VIDEO REVIEW: Five Deadly Venoms

VIDEO REVIEW: Good Guys Wear Black

VIDEO REVIEW: Starcrash

VIDEO REVIEW: Game of Death

VIDEO REVIEW: Drunken Master

VIDEO REVIEW: Halloween

VIDEO REVIEW: The Lord Of The Rings

VIDEO REVIEW: Snake And Crane Arts Of Shaolin

VIDEO REVIEW: Dawn of the Dead

VIDEO REVIEW: Warlords Of Atlantis

REVIEW: The Grapes of Death

The Grapes of Death

Director: Jean Rollin

Year 1978

The Grapes of Death is a surreal and dreamy zombie film that infuses into its core, an off kilter atmosphere that works perfectly alongside the movies unusual portrayal of a world fallen to a zombie apocalypse. Directed by French cult director Jean Rollin, the film has an airy quality to it that mixes nightmarish visions with tranquil country landscapes, in order to make a horror story that truly feels original and disturbing. With a keen use of locations, a handful of gore-tastic moments, and a sympathetic lead character, The Grapes of Death is an unusual zombie gem that hypnotizes its audience with its violence, death, and above all, its potent atmosphere that’s simply to die for.

The film follows a young woman named Elisabeth, as she travels by train to meet up with her fiancé at his vineyard in the country. Unfortunately for her, the pesticide that her boyfriend is using at the vineyard is having some dire effects on the local population, changing them into wild and savage zombie-like creatures which are prone to violence after being exposed to the toxins. In a desperate attempt to stay alive, Elisabeth travels from one infected town to the next, frantically trying to make it to her love, which ironically is the center of this mass hysteria. Lost in a landscape that seems plucked from a nightmare and surrounded by an endless number of infected, can Elisabeth make it to safety or is she destined to meet a grisly end? Either way it should be a horrifically fun time, but I recommend not eating the grapes. They will be your DEATH!

Marie-Georges Pascal takes on the role of Elisabeth, the scared-shitless young woman who suddenly finds herself attacked from every angle by psychotic lunatics. She does a tremendous job considering all of the strange and unusual elements of the production, and her performance actually blends in nicely with the surreal nature of the film. The most interesting thing about the way that Elisabeth is depicted, both by Pascal and from the direction of Jean Rollin, is that she is portrayed as if lost in a dream. The bizarre and unusual reactions and interactions that she shares with the people of this cinema world are odd to say the least, and in this weird state of consciousness, the characters take the backburner to the overall aura of the film. For example, the character of Elisabeth, though front and center, works as more of a transitional element for the movie. As we follow her journey and witness the crazy inhabitants, both infected and normal, that she interacts with, we forget about who she really is and just get absorbed into the lunatic-like quality of this dream world that Rollin has crafted.

As the film progresses along we are given some outstandingly unusual performances by a cast of dedicated actors that are willing to really push the anti in order to fulfill Rollin’s sick and twisted visions. From an innocent and ghost-like blind girl named Lucie, played by Mirella Rancelot, to a creepy psychotic man with a pitch-fork, played by Serge Marquand, to Paul Bisciglia’s twisted performance as a lovelorn madman who carries his girlfriend’s head around as a trophy, this film is jam packed with unforgettable crazies that really add to the flavor of this movie. Fan favorite and frequent Jean Rollin collaborator, Brigitte Lahaie, even takes a stab at one of the most memorable roles of the flick. She plays a damaged and demented beautiful young woman who, in some kind of sick twisted game, lures people into town only to hand them over to the zombie hordes still residing there. Her role in the movie is without a doubt the highlight of the film and her alluring features and madcap performance makes for a creepy combination that just nails the mindset of this demented production.

In the visual department, this film is a stunner. This should come to no surprise to those that have viewed some of Jean Rollin’s other fantastically provocative features. The man has a wonderful eye for surreal imagery, and in The Grapes of Death, he transposes this artistic vision onto the zombie genre with spectacular results. In true Rollin fashion we are gifted with hauntingly picturesque shots filled with fog shrouded landscapes, harsh foreboding lighting, and enough erotic and visceral flair to shake a stick at. Abundant in hazy wonder, Rollin proves that he is the master of setting up dream-like sequences and in this particular entry he’s added an extra dose of violence and debauchery that ooze gore and bedlam with unabashed pride.

As to be expected in a film that depicts the world going mad with blood lust, Rollin pulls no punches in delivery the gory goods. In the span of the film, we are presented with a series of marvelous practical effects that feature a grotesque decapitation, a pitchfork piercing, a throat slashing, and the general mayhem that occurs when unloading a rifle into a walking mound of dying and infected flesh. The practical effects, though obviously low budget, look absolutely great and the slow progression of the infected as they turn into crazed and oozing killers, is dramatically accomplished and exceptionally realized. With a shoestring budget and a handful of willing participants, Jean Rollin was able to make a visually striking feature that straddled the gap between gore and art film, without relying to heavily on either side to carry it along. That’s quite an accomplishment in my book and one that begs multiple viewings, just for the ambience alone.

The Grapes of Death is a magnificently haunting horror entry that features an abundance of class, even when it is knee deep in some of the most offensive and grotesque of set pieces. Directed by the master of erotic horror Jean Rollin, the film has a tendency to get lost in its ambient atmosphere, which in all intensive purposes is never a bad thing. Its potent visual charm is a thing of beauty, and the outstanding way in which Rollin perceives this mad world is a breath of fresh air in both its ingenuity and harshness.

Though these zombies are more infected than anything else, Rollin still manages to replicate that same morbid sensation of witnessing a walking corpse as it slowly closes in on its living prey. Undead or not, the film’s antagonists are anything but passive as they grab any and all weapons in their vicinity in order to deal death out in the most brutal of ways. Blood is spilt and flesh is torn, all through the use of some rather creative practical effects which climax during the film’s outstandingly gory decapitation scene. All in all, The Grapes of Death is a zombie feature that really must be seen if you’re a fan of the genre. It’s a little tepid in its pacing, but once you allow yourself to slip into its dream-like stasis, you’ll come to appreciate this little known gem for what it is and that’s a well crafted zombie film. The Grapes of Death is an outstanding…..

Traveling by train is pure HELL!

What a spooky day for a walk.

Pull my infected finger.

Don't do it Abe!

Thanks for the ride lady.

Don't point that thing at me you weirdo!

Well there's a lively bunch.

Run you blind ginger-headed freak!

That's one way to get to the head of the class.

Hi.... I'm not crazy or anything.

We don't need no water let the motherfucker burn!

You may be hot, but there's something fishy about you.

I salute you infected zombie army.

Look! It's Mrs. Two Face.

Pull my uninfected finger.

You know you've been working out too hard when you start sweating gravy.

This is my BOOMSTICK!

You've got something on your face.

REVIEW: Warlords of Atlantis

Warlords of Atlantis
Director: Kevin Connor
Year 1978
 
Warlords of Atlantis is a fun little fantasy flick that features Doug McClure doing what Doug McClure does best, and that’s fighting giant monsters while exploring wild and untamed new worlds. Centered on a lost civilization that lies underneath the Atlantic Ocean, the film delves right in to the madness and chaos that comes with such savage territory, showcasing a wild array of terrifying creatures that the filmmakers thrill in throwing at the audience in frequent succession. For a fun filled fantasy romp, look no further than this obscure entry because Warlords of Atlantis is an interesting journey into the uncharted bowels of planet Earth.
 
The film follows an exploration team lead by Charles Aitken and Greg Collinson, as they attempt to discover the lost city of Atlantis. After recovering a lost artifact from the ancient culture in the form of a gigantic statue, the team is double-crossed by their opportunistic crew whose lust for treasure sparks a mutinous turn of events. To make matters worse, at the same instance of the mutiny, their ship is simultaneously attacked by a sea monster, plunging all onboard into the ocean depths where they are spit out in an underground cave that leads opens up to reveal an entire other world filled with danger and adventure. Lost in an unknown world and greeted by a controlling alien race that thirsts for world domination, the crew must band together in order to thwart their plans while at the same time figure a way out of this crazy mixed up world and back to the surface. If anyone can do it Doug McClure can!

Doug McClure plays the role of Greg Collinson, the creator of the underwater device that allows them to traverse the depths of the Atlantic Ocean in search of any remnants of the lost civilization of Atlantis. While initially not having much to do with the exploratory crew of the expedition, other than being the one to pilot the underwater capsule, things change drastically once the shit hits the fan and Greg is thrust into the role of leader as they embark across this strange new world. McClure, as usual, handles the material with ease as he gives another outstanding and entertaining performance along the lines of his other fantasy entries like The Land That Time Forgot, At the Earth’s Core, and The People That Time Forgot. With Warlords of Atlantis being his last foray into the fantasy/adventure genre, McClure makes good use of his experience as he gives a great deal of respectability to the film while unleashing his unabashed wit and energetic charm.
 
As for the rest of the players of the piece, Peter Gilmore takes on the role of Charles Aitken a scholarly man with a penchant for exploring new cultures, Lea Brodie plays Delphine a beautiful slave who has lived most of her life under servitude, John Ratzenberger of Cheers fame plays the role of Fenn the bastard sailor who only thinks of himself, and Michael Gothard and Cyd Charisse who take on the roles of Atmir and Atsil, two aliens that want nothing more than to rule the human race with an iron fist. Each individual role in this film is given equal opportunities to thrive, but none take it as far as Peter Gilmore with his portrayal of Charles Aitken. As an intelligent man and leader of the expedition, the alien’s believe that he is evolved enough to be able to join their cause of world domination, so they try to enlist Charles into their ranks. It’s through this character and his interactions with the alien race that we get to see the more privileged side of their society. It’s an interesting view into their world, and the character of Charles Aitken is the construct in which allows us to peek into their way of life, so Gilmore brings a whole other layer to the proceedings that really end up being quite captivating and compelling to see play out.

As for the general look of the underground world of Atlantis, the production gravitates to epic proportions with diverse displays of grandeur, while accomplishing this larger than life feat in the simplest of ways. We’re privy to expansive cavernous halls, foreboding beast infested swamps, grand scaled fortresses, and extravagant palace chambers filled with beautiful people and decadent fountains, all through traditional filmmaking techniques like matte paintings and oversized sets which give the film a tangible feel. There’s a honed stylistic presentation to all of the different locations of the movie, allowing for us to familiarize ourselves with the culture that built these uncharted wonders while giving the entire look of the film a continuous visual appearance that tells the history of its people through its imaginative imagery. If there’s one thing to be said for the overall look of the movie and the world that it has created, it would be that it is genuine in its portrayal of a lost and savage civilization.
 
The same can be said for the film’s robust and creatively imagined creatures. Though there isn’t a great deal of variety between the monstrosities that attempt to devour our poor cast of adventurers, the few that do appear on screen make a lasting impression. From a gigantic oversized octopus, to a herd of large rock-like four legged monsters, to a frighteningly viscous man-eating swamp creature, to the ridiculous concept of flying ravenous fish, the film has its fair share of nightmares to fling at our main players. What’s really great about all of these creations is that they are all done in practical ways through the use of puppetry and other similar techniques, making the movie dated, yet authentic to the world the filmmakers have set up. Unlike modern computer generated movie monsters, these beasts have a sense of weight to them and they actually give the impression that they share the same plain that their real life actors do, even though they are performing in front of projections. All in all, the effects work might be crude by today’s standards, but the overall end result is as practical and genuine as needs be for a fun film such as this one.

Warlords of Atlantis is an enjoyable fantasy/adventure outing that captures that nostalgic magic that these films are known to cast upon their audience, and simply runs with it to the bitter end. Not only that, but the ambitious nature of the movie doesn’t go without notice, even by the most ornery of movie snobs. With a stellar cast that does more than an excellent job with the material, the film world becomes an excellent playground for these characters to just have a blast in. Doug McClure and Peter Gilmore especially seem to have a ball in this film, and the interesting situations that they find themselves in makes for some fast paced and remarkably entertaining viewing.
 
Not only does the cast carry the story along with great effect, but the film also moves at a tremendous pace as it shows us all that this wonderful new world has to offer. From lavish sets, to detailed matte paintings, to wonderful creature designs, the film has a substantial amount of creative input behind it that wholly shows as the movie begins to unwind. As an adventure movie the film is fantastic and the inclusion of Doug McClure is only icing on the cake. If you’re in the mood to get lost in a world that is filled to the brim with outlandish creatures and equally immersive vistas, then hunt down this obscure gem and give it a watch. Warlords of Atlantis is…..

What the hell did you just say about my ascot?

Doug thinks this movie is A OK.

Are those weirdos watching us?

Damn you Octopus! Damn you to HELL!

Damn, your barber must hate your guts to give you a haircut like that.

Pretty cool place you got here.

Screw this! This game of Red Rover is over!

Hold on. What the hell happened to your ascot?!?!

Now that's what I call living.

That Medusa do is outstanding!

Hey everyone! Enjoying the movie?

Come here you little bastards.

What the hell is going on?!?!?! I'm freaking out!!!

Hello, I see you over there you little sneak.

Shoot that motherfucker!

Looks like this octopus isn't done wrecking shit up.

HERE'S JACKIE!: Snake and Crane Arts of Shaolin

Snake and Crane Arts of Shaolin
Director: Chi-Hwa Chen
Year 1978

Snake and Crane Arts of Shaolin is a fantastic Lo Wei produced martial arts masterpiece, which allowed Jackie Chan to introduce some of his more famous trademark comedy infused antics with expertly timed and choreographed fight sequences, into the public eye. Though the film was not a box office success in Hong Kong, the expertly performed movie did raise awareness on Jackie’s unparalleled skills and outstanding ability in front of the camera. Chock full of tremendous action set-pieces and an array of diverse characters to populate it with, Snake and Crane Arts of Shaolin is a highly enjoyable martial arts film that presents Jackie Chan on the cusp of greatness.  

The film follows a young martial artist named Su Yin Fong, who both cocky and sarcastic, has in his possession “The Eight Steps of the Snake and Crane”, a manual of techniques that was created by the eight masters of Shaolin. This highly sought after book attracts an abundance of trouble for Fong, yet his highly honed skills and techniques are no match for his attackers. That is until a so-called ally lures him into a trap, forcing a group of newly found friends to come to the aid of Fong which leads to an epic showdown of mega kung fu proportions. With the introduction of an unbeatable shoulder-scarred man on the battle field, can Fong bring this ultimate nemesis to his knees and retain possession of the book, or will the tome of techniques pass on to this great foe? Jackie won’t let that happen… Get him Jackie!

Jackie Chan takes on the substantial role of the young wandering kung fu practitioner Su Yin Fong. He does a tremendously good job in it to. In prior films and later productions, Jackie would play a downtrodden and skill-less vagabond, who with rigorous training and steadfast determination, is able to rise to the occasion and take down the bad guys. In this film, he veers from form and is established very early on as a force to be reckoned with. Fight after fight, Jackie beats the odds and his attackers, leaving you asking the question; when will someone take this guy out? Finally when the film throws in the double cross that leads to Fong’s defeat and capture, we begin to tread on familiar territory where Fong has to rise up against some insurmountable odds and save the day. With this being one of the first Lo Wei productions to let him expand into his trademark antics, his performance proved to be a great springboard into a career that just skyrocketed from this point on.
 
Helping Su Yin Fong on his journey for redemption is a wide range of interesting characters. Some of the more notable ones are performed by actress Gam Ching Lan playing the role of the spritely and spirited tomboy character of Hong Tu, Kam Kong who takes on the role of the ultimate badass Chien Tse, Nora Miao who plays the seductive and feisty Tang Pin Nhur, and Lee Man-Tai who takes on the role of the crazy old beggar. All of these wild characters and more pop up every so often to give the film a fresh dose of action and antics, making for a film that is quiet entertaining with its robust and varied encounters between the motley group of actors. Each one gives a varied, yet enthralling, performance that ignites the screen when the fists begin to fly and bodies begin to hit the floor. It’s safe to say that this film has enough going for it and enough memorable characters that you’ll stick with it through the end.

Fighting is the name of the game in this film, spanning from close quarters brawls to epic and expansive battles between large groups of combatants. The varying forms of set-pieces give the film a larger than life feel, and each one is delicately thought out and performed with great vigor. Some of the more memorable fights are when Jackie’s character Fong takes on a whole tavern full of patrons, using his masterful skills and playful interactions to take down his attackers. The most enjoyable part about this fight sequence is that it mirrors the fun and creative moments of some of his later films, giving you the impression that this is where Jackie began honing his craft that eventually led to his widespread success.  Another instance of a great martial arts set-piece in this movie occurs when of all the gangs of the movie collide on the battlefield during the end of the film. We’ve got the Tang Clan, the Black Dragon Clan, and the Flying Tiger Clan all vying for the book and duking it out for possession of it. Not only that, but we get to witness Jackie’s character come face to face with the shoulder-scarred man in one epic showdown that’s sure to delight any kung fu fans out there.  
 
Aside from all of these magnificent aspects of the film, the most interesting thing about this movie is that it features Jackie Chan in a role that isn’t typical to his normal screen presence. Like I mentioned above, Jackie is more of a badass in this film, never having to start from the bottom and train his way to the top, so it might catch a few viewers off-guard when Jackie starts taking down foes right from the start. Another diversion from Jackie’s other film personas is that he is kind of a cocky jerk in this one. He’s a likeable one, but a jerk none the less. I felt that this new approach was kind of refreshing and put Jackie in a different light, one that he’s not normally shown in aside from early miscast American productions. Of course there is a method to his madness in the film, and all is revealed to why he is kind of cocky and bold in his possession of “The Eight Steps of the Snake and Crane”, so the fact that he is kind of brazen in the beginning of the movie makes sense for what his character was attempting to do. In the end, Snake and Crane Arts of Shaolin is a masterfully done martial arts flick that ushered in the early years of Jackie and Lo Wei productions collaborative efforts, making way for a career that would soon explode on to the cinematic scene and give way to Jackie’s star to shine into other endeavors.

Snake and Crane Arts of Shaolin is a remarkable achievement in martial arts filmmaking and it is a great entry in the ever expansive filmography of the legendary action star Jackie Chan. Entertaining at every corner and highly enjoyable, this film has all of the right ingredients to make a compelling story that never lets up until the last fist has flown. The fight scenes are exceptionally realized and the choreography and creativity that went into their creation is shown in every highly energized movement.
 
Jackie is in top form in this flick, playing a character that is leaps and bounds different from his other iterations, but equally skilled in engaging the audience with his mixture of perfectly choreographed fights and playful antics. The inclusion of a wide spread cast of memorable characters, only adds to the enjoyability of the entire production. Half of the fun is seeing how these interconnecting groups of miscreants interact with each other as the kicks begin to fly and the bodies begin flailing to the ground. If you’re in the mood for an old school martial arts flick that has a healthy dose of a young and cocky Jackie Chan, then give this flick a chance. Snake and Crane Arts of Shaolin is…..

Everyone be quiet.... Jackie's hunting bad guys.

Jackie hates it when kids with fuzzy hats stare at him.

I give up old man. What a weirdo.

Well hello there ladies.

Jackie bows to no man.

Hello! Is anybody there!

What happened to Mr. Nice Guy?!?!

WTF!

Look at that cute fuzzy head of his.

You are all scum of society!

Jackie Chan is just too cool for school.

Check out my balls.

Damn Grandpa, you're one weird ass dude.

What the shit did you just say about my Grandpa?!?!

I love this fabric... what is it velvet?

Listen Grandpa, we took a vote and it's official. You're a weirdo!

Looks like the entire cast made it to the party.

Let me massage your arm. You're all tense.

Strike a pose Jackie!

Damn! It's the "I'm a Little Teapot" Technique!