cinema Sewer column. It was such a blast reviewing movies (something I had never done before), it was a no-brainer to keep doing it in my own publication, which I started photocopying and mailing out to friends soon after. My wife Rebecca came up with not only the first cover, but also the name Cinema Sewer while we were sitting in the back of a friends van, driving around at night on the main highway on Vancouver Island, just outside Duncan.

Dom: For those that have not read or seen CS, the illustrations are a big part of the magazine (by both yourself and other graphic artists) and are part of what gives it, its uniquely sleazy feel. Do the ideas come during the writing process or do you plan what the drawings will be ahead of time? 

RB: Well, the way I lay the magazine out is very old fashioned. I don’t use a computer program or anything. I make a paper paste-up model that is the same size as the printed page you see in the books and magazines. The first thing I have to do is research and a lot of note taking. Then I type the article out, and then the third thing is deciding what the illustrations are going to be. After those are drawn (or found, in the case of old advertising art) I lay them out on the page with glue stick, and I print out the article. Then I sit down at my art desk, and hand letter the text around the illustrations. Doing it this way gives everything a very organic look that you can’t get from a desktop publishing program. I want CS to look unlike anything else out there.

Dom: What do you love most about the exploitation and sexploitation genres? Is it the so bad its good quality or the fact that they are more enjoyable (and less painful to watch) then the most recent piece of trash from some mediocre Hollywood actress?

RB: There are a few things I like about these movies. They have a lack of pretension, and a full-bodied sincerity that is undeniable. There is no irony. There is no winking and elbow jabbing to let you know that they’re in on the joke. These movies know very goddamn well who their audience is, and they make no apologies or concessions in serving up exactly what that audience wants. I respect that. I demand a lack of game-playing and bullshit both in my relationships with people, and in the movies I watch. That is not to say that all old genre movies are awesome and all new movies suck, because that is black and white, and movies (or any form of entertainment) is shades of grey. But I will say this: I’m not a fan of the fakeness that seems to be so prevalent now. Fake moaning and fake tits in the porn, fake computer generated blood (and even tits, now) in the horror films, and so on. I think a lot of people are getting sick of it, but they don’t know how to scratch the itch. What do you think the current obsession with reality TV is? People want something real. But as usual, the people in charge of making this content don’t get it.

Dom: How did your collaboration with Arrow Video in the UK come about for the release of Bare Behind Bars and the more recent Pervert.

RB: They went to Harvey Fenton at my publisher, FAB PRESS, and asked him if he knew anyone that was an expert on sex-related cinema. He publishes the book collections of my magazine in the UK, and was nice enough to offer my name and email up, and they contacted me. As usual in these kinds of things, it’s all about connections. That’s the thing, I get a lot of people asking me how to get work doing the kind of writing and art I do. It’s not so much about handing out portfolios and resumes, as much as it is about rolling up your sleeves and doing the work. Create a product, and a brand. Put yourself out there and show everyone that you don’t need to be “discovered”, that you can do it on your own. Ironically, that will get you discovered faster than anything. By the way, I’ve also done Arrow Video liner note essays for their releases of TOKYO DECADENCE and THE CHEERLEADERS as well.

Dom: Personally I think that Bare Behind Bars is one of the most enjoyably bad, Women In Prison films I have ever seen. Very little about it is well done (particularly when compared to, say, Female Prisoner Scorpion which is more arty and highly polished). But then that is part of its charm, along with the infamous ‘Raspberry Pudding’ line.

RB: As I mention in the liner notes on the DVD, Bare Behind Bars could well be the filthiest and most pornographic women’s prison movie ever made outside of the XXX classification.

And yeah, the Brazilian trash isn’t anything like the Japanese stuff. The Japanese are, even today, probably the best at merging the art-house and grindhouse aesthetics and mood into one amazingly cohesive end product. Class, sass and tortured ass. Only the French come close. Brazil? It’s pure sleaze. It’s fucking great stuff, man. The genre was known as Pornochanchada and they were exploitation movies that were really cooking in South America between 1977 and 1985. The Chada movies were a little more designed around getting laughs than their exploitation genre cousins in other countries, but they were nonetheless overtly vulgar, and intended to shock and dismay. There are a few other translated classic Chada movies out on DVD, like Amazon Jail, Violence and Flesh, and The Chick’s Ability. They’re all quite twisted, and worth a watch. Hopefully more will come out, because it’s a nearly untapped well as far as English translated versions go. There are so many more I want to be able to see! I mean, “Bruce Lee VS Gay Power”?? Hahaha, yes please!

Dom :”Bruce Lee Vs Gay Power” sounds like a slice of sleazy  piece of brilliance. On the subject of slices of cult film brilliance, is there specific selection of cult films you would recommend for those who have recently gotten into this genre?

RB: I go through phases where I get really high on this or that, but there are a dozen that I keep coming back to, and feel are pretty much MUSTS -no matter where your genre film preferences reside. In no particular order:

THE STORY OF RICKY (Japan/Hong Kong 1991)

ONCE UPON A TIME IN THE WEST (Italy. 1968)

THE TAMING OF REBECCA (USA. 1982)

DRUNKEN MASTER 2 (Hong Kong 1994)

THRILLER: A CRUEL PICTURE (Sweden. 1974)

VICE SQUAD (USA. 1982)

SAVE THE GREEN PLANET (Korea. 2003)

HOUSE (Japan. 1977)

NOT A LOVE STORY (Canada. 1981)

FEMALE CONVICT SCORPION: JAILHOUSE 41 (Japan. 1972)

THE HITCHER (USA. 1986)

COCAINE COWBOYS (USA 2006)

Dom: What are your opinions on the recent slew of the more modern exploitation features that have made their way onto cinema screens and DVD/Blu-Ray? Such as Hobo With A Shotgun, Machete, Bitch Slap, The Human Centipede et al. Personally I feel that some do lack that sincerity you would get from some actual exploitation films.

RB: I react to each one as an individual work of art, and try not to dismiss anything without seeing it. I’ve seen all the ones you mention there, except for Bitch Slap. (Interviewers note: Bitch Slap is beyond atrocious)

I thought MACHETE was a really exceptional film in particular. HOBO was entertaining, but I felt it really lacked quiet introspective moments — which are very important. Nothing but crazy action and insanity is like a paragraph where every sentence ends in ten exclamation points. It’s exciting, but it’s not good writing. Like SNAKES ON A PLACE, HUMAN CENTIPEDE was good with a midnight crowd that were hooting and laughing and interacting with the movie, but I highly doubt it would hold up to a night alone with a beer and a bag of chips. I really liked the sewn ass-to-mouth concept though, very original.

Dom: Within the pages of CS there is (as you have previously mentioned) various different cut outs and advertisements. These are some fantastic past highlights for fans of cult film. I even noticed a few advertisements for 42nd street double bills. Are these from personal collections?

RB: Yeah, they’re almost all from my collection. I have what I figure is one of, if not the biggest ad-mat collection in Canada. Ad-mats are the little black and white ads that movies use to advertise in newspapers, and they usually came supplied in press books up until the mid 1980s. For more than a decade now I’ve been tracking down the press books for these movies, or going to libraries are spending afternoons going through back issues of old newspapers and printing out the adds for the types of movies I write about in CS.

Finally is there anything you would like to cover in future copies of CS, that you have yet to get round to doing?

RB: A lot of times I’ll be researching an article for a year or a half a year before I get around to writing it, so I have a lot of fish in the fire at the moment. Nazispolitation is something I’ve wanted to do for about 8 years. Never had the adequate page space to really devote the amount of verbiage I want to the genre, but I have something in the works with a contributor. I’ve also been writing a big thing about GEWNDOLINE (France. 1984), and her creator, John Willie. John was the infamous publisher of the 1950s fetish magazine “Bizarre”, and I’ve been researching how an investigation into his involvement with a 19 year old bondage model who was photographed, raped, and then murdered pretty much ruined his career and life- even though he was innocent. Look for that in a future issue.

Here is the man in all his glory!

Robin is currently doing a free 1-hour book drawing for everyone that orders Cinema Sewer vol. 3 directly from him before Dec 1^st 2011. If you are interested and want to keep his unique piece of fanzine going, check out the link below for full details.

http://cinemasewer.ecrater.com/

Also feel free to check out his live journal for daily updates over at http://bougieman.livejournal.com/

(Images copyright Cinema Sewer, Robin Bougie and Arrow Video UK)

To Ban Or Not To Ban……Is That The Question?

Martin doesn't have very many friends

Those of you who are savvy with the ways of the filmic world would have noticed that earlier this year Tom Six’s infamous Human Centipede 2: Full Sequence was banned on the grounds of being a tad…how can I say this…. unacceptable by the BBFC (full details on their site). Suddenly this kicked up a massive stink on various blogging sites, film sites and Twitter. People were beginning to think that censorship had taken a 1980s like grip on society once again. It’s easy to see why many thought like that what with a mostly conservative government and a echo of the 80s financial situation. But I digress.

Last week came the announcement that this previously banned feature had finally been given the all clear after the BBFC removed a good, 2 mins 36 secs of footage from the film and awarded it an 18 rating. While this is hardly groundbreaking stuff it is rather interesting to know. For those who have yet to see (or even hear) about the Human Centipede franchise- for that is now what is has become. Fear not because, your hardly missing much. After watching the first I can honestly say it was more humorous then harrowing, all of which was down to the naff story and duff acting.

After finally viewing the trailer for the (now previously banned) second feature, it continues to cement my idea that Tom Six is a clever marketer, but far from a good director. Interesting ideas, badly executed. Recently I took the plunge and sat down watching Ruggero Deodato’s Cannibal Holocaust all the way through for the first time (more in-depth info on that experience in a later blog). Previously I had only been able to watch it in parts and quickly lost interest. Again this was another film that was notorious for being banned and it is easy to see why at certain points. But what it does have behind it is some interesting aspects to the violence on screen.

More on Deodato's Cannibal Holocaust in my next post.

Now while I don’t condone real violence against animals (which was the hardest part for me to stomach), by looking past the violence on screen there was a very well crafted film about morals and western civilization. Alternatively I could have completely miss read it and instead saw what I wanted to see, as a way of coping with the various horrible sequences.

A surprisingly good piece of film marketing there!

My point is that if you dig a little deeper, there was some relevant context buried within this previous video nasty. Unfortunately it seems while Human Centipede 2 might have some interesting concepts which toy with the idea of fiction versus reality,but  morally I have trouble stomaching anything it decides to throw at me without any meaningful context apart from with a view to provoke disgust.

Take a look at the trailer for yourselves and decide. For myself I will continue to believe it as what the first one came across as; a interesting joke with no substance that quickly missed its punch line by aiming too far. Morally…what do you think? Is it going to far, is it acceptable and good that even though the film is cut censorship is now more lax then before (which is a good thing) or is it getting more credit then is due to it purely because of its high profile banning?

Personally, I think its all of the above. Those that are interest, Human Centipede 2 : Full Sequence gets a limited release in November. While the toy-line is due mid-december just in time for the christmas rush.

Ch..Ch…Check it out!

 

Wow…was it really back in June that I did my last blog post? what can I say but to my astonishment that seems to be the case as I have in-fact not written a blog (for this specific blog page at least) for a very long time. I think it is time I changed that. Now over the intervening months between my last post and this current edition, a lot has taken shape and happened. Firstly my whole writing style has changed and evolved at a rate faster then I could have ever imagined. I am now able to write fast and in a more cohesive manner then when I first started this little adventure. And secondly I now write (on and off) for three different websites- much to my astonishment.

So now after umpteen months of inactivity I have finally sat down again to blog my little filmic tush off when and where I can. So stay tuned (if you so wish) and follow me on my more coherent ramblings (yes it is possible to ramble and be coherent…..I think?) as I plunder the depths of cult film fancies that I continue to stumble on.

Have a gander at this shameless piece of plugging of some of my various (and recent) posts for other sites.

Troll Hunter Review
http://www.filmwerk.co.uk/?p=8110 

 

 

http://www.filmwerk.co.uk/?p=3694

http://www.filmwerk.co.uk/?p=8039

 

And in honor of the recent passing of cult actor David Hess here is a retrospective I did on The Last House On The Left:

http://www.filmwerk.co.uk/?p=3742 

 

 

Oh and in honor of the late Steve Jobs, for the rest of October, my blog will take this retro OS look. Never fear my original look will return in November.

 

 

Poster art, Ghanaian style!

 

Ash has never looked mightier

Just thought I would churn out a quick little post here, particularly as this is something which has taken my interest of late. Ghanian film posters have become a kind of internet fad among those film fans with money to burn. For those that have no idea what I am going on about, Ghanian film posters are rare one off designs done for DVD film screenings in the larger towns.

I stumbled across a few during a night of ebay film hunting. Now there is a little part of me that is forever glad I have done, purely because of their odd and curious nature. These aren’t art masterpieces, nor are they particularly at least in visually stunning sense, eye-wateringly (I think i’ve just made a word up) amazing. But what they are is charming and simple with each poster hand drawn on to a piece of blank sack. Take a look for yourselves and tell me what you think. I know if I had the money I would be proud to own such interesting pieces of film artwork.

Not sure I remember Godzilla in Species 2. Might have been better if he was

 

Friday, Bloody Friday!

With it being Friday the 13th, I honestly couldn’t miss this as an opportunity to write a short blog post, specifically on a guilty pleasure of mine. Strangely said guilty pleasure also happens to be set on a similar day. Yes thats right I want to do a quick post on that most un-killable of horror slasher franchises -Friday the 13th. But there is only really one of these films that I tend to re-watch (usually in a slightly drunken state) and that would be Friday the 13th Part 6: Jason Lives.

This rock n’ roll version of Jason Voorhees is quite possibly the most enjoyable and ludicrously silly entry within the series. When compared to the previous installments, it undeniably has its tongue planted firmly within its cheek. It becomes hard not to enjoy this film either slightly drunk or marginally sober.

But what makes this pleasurable watch when compared to the previous five entries? Well for starters it contains one of the most preposterous ways to resurrect the series antagonist, in this case a metal gate post stuck in the dead and rotting corpse of Jason as its struck by lightening. It is utterly ridiculous, but the fact this film seems to be aware of its own stupidity is all the better because of it.

It is firmly stuck in the 80s with its bad hair do’s, shocking fashion sense and the stereotypical teen character. It even goes so far as have its title song sung by rock legend Alice Cooper – now if that isn’t rock n’ roll for a slasher film, I don’t know what is. Jason as a character also has a fantastic look, all of the little details of the damage that has been inflicted from parts 3 and 4, is visible. It also contains some of the series more gory sequences and possibly its best (most explosive) finale, seen before or after. Theres also an enjoyable moment of hack and slash when Jason goes toe to machete with a group of crazed paintballers. Honestly what is not to love.

One thing I almost forgot to mention is that one of the police characters seems to have one of the largest (and might I add most comical looking) laser sights ever used for a hand gun, that it would make Gabriel Cash (from Tango and Cash) feel inadequate and blush.

Obviously if horror or slasher films are not your thing then honestly, give this slice of 80s nonsense a miss. But for those who are looking to have a quiet night in this Friday the 13th, you would be hard pressed to find a slasher centered on the same day that is as enjoyable as Jason Lives.

Rock N’ Roll indeed!

Happy Friday the 13th

https://www.youtube.com/watch?v=ILZDGSMRIoQ

Just Keep On Trolling

After finally getting to see Gareth Edward’s Monsters - which is utterly brilliant on Blu-Ray (a viewing experience I can highly recommend if you are able to), I have been gagging to watch something in a similar vein. Without evening  knowing it, I had already stumbled across the film I was looking for some months previous. Unfortunately it has yet to be released over in  Blighty – much to my annoyance.

The film in question would be Andre Ovredal’s The Troll Hunter (or Trolljegeren for those that snakker norsk), a Mockumentary which is part The Blair Witch Project, Part Monsters. Trust me that sounds worse then it is, as this is shaping up to be a genuinely fun take on Norwegian folktales. It also seems utterly mental and self referential, finally more original films are being made. Hurrah!

Check out the trailer below and see for yourself. As for me I wait all the more impatiently the longer it takes to get released on these shores.

https://www.youtube.com/watch?v=TLEo7H9tqSM

Annoying Cinema Habits aka Sit Down…Shut Up Part II

Well it has been a while (some two months to be exact) since I last blogged or ranted about anything film related. That is not to say I have not been writing, on the contrary I have been writing for a few websites. Finally I have been given a chance to put my love of film into reviews and retrospectives. It also seems that for the first time in months I have finally made it to the local multiplex as I stupidly agreed to watch the latest Fast & Furious film (aka Fast Five aka The Fast & Furious: Rio Heist aka I doubt the PR knows what film they are promoting), which soon after ending it allowed me to come to the conclusion that said film was utter tosh. Admittedly I have no ground to stand on with this argument, as these type of films are produced for the masses and as such appeal to a specific crowd. But I thought its a chance to at least view something mindless for a short time.

Barring the fact that what I witnessed was both too long (the film clocked in at a ridiculously long winded 130 minutes) and that it felt like a sequel to the Italian Job remake, it was in all honesty one of the worst cinema viewing experiences I have ever had.

Now I may sound a bit old fashioned (hell I might even come off as boring) but no matter how bad a film is I would never do one of the several actions which are about to be listed; Burping, farting , rustling sweet bags , talking , texting , running up the aisle , arriving 10 minutes late and blocking the screen and finally shouting to friends on the other side of the auditorium. I have said it once in a blog and once again I mention it, but it seems that British cinema-goers have no concept of cinema etiquette or at the very least respect for fellow audience members. All of which made a particularly boring and uninteresting viewing experience all the trying.

Thankfully I remembered that mature cinema audiences were blessed last year with Mark Kermode and Simon Mayo’s Wittertainment Code of Conduct, which points out all of the reasons why cinema should be enjoyed. So for your viewing pleasure and presented below is the video in question.

Relax, enjoy and take in these wise words you cinema misbehavers. While those that do not do any of the misdemeanors give yourself a pat on the back, turns out you (like myself and many others) respect film for what it is….An art form to enjoy and absorb.

Troll 2, The PCC and Me!

A darkened cinema for a sold out performance, the high anticipation of what is about to befall our senses and a very shady looking Nilbog milk. It could only mean one thing….A Troll 2 screening was about to take place within Leicester Square. It will also transpire that few Saturday nights have been much better then what I was about to experience.

If any of you have read one of my older blog posts you will notice that I have a secret love for Claudio Fragasso’s absolutely diabolical ‘Troll 2’. The film which was first shown to me during my early university days (by a close friend), and was by far the funniest but most god-awful representation of a fantasy film, I had ever witnessed.

I instantly fell in love with it as it was filled to the brim with quotable zingers, bad acting and gloriously gooey effects. This felt like a dirty little secret between the two of us, but rather quickly I found out that this film was loved worldwide, for its absolute awfulness.

So when we found out a special screening was taking place in London, I leaped onto my laptop and with lightening fast reflexes, ordered my ticket to golden film heaven. The very idea of being able to watch this in the cinema truly blew my mind, what kind of experience would it be? Would many people turn up? And why did I have to wait 3 weeks until these questions where finally answered.

As the anticipation mounted we were fit to burst, like some kind of bad movie eruption. And then last night the moment finally came, as we hit Leicester Square and turned the corner, we witnessed this utterly beautiful vision.

What a great double-bill

Our eyes lit up, we were finally going to be able to see Troll 2 on the big screen, but all of this didn’t prepare me for what was about to take place. The atmosphere was utterly unbelievable, I had never, ever, experienced anything quite like it. People wooped and cheered, they cried with laughter, shouted the lines out before they were even uttered. It was like watching a film with all of your friends (beer in hand to add to the experience) realising that you are all unified and joined together in a church of film.

I still can not get over it now, the buzz and energy was what I have been waiting to experience within a film screening for so long. Finally it had happened, the audience reacting as one whole, viewing body.

After the screening the packed out theatre was given a special treat, in the (disembodied) voice of actor / dentist George Hardy. Yes the very same ‘Dad’ from Troll 2 made a special phone call, providing anecdotes about the making of the film and aired a quick (but informative) Q&A for the audience. It was the perfect cherry on top of the cinematic cake. Both funny and informative, Hardy came off as a genuinely nice guy who has found a sudden cult following, worldwide.

My 'Troll 2' mentor

Even after all of these special filmic treats there was still one thing to come, the critically acclaimed documentary ‘Best Worst Movie’ (a film which charts the fall and subsequent rise of this cult classic). This was a fantastic documentary filled with moments of laugh out loud hilarity and moments of genuine sadness. Who would have thought a film such as Troll 2, could invoke such things. It is certainly a documentary which needs to be watched almost as much as the actual film, and I urge all film fans to watch it.

When this immense evening came to a close I was left with so many emotions flooding through my very being. I came to the realisation that this is how all film screenings should be. And if it has taught me one thing, it is to encourage more people to watch Troll 2, as it was passed to me I shall pass it unto others. With great joy I see how popular cult film screenings are and realise (even more so then I did previously) there will always be life in the films that are quickly dismissed. The films which the average multiplex-Joe would discard at the mere sight of a poster, but for a select few (myself included) we realise these are the films made for sharing.

Viva-La-Troll 2!

Viva-La-Cult film- Revolution!

1-UP….This Ain’t No Game: Or my case for why videogame films never work

As we roll into the start of the New Year (which seems to be going quicker then usual) I have started doing what most mid-20 year olds would possibly do, thinking about my future. Looking at my family I see things change pretty quickly, age wise and what not (seems Ferris Bueller was right). Fear not this is not going to go all sentimental and serious, but one thing I have noticed is that tastes change. I know that because of university and meeting different people my tastes in film have changed (for the better) and that certain films no longer appeal to me.

This seems relevant as I look over my film collection and can see the change in my personal taste. It is almost a filmic timeline; ones which I am almost ashamed to own now are films from my teens. Films such as video game adaptations are not at the top of my list of must see films. With the maturing tastes the films from my teens sit awkwardly with my classic universal horror films, my Fassbinder boxsets, Bergman films and the multitude of Jodowosky, Svankmejer and LaLoux collections I own.

But of late I have had a regressive need to re-watch the various video game films I have owned (I know shame on me). Which of cause led me to watch the new piece of resident evil trash (wait come back… this has a point!) as it got me thinking, there will never be a good video-game to film cinematic venture. But it seems production companies do not seem to learn from there mistakes. When I was in my early teens I was overly excited to see how a video game film would turn out, only to be either disappointed or severely underwhelmed.

So why did I bother to sit down and watch a new video game adaptation, even though I knew deep down that it would be awful? Well because I know that inside me I have a small part of that teenage wonderment that needs to see the light of day occasionally. Although this might well seem like a weakness (particularly given the fact that I love well crafted films so much) I have learnt to embrace it from time to time. Keeping the urges (I hope) strictly in check within the confines of my own home.

What have I learnt from all of this? Well that after nearly 18 years there still has not and will not be a good adaptation. Sure the new Resident Evil looks lovely and it contains elements from the recent Resident Evil 5 video game (which unashamedly put a minor twitching grin on my face). But it is just a trashy film with little to redeem it and this goes for all videogame feature films. The one reason there will never be a successful conversion is due to the fact a video game is an immersive experience dependant on the player. Whether it is a single player or a multiplayer experience which is fun and enjoyable, it just is not the case for a videogame film. The immersive experience is different as you no longer have control over the characters and it quickly becomes tedious and boring.

What could be seen as inventive within the confines of an artificial world will more then likely become old hat or uninteresting within a cinema or home. Take for example Silent Hill, the first 3 games in the series allowed me to be scared for nights on end as a teenager.  While also frequently being unable to sleep if I heard an out of place sound from within my room, particularly after long gaming sessions. So when the film was released it looked promising and was from a trusted director in the form of Christophe Gans (his Brotherhood of the Wolf is an over looked gem).

When the film finished (although it was faithful to the source material) it was nothing more then eye candy. The cinematic equivalent of fairground candy floss, looks pretty but if too much is consumed it is inherently bad for you. So after watching my fair share of poor video game films (the less said about Hitman and Max Payne the better) I found the reason. Not only do they not have the aforementioned immersive experience (which draws a player in but not the viewer) but they are boring. I liken it to a simple example, how much do you enjoy playing videogames?

Right and as soon as you have answered that ask yourself, how much fun is it to watch someone else play the same game while you idly watch images flicker past you? In all honesty it’s not really that fun. Admittedly some past films have been so bad as to evolve into trash viewing, Super Mario Bros the movie while inept in everyway, is still staple drunken viewing between me and a university friend.

My point is (after this rather long winded and incessant ramble) that there will never be anyone or set group of people that could make a good video game film. They can try but will ultimately fail (that is not pessimism it is realism) while films that implement game elements, references and or subtle nods within their making, have succeeded. Scott pilgrim while based on a comic is one which manages to be a better video game adaptation not based on a video game (possibly due to the heightened reality within its film universe).

To truly get the balance right would be impossible and my sentiments lay with Tim from Spaced (as he so aptly puts the core theme of resident evil 2) ‘It’s a subtle blend of lateral thinking and extreme violence’ which when you think about it, is not the easiest thing to pull off within a film. Let alone a feature based on a video game, seems the case for a good conversion does not actually exist. Now if I can only stop Uwe Boll from making any type of film full-stop, then the world will be a better place

New Year, Old Films

After what feels like an age since the last blog post (seems to be well over a month as I look back) I have finally found my typing fingers again, after a rocky start to the New Year. But enough of that, this blog is about films (least it was last time I logged on and checked) and as such I should at least make a mention to them in this post.

So what type of films have I watched and enjoyed over the past month hiatus from the blogosphere? To be honest very few in the way of new films, I am shocked to say little has garnered my interest for long enough. This curious change in attitude happened quite suddenly to my amazement as I stumbled on a film I completely forgot was in my own collection, Richard Lester’s ‘The Bedsitting Room’ . After sitting and watching its brief running time I found it to be a long forgotten British comedy which deserved to be more acknowledged among film fans and hardened devotees equally.

But that wasn’t all, this little oddity had me thinking, there had to be other rarely seen or heard of films which have been long forgotten at least by the general public. With that I mind I decided to look for those ever elusive hardly seen features and while not all are of a top class standard, they are still enjoyable. This in turn led me to see 2011 as the filmic year to ‘Rediscover’ films which is due in part to the fact most of the pap that is put out now hardly has me jumping for joy.

So as I continue to look for those odd and different films over the next year, there is one film I want to mention which, although not fantastic, instantly had me interest. The film (or rather films) in question happen to be a live action versions of Tintin from 1961 (Tintin and the Mystery of the Golden Fleece) and 1964 (Tintin and the Blue Oranges) respectfully. Until about a month ago I had no idea live action versions of Herge’s popular comic existed. I actually feel annoyed with myself as I am a self confessed Tintin fan (here goes my creditability) and own all of the published books (from first in Russia to the final unfinished Alpha-Art). It is the one thing from my childhood that I have been able to carry into adulthood, I think it must be the boys own adventure style to the stories, not to mention the absolutely gorgeous art that Herge provided for each adventure which continue to hook me in.

What with Spielberg releasing a motion-capture feature film at the end of this year, it feels apt that I look over the original film incarnations, themselves not based on any of Herge’s original stories. Having never heard of them before I felt curiosity get the better of me for once (well regarding film at least) and whether they were going to be good or awful I jumped at the chance of owning the films.

So what are they like, well they really are not as bad as I thought, each film has its own merits and weaknesses. But for a fan of Tintin they really are nice little throwbacks to a simpler and less bombastic film time, films which I think I will enjoy the more (keep an eye out for more in-depth look at the films soon). If this has taught me anything, it is that there are still good films to enjoy and that I have yet to either find or hear about. It looks like 2011 will be the year of the film hunt.

Double Bill : Cerebral Sci-Fi

The love of compiling the double bill features is, in my opinion, a lost art form. It has long since found a resting place in the early 80’s with the death of the drive-in. But what of the more recent cult classics that have been released years after the now, almost defunct, double bill feature has bypassed them? And what is to stop the double bill feature from being recreated within the comfort of the home cinema. Well there are the few independent cinema chains that try and make the tradition live on and to a certain extent so am I as a film obsessed fanatic. With that in mind I have come up with my own double bill features, tentatively titled ‘Geeky Double Bills.

So for the tweeting cinephiles among you I present the cerebral (without there being any mind numbingly dull moments ) double bill of Ridley Scott’s seminal sci-fi cult classic ‘Blade Runner’ mixed with the cyber-punk stylings of Mamoru Oshii’s A.I masterpiece, ‘Ghost in the Shell’. Released in 1982 ‘Blade Runner’ based on the Phillip K. Dick novel (titled ‘Do Androids Dream of Electric Sheep’) is set in the year 2019 where a corporation in a dystopian Los Angles has built realistic and organic cyborgs called ‘Replicants’. When four of these ‘Replicants’ arrive on earth a retired Blade Runner, Rick Deckard, has to track and terminate the out of control robots.

For the first part of this cerebral double bill feature of dystopian futurism you will need: One DVD of ‘Blade Runner-The Directors Cut’ vintage matured from 1992 with added Vangelis score. You could opt for the more recent vintage and less aged 2007 ‘Final Cut’.  But the ‘Theatrical Cut’ is a firm no-no.

The second feature for this double bill is ‘Ghost in the Shell’, released simultaneously within the UK, Japan and America. Based on Masamune Shirow’s cult manga of the same name, it charts the story of a secret security force (section 9), cybernetic enhanced police who prevent cyber terrorism. Lead by a cyborg cop known as the Major who’s only human aspect is her memory and thoughts, has to track and capture an entity known only as ‘The Puppet Master’.

Which brings us to the final item needed: One DVD of ‘Ghost in the Shell’ circa 1995 as the 2009 2.0 version just will not do. This is due to the bitter after taste the added CGI reworked scenes give. Place both films into a solid double which encompasses the very best of artificial intelligence gone awry. Watch it simmer for three hours in the back of your subconscious and if required add a few sundries such as, popcorn (salted) and drink, non-alcoholic if possible as alcoholic will just lead to headaches. Then allow it to stew.

Now even though there are four varying versions of ‘Blade Runner’ my definitive version which I constantly come back to time and again is Scott’s Directors Cut. This is due to it being the first version I ever had the patience to watch and even at a tender young age, I knew this was unlike anything I had ever witnessed. I was drawn into its slow but stylistically detailed futuristic look. For a long time I was deep in thought ‘what could compliment this futuristic slice of dystopia?’ my answer came in the form of Oshii’s cyber extravaganza.

So why do both work so well in a double bill, well the answer comes in various different responses. Firstly both contain a lead protagonist who is the best at what they do; in this case it would be hunting and eliminating cybernetic entities which break the law. Deckard is a retired ‘Blade Runner’ a hunter of ‘Replicants’ who is deemed the only one who can take down a group of robotic murders. The Major in ‘Ghost in the Shell’ is the head of a specialist team of cybernetic enforcers, hunting after a cyber terrorist ‘Puppet Master’.

Both contain a high tension foot chase between the protagonist and a potential suspect who is working for their respective antagonists. Blade Runner contains the now iconic Deckard vs. Zora chase, which culminates in Zora being shot in slow-motion through the chest leading to the now ‘infamous’ crash through multiple window frames. It is still one of the most standout moments from the film, due in large part to the lack of a score being used within the sequence. Scott instead relies on a didactic soundtrack, the hustle and bustle of crowded street teeming with scurrying passer-by who only get in Deckard’s line of fire. It is full of tension and frustration as you hope he gets his target.The same goes for the Majors chase of a suspect through the lower levels of an over populated Tokyo market. There is even a similar sequence where her college Batou is stopped from shooting at the suspect, as the public get in his line of fire, much like Deckard’s aforementioned scene. Slowly but surely these science fiction double bills are becoming intertwined as one, but lets not stop lets keep going.

Even their respective ‘final showdowns’ are similar in style; before the philosophical conclusions are presented both sequences take place within heavy rain. Whether this can be seen as a way to invoke symbolism or just used as a stylistic device is, basically, reading too much into the action sequence. But the use of a heavy down pour with the ambient sound over powering the underpinned score atmospherically goes further to (one again like the chase scenes) draw you into the action. It is also worth noting that they duly contain sequences where both characters are crippled in someway. Deckard unceremoniously has is fingers broken by antagonist Roy Batty but it is quickly bettered by the Major’s attempt to open a single manned tank with her bare, cybernetic enhanced body. What unfolds next is deceptive as you believe she is about to open the lid, only to have her limbs separate from their original position. Muscles inhumanly flexing (the squelching sound still resonating through me as I type this) with flesh suddenly, in slow motion, tearing from her body as she falls defeated. Pound for pound this shot leaves more of an impression then Deckard’s pain inducing finger break.

When push comes to cinematic shove, why are these sci-fi greats best suited as a geeky double? It possibly is because of the cerebral nature that underlines the context of both narratives, this is a thinking film fans double bill. It relies very much on the human aspects of morality and existence. Esoteric, yes, but never heavy handed in its execution as this is a double feature for those who want to be challenged, granted it could be seen as a case of style over substance at various points. These cyberpunk masterpieces constantly compliment each other as each of their scenes unfold, it is a cerebral double whammy of intelligent sci-fi. Stylistically each film has similar elements which play off each other, similar dystopian fantasies set within a futuristic landscape full of towering skyscrapers and advanced technology. All of which accumulate into recurring motifs, which genuinely make you ponder and question technology. Either that or I have too many bottles of beer. The second best way to double bill these two classics, watch Ghost in the Shell with the Vangelis soundtrack. Then allow the lucid dream like futurism to slowly seep into your subconscious.

Anti-Christmas Films : 12 Days Prelude

Those that have read the blog when I started it way back last year might remember a little post I did on Christmas films. To be more precise, Anti-Christmas films because, and lets be frank about this, every year it seems to be forced on to the general public earlier and earlier. Now I am not a scrooge, but it really is not Christmas until early December. It is hard enough to find ones-self enthralled at the thought of hearing several Christmas ditties while round the supermarket in early November.

Ok maybe I am being overly scrooge like but to be honest, anything Christmassy or to that effect in November is pushing the hype a tad too far in my opinion. My point is that as Christmas does approach it becomes a tad too sickly sweet. So I decided in my infinite wisdom (or lack there of) to compile an alternate list of Christmas films with a twist. So this year (and taking my cue from adverts and marketing etc) I have come early and tweaked my original list. Sit back, relax, slurp a mass produced eggnog latte from a chain coffee shop (if you so wish) and indulge on some cinematic goodness before the festive season commences. I present a prelude to the ‘12 days of Anti-Christmas Films’, something to get you in the anti-festive mood (so to speak) with a brief overview of a selection of films that contain merry and joyful clout.

I’ll start with a comical cure (which may be hard to swallow for some) to the cheery sentimentality of yuletide. Bad Santa is in all honesty the perfect Christmas remedy all year round. Billy Bob Thornton’s portrayal of a foul mouthed alcoholic, shopping mall Santa, is the perfect blend of painful comedy. Directed with the same satirical edge that Terry (Ghost World) Zwigoff is known for, this is still in my top 10 comedy films. Because at its heart it still has (to my knowledge) three different demographics being hit in the twig and berries. Un-pc and painfully funny this is a great start to rid yourself of any unwanted Christmas soppiness.

It seems that one definitive pairing that goes with Christmas is action films and anti-Christmas heroes. Case in point being from my first Anti-Christmas list, from the pen of Shane Black we have Lethal Weapon. The first is still by far the best of the series (more so when you watch the Directors Cut) as it contains a standout performance from Mel Gibson, fresh and witty dialogue between the protagonists, with the added inclusion of some of the old ultra-violence thrown in for good measure.

Now everyone knows it, but not only is it a great action film it is also one of the great antidotes to Christmas. Of course I am talking about the second (or first depending on your own preference) best Anti-Christmas action film, Die Hard. Now I have already covered Die Hard a few times on this blog, but in all honesty it really is one of the best both in terms of action and a heart warming ending that a man will not laugh at.

On top of which you have the truly evil performance of Alan Rickman’s “Hans Gruber”, which in my opinion is the sort of filmic Christmas present that keeps on giving if you will.

Next up are a few films that really warm the cockles of my darkly comic heart, first up there is Gremlins, Joe Dantes B-Movie black comedy romp. How can this not be one of the best Anti-Christmas films ever? It has a fantastically mischievous score by the late great Jerry Goldsmith, that great sequence where a horde of Gremlins sit and watch Snow White. A bar is being overrun with the little blighters much to Phoebe Coates dismay as well as the brilliant sequence involving a showdown in a disused department store with Billy and Gizmo going after the Gremlin ring leader. Oh yes Gizmo, a now iconic film character, honestly what is not to love about this Mogwai.  This is certainly an Anti-Christmas classic from the 80’s high concept heyday.

One film that I go out of my way to watch every year leading to Christmas is of course, Terry Gilliam’s Orwellian masterpiece Brazil. This dystopian classic with its roots firmly embedded in English literature is yet another example of unsentimental yuletide fare. Both uplifting and downbeat in equal measures, this is a Christmas film filled with very British sensibilities. Which when added with a mad performance from the legendary Michael Palin and an absolutely bonkers cameo from Robert De Niro (as a rogue heating repairman)all help to produce Gilliam’s 9^th symphony and a near perfect, darkly comic Christmas fable. Also worthy of a mention is Gilliam’s ‘La Jatee’ remake ‘Twelve Monkeys’ , a crazed time travel fantasy based around the festive season.

Now horror films that use festive settings tend to be, well quite frankly a tad trite and seasonally mundane (depending on what time of year you happen to watch). But one horror film that I have recently discovered (and have subsequently added to my Anti-Christmas film list) is that of previously banned video nasty ‘Silent Night, Deadly Night’. The ghoulish Christmas tale of a young boy who after witnessing the murder of his parents by a homicidal killer in a Santa outfit, is sent to an orphanage where he has his hatred of all things seasonal systematically beaten out of him. All of which leads to him having a mental break down and destroying anything Christmas related in his sleepy little town. This B-Movie horror trash is perfect anti-Christmas fare, partly because of its laughably bad acting, but mostly because of its (excuse the pun) satirical stab at the overtly commercial nature of Christmas. Least I forget the crazy grandfather who seems to be added solely cause terror, but rather turns out a performance beyond the realms of horror camp. Certainly the Anti-Christmas film to watch with a few beers.

All of this can then be closely followed up by a plethora of Shane Black (he of Lethal Weapon scripting fame) Anti-Christmas tales, if you find yourself in the action film mindset. First off there is the witty and painfully funny ‘Kiss Kiss, Bang Bang’. A Christmas film noir with standout performances from Robert Downey Jr and Val Kilmer, who manages to steal every scene he is in as a gay private eye. Essential Anti-Christmas fare and criminally Shane Black’s only directorial feature so far. Then there is the overlooked and uber-violent ‘Long Kiss Goodnight’, which although not up to the standards of Black’s original Lethal Weapon, is still peppered with sardonic one-liners and outrageous action set pieces. Now even though it seems Black is properly exorcising personal Christmas demons, he still knows how to make some of the best films centred within the festive season.

One film which is often overlooked (and which very few seem to realise is set during Christmas) is ‘First Blood’. Stallone’s first foray into John Rambo troubled persona, this is brooding without being overly violent (only one person dies, and it is accidently, Rambo never actually kills anyone). Containing some gritty action sequences neatly package with a great story about the miss use of power and corruption. While Rambo’s end monologue leaves you with a sense of heartbreak for a man lost to the horror of war.

But before you think all of my Anti-Christmas selections are filled with dark and depressing undertones, there are the minor few which do carry the Anti-Christmas feel without being overly downbeat. For instance there is Henry Selicks (now classic) Anti-Christmas tale ‘Nightmare Before Christmas’ conceived from the twisted mind of Tim Burton. This film still manages to be upbeat without erring too far into slushy sentimentality, while it also contains some of the best stop-motion animation this side of Ray Harryhausen. Truthfully this is still a Christmas movie which has heart as well as a darkly satirical humour.

So there you have it, my unofficial prelude of the Anti-Christmas films I shall cover leading up to the holly jolly holiday. Stay tuned for the ‘12 days of Anti-Christmas’ in the coming week.

 

The force is strong with this double bill: ‘And I thought they smelt bad on the outside’

Director of one of the best sequels ever: Irvin Kershner 1923-2010

A long time ago in a small sitting room not so far away ( near north London in fact) a young man decided the time was right for the geekiest of geek outs. He banded together a small but important group of devotees all of who where about to witness…..the ultimate fan double bill. The man believed that the greatest sci-fi sequel to a space saga was The Empire Strikes Back, but the small band of geek followers believed otherwise. They, filled with an almost fanatical like devotion to a science fiction cause, knew there was only one true victor, Star Trek: The Wrath of Khan. And so as the fierce debate raged, special editions flashed like a coveted prize from the film gods in each others faces. The young gentleman decided to take action and place the first feature into his much loved DVD player. Then there was nothing but darkness, talking ceased and titles rolled. The man’s whole body tingled the instant the first few orchestrated bars boomed out of the speakers. The double bill had begun. But who would win?

Possibly a controversial choice between these two differing and avid fan bases, but for a true geeky double bill you could not get better than two of the biggest sci-fi film franchises to date. With each one constantly spilling out yet more spin-offs, merchandise etc, it seems only right that to enjoy what the best of both series had, they should be coupled together in a concise double bill of their darkest entries.

Released in 1982, Star Trek: The Wrath of Khan follows the continuing adventures of the crew of the Starship Enterprise. While on a routine training mission Admiral Kirk encounters the vengeful Khan, a super intelligent being whom he left marooned on a desolate planet some 15 years prior. Kirk must once again resume the Captains chair and defeat Khan in a battle of wits and skill.

For this double bill you will need: One DVD of Star Trek: The Wrath of Khan, an iPhone app with a StarTrek communicator (for added geek out) and including but not limited to, an anticipation of waiting for the infamous ‘Khan’ line to appear. The Vulcan hand signal will also be needed at the films climax in honour of Mr Spock.

Released in 1981, Star Wars V: The Empire Strikes Back takes place sometime after A New Hope, continuing the saga of young Jedi Luke Skywalker as he has now become part of the rebel alliance. Along with his erstwhile companions Han Solo, Chewbacca, the droids C-3PO and R2-D2, they continue to try and bring down the Imperial Empire. Along the way Luke encounters several startling revelations, while Han and the Princess slowly build an attraction to each other.

While for the second half of this double bill you will need: Star Wars V: The Empire Strikes Back the theatrical edition, the special edition just will not do for this. Yes the effects (without recent digital tinkering) have dated some what, but this just adds to the overall geeky charm of the original release. If so desired your very own lightsaber can also be included which you can swish in true star wars style during Luke and Vader’s climatic battle.

Both start with two iconic openings, with Khan there is the grim moment of the death of the enterprise crew, only to reveal to the audience that it was in fact a test (the Kobayashi Maru) a no-win situation that only one recruit had previously passed. Enter its soul champion from the hazy red smoke, Captain James T. Kirk (now admiral). From the get go this sequel is already darker in tone then the heavy handed philosophising first feature. Not only did this sequel rejuvenate a flagging franchise but it went with a bold move of bringing back a character from the original series in Khan Noonien Singh (played with deliciously evil relish by the legendary and late Richardo Montalban).

With Empire Strikes Back it starts with the brutal attack of Luke Skywalker on a desolate ice planet. Luke has a near death experience and (if you are watching the theatrical cut not the special edition) the sound of the beast that attacked him is all the more harrowing for the audience. Like all good movie monsters it is what you do not see which provokes the most fear from the sequence; the quick glimpses here and there with the monsters roar actually makes the audience feel as though their protagonist is in danger. When he finally stumbles out of the cave he sees the vision of Obi Wan shortly before Han arrives to save the day, leading to the moment which stuck in my mind most when I first saw this as a young boy. Han using Luke’s lightsaber to cut open  his now dead transport, the weird translucent innards spilling out, leading to the immortal line ‘and I thought they smelt bad on the outside’.

But as the film progresses it becomes, much like Khan, darker and more serious in tone. The themes of death, loss of companions and sudden realisations become expertly woven into the narrative structure. The group is, like Khan, separated and progress on separate subplots before the final conclusion. In the case of Empire Luke goes to complete his Jedi training while Han and Leia are trying to out run Darth Vader. It is on these separate narrative threads that this sequel really comes into its own and achieves that rare balance. Tonally adult but never alienating the target younger audience, with this we have Luke confronting his darkest and deepest fears within his training; facing the man who killed his father and mentor. While the love angle between Leia and Han is expanded upon more along with the added inclusion of betrayal from once close alliances.

Director Irvin Kershner built on what Lucas originally delivered, by doing something both bigger and better then the first instalment (or fourth if you want to be chronological with it), by really expanding the universe. This is a sequel which hits every mark and very rarely slows down for a breath, there is literally something happening which draws you in deeper. Within the first 30 minutes there is the now ‘iconic’ and constantly rifted upon, the Battle of Hoth. With its mix of miniatures, stopmotion animation, state of the art (for its time) visual effects and live action, this is the ultimate battle from the saga. All of which is intercut with Han Solo and Chewbacca trying to fix the Millennium Falcon before the rebel base is besieged by Imperial troops. On a re-watch it still holds up, even now against all of the CGI glossed sci-fi we have been treated to in recent years. Everything which happens within the mid-section of the film is just build up and anticipation to the never bettered climatic moments

Then the sense of doom and lost hope is applied to the last thirty minutes which make it one of the best sci-fi sequels to date. Before the betrayal of Lando we are privy to the destruction of C-3PO as he is blasted to chunks of rusted metal. The audience then lose another main character with Han getting frozen in carbonite shortly after Leia confesses her love to him. It is one of those rare scenes within a boys-own sci-fi adventure which attempts to tug at the heart strings and possibly succeeds with even the most jaded of viewer. And during the lightsaber climax between Luke and Vader, we are hit with a double whammy of disappointment via the loss of limbs and some home truths. All of which only further cement its place as one of the greatest sci-fi follow-ups this side of the universe.

With Wrath of Khan we have a sci-fi film which deals with the darker aspects of life. The quick descent into an old antique destined for the museum and the sudden loss of a close companion, all of which are prevalently themes which occur within real life. There is the loss of power and control after the Enterprise is mercilessly attacked by Khan in his stolen Federation ship. Its themes are interestingly esoteric and even after all of the death and destruction it ends with an underlying message of hope in the form of new life. It also goes some way to questioning the ethics of being able to become a god and have the power to create a planet from scratch, in relation to the ‘genesis’ project.

Khan contains several of Star Treks most iconic film moments from the series. There is the aforementioned Kobayashi Maru, the gruesome effects of mind control from alien slugs; the death of a young relation to Mr Scott, the now much parodied but never beaten (and slightly over extended) ‘Khan’ line uttered by Kirk. It is also a genre breaking film in the series that loses a main character with Spock but has Kirk gain a son shortly before. It is certainly the most emotionally charged Star Trek film, which is what possibly allows it to transcend the average sci-fi fan and allow a wider audience to easily view it.

It also contains one of the more heartbreaking moments of the series after Spock has saved the Enterprise from destruction. After suffering from radiation poisoning Spock shares his last wise words with Kirk, which is made all the more poignant as they are unable to make any physical contact. It is truly a sad parting of ways for two old friends.

So what makes these two legendary sci-fi sequels an impressive double bill? Well they contain everything that makes them surpass their originals in terms of content, themes, narrative, performances and more iconic moments that could be forever lodged within the mind of every film geek from here until eternity. Both contain equal merits and even better both seem to keep getting better with age.

As an added note (in memoriam of Irvin Kershner) ‘The Empire Strikes Back’ is and shall forever be the best and only Star Wars film. As well as the only Star Wars film which transcends its own B-Movie origins to become something, altogether darker and more frightening in the star wars universe. The force is and will continue to be, undeniably strong with this one.

 

Rubber meets the road: Road movie double bill

Like most people I hate walking along a dark country road at the dead of night. The eerie sense of calm mixed with the ominous sounds of woodland creatures; at least you hope it is some kind of animal. And there is something about it which gives me the creeps. But then there are times when it feels oddly freeing to be utterly alone, it feels almost surreal at times, almost like a strange nightmarish dream. Which brings me rather nicely, into this road movie double bill, The Hitcher and Repo Man. These two cult classics chart a surreal coming of age tale about the end of the teens transcending into adulthood via some rather strange back roads. Be it through either extreme circumstances of life and death or a satirical sense of humour mixed with the banality of adult life from a teen perspective. But in the end both factor in life lessons which are learnt through either excessively violent actions or life changing musings on the cosmos.

Released in 1986, the Robert Harmon directed thriller stars Rutger Hauer and C.Thomas Howell as a murderous hitcher and his unsuspecting prey. As a young man named Jim travels across the state to deliver a car, he picks up what he appears to be a harmless hitchhiker. It quickly becomes apparent that said hitchhiker is in fact a murdering psychopath hell bent on driving Jim to madness. When Jim finally does escape his enemies clutches he finds that he has been framed for all of the murders the hitcher has committed. Now with the help of a truck stop waitress, Jim must prove his innocence; but at what cost.

For this you will need: One DVD of The Hitcher, a slightly nervous friend and a slightly deranged friend in a black over coat, all of which help to heighten the tension depicted on screen.

The second choice I have gone with is Alex Cox’s seminal cult classic about life, the universe and everything. Released in 1984 it follows the misadventures of a disillusioned punk named Otto who gets offered a job to repossess cars for a local junk yard. After finding out his stoner parents have given away his college fund to a televangelist, he decides to take the job of a repo man. During his training he quickly gets drawn into a more chaotic and surreal world of paranoid drivers, UFO conspiracies, ex-friends who have turned to a life of crime and drug addiction, and gets lectured on the ways of the cosmic unconsciousness by the junk yard crazy. All of which centres around a stolen, 1964 Malibu Chevy, with something very bright and radio active in the boot.

For this you will need: One DVD of Repo Man, it is a cult classic and should be in every serious film fans collection. I would then opt for a possible selection of classic punk CDs which can be played at your leisure to get you into the punk mindset. I would go with ‘The Clash’ by The Clash mixed in with a bit of The Ramones,Stiff Little Fingers and finally The Sex Pistols.  While last but not least, a 64’ Malibu Chevy, but this is optional as most do not come with a glowing trunk which when opened, disintegrate curious individuals.

“You wanna know what happens to an eyeball when it gets punctured?”- John Ryder

Where The Hitcher really excels is in the performance delivered by Hauer, his characterisation of John Ryder is that of a deranged and unhinged menace who can not be reasoned with. Doing what he does out of pure unadulterated pleasure of the torment of Jim and those around him. With that Hauer encompasses everything a legendary movie psychopath should include and it is a rare occurrence that an actor can chill a viewer to their very core just through their every subtle mannerisms. He genuinely frightens you and even if the film has been watched numerous times it is still hard to imagine what is ticking over in the characters mindset. The cold look of death and depravity the only traits which emerge through those soulless eyes.

With The Hitcher we have themes of death and mistaken identity running through its narrative, Hauer’s character of the hitcher is almost a representation of ‘death’ with his long black over coat and almost supernatural like ability to keep on ticking once he gets a licking.

“It’s what I call the Repo Code, kid!” – Bud

Repo Man deals with its themes of mind altering consciousness, with the added bite of an ironic edge. Within the film all the everyday products are given simplistic descriptions with the same colour scheme, there is no individuality as all contain the same blue and white look. Cans are simply labelled ‘Food’ and drink is either ‘Beer’ or London Dry Gin’ it seems to be a post modern look at the more extreme end of where consumerism could well take society.

So if The Hitcher is about dealing with the possibility of impending death from an maniacal and unstoppable force with only the agenda of chaos to disrupt a peaceful equilibrium. Then Repo Man is about the loss of our idealistic freedom of expression by facing facts and becoming an adult with a job to survive in the real world. Only to find the real world/adult life is more wacked out and crazy then anything a young adult could ever comprehend.

But why do they make such a good double bill? Well besides the inclusion of the road movie theme and desert locales shown within the film. With such a heavy and violent film as The Hitcher lingering in air, there needs to be less bleak and more philosophical tone.

Each film also contains their fair share of standout moments. Barring Hauer’s chilling performance The Hitcher also has some expertly crafted action set pieces which are taut and suspenseful. To begin with the moment where Jim’s love interest (a young role for Jennifer Jason Leigh) is kidnapped by Ryder and tied one end to a trailer the other to a truck and slowly pulled apart. It is one of the more excruciating moments depicted in a mainstream film. It is also another one of those golden moments of what we do not see our imagination makes up for, all of which is done with sound effects, well placed tension and after the fact moments. The heart is truly racing because the tension is almost unbearable even if you know what the inventible conclusion is going to be as she gets stretched horrifyingly slowly. Then there is the final desperate man vs. crazed lunatic showdown on a deserted road a winner takes all scenario.

Quintessentially Repo Man is also a road movie, but not in the most conventional of senses. Even though there is no fixed narrative it does contain a subplot of the character Frank who owns the 64’ Malibu Chevy, who is driving across the state to reach his destination (which is never quite concluded) as he loses and gains back his car various times before Otto takes possession. Where the first film is more of a thriller in its genre depictions, Repo Man contains a veritable mishmash of genre elements such as sci-fi and action with satirical witticisms peppered throughout.

Several moments which really standout include the first instance of state trooper asking Frank ‘What’s in the truck?’ which is quickly followed by the trooper being vaporised in a flash of neon pink light. His still smoking boots the only remnants of what remains as the Chevy drives off, down the desert highway. Then the final showdown where everything comes to a very surreal conclusion as the car glows an unearthly luminous green, before Otto and the philosophising junk yard worker Miller take it for a supersonic spin through the cosmos. Lest I forget, there is a great punk soundtrack with title song by Iggy Pop and some of the most instantly quotable lines from such an appreciated cult classic.

After both films credits have rolled what have you gained from two very unique but very different road movies? Well with The Hitcher you have at its conclusion a character who appreciates his being that much more, but is then left wondering dazed and confused. Whereas Repo Man tries to answer the question what do you do when you are disenchanted with your job and societies rules? You make your own – in the true punk tradition.

Hammering home, my love of Hammer.

Having been treated recently by the old aunty Beeb, with the superb BBC 4 series ‘A History of Horror with Mark Gatiss’ it has provoked my love for old horror. Among other things this it has  inspired me to look back over my old horror film collection (but to be honest library would be a more apt description), those films from a bygone but not forgotten era of classical horror. Within the last few months there seems to be a sort of Hammer resurgence happening at the moment, with the recent art publication ‘The Art of Hammer’ listing all the classic film posters from yesteryear. Along with the recently in production ‘Woman in Black’, Hammers first Victorian period piece for quite some time.

So with this in mind I thought I would skim over a few of my more preferred choices of Hammer horrors collective. The ones that I still entertain as being some of the best horrors ever made, some would disagree. But if after 70 years these films still have the power to cause shock and awe within me then surely they are worth a quick gander. Since Hammer films has had a sudden resurgence for a new generation (gone are the days of the camp horror it seems) with the dark brooding remake of ‘Let the right one in’. This only fans my own flames of geeky love that I have for the first ‘violent’ horrors I watched as a young teen. So ladies and Gentlemen without further ado (and do not say I didn’t warn you) I present what I believe to be my fondest  Hammer Horrors as I avoid both first Dracula (still a classic) and Curse of Frankenstein (even better) for the more impactful films that I witnessed during my early teens. I remember when I first sat down with a school friend (who was completely enamoured with Hammer) as we huddled around the small television in my room. He produced two blood red coloured video cases, each of which contained the visage of Christopher Lee; one was Dracula the other was The Devil Rides Out. Since those days of spending hours in front of the TV after school, I to have grown passionate about Hammers back catalogue.

I shall start with ‘Curse of the Werewolf ‘ which still one of my absolute favourites, not only because the late great Oliver Reed turns out a werewolf performance to rival (and at times better) Lon Chaney Jr. But also because of the effectively slow burn leading up to his transformation (again a great narrative structure also pulled of later in John Landis’s American Werewolf in London) as it is all characterisation and beautiful set design. Roy Ashton’s make-up effect for the werewolf is still brilliantly subtle and effective, almost own more to the 1933 Werewolf of London look, then Chaney’s Wolf Man look. The story still grips me even now, the character of Leon (Reed) is forever destined to be doomed, and it is though his fate is sealed the moment he is born on a full moon. It is also not overly gory for a hammer, but fear not the blood red (almost paint) look of the blood is still there. One of the first Hammers I was shown and still what I believe to be the best.

The Reptile, John Gilling’s mythical shape shifting horror, shot back to back with 3 other hammer productions (one of which was Plague of the Zombies, more on that later), is an atmospheric and slightly campy, supernatural romp. But by having the central villain a reptilian / female hybrid it offers something different from what most Hammers were at the time. Jacqueline Pearce churns out a supremely seductive performance, while Ashton’s make-up effects (although now seeming a little primitive) still manage to capture a horrifying on screen creature. One which if seen in shadow, would give the most hardened tough guy, the heebie jeebies

Bernhard Robinson’s lovingly crafted ‘Cornish Village’ set was again re-used by Gilling for his next feature, the aforementioned ‘Plague of the Zombies’. This is a zombie horror with some interesting themes (before Romero, but not socially specific) on a small village under the oppressive tyranny, of a power mad socialite. What is great about the characterisations of the zombies is that they have the most chilling and blood curdling scream. One of the only times a zombie (barring Romero’s original Night zombies) have managed to effectively chill me to my very core. The atmospheric tone of the various shots, still continuing to provided both dread and fear in equal helpings. For instance the sequence (the first of many) which sticks in my mind would be where Jacqueline Pearce, while dead in a half buried coffin, slowly transforms into a rotting corpse. That sequence along with the period setting (for which Hammer where so good at achieving) and the various subjective camera angles, allow me to enjoy this time I view it. Looking back over the film it makes one wonder why there has not been more ‘period’ zombie films, shooting them in the modern day is quickly becoming stagnant, much like their zombies. It is also worth noting that not a single zombie eats another human throughout the whole film, I wonder if Romero would ever bring it back down to basics, now that I think about it.

One set of films I have always been keen on and which hold an almost morbid-like fascination, are films based around Mary Shelly’s Frankenstein novel. I adore the original book and try to re-read it at least once a year, the chilling but exciting prospect of creating life from death has always (deep down) both terrified and intrigue. So it would surprise no one that I do in fact own quite a few of the Frankenstein myth on film, which apart from the classic universal horrors (both of James Whales gothic tales) one of the favourite characterisations of Baron Frankenstein and his creation, would be Peter Cushing’s turn in Terence Fisher’s Frankenstein Must Be Destroyed.

If the previous entries of the Baron played him as an anti-hero of sorts, this took an utter U-turn and showed the darkest side to Cushing’s characterisation. The Baron would happily blackmail, lie, cheat, rape and dismember all in the name of science (seems for some reason I am drawn to flawed scientists as characters) on top of which it is shot with panache by cinematographer Arthur Grant. The opening sequence where a masked Baron attacks a wealthy lord, decapitating him and quickly has to get rid of the evidence is both hard-hitting and effective. Going out of its way to show an alternate persona of the Baron from the very opening moments, as well as the change of style Fisher went with after the metaphysical questioning of the soul from ‘Frankenstein Created Woman’. In Freddie Jones we have one of the most sympathetic (and human) characterisations of one the Barons creations, that Hammer committed to celluloid. All of which is neatly topped off with a rousing climax set within a burning manor house, where the creation and the baron come face to face with mortality. Powerful performances by both Jones and Cushing help to make this one of the last great Hammer Horrors, with Cushing’s presence is utterly menacing as he dominates each of his scenes.

Dracula has risen from the grave, literally has the best and most subtle poster for a Hammer film, even if it is not totally historically faithful in the image (not sure pink plasters where around in the Victorian era). Yet it still shows everything that Stoker conveyed about his vampires being sensual and mysterious beasts. It is also a more romanticized incarnation of Dracula as Lee prowls among the rooftops, while most of the scenes with Dracula add a wonderful burnt orange and red hue to its outer frames. Which when counted along with the rooftop sequences; provide a more dreamlike aesthetic to the piece. It also has a one of the best Dracula dispatches throughout the Hammers oeuvre, after falling off a cliff, the prince of darkness is impaled on a giant metal cross. Who says symbolic imagery does not have to be heavy-handed.

Finally there is Quatermass and the Pit, the rarest of beasts which perfectly melds two genres (horror and Sci-fi respectfully) on its limited budget. While still managing to amaze and terrify me with its London underground setting and haunting climax. Barbara Shelly and (one of my favourite Hammer actors) Andrew Keir turn out powerfully emotive performances, as they slowly uncover what lies buried in the underground. Nigel Kneale adapts his own story which terrifyingly questions our own evolution. The late great Roy Ward Baker orchestrates some truly memorable sequences such as, the underground telekinetic attack, the Martian possession of the local Londoners and the final climactic (and explosive) showdown with a melancholic twist. Intelligent and gripping sci-fi this is still very much sterling stuff.

So it seems that yes, after 50 odd years the Hammer back catalogue has dated some what, with its overly melodramatic performances and identical use of sets. But they are still darkly comic in places, juxtaposing pure horror with little touches of camp. Forever classics of British genre cinema, a tradition long since forgotten within the film industry, but one I hope to see a change in soon.

The Dude Provides

After what seems to be an eternity ‘Tron’ finally has a sequel coming up later this year. So far that news is nothing new especially to the die hard fan base of the original, what was new was the recently released filmic titbits which have now, officially, got my cinematic taste buds gagging for more.

While the various other trailers have been a welcome feast for the eyes (even without the 3D this film already looks eye-popping) these new audio/visual treats have finally stoked my interest enough that I am genuinely excited for the December release. Now I was never a massive fan of the original ‘Tron’ but as a child, whenever it was shown on television I would be transfixed for a short period by its neon glow and iconic light cycles. And while it has not dated particularly well the films concept still intrigues me, as well as it being a nostalgic throw back to the early days of 8-bit arcade machines.

Recently 20 minutes of exclusive footage was shown to the press and on the various film sites it seems that it has garnered a hell of a lot of praise for its visuals and use of 3D to draw the viewer in further. On top of all of that Daft Punk (the groovy French techno-artistes) have released a short clip from their original composed soundtrack. All of which only adds to the frenzied anticipation for geeks and fans alike. The track entitled ‘Derezzed’ not only provides an exclusive snippet of the soundtrack but includes some new footage, which in all honesty, got me overly excited about a big budget effects for the first time in a very long time.

Justifiably so as director Joseph Kosinski past efforts shows he really has an eye for the cinematic with his ‘Starry Eyed’ Halo 3 trailer along with his ‘Mad World’ trailer for Gears of War . The trailer of which is still as hunting and instantly recognisable among gamers and fans of the series, both of which are worth a gander if you happen to be browsing youtube.

Granted the first Tron is far from a classic but it does contain elements which have revolutionised computer graphics within film as well as inspiring countless games developers. It certainly gained a huge cult following and defined a generation of tech-heads, along with its 8-bit score which is now very much a product of its time. Watching the first Tron now brings back memories of the bygone days of the old Pac-Man games, Space Invaders etc. While personally it channels my formative years as an early gamer with Sonic the Hedgehog, Super Mario et al.

With all of the promotional material pointing to an action filled visual treat which is making my inner child excitable about the neon lit spectacle that I will witness, come Boxing Day. While my adult side is thinking that the spectacle is nothing without decent storytelling and the possibility of style over substance, I suddenly remember those days of when I was mesmerised by the light cycles. Mind you something this eye wateringly scrumptious could possibly be engaging without the original story. Until then judgement shall be reserved with the added toning down of anticipation (just in case I get myself overly disappointed) but with each passing week with new details shown, I have a feeling the fans are in safe hands. This is shaping up to at least be a thoroughly entertaining ride.

Now in the wise words of Michael Sheen’s character we might well have perfect explanation for the films tone, “Change the scheme! Alter the mood! Electrify the boys and girls if you’d be so… kind”, Tron Legacy could certainly be a great late Christmas present for those bored of the norm.

A sight for Saw eyes? Or just a case of Saw eyes?

It depresses me slightly to see that this is what the modern genre of horror has become, low budget and yearly produced pieces of ultra violent trash. But had blogging been around during the mid-80’s I am sure the same would have been said about the endless Halloween/Nightmare on Elm Street and Friday the 13^th sequels. The only difference being that these are considerably less violent and tame when compared to current film standards. If you have not guessed already I am talking about the inevitable ‘If it’s Halloween it must be Saw!’ paradox, this year of course with an eye piercing/migraine inducing 3D gimmick. We all knew it was going to come full circle eventually.

Now while I have my own reservations about the level of violence in film, I personally do not think Saw is really a horror to be utterly honest. Yes it does contain horror elements but it is first and foremost a thriller, or for those who would disagree, an airport novel that you buy to pass the time on the plain, with enough elements to keep you hooked, so to speak. It is designed to be something that holds your interest, it is utter trash and it is a soap opera with added violence, nothing more.

Being the glutton for punishment that I am with bad films, I continued to revisit this series but I stopped after part 5 when my senses came to me. But why would I continue to watch something so bad, so trashy and unredeemable, within the more reserved public tastes? Because like the airport novel that rest on the cheap book shelf with its flashy cover, it is an unfortunate constant. If you look across the shelf there are just a slew of sequels and imitations .Unfortunately horror is now made for the masses and seems to have lost its appeal with me recently. That is to say the more modern horror has because what is being served to us in our filmic diets is a platter of remakes, more overly violent dispatches and shamefully flashing editing. Which is particularly the case with this series of films, it is also evident from the various horror publications that circulate both Britain and the US. These being ‘Gorezone’ and ‘Fangoria’ which only seem to revel in the overly elaborate gore effects, that while impressive, still leave a numbing taste in the mouth of any hardened horror aficionado.

There is also little that is rewarding from this series other then moments of trashy entertainment (others might not see it that way) and unfortunately substandard story telling as all the original twists have long since been revealed. This brings me to the first entry in the series which as thrillers go is certainly still an enjoyable film. Tautly paced while keeping you guessing and ultimately interested in what happens to the characters. It is regretful that when the second was eventually made a released the following year (under the helm of director Darren Lynn Boussen) that it quickly descended into overblown and outlandish violence. While with each subsequent instalment trying to ‘out gross’ the previous entry, both in terms of money and sadistic acts, it seems that this once simplistic series has become a convoluted soap opera. Just with lashings of violence added to the already awful dialogue and cheap looking sets which are obviously interconnected.

So with the release of ‘Saw 3D’ (aka Saw 7) just days away and it being the supposedly last in the series, what can horror fans expect to see as the next new wave of horror. Personally here’s hoping that something comes along that truly shakes the foundations and is as influential as some of the horror greats which have proceeded before them. Here is a little word of advice for a good horror (which I know will be agreed on) atmosphere is what is needed. Abandon the trashy flash cuts and respect that the audience has an attention span longer then a water based animal. Then hopefully horror will get back on track.

Scream and Scream and Scream and Scream again

The nights are drawing in sooner; the weather is getting steadily colder. The leaves are browning and falling from trees all the while signalling the winter months. All of which point to my favourite time of year, Halloween, but why?

To start with It is worth noting that I have a soft spot for the Scream franchise and while the first is the only one worth any type of merit for its originality, the other two entries are enjoyably taut if silly thriller/slasher hybrid. It redefined horror films for newer generation with its post modern twist on the slasher genre, a subgenre that was long past its sell by date. It also rejuvenated director Wes Craven’s slightly lagging career and with his smart direction he created what the genre was missing, a film that contained knowing winks to its own set of filmic rules. While screen writer Kevin Williamson crafted a smart and witty script which still feels as fresh as it did back in 1996. It also contains one of the better horror scores of the modern horror film, not as instantly hummable as the more iconic horror scores but still recognisable.

But why am I bringing this up, well it seems some 10 years after the final instalment (actually make that 11 when it gets released next year) Craven, Williamson and Co. are returning for, what is hoped, the 4^th and final time. Over the last few months there as been brief clues about production, behind the scenes images here and there as well as a few news features on American TV. Now there is finally a teaser trailer on the net which seems both a blessing and a curse.

For starters it seems Williamson has invented a new set of rules which now apply to the current generation of horror clichés, while also bring back the ever reliable ‘modernised’ and obsessed horror film fan. From the looks of the trailer it also brings back all the ‘surviving’ cast members with the added inclusion of bigger kills. But then there is the feeling that this is all a bit old hat, barring the new riffs on the modern horror rules what will this bring? As it is not out until next April and as this is only a teaser, there is hope of possibly a better trailer being released in the next few months or so giving more information.

One thing it does contain as a final humorous in-joke, is its own rifting on the first films ‘do you like scary movies?’ for the moment though it seems to be a case of when the film is released we will eventually find out. Here is hoping it can at least improve on some of the faults of Scream 3. Thankfully with Williamson back in the writing saddle, this will be at least have a  strong story which helps to boost anticipation a level or two higher then usual.

Here’s hoping Courtney Cox is the killer!

Time circuits on. Flux Capacitor… fluxxing. Engine running. All right!

It has been a while since the last blog (for those that tend to have a gander) so it seems about time that I got back on the old blogsphere. So what better way to start a new blog then with the recent re-release of Robert Zemeckis’s original ‘Back to the Future’ I thought with this particular blog I would chime in with my own thoughts and reflections on this very special film.

Released in 1985 this film has two very special things which draw me to it, firstly I was born on the date of the American release of the film, hopefully not flying out at 88 miles per hour with two lines of fire behind me. And secondly the first film I saw in the cinema (at least the one I can remember so vividly) was the final part in the trilogy. So as you can see this series seems to be part of my filmic DNA if you will.

But if for a moment we ignore my sentimental reasons behind my love affair with this series (which I have watched back to back every year leading up to the eve of my birthday) what is it exactly that makes this one of the most loved films of a particular generation. Well for starters it still feels as fresh and original as when it was first released, the narrative still erring on the better side of high concepts genre films from the 80’s, and the fact that after some 25 years since its original release it has not really dated as much as say other films concerning time travel. It still has fantastic performances from both Michael J. Fox and Christopher Lloyd (as Marty McFly and Doc Brown respectfully) least I forget a possible career best from Lea Thompson as well.

It is a family film which caters so well for all age demographics (similar to how Pixar are in more recent times) it has moments of adult themes but also the spectacle of wonder and amazement for the younger crowd. That it manages to balance these two mixes so well is a testament to abilities of the filmmakers who were able to fully realise their story. The narrative at its most basic is a simple story of family, while at its most complex (particularly in the case of the sequels) is the intertwined nature of time travel, alternative realities and what is deemed ethical. Surprisingly deep stuff for a Hollywood feature film.

While in Marty Mcfly and Doc Brown we have characters the audience can relate to as actual human beings and friends. Even if after some pondering, it does seem a tad weird that these two are friends, but best not to think to hard about that. With Marty we are presented with the quintessential teenager, emotional, an outcast (in some respects) and frightened to take a chance in case he fails. While with Doc Brown we have a stereotypical mad scientist and feels like an eccentric uncle who is humoured by the immediate family. Two unlikely leads in a story about moral lessons and time travel, how on earth did this succeed?

Well it also helps to have a pretty cool time machine, in this case a modified Deloren, which over the years has become more synonymous with the accepted form of time machine and one which instantly becomes the first that springs to mind during heated, geeky discussions. On top of which there is the now iconic ‘Flux Capacitor’ at the back of the car, the blue lightening which illuminates the car during its time travel and the accumulation of the specialist sounds which accompany the machine. It is one of pop cultures most iconic movie vehicles up there with the Batmoblie, KITT from Knightrider, The General Lee from Dukes of Hazard, Mr T’s GMC truck and Phantasm’s Semi-Cuda. Ok maybe not the last one (it is just a personal favourite of mine) but the time machine has still managed to ingrain its self into the public consciousness, which is just another in a long line of achievements for the film.

Then there is the classic and instantly recognisable score by the legendary Alvin Silversteri. When those first few bars of the score are heard it instantly brings a wave of nostalgia crashing over my subconscious, that I can not help but have a giant grin appear on my face. It is one of the rare scores which has been on repeat play on my MP3 player and never manages to get tiring or boring.

It also contains more quotable lines then any cheesy action flick, such as: ‘1.21 giggawatts’ ‘Make like a tree….and get out of here’ ‘Jesus Christ Doc….you’ve disintegrated Einstein’ and many more, too numerous to list here.

Then there is the fact it contains two of the best moments ever…..seriously!

First we have the fact that skateboarding was invented by Marty as a means of escape from Biff and his cronies. This leads to one of the more original Hollywood chase sequences which still have the ability to be fantastic, funny and suspenseful all at the same time. Then the second is the infamous guitar sequence where Marty invents classical rock n’roll with his rendition of Johnny Be Good, as toe tapping a good scene as ever to be found in a movie about time travel. One which has also been found parodied more recently in an episode of Family Guy, almost scene for scene.

All of this and much, much more, not bad for a film which is half a century old and like most things classical only seems to get better with age. Which leaves me to say something along the lines of Doc Brown: When this baby hits 88 miles per hour….your gonna see some serious shit!

Back To The Future, I salute your movie greatness.