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REVIEW: Time Masters

Time Masters

Director: Rene Laloux

Year 1982

Time Masters, AKA Les maitres du temps, is a fantastically strange and obscure French animated Sci-Fi movie which is brimming with mystery and intrigue. Immersed in a fictional futuristic world, this space opus is among the most unique and bizarre of its kind. With original designs by the acclaimed illustrator Jean Giraud, otherwise known as Moebius, and an ability to present a world void of restrictions on the imagination, Time Masters is without a doubt a science fiction feature that will take you to worlds unimaginable. Not only that, but it is wrapped tightly around a story that is anything but orthodox.

The film follows a lost boy named Piel, who has recently been orphaned on the savage planet of Perdide. Having survived an attack by the planet's carnivorous creatures, which brings about the death of his father, Piel makes contact via radio with a man named Jaffar, an adventurer who is traveling the cosmos with his motley crew. Separated by great distances, Jaffar and his crew must divert from their current mission in order to come to Piel's aid, but will they get there in enough time.

What a wild film Time Masters is! First of all, the cast of characters are extremely diverse and equally strange, ranging from space pirates, a conniving and feminine prince, a pair of telepathic little creatures, a jovial old space explorer, and a heroic space adventurer. There is nothing typical about any of these characters, and each one feels fresh and unique to this original science fiction landscape that collaborators Rene Laloux, Stefan Wul, and Jean Giraud have created. Based off of Wul's novel L'Orphelin de Perdide, the film delves deep into some of the most unusual aspects of the novel, but still manages to add a few daring alternatives to the already compelling points of the original story.

Immersed in a wild universe that is anything but typical, the film relies heavily on outlandish moments and otherworldly creatures to dazzle your mind. Throughout the feature, we are witness to giant vicious bugs, faceless angel-like beings, weird quadrupedal creatures, and just about every strange thing in the book. The world's that the filmmakers have brought to life are effective in their presentation and often unsettling in their unfamiliar nature. Danger looms around every corner, appearances deceive, and most of all there is a heavy dose of wonder etched in every frame of this film.

Visually the film is expertly crafted thanks to the original designs by the legendary Moebius. Everything in the world is just so peculiar in presentation that it does wonders for making you believe in the validity of the unnatural realms on display. In an imaginatively slow build up we are introduced to the characters, landscapes, and creatures of this cinemascape, and each of these instances is pure Moebius. Like something out of his Arzach or The Incal graphic novels, the vivid intricacies of his designs and the cohesive nature in which they all flow together in believable juncture, give a great lived in feel to the texture of the world.

As for the story, it is a simple yarn, yet one that gets extremely twisted and bold as the narrative weaves its way forward. Nothing is as it seems in this film, and by the end of this unusual journey you will be left with a strange sense of awe and respect for the genuinely unique vision that all of the artists involved have been able to accomplish. Astoundingly against the grain and rather bold and daring in its presentation, Time Masters is one animated feature that opens our eyes to a greater vision, one filled with wonderful sights and dangerous adventures.

Time Masters is a unique interpretation of French writer Stefan Wul's 'The Orphan Perdide'. Taking the same tone as the book and expanding upon it, the animated feature opens up the possibilities of this thriving world, allowing for us to explore its unusual offerings and diverse vistas. The characters within this story are surprisingly complex and are often faced with rather extraordinary situations, which tap on a handful of moral issues and philosophical quandaries.

In general the real asset of this production is the collaboration of all its aspects and the way they gel so nicely together. The creatures, the various planets, the overall atmosphere of the production, they all combine to make for a compelling watch. Added on top of that is a story that traverses on subjects and situations that most likely have never, or will never, be explored again within the medium. End it all with a twist that is both emotionally disheartening and wholly unexpected, and you've got yourself one hell of a good animated science fiction feature. If you're a fan of Moebius' distinct style or a sucker for animated science fiction, then you owe it to yourself to track this one down. It's a real winner! Time Masters is.....

Creepy Space Staring Contest..... GO!

Are you sure you forgot to pack all of your pants Jaffar?

That's one sassy little creature.

Suddenly I have the feeling..... Like we're being watched!

What's up guys.... ladies? What the hell are you?

Will you stop playing around on that thing and get me the hell out of here!

Jaffar's got some sweet dance moves!

You're not going anywhere until you get a hug from me buddy.

Never take candy from strangers kid.

Let's kick this dance off right!

How about a backrub? Why you little perverts!

Get this kid a fly swatter!

And you thought the mosquitoes in your town sucked.

Behold! The Master of the Greenscreen!

Red Rover... Red Rover... let Billy come over!

i SPY EUROSPY: Le monocle rit jaune

Le monocle rit jaune

Director: Georges Lautner

Year 1964

Le monocle rit jaune, AKA The Monocle, is a beautifully filmed and exceptionally silly Eurospy production, which makes outstanding use of its picturesque locations and stark photography. Delving deep into farcical territory and relishing every minute of it, this unusual espionage outing doesn't shy away from the more outlandish elements of the genre, yet embraces it with open arms. Centralized over its eccentric main character and the wacky antics that he gets himself into, The Monocle is without a doubt an exceedingly unique spy entry, one that allows the fun to take over the proceedings and never let go.

It appears that a gang of Asian terrorists have mounted a destructive campaign against world factions who are conducting nuclear research and it is up to French agent Major Theobald Dromard, AKA The Monocle, to bring the bad guys to justice. Flying into Hong Kong, it is up to Dromard, his trusty side kick Poussin, and a handful of unlikely allies, to stop the terrorists and keep safe an American nuclear aircraft carrier that just so happens to be coming into port. With time quickly running out and no trails to follow, can Dromard track down the culprits amidst this clashing of cultures?

Paul Meurisse takes on the role of Theobald Dromard, the unorthodox secret agent who always seems to come out on top. This is the third time that Meurisse has donned the role and I must say that it seems at this point that he really owns the character. I've unfortunately never had the chance to see his previous efforts with the role, but from what I've witnessed in The Monocle, I've made it a priority to hunt down the other two films. His interpretation of a secret agent is as loopy as they come, and it is in this parody infused approach that makes his performance so enjoyable. His actions, smart quips, and running commentary are wildly off the wall and most often entirely off the subject. He even has his own unique way of firing his gun, which proves hilariously to be one hundred percent effective in even the most improbable situations. Meurisse's contributions to the film and the character are among the productions most valuable and effective assets, and it is one that is never left untapped.

Aside from Dromard, the film is also brimming with other interesting and unusual characters. Robert Dalban plays the trusty assistant Poussin, who's hardened looks and drab personality make for a contrasting presence against Dromard's more light heartened nature. Olivier Despax also contributes to the film as Frederic, the young associate who's itching for a piece of the action. As for the feminine touch of the film, the bragging rights go to the legendary horror queen Barbara Steele who portrays the lovely and mysterious Valerie. To my knowledge this is the only spy feature that Steele has been involved in, and I must say it was a nice and unexpected surprise, for the genre suits her. Rounding out the rest of the cast is an assortment of wacky characters that come and go like the wind, but always leave a lasting impression on the overall outlandish nature of the film.

The locations of Hong Kong and Macao are expertly lensed by director Georges Lautner, who also happened to film the first two Monocle entries starring Paul Meurisse. His eye for beautiful imagery is put to the test, as we are given some breathtaking views of this exotic and magical land. Each and every frame is composed with unbridled care, giving a stark contrast against the carefree nature of the film and its characters. The stand out locations of the movie have got to be the harbor scenes, the bustling streets of Hong Kong, and the rundown chapel on top of a hill where Dromard has a most exciting shoot out. In all of these instances the black and white photography shines, making for a fun film that is easy on the eyes and picturesquely perfect.

As for the wacky antics of the film, the moments are aplenty. Dromard's shooting skills for starters are a trip, as he takes on multiple bad guys with ease, even going as far as to taking out two henchmen with one bullet. The guy is a wonder! There is also a completely unforgettable sequence that shows Dromard and friends being attacked by a group of Hong Kong gangsters and a restaurant, who proceed to pull off a dance number in slow motion like they just jumped straight out of West Side Story. It's unbelievably random and completely out of place, but the strangeness of the moment is just so remarkably hypnotizing that it simply feels right. There are a number of instances in the film that capture this kind of magically obscure wonder, and for that alone I highly recommend it. It is a film that is hard to categorize, because it straddles such an odd line between action/espionage and comedy, but it is an unusual concoction that is so unbelievably watchable.

Le monocle rit jaune is a sensationally fun flick that essentially predates the typical Eurospy movie, yet seems to be the stepping stone for what the genre would eventually become in its later years. Entertaining, lighthearted, and full of surprising action, The Monocle is without a doubt a wacky sort of film, one that wears its heart on its sleeve and never apologizes for it. From its beautiful photography and its classic black and white imagery, it's not easy to dismiss the production's visionary prowess.

Paul Meurisse gives an outstanding performance as the comical secret agent Theobald Dromard and his eccentric mannerisms and essential screen presence is a valued asset to the movie's lasting appeal. The same can be said for Robert Dalban, Barbara Steele, and the rest of the cast, as they all bring in outstandingly succinct performances that cater to their various strengths. Essentially it is the film's incessant nature to go against the grain and never tread familiar ground that really makes it such an enjoyable ride. There is always something that happens in the story that spins you for a loop, making you question what will happen next. It is the spontaneous personality of the movie that really makes it a special gem, and it is an aspect of the production that is wholly embraced by its film crew. Unique and unbridled to the last, The Monocle is a film that engages the viewer in multiple ways, yet it always is focused on putting on one hell of an entertaining show. Le monocle rit jaune is.....

Will you guys stop talking! Some people are trying to watch the movie!

Looks like someone is ready to get their Barbara Steele autograph.

How about no smoking in my car A-hole.

No one was impressed with his ceramic pottery making skills.

It's raining men! Hallelujah it's raining men!

Weeeeeeee!!!!!

That's right! You woo the shit out of her Dromard!

You chumps got a staring problem?

Paul Meurisse looks like he just stepped off the set of a biblical epic.

How dare you read such smut in front of Barbara Steele!

The name's Dromard.... Theobald Dromard.

And so the dance battle begins.... I shit you not!

I think I forgot to turn off the oven.

She totally pulls off the Jambi look.

Reservoir Dogs eat your heart out!

This show is hilarious! See! This guy likes it!

Don't mess with Mr. Peanut and his posse.

I'm turning Chinese, I think I'm turning Chinese... I really think so!

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.