VIDEO REVIEW: Hausu

VIDEO REVIEW: The Pyjama Girl Case

VIDEO REVIEW: Emmet Otter's Jug-Band Christmas

VIDEO REVIEW: The Psychic

VIDEO REVIEW: Shock Waves

VIDEO REVIEW: Day of the Animals

VIDEO REVIEW: The Hobbit

VIDEO REVIEW: The Sentinel

VIDEO REVIEW: Suspiria

REVIEW: War in Space

War in Space

Director: Jun Fukuda

Year 1977

War in Space is an absolutely stellar Toho science fiction flick that throws caution to the wind as it depicts a future world placed in peril by morphing green skinned aliens, furry ax wielding beasts, and outrageously designed spaceships. Constructed in that stupendous Toho sense, the production boasts a wild array of outstanding miniatures, quaint effects, and a mind-blowing plot that is simply bonkers. With all of these valued qualities jam-packed into the runtime of this entertaining gem, it goes without saying that War in Space is a sci-fi fantasy meld that just screams fun and enjoyment.

The film begins with an alien attack on the planet Earth, where all across the globe countries are being bombarded by a mysterious enemy from Venus. All the world's hope lies with one Japanese scientist named Professor Takigawa, who has constructed a space craft called the Gohten, which has the ability to take down this nefarious force which has savagely waged war against the people of Earth. With a crack team of astronauts, Takigawa and his crew set off for the planet Venus to take the enemy head on, but will they bite off more than they can chew?

Ryo Ikebe takes on the role of Professor Takigawa, the headstrong leader of Project Gohten and the last hope for mankind. Ryo gives a fascinating performance which is subtle in every sense of the word. Almost contemplative to a fault, he calmly approaches each situation with a thoughtful pause before making a decision that propels the team into some perilous situations. Being no stranger to Toho productions, seeing that he had prominent and memorable roles in such science fiction films as Battle in Outer Space and Gorath, Ryo just gels into the style of the movie as he compliments all of the stylistic charm that Toho films are known for.

Accompanying Ryo Ikebe on this wild ride is Yuko Asano, Kensaku Morita and Hiroshi Miyauchi, as they take on the roles of June Takigawa, Miyoshi and Morrei. Yuko's portrayal of June Takigawa, daughter to Professor Takigawa, is whittled down to little more then a damsel in distress role, but she still does a commendable job with the material she's given. Hell, if anything else she gets to share the screen with one of the strangest of Star Wars coincidences in the form of a giant Wookie-like creature with horns and a laser ax, so her existence in this flick can't be too shabby. When it comes to Kensaku and Hiroshi, they take on the two central hero roles of the film with Kensaku playing Miyoshi the fiance of June and Hiroshi taking on the role of Morrei June's former crush. It may sound confusing, and it is, but the love triangle aspect of these criss-crossing relationships never takes center stage and is more of a backdrop to showcase how these characters are all connected to each other, so there's really no melodrama to bog down the story. Each leading man gets to show their stuff on the action front, allowing for both actors to shine while saving the day and thematically that's what the movie is all about.

In true Toho fashion, the production is filled to the brim with imaginative practical effects and the use of miniature work throughout the film is astoundingly effective and awe-inspiring. You never can go wrong with a practically constructed science fiction film from this era, or prior, and War in Space is no exception. From the epic space battles, to the interesting conceptual designs of the various spaceships, to the otherworldly atmosphere of the Planet Venus' surface, this entry is frothing with visual splendor. Not only that but the character's of this film, mainly the alien beings, are rather unique in their obscurity and uncanny resemblance to other cinematic characters within the genre. As I've mentioned already, there is a hairy creature in this movie that has a striking resemblance to Chewbacca that will surely give many fans out there a good chuckle, but of course there are other beings in this film that truly stand out as strikingly odd. One in particular is the main villain of the piece who resembles a green-faced Roman soldier, equipped with helmet, armor, and all the trimmings. He's a sight to behold and probably the best description on how wacky and fun this film can be.

This zany smorgasbord of craziness can all be attributed to the always entertaining filmmaker Jun Fukuda. With around five Godzilla films under his belt and the ridiculously entertaining spy gems Ironfinger and Ironfinger 2: Goldeneye, Fukuda has already made a name for himself in my book and with War in Space, my appreciation for him has only strengthened. There is a care-free outrageous quality to this production, where you never know what is going to happen next. It has all of the familiar trappings of a traditional Toho film, but there is always something a little off kilter or bizarre that throws you for a loop. I enjoyed the random nature of it and truly appreciated the fun factor, which by the way is through the roof in this production. All in all, War in Space feels like a Ishiro Honda Toho production, yet the outlandish way in which Fukuda portrays this unusual world gives the formula a whole new life of its own, making for a viewing experience that is wholly unforgettable and unique.

 

War in Space is an absolute blast as it blends Star Wars aesthetics with Japanese Toho science fiction in the wildest of ways. The combination is astoundingly madcap and you'll love every second that you spend in this topsy-turvy cinematic world. From its entertaining cast to its epic story, this sci-fi oddity really pulls out all of the stops to get your attention and make you take notice. When it's not dazzling you visually the film is boggling your mind with fantastic situations that are out of this world and in all intensive purposes gravity defying. This is not logically sound and thought-provoking science fiction here, but a silly entertaining romp that entertains to no end and that's just how I like it.

With its abundance of practical effects and majestically constructed miniatures, War in Space is without a doubt a throwback to the heyday of Toho studios and a testament to all that this movie-making powerhouse has brought over its long existence. It's thrilling, cheesy, outrageous, and above all entertaining and that's all I ask for in a fun science fiction adventure film. Make it a priority to hunt this one down, because it is well worth your attention and admiration. They don't make them like this anymore and that is a damn shame. War in Space is one hell of a.....

Is there something you'd like to share with the rest of the class?

Hello, Hello, Hello, Hello.... HELLO!

Nice fucking model!

Is that creepy bald dude still looking at us?

Eat laser you alien scum!

Say cheese.

Don't leave me hanging man.

See.... he digs the movie.

Damn you aliens!

If there's one thing I hate it's dirty Wookies. Shit! There's one behind me isn't there.

Everybody run! It's the Bruce Lee Space Raiders!

Use the Force Miyoshi. Use the Force!

Chewbacca! NOOOOOOOOO!

Weeeeeee!

Looks like the gang is all here.

Let's play space-chicken.

Pick up your knees! You run like a girl!

Don't touch that dial weirdo.

REVIEW: The Hobbit

The Hobbit

Director: Jules Bass & Arthur Rankin Jr.

Year 1977

The Hobbit is a wonderfully magical animated feature in which brings J.R.R. Tolkien’s heralded children’s story to vivid life, introducing us to the world of Middle-Earth and the heroes and creatures that inhabit it. Imagined in the most whimsical of ways, this fun adventure film moves at a brisk pace as we follow Bilbo on his journey from the Shire all the way to the Lonely Mountain and back again. With an abundance of musical sequences, character interactions, and action set-pieces, this iteration of the classic novel is a must for any fan of the book and it’s a great set up for the live action feature directed by Peter Jackson. If you’re looking for a good old wholesome adventure tale, then The Hobbit is just up your alley.

The film follows the story of Bilbo Baggins, a Hobbit who has an unexpected series of visitors who sweep him up on a life-changing adventure that changes him from a homebody into a courageous adventurer. After being visited by Gandalf the wizard and a group of thirteen dwarves, Bilbo reluctantly takes a job to be the party’s burglar in which he is tasked to retrieve some treasure from a dragon’s lair. Setting out on their quest, the group encounters ravenous trolls, malevolent goblins, spiteful elves, devilish spiders, and a frighteningly cruel dragon named Smaug. As Bilbo rises to the occasion on all accounts, he learns that there is more to him then he first realized and that bravery and courage is something that can be found in the most smallest of creatures.

This Rankin/Bass production is a real treat, especially for those that encountered it while still at a young age. For me, it was this entry and The Return of the King produced Rankin/Bass collaboration that first sparked my imagination and put in motion my interest in reading Tolkien’s writings. What Bass and Rankin were able to do with this production, was perfectly capture the magic and wonder that is Tolkien’s Middle-Earth, while summarizing quite nicely the contents that can be found within The Hobbit’s novelization. Most everything from the book is intact, including the three troll sequence, the capture of the party by the Goblin King, Bilbo and Gollum’s riddles in the dark, and even the death of Smaug by the bowman Bard. The only glaring admission that was missing from this production was the inclusion of Beorn, a hulking man that can transform into a bear. Other than that, I would say that Rankin and Bass did quite well with jamming everything in to this film’s 90 minute runtime, without compromising the stories integrity or spirit.

As for the visual style of this feature, I’d say that it perfectly mirrors the quality that one would imagine if depicting the aged world of Middle-Earth. The designs for the creatures and characters, created by Lester Abrams, are magical, and the overall look of the world is quite captivating even in its child-centric presentation. The detail and tone of this version is also an inviting one as it features an aesthetic that seems pulled from legend. It’s easy to say that the source material is geared towards children and the overall scope of the narrative pales in comparison with the epic quest featured in The Lord of the Rings, but what The Hobbit establishes right from the get go is a definitive style that harkens back to a fictional world that feels lived in and genuine, be it a more whimsical and fantasy-driven one.

The music is also something of an underrated gem, giving both the foreboding doom of Smaug’s lair and the care-free nature of Bilbo’s Shire lifestyle, some much needed depth and validity. The original music, composed by Maury Laws, is extremely effective for this particular fantasy piece and he definitely is able to capture the wonder of Middle-Earth in even the most sparing of time. What might throw some people off of the film is that it is quite musical in the folk music sense of things, where characters will begin going off on song filled tangents. In actuality, there is an abundance of poetry like verses in the book so for me it only adds to the charm of the film. Not only that but the songs get stuck in your head, particularly the main title theme “The Greatest Adventure”, written and performed by Glenn Yarbrough, and the fan favorite, “That’s What Bilbo Baggins Hates”. To each there own, but for me the jovial way in which the film bursts into song every once in a while, makes this iteration of Tolkien’s classic that much more fun to watch.

It must be said that for all its content, the film moves at a surprisingly brisk pace as it sprints from one set-piece to the next. We never really dwell in one particular situation for more than a moment, making the film feel like more of a summary of the book rather than a fleshed out telling of the characters experiences. Be that as it may, I enjoyed the rampant pace of the production and even though things aren’t expanded upon, other than what is set on the written pages, I still get a ridiculous amount of enjoyment from this whimsical tale of a Hobbit and his unexpected journey.

The Hobbit is a wonderful Rankin/Bass collaboration that really nails the spirit and passion of Tolkien’s book. With its expressive style and unique character design, the film paints a beautiful picture, one in which never wanes after multiple viewings. Childish in its very nature, but respectfully depicted, The Hobbit is a justifiably fast paced adventure film which takes the iconic set-pieces of the novel and just runs with it. With its stupendously vivid original music, composed by Maury Laws, to its original character designs, created by Lester Abrams, this animated adaption is a treasured piece of Tolkien history.

As I write this on the cusp of Peter Jackson’s version, I can’t help but to look back on Rankin/Bass’ production and remember a time when this musical iteration of the famous story was the only offering we had in diving into a feature film version of The Hobbit. Of course Jackson will bring the same painstaking care and overall epic quality to his creation as he did with the Lord of the Rings trilogy, but when it comes to the simplicities and intimate story of The Hobbit, Arthur Rankin and Jules Bass will always be the top contenders. They may not have the most fleshed out and immersive experience when it comes to telling this tremendous tale, but I feel that their version will be the most succinct with the intimate quality of J.R.R. Tolkien’s original children’s story. If you’ve ever wondered what a fast paced animated version of Bilbo’s unexpected journey would look like, then give this one a go. It’s a ridiculous amount of fun and the care-free nature of it is just a blast. It also doesn’t hurt if you have a little nostalgia to back it up. The Rankin/Bass adaption of The Hobbit is a…..

I think Bilbo's gonna hurl!

Sting!

Could someone get these damn stars off my head?!

That Goblin King is a P...I....G..... PIG!

Gollum is a real creep.

Sweet rides fellas!

So run it by me again.... Why can't you just drop us off at the Lonely Mountain?

Watch out Bilbo! It's the army of the evil butterflies!

Will you shitheads stop getting into trouble?!

Looks like someone pissed off the Keebler Elves.

Here comes Bilbo.... Barrel Rider!

Smaug is one fat lazy piece of shit.

Looks like someone has been a naughty Hobbit.

It's time for you to cool off Smaug.

So Bard.... What's with the no pants wearing thing?

To War! Huzzah!!!

Who's gonna clean up all of this shit?

Bilbo is just snug as a bug in a rug.

REVIEW: The Sentinel

The Sentinel
Director: Michael Winner
Year 1977
 
The Sentinel is an outstandingly haunting film that relies on subtlety and tension to tell its atmospheric tale of one woman’s descent into madness. Centered on an old apartment complex, the movie bombards the viewer with a wild array of motley characters, all in which inhabit this historic building filled with various sorted tales. With a palpable tone and well paced direction, The Sentinel is a horror film that approaches the subject matter in a classy and respectable way, opening up the film for a much broader representation of the genre.
 
The film follows a young and beautiful fashion model named Alison Parker, who against the wishes of her boyfriend Michael, is looking for an apartment to rent for herself in New York City. After going through a number of overpriced places, Alison stumbles upon a unique find in Brooklyn Heights in the form of an old apartment building filled with some interesting tenants. Unknown to Alison though is that the building complex has a long and sorted past filled with both mystery and horror. Haunted by frightening visions and battling through a series of strange events, Alison finds herself being drawn into a morbid plot that has her becoming a permanent resident of this house of horrors. Run Alison, run!

Cristina Raines plays the role of Alison Parker, the attractive model who is tormented by a house and destiny that she cannot pull away from. Cristina does an excellent job with the doomed character of Alison, giving a sympathetic performance that really steals the show and progresses the film along with ease. She has the stunning look that is required for the role of a fashion model, but she also has an excellent underplayed approach to her tormented character. Throughout the film, Alison gives off shades of vulnerability, sheer terror, and ultimately strength as she takes on the forces of the house against her own better judgment. Another impressive aspect of her role is the physical progression, or regression, her character undergoes as the film moves along. She goes from a youthful and optimistic woman to a drained and haggard wreck as the film nears its epic conclusion. The overall performance looked draining as all hell, but the end result is rather impressive and makes for a believable and shocking ending when the curtain finally closes.
 
Paired up with Cristina is the cool as shit Chris Sarandon, taking on the role of Michael Lerman, Alison’s boyfriend. Sarandon plays the character with a suave disposition and a cocky attitude that only he can pull off. What’s most interesting about his character is that for the majority of the film, we are given some pretty heavy clues that point to him being involved in some way with what has been going on at Alison’s apartment. Of course, Sarandon can play off of those teasing aspects of whether he’s a bad guy or good guy like a pro, so the addition of ambiguity is quite clever on the side of the filmmakers and Chris is expertly up to the challenge. What I enjoyed most about his role in the film, is that he becomes somewhat of a defender of his endangered girlfriend, doing research on the side in order to try to find out what is wrong with her. It’s actually a nice change of pace from what we see earlier in the film, and he’s able to make his character reveal some rather endearing qualities. Plus, look at that damn mustache!

The rest of the cast is absolutely great and essential to the structure of the story. Throughout the film, Alison is introduced to her various neighbors in the building, with each one being stranger than the next. They’re all a bit eccentric and each one has their own set of quirks, but for the most part Alison enjoys the company of these strange folks. What is even stranger though, that when complaining about the noise that some of them make at night to her real estate agent, she comes to find that there is only one person living in the building and they live on the top floor. This notion that she has a building full of neighboring tenants that aren’t really supposed to be there is an intriguing one and it is a notion that drives the mystery of this film along with great skill. Another great aspect of these mystery tenants is that they are all insanely wacky in their own respect. We have a lesbian couple, a jaded old woman, a peculiar married couple, and an interesting old man played by Burgess Meredith, who has a pet canary. Hell they even throw other interesting characters at us from outside the apartment complex like Arthur Kennedy and John Carradine as priests, Ava Gardner as Alison’s real estate agent, and a short running cameo by Jeff Goldblum, so this film has no shortage of interesting characters and big name actors. This motley group provides a great deal of spectacularly strange moments within the story and they aid a great deal to the overall atmospherically charged events of the movie.
 
Speaking of atmosphere, this film has it down-packed with its architecturally interesting look and storied past. Add onto that the wonderfully realized scenes where Alison is wandering around the building at night and you’ve got one hell of a gothic infused horror flick. There are some moments in the movie that are so expertly shot and perfectly handled, that you find yourself jumping out of your seat, not from a loud noise or pitch in music but by the creepiness of the moment. For instance, there is a part in this film that has Alison fumbling in the dark with a broken flashlight, only to have a shadow on the wall behind her spring to life and walk right across her field of vision, only to make it to the other side of the room and stand there, still as stone. The moment is frighteningly simple, yet it packs a punch, one that doesn’t go away as you wait to see what happens next. There’s another moment that has an army of freaks and oddities roaming the darkened halls of the apartment complex with some disturbing imagery that will literally haunt you in your sleep. These are just two examples of many, because this is one classic horror flick that gives you genuine scares without being over bombastic and flashy with their frights. Bring it on and check it out.

The Sentinel is a miraculous display on how horror movies should be done. With a subtle build up that lets the tension grow over time, the film shows just how hypnotic a classically done fright flick can be. With a stupendous performance by both Cristina Raines and Chris Sarandon, and an ensemble cast of high caliber actors, the movie has got all the right ingredients to tell a highly captivating story.
 
Much like the set up of characters and their fantastic contributions to the narrative, the look and atmosphere for the film is just top notch. Relying heavily on visual cues and steady pacing to put the scare in the audience, the film comes off as a more refined piece of cinematic horror rather than a flashy modern mess. With its attention to tone and its doomed scenario, The Sentinel makes a lasting impression that is sure to stick with the audience long after viewing. They don’t make subtle horror movies like this anymore folks, so check this one out as soon as you can. It will be a refreshing pace from the wham, bam, thank you ma’am shit that you’ve come across in recent years. You can thank me later. The Sentinel is an…..

Damn I'm a good looking man.

Now that's one sneaky priest.

Damn lazy kids. Get a job!

I can see you up there pervert!

Paulie want to shut the fuck up?!?!

You know you look ridiculous in that hat.

Hot damn that's a beautiful view.

SEXY!

Your shadow looks a little weird Alison.

Stab him in the head!

Would you mind dressing up in a naughty nun outfit?

God..... Thanks for the sweet stache.

Look at my mustache when I'm talking to you!

At least the mustache is still intact.

This mustache is delicious!

Shit! It's Burgess Meredith and his posse of freaks! RUN!

Keep the light on for me Alison. P.S. You look like shit.