Tuesday, 18 September 2018

Witness for the Prosecution (1957)

Billy Wilder's 1957 version of Agatha Christie's WITNESS FOR THE PROSECUTION gets a dual format release from Eureka. As opposed to the 1982 Alan Gibson remake, the 1949 BBC one, or the recent (2016) mini-series.

Dashing, penniless Leonard Vole (dashing Tyrone Power) is accused of killing a rich widow he has befriended. Elderly, infirm, brandy-swigging barrister Sir Wilfred Roberts (a wonderfully endearing Charles Laughton) may be his only hope of defence. Vole's wife Christine (Marlene Dietrich) provides him with an alibi, but when her story changes in court it's just the beginning of a series of revelations culminating in an ending I'm not going to tell you, and not just because the voiceover at the end begged me not to.

The last time I was witness to such a plea was at a performance of Christie's The Mousetrap which, unlike WITNESS, has yet to make an entirely successful transition to the cinema screen. Stage plays do come with the inherent problem that they are intended to be, well, stagey. Here Billy Wilder opens the action out as much as he can, but sensibly lets the actors carry the drama for the most part, especially in the courtroom scenes.

Best of the performances is Oscar-nominated Laughton, ably assisted by wife Elsa Lanchester who plays Sir Wilfred's nurse. In a story that's about deception and infidelity their relationship is played as a pleasant counterpoint to the rest of what we learn.

Fans of horror and fantasy will enjoy spotting THE BODY SNATCHER's Henry Daniell, BRIDE OF FRANKENSTEIN's Una O'Connor (still playing the same role thirty years on!) and Torin Thatcher managing to play chief prosecutor Myers without resorting to using a Ray Harryhausen dragon or Jim Danforth ogre.

Eureka's disc comes with a Kat Ellinger audio commentary, a video interview with Neil Sinyard, archival footage of Wilder discussing the film with Volker Schlondorff, and Simon Callow discussing Charles Laughton's performance in the film. You also get a booklet that includes essays from Henry Miller and Philip Kemp.

out on dual format from Eureka from 
Monday 10th September 2018

Saturday, 15 September 2018

Who Killed Teddy Bear (1965)

"Worldwide Blu-ray Premiere of A Deliciously Disturbing Cult Classic"

Yes well done to Network who are bringing out this fascinating piece of independent American 1960s cinema on Blu-ray for the first time. It's getting a digital release as well but that's not until next month.
New York City in the mid 1960s. Pretty Norah (Juliet Prowse) is being bothered by nuisance phone calls to her apartment. She alerts the police and Lt Dave Maddin (Jan Murray) takes a special interest in her case. Could the fact his own flat is filled with porn mags and textbooks on fetishism and other 'sexual deviancies' be important?  
And what about Lawrence (Sal Mineo), the very tight trouser-wearing busboy whose 19 year old sister sustained an injury to her brain as a child that might just be Lawrence's fault? Could he be the caller?

You find out pretty quickly, because while the first act of WHO KILLED TEDDY BEAR makes it out to be a mystery, it's actually much more than that. Creatively shot with distorted images worthy of Polanski (I was reminded of REPULSION more than once) it's likely that giallo film-makers of the 1970s picked up a few lessons in suspense & technique from this one as well. 
But TEDDY's influence (probably) doesn't end there. The grim and grimy New York locations, with their porn cinemas and seedy back alleys, also foreshadow the 'miserabilist maniac' pictures of the late 1970s /early 1980s like Abel Ferrara's DRILLER KILLER, Romano Scavolini's NIGHTMARES IN A DAMAGED BRAIN and of course William Lustig's MANIAC.

Network's transfer looks a bit rough in spots with scrapes and scratches here and there & what look like tiny holes in the negative in places, but this has been newly scanned from one of the few surviving 35mm prints, and according to their press release 'the restoration involved careful grain management, both automated & manual removal of film dirt & damage & correction of major instability, warping & density fluctuations. Missing frames / sections have been reinstated from a 16mm print and the image matched as far as possible.' So now you know
Extras on Network's Blu-ray include an episode of early 1960s TV show COURT MARTIAL which features Sal Mineo as guest star alongside regulars Bradford Dillman and Peter Graves. You also get an LSD public information film narrated by Mineo. 

Yes it's a total Mineo package and well worth it. More than a simple 'Who is the killer sex pervert with a twisted back story' WHO KILLED TEDDY BEAR is never less than fascinating and very much deserves to be more widely seen. Hopefully this release will achieve that.

WHO KILLED TEDDY BEAR is out on Blu-ray from 
Network on Monday 17th September 2018 and 
Digital on 15th October 2018

Saturday, 8 September 2018

The Bloodstained Bulletin No.2

Oh yes it's back! For all those who thought my attempt at a newsletter / column / general roundup of what I've been watching but not reviewing formally would end after issue one here's the second. Last time I left the shit shed section till the end but I've just been to the cinema and right now I can think of no better candidate to be exiled to...

The Shit Shed - This Time On the Big Screen!

Brace yourselves for:

The Nun

        Because Bless My Soul, Jesus Christ and Hail Mary, this one's really not very good at all, and not even a real EuroGothic feel evinced during the opening twenty minutes can save it. There are some great locations, gothic sets, and a pinch of Fulci. But the screenplay is truly awful. In fact watching the movie had me wondering what the final script meeting must have been like...

A great shot that does not a great film make, sadly
Producer: Have you finished the script yet?
Writer (handing it over): Yes, here it is.
A Pause
Producer: But this is five pages long!
Writer: Yes, sorry about that.
Producer: But I specifically told you it should be no longer than four pages. What am I supposed to do now? (Looks through the document). Okay, well, we can lose any reference to who The Nun actually is, how they came to be like that and what they actually want. We'll just tell the director to make her appear out of shadow a lot, leer and then bellow like an unhappy cow to make everyone jump. Lots of times.
Writer (scribbling): How many times?
Producer: Five times. No, six. Now, this priest here, the one who's sent to investigate the suicide of the nun at the beginning...
Writer: Oh yes, the expert in supernatural matters who has done exorcisms and is the most supremely qualified for the job due to his vast experience?
Producer: Yes that's right, him. The moment he encounters anything vaguely scary of a supernatural sort he needs to scream and wave his arms about like a terrified child so audiences can relate to him.
Writer: But he's the expert.
Producer: Yes, but the expert in one of these films, which means he must act as if he has never encountered anything so scary before, even if it's terribly minor and inconsequential.
Writer (crossing stuff out): Well now we're down to three pages.
Producer: Shit. Ok. We've got a nun in it, haven't we?
Writer: Oh yes. That is what the film's called, after all.
Producer: Not THAT nun! I mean the other one, the novice one, the one the kids will relate to. She hasn't taken her orders yet, has she?
Writer: Er...no. That's an important plot point.
Producer: Exactly! So let's get every character, including the nun herself, to repeat that at intervals throughout the film. Maybe we'll be able to shift some DVDs because people will want to use it in a drinking game.
Writer: Ok (scribbles). Back up to five.
Producer: Damn. Oh, wait. What about this slightly random subplot about children killing themselves in the village?
Writer (nodding with misjudged pride): Ah, the tavern scene.
Producer: Yes let's just cut it there, shall we? No-one's going to be interested in that subplot or where it goes so let's just leave it hanging. No-one will notice. Is that everything?
Writer: Yes I think so. Hey, writing these films is easy! Nothing like Stephen Volk said it would be.
Producer: Good stuff. Ok, I'm off to the set now with my air horn that I'm going to blow every five minutes to help the director know when he has to insert a jump scare.

Happy Nuns - they haven't seen this film, then

Yes THE NUN isn't very good at all. An hour in and I had no idea what was going on. Eighty minutes in and I glanced with relief at my watch knowing it would all soon be over. I still don't know exactly what the title character was supposed to be up to or doing, or why it was conveniently kept in that one cupboard in the convent. And that lead priest role is awful and thankless. If THE NUN had been made in 1975 Paul Naschy would have played the lead, kicked the crew up the backside, slept with all the sexy nun actresses onscreen, sorted out the monster and probably turned into a werewolf while he was doing it. And now I want to see that picture instead of THE NUN. To be honest I want to see anything other than THE NUN. Fortunately this is also on release:

Other Much Better Films On At The Cinema

The Domestics

        Getting a limited showing of once a day at selected cinemas around the country, this marvellously violent post-apocalypse movie is worth catching if you can. It was filmed in Louisiana but feels more like an early 1980s Ozsploitation picture. 
There's been an apocalypse caused by poison gas. Those who have survived now all live in factions. Normal people are called Domestics and have to fend off the attacks of the various gangs that have formed. The plot details the attempt of Mark West (Tyler Hoechlin) and his wife Nina (Kate Bosworth) to travel across country to visit Nina's parents, who have stopped communicating by CB radio. 

Feeling a lot like a Brian Trenchard-Smith movie (DEAD END DRIVE-IN, TURKEY SHOOT) the script is a delight,  constantly and consistently wrong footing you. There's a fantastic performance from the ever-reliable Lance Reddick & I've just spotted that THE DOMESTICS has a well-deserved 100% rating on Rotten Tomatoes. Here's the trailer that sold us here at HMC on going to see it:

And if some dystopian ultraviolence doesn't float your boat, then there's this:


        Continuing producer Timur Bekmambetov's fascinating and pretty much unique ongoing project to use modern social media, computer screens, etc as narrative cinematic devices. (The only other example I can think of is dear old Nacho Vigalondo's pretty decent OPEN WINDOWS from 2014). Mr Bekmambetov was also responsible for the UNFRIENDED movies as well as first person shooter movie HARDCORE HENRY and he has horror UNFOLLOWED and romantic comedy LIKED on the way. 
John Cho is David Kim who, after the death of his wife from lymphoma, has had to raise his daughter Margot (Michelle La) on his own. When she fails to return from a study date, he discovers his daughter has been living a whole other existence he never knew about. 
Best seen knowing nothing else about it, SEARCHING is still in cinemas at the moment but it's likely to vanish soon, just like Margot Kim, but hopefully it won't be as difficult to locate again.

And that's it for now! I promise Compost Corner will return if there's ever a Bloodstained Bulletin No.3. Until the next time, though, and with all the talk on social media of That SUSPIRIA Remake, here's a little clip that raised many a smile at Frightfest recently: 

Friday, 7 September 2018

Heathers (1988)

"Extremely Very"

A late 1980s comedy that's deliciously quirky and dark, Michael Lehmann's HEATHERS gets a splendid dual format DVD & Blu-ray presentation from Arrow. The film is celebrating its 30th anniversary, but fans will be delighted to learn it has dated in all the right ways. 

Veronica (Winona Ryder) has achieved her aspiration to be in the top clique in her high school, the other three members of which are all named Heather. The girls specialise in playing practical jokes on those they deem beneath them (ie everyone), wearing fabulous clothes (for the late 1980s which means they are, indeed, fabulous) and, of course, behaving like supreme bitches whenever they can.

When Veronica hooks up with loner / Jack Nicholson impersonator Jason Dean (Christian Slater) and explains how she wants to stop one of the Heathers (Kim Chandler) from telling the school about an unfortunate incident at a recent party, it's the start of a run of murders dressed up to look like suicides. How the school reacts to the suicides forms a major part of HEATHERS' satire, culminating as it does in a plot to destroy the entire school.

Which is just one of the reasons HEATHERS wouldn't get made today. In fact, according to the interview with director Lehmann on this disc, it wasn't the kind of film to get made very easily back then, either. Now, however, this tale of American school kids shooting each other and taping dynamite to school buildings is far too close to the truth for the subject matter to be treated in such a wittily acerbic manner.

And HEATHERS is very witty indeed. Daniel Waters' script is eminently quotable, and even composer David Newman pays tribute to it in his interview on the disc, saying that he composed a more textural than thematic score because the dialogue was melody enough. Michael Lehmann's direction is extremely stylish, and I especially liked the use of different coloured lighting depending on which Heather we are with.  

Arrow's Blu-ray comes packed with extras. As well as the above we get a commentary track from Lehmann, Waters and producer Denise Di Novi. There are more interviews with production designer Jon Hutman, art director Kara Lindstrom, casting director Julie Selzer, and actress Lisanne Falk. There's a new appraisal from John Ross Bowie (Kripke in The Big Bang Theory), an archival making of featurette, trailers and a reversible sleeve. 

The transfer itself is a new restoration from a 4K scan and is presented in 1080p for Blu-ray. You also get sound options of original mono and 5.1 DTS-HD.

Michael Lehmann's HEATHERS is out on dual format from Arrow Films on Monday 10th September 2018

Thursday, 6 September 2018

Miss Leslie's Dolls (1973)

"Bonkers Grindhouse Treasure"

Oh yes, if you like completely crazy low budget movies from the early 1970s that look as if they were shot for a couple of dollars because the rest of the budget went on whatever substances everyone was 'experimenting with' then MISS LESLIE'S DOLLS is just the kind of whacked out weirdo looniness for you. 
Three girls and one man end up stranded in a thunderstorm when their car breaks down. They take refuge at the only house in the area, one which is next to a graveyard filled with suspiciously wooden and uniform-looking crosses.

Careful with that axe, Eugenie
The house is owned by Miss Leslie. I can't do a better description of Miss Leslie than Network's press release does so here it is: 'less a mild mannered spinster and more an axe-wielding homicidal cross-dresser intent on transferring his spirit into the nubile body of any young girl foolish enough to come visiting'.

Can you hear me, mother?
There's the plot, then. Except, as with all the best insane movies, that's only a fraction of the appeal of this one. Miss Leslie is obviously a man dressed up, but she has been dubbed with a female voice. The dolls of the title are her failed experiments which have now been arranged in an artful tableaux like something out of an early Harrison Marks film. 

The dolls in all their glory
There's a bit of nudity, some in and out of bed shenanigans, and a dream sequence near the end that is so batshit crazy you get the feeling that was what the director actually wanted to make and just did all the other mad stuff to make the dream look not quite so mad. It almost works but not quite. 
I can quite honesly say I've never seen anything quite like MISS LESLIE'S DOLLS. Imagine if David Lynch had the technical competence of Herschell Gordon Lewis and you'll be part of the way there, and if that mixture sounds appealing this is a piece of loony obscurity you need in your life.

If you've read this far down you should be expecting something like this
Network's DVD & Blu-ray (a worldwide premiere no less) doesn't contain any extras, but considering that prints of this would hardly have been treated with any special care this looks really good for its age. A bit like Miss Leslie herself, in fact. Mad, bad and dangerous to buy. Go for it. 

MISS LESLIE'S DOLLS is out now on Blu-ray and DVD 
from Network, and it's getting a digital release on 
1st October 2018

Tuesday, 4 September 2018

Revenge (2018)

"Very French"

Oh yes. In fact so French is REVENGE they could have called it 'Je Crache Sur Votre Tombe' if Meir Zarchi's 1978 classic hadn't already been given the English version of that title by Jerry Gross. How French is it? Well there's plenty of over the top violence, some impressive artistic imagery and (of course) a scene of someone having a wee. And yes, it's very much like I SPIT ON YOUR GRAVE, except really rather more ludicrous.

Rich, naughty (and for quite a bit of this, naked) Richard (Kevin Janssens) brings girlfriend Jen (Matilda Lutz) to an isolated Moroccan desert retreat for a bit of 'I Promise I'm Going To Leave My Wife & Kids Honest' bottom fondling and general all-round adulterousness. 
But then his two rich friends turn up.

They're there a day early for a planned hunting trip, for which Jen was supposed to be gone. But she isn't. Richard goes off to do something and Jen ends up being raped by Stan (Vincent Columbe). Richard offers to pay Jen off but she's having none of it and runs off into the desert. Things take a turn for the worse and Jen becomes a hate-fuelled revenge machine who remorselessly tracks the three men down.

I don't want to give too much away about what actually happens, but while the opening act of REVENGE is absolutely fine, once our heroine becomes imperilled things move swiftly from unbelievable to frankly daft. As long as you're okay with her surviving injuries that would kill The Rock never mind a twenty-something supermodel, that the catastrophic internal bleeding from said injuries can be sorted out by cauterising with a tin can, and with the idea that Jen can suddenly acquire a working knowledge of the firearms the men have brought with them (and be a very good shot) then you won't spend too much of REVENGE scratching your head. Like the movie gun that has never-ending bullets you'll also marvel at how certain characters seem to be able to bleed at least twice their own blood volume and still live.

Stylistically the film looks beautiful, with landscapes, close-ups and interiors all rendered in glowing colours. Composer Rob (best known for the MANIAC remake) gives us a pounding electronic score, and the performances are all suitable intense. REVENGE is gory, intense, but ultimately a bit silly. Je Crache Sur Votre Tombe? Not really. Maybe more of a melodramatic sneeze. 

REVENGE is out from Vertigo Releasing on Digital HD from 
Friday 7th September 2018

Saturday, 1 September 2018

Hatchet 4: Victor Crowley (2017)

After premiering in the UK at last year's Frightfest, the latest in Adam Green's saga about the dungaree-wearing backwoods lunatic who likes chopping people up with the above-mentioned title item gets a UK DVD release courtesy of Thunderbird.

Andrew Yong (Parry Shen), lone survivor of previous films, is busy appearing on talk shows and attending signings of his ghost written account of his experiences. After his agent Kathleen (Felissa Rose from SLEEPAWAY CAMP) secures him a 'million dollar deal', Andrew boards the scuzziest, cheapest-looking private jet ever.

It crash lands in a certain swamp where film-maker Chloe (Katie Booth) and her 'crew' of Alex (Chase Williamson) and Rose (Laura Ortiz) have mistakenly brought lunatic hatchet-wielding killer Victor Crowley (Kane Hodder) back to life by playing youtube videos of the voodoo chant required to resurrect him. What happens then is by the numbers, with too little happening far too late. 

HATCHET III was surprisingly good, rattling along and with several iconic guest appearances from the likes of Sid Haig and Caroline Williams to keep the fans happy. VICTOR CROWLEY features an excruciatingly overlong 'sign my penis' gag, an embarrassing cameo from Green and his frequent collaborator Joe Lynch as airline pilots, and all other attempts at humour are on the same level.

VICTOR CROWLEY also suffers greatly from looking like it had a budget way too small for even a backwoods slasher like this, and there's very little in the way of any kind of endearing style to compensate. Add in an ending that's so abrupt you wonder if they ran out of film and you need to be especially forgiving with this one. 

Thunderbird's DVD comes with two commentary tracks, one with cast members Shen, Ortiz and Dave Sheridan, and the other with select members of the crew. Writer and director Green is present on both. There's also an interview with Green, a behind the scenes making of, and a trailer.

is out on UK DVD from Thunderbird on
Monday 3rd September 2018