Movie review – Bunker (2023)

08 Saturday Apr 2023

Posted by in Movie review

≈ 1 Comment

Tags

, , , , , , , , ,

There will always be an infinite fascination with the evil of mankind and this association with humanity’s most extreme atrocities that were carried out with the Second World War by Nazi Germany. And not for the first time, the horror film genre takes this theme and plants a group in an isolated environment where they are trapped from any hope of escape.

This is the basic premise for Bunker, where a group of soldiers embark on a mission that takes them deep in the trenches of a war-torn land and ventures into the titular bunker. Once underground and retreating from the torrent of carnage above they find something far disturbing and cataclysmic.

The warning signs are there for the squadron, charged with the mission as the trenches appear deserted and the bunker in question barricaded by the Nazis from the outside. There must be something truly evil to break fear in mankind’s darkest tribe.

Once inside, the troop encounters a German officer, Kurt (Luke Baines) constrained, (another clue to the danger they are yet to face) and slowly they become fractured and the bond much needed to survive becomes frayed. This is no longer a physical conflict but a psychological warfare, where they must use their wits and prevent any external threat from entering their minds. Is this a case of Post Traumatic Stress Disorder in the works? Or is there something far more sinister at prey?

The Prognosis:

The feature is a little on the lengthy side for what is essentially a psychological trauma flick placed in a darkly, destructive setting. While the characters could have more depth to them, Patrick Moltane’s Lt. Turner is delightfully twisted and you can see the fun being played in his portrayal of the commander of the group. 

If there was a little more attention on character to provide substance to the piece, and some time shaved off from the running time, Bunker could have been a worthy watch. Instead it’s just average viewing. 

  • Saul Muerte

Bunker is available on TELSTRA TV Box Office, Google Play, YouTube Movies, Fetch TV, and iTunes. 

Movie review – Living With Chucky (2023)

03 Monday Apr 2023

Posted by in Movie review

≈ Leave a comment

Tags

, , , , , , , , , , , , , , , ,

Child’s Play along with its iconic killer doll Chucky has been classified as a gateway horror feature. I was 10 years old upon its release and the moment that Maggie (Dinah Manoff) fell out of the apartment window and to her death, was embedded in this impressionable mind. I’ve been hooked on the highs and lows of Chucky’s exploits ever since and immersing in each instant that it traversed from straight horror, to comedy and back again, evolving as Chucky did along the way and willing to be taking along the ride. Why? If anything it’s simply that with any Chucky film, you’re guaranteed to be entertained, whether it’s the one-liners, or the outrageous steps in story arc decisions that Chucky makes to carry out his kills. In many ways, I’m the right kind of audience for this documentary feature, because like the players involved, I too have grown up with Chucky and allowed him into my room so that he can play to his heart’s content and satiate my need for benevolent horror.

Where Living With Chucky fills the void between creativity and audience is that it steps into the Chucky vortex and drifts through the years, engaging in interviews and memories from the team that brought you the seven features from the franchise (with the exception of the one that shall not be named 2019 reboot… ahem.)

It could easily serve up as one of those memory lane doco’s that run the gauntlet of interviews with its key players, but the essential ingredient is one of ‘family’. Something that the creatives identify with or as, throughout the years that they have been devoted to the franchise. Integral to the narrative, is the films’ director, Kyra Elise Gardner who is also the daughter of special effects guru Tony Gardner, the man behind the many puppetry changes that Chucky has embodied over time. This father – daughter relationship is at first only the understory as we (the audience) go through the motions of the intricate details and recollections that went into each feature. By the film’s conclusion it is the heart of the documentary and sings to each tale that is told. Naturally involved in this is the more notable father – daughter team who collaborate on screen, the brilliant Brad Dourif and Fiona Dourif. And of course, Jennifer Tilly who marked the most significant change in the franchise with her role of Tiffany and here her accounts are equally engaging here. To complete the evocative journey we also have Alex Vincent, Christine Elise, Billy Boyd, John Waters, David Kirshner and Chucky creator Don Mancini to guide our nostalgic yearnings and tick all the necessary needs that fans of the franchise could possibly need.

The Prognosis:

This is more than a Chucky fan’s bible to instil the desire to walk through each of the franchise’ features and cast your mind back with the key players of the time. Living With Chucky speaks to the central premise and the reason that we keep going back to pint-sized elaborate kills from out favourite serial-killing doll. The sheer fun and frivolity that is had in the making of these films and the bond that is formed by the creatives in doing so. It’s what has united them and formed a family-like atmosphere with each passing tale. One that is evident when watching these films and here, this doco provides a window into the inventiveness and artistry.

  • Saul Muerte

Living With Chucky is streaming on SCREAMBOX on iOS, Android, Prime Video, Roku, YouTube TV, Samsung, Comcast, Cox, and Screambox.com.

Movie review – The Unheard (2023)

30 Thursday Mar 2023

Posted by in Movie review

≈ Leave a comment

Tags

, , , , ,

Shudder once again attempt to open the horror portals and explore all terrains of the genre in their latest Exclusive and Original feature, The Unheard. 

From the creative writing team behind Crawl, The Rasmussen brothers team up with Director Jeffrey A. Brown (The Beach House) to weave a tale centred on a young woman, Chloe (Lachlan Watson) who has a hearing impairment. Chloe undergoes a revolutionary new and experimental treatment that will hopefully restore her hearing and takes off to her family beach home to recover. While there, old memories rise to the surface along with links to her past and strange disappearance of her mother. Embedded in these evocations, Chloe is thrust into a confusing world tempered by these auditory hallucinations that she keeps experiencing. There is also the haunting feeling that she is not alone, constantly being watched at all hours. Are these temporal side effects to her rehabilitation? Or is there something far sinister going on?

Part of the picture’s appeal is the blurred lines that are created between fantasy and reality as Chloe’s convoluted world dilutes her perception. This chosen narrative combined with her isolation ramps up the tension and the fear from the audience where the dial is being turned up with a slow, gradual ascent. B.y its conclusion, Chloe may find the answers to her life’s troubles, but the resolution may not be what she had desired.

The Prognosis:

The pace and ambience that is built up to create the tense atmosphere may be served a little too laggard for some. Lachlan does create a hypnotic performance in her portrayal of Chloe with a fairly solid character. The stylised direction ebbs and flows throughout the narrative to deliver these moments of animosity through an investigation into her past. This is also emphasised by the parallel world that lies in an unheard or hidden state which seeps into Chloe’s world through the auditory soundscape, twisting the way the  information in line with the lead protagonist.
All these elements are played out well and an interesting world is created as a result, but it treads a fine line between captivating and alienating in its execution.

  • Saul Muerte

The Unheard is currently screening on Shudder from 31st March.

Retrospective – The Birds (1963)

28 Tuesday Mar 2023

Posted by in retrospective

≈ Leave a comment

Tags

, , , , ,

Before Steven Spielberg instilled our fear of the ocean and created the first Summer Blockbuster in Jaws, Alfred Hitchcok attempted to do something similar but instead of sharks, the attack on humanity came from the skies for his feature adaptation of Daphne Du Maurier’s The Birds.

Not for the first time would Hitch go to Du Maurier’s bibliography for inspiration having done so some twenty years earlier in arguably his first success in Hollywood, Rebecca. That film would go on to receive Best Picture Academy Award, but notably had Producer David O. Selznick’s fingerprints all over the production’s end result. By 1963 however, Hitch had firmly established himself as a prominent actor in the Golden Hills with a style remarkably his own and riding on the crest of the success of Psycho.

The Birds, a short story, would be given a face lift from the small Cornish town from which it was initially set, being transported to north of San Francisco and the idyllic Bodega Bay (a place and region that Hitch fell in love with).

Looking back at this film at the time of writing to celebrate its 60th Anniversary, there are obvious flaws that come to light when contrasted with Jaws. Namely, depth of character, which has often been criticised towards the screenwriter, Evan Hunter, but to do so would be to neglect the Hitchcock style and direct precision choices made by the auteur. The Birds is the epitome of style over substance. 

We initially follow Melanie Daniels (Tippi Hedren), the depiction of Hitchcock Blonde captured on screen, the perfect mould for him to carve out his vision of the “statuesque blonde with a cool, sophisticated manner”. The scene is set in San Francisco as we witness her enter a pet store and encounter the brash, machismo Mitch Brenner (Rod Taylor) and a cool-yet-flirtatious dialogue sparks between them. Enough to encourage Daniels to buy lovebirds and drive off to his hometown of Bodega Bay to give his younger sister Cathy (Veronica Cartwright – yes, that Veronica Cartright) as a birthday present. As you do. All this foolish foreplay is a facade and symbolic of the complacency that is created in humanity. It serves as the true horror lurking in the clouds and the menace that hangs in the air – The Birds. After all, as Hitch put it, The Birds are the stars. Hitch was the king of suspense, and this is what he plays with, delicately enticing the fear to come to the audience in strong steady beats, starting with the one swooping gull attack Melanie Daniels head, then the attack on the farm, which leads Mitch’s mother, Lydia (the magnificent Jessica Tandy to play the overbearing matriarch) to discover the bloodied remains of a local farmer. This scene is also the only real gory sequence shot, the rest, by design, leads the audience to fill in the gaps. 

The film would be iconised by two particular sequences, the school attack as birds descend on the children trying to escape. And the moment that Melanie gets trapped inside the attic with the feathered frenzy in an isolated environment. That’s not to forget the carnage that escalates outside the town eatery, when a further attack ensues, following a weighty dialogue sequence where local townsfolk try to unpack the cause of the bird attacks. The real moment of despair would be in the picture’s final sequence as a traumatised Daniels has been reduced to her core, escorted away in her car with Mitch and his family surrounded by a sea of birds, never knowing when the next strike will come, if it all. This ambiguous ending, one that is echoed from the source novel, left a lot of moviegoers bewildered, but for me, it’s the killer stroke deliberately left hanging in the air that hits strong and true. 

By flipping the perspective of caged birds to caged humans, hiding in fear of predators, seeking protecting behind fimble walls, and also leading to an unknown conclusion and embracing the exterior, the audience are also thrust into the wilderness with a faint sign of hope to lead the way.

  • Saul Muerte

 1 Counts, K. B. (1980). The Making of Alfred Hitchcock’s The Birds. Cinemafantastique, 10, 15-35.

Movie review – Surrogate (2022)

25 Saturday Mar 2023

Posted by in Movie review

≈ Leave a comment

Tags

, , , , , , , , ,

First things first, Surrogate has been improperly overlooked by the film going public, potentially cast aside as a typical ghost horror story, but there’s more than meets the eye for Australian director David Welling’s debut feature film.

Secondly, it boasts Kestie Morassi (Wolf Creek) who deserves more screen time as she carves out another powerful performance for the lead character, Natalie.

On face value, you could be forgiven for your preconceptions as the narrative slowly unfolds but all this allows for Natalie’s plight to become entrenched and equally for Morassi to invest in delivering a deep portrayal of her character.

Natalie is a single parent, who has to rely heavily on her own mother, Anna (Louise Siverson) and her brother, William (Darcy Kent) to raise her daughter Rose (Taysha Farrugia). This is because Natalie is also a full time nurse, which requires her to work out of town every once in a while, taking her away from her family. It is on one of these nights that Natalie encounters an erratically behaved woman. Choosing to ignore her plight, and in doing so these inactions would go on to haunt her. This is one of Welling’s subjects that he wants the audience to pay close scrutiny to. Society is all-too-willing to shirk the responsibilities or face up to any problems that warrant attention. Let’s face it, we’re all so consumed by our own daily tribulations. When Natalie then encounters the woman again that night, thrown into trying to save her life, she unwittingly becomes the ‘surrogate’ of a ghostly presence. Upon returning home, Natalie exhibits all the hallmarks of a pregnancy that baffles doctors and brings the attention of Lauren Balmer (Jane Badler), a child welfare officer. With this comes another subject that Welling zooms in on, with the troubles that single mothers face when under pressure from their commitments and in some cases the wrongful accusations that surmount from external means. 

Natalie’s maternal instincts kick in when the phantom presence becomes a physical one, placing all those close to her, under threat. Is there an ulterior motive for these expressive and harmful measures? Or is there an inherent evil the cause of all this maliciousness? 

The Prognosis:

Welling’s feature is a decent effort for a debut. It embarks on some important issues that unfold through the course of a well-built narrative. 

He also skilfully draws out the best in his players to support his vision with Morassi leading the charge in a captivating performance of a woman struggling to build the best world for her daughter to live in.

  • Saul Muerte

Surrogate is currently screening on TubiTV.

Movie review – Boston Strangler (2023)

16 Thursday Mar 2023

Posted by in Movie review

≈ 2 Comments

Tags

, , , , , , , , , ,

It’s hard to envisage a psychological thriller that captures the pursuit and tension surrounding a serial killer at large without Zodiac coming to mind, such is the masterpiece directed by David Fincher. To do so though is to cast Boston Strangler in the wrong light for it’s main drive is not just about unearthing the identity of one of America’s most notorious serial killers, but also the outdated attitudes of the role of women during the 1960s, which this true crime story is set.

Keira Knightley (The Imitation Game) is charged with taking on the more-than impressive, real life investigative journalist, Loretta McLaughlin who is the first reporter to connect the Boston Strangler murders. Accompanying her at the Record American newspaper is colleague and confidante, Jean Cole (Carrie Coon – Ghostbusters: Afterlife). Together they make a formidable pair where one comes with inexperience but a strong will and instinct to uncover the truth, the other is a wise figure who knows the “rules” of the industry and how to ensure that they can work within the frame of sexism and still assert authority and eventual respect.

Both McLaughlin and Cole face the fear of an unsettled world, where a mysterious killer has been murdering women of all ages in the American town, but are soon persecuted by unknown assailants through phone calls and letters. Is this to deter them from uncovering the truth or a means of repression because of their sex? It’s evident that there are some men in position of authority who find the concept of a woman in the workplace abhorrent, and the fact that they happen to be proficient in their job only frustrates them further. 

So, in this minefield of arrogance McLaughlin and Cole  must trust in their own abilities and unite to find that truth. For Cole this is a tried and tested road that she is used to traversing, but for McLaughlin who has a family at home, the adjustment is one she finds difficult to adapt to and must answer the question of why she must bow to the pressures of society an have to prove herself in the face of adversity.

To amplify their oppressed position, Writer/Director Matt Ruskin has steadfast actors in Alessandro Nivola (“Amsterdam”), David Dastmalchian (“Dune”), Morgan Spector (“Homeland”), Bill Camp (“Joker”), and Academy Award® winner Chris Cooper (“Adaptation”) but this is not to detract from Knightley and Coon who rise to meet the more than worthy women they portray on screen. Their performances are both gripping and riddled with emotion throughout the film’s narrative, providing the hook to lure the audience through to the end.

The Prognosis:

This is not just a psychological thriller based on the true crimes of the Boston Strangler, but more importantly, the tale of two women who must stand strong in their beliefs and abilities to uncover the truth in a world dominated by the male perspective. 

Knightley and Coon deliver equally compelling performances, which is vital in casting Ruskin’s message and vision across. At times the story can trudge along a little, but thanks to the strength of the female leads, there’s enough to keep the audience locked in to also find the truth behind the murders.

  • Saul Muerte

Boston Strangler is streaming March 17 exclusively on Disney+ under the Star banner

Retrospective – The Crazies (1973)

16 Thursday Mar 2023

Posted by in retrospective

≈ Leave a comment

Tags

, , ,

A young brother and sister teasingly play together one evening when all of a sudden their father begins smashing up their living room with a crowbar and dousing it all in gasoline. The young girl rushes to her Mother, only to find her lying dead in bed. The house goes up in the flames and the opening credits begin. It has been fifty years since George A Romero’s The Crazies hit screens. Now sitting down to watch this film in a post-pandemic world there is certainly a strange element of familiarity here at times though certainly this is a much darker and bleaker imagining.

The pace of the first 20 minutes is rapid, from the opening scene that hooks you right in we’re introduced to our main characters, ex-green beret and volunteer fire-fighter, David and his wife, Judy, a local nurse. Both awoken in the night from calls for both of their professional assistance, David to the house fire and Judy to two children who have barely survived the arson of their home. Already the military has boots in the ground and quickly take control of the situation, we’re informed via an exposition dump montage as the various levels of military confer on the situation across locations; a military plane crash landed in the hills near this town, an experimental vaccine (we later learn bio-weapon) has leaked and found its way into the water supply. The goal is to maintain a quarantine of the town so that the virus does not spread further. The way that Romero injects so much energy into this set up is a little disorientating, it feels stylised yet authentic and immediately hooks us.

The Crazies was Romero’s third film post-Night of the Living Dead, (after There’s Always Vanilla & Hungry Wives) and truly feels like the spiritual successor to Night.  The film follows a group of townsfolk, bound together by happenstance, trying to survive a plethora of dangers: a virus that has leaked into their water supply, the infected Crazies violently causing destruction, the hazmat-suited soldiers trying to contain the outbreak and the uninfected townsfolk fighting against this forceful quarantine. The main theme of the film is a distrust of the government and the bureaucracy in charge of keeping us safe that will ultimately lead to more bloodshed. The shadow of the Vietnam War looms large here, we even have two of the main characters being vets, with one of them experiencing bursts of paranoid violence evoking wartime flashbacks thanks to the virus. The soldiers rush into peoples homes, dragging them out of bed, displacing them. A character even remarks that “this will feel like an invasion”. Romero has always passionately struck at the structures of power and control with his social commentary. It’s messily done here but the ambition and obvious talent gives this film a level of depth and interest that is utterly lacking in so many other grindhouse movies of the time.

The film truly feels like the stepping stone from Night to Dawn, the scale is sized up from a farmhouse to a whole town. The imagery of the hazmat suits is iconic and a deeply unsettling force that is often undercut by the ADR lines inserted for them, often comedic or mundane. The soldiers are mostly unaware of what they’re doing here and so there is some empathy built towards them. It’s the lines of communications, the unnecessary red-tape that ends up being the main villain of this film.

The Virus code-name Trixie, is initially reported to be an experimental vaccine that has been let loose, the truth is that it is a man-made bio-weapon, when infected the victim often becomes violent and acts straight-up coo-coo. This element is a lot of fun, giving us an old woman knitting happily while her husband is having an active shootout one room away, a priest setting himself on fire, and a father and adult daughter almost- Ok maybe FUN isn’t the right word. It gives us absurd and unsettling variety though, like the image of a bunch of infected townsfolk rushing violently towards the soldiers, accompanied by a woman that is just sweeping with a broom, unperturbed. It all lacks the clean and simple effect that we get from the Night of the Living Dead’s ghouls but when a character starts giggling at danger or acting a little goofy you start getting nervous. It’s interesting to think that if this film was more successful at the time Romero could’ve made Dawn of the Crazies, robbing us of the modern zombie genre but giving us something that would have been far wilder and weirder.

I had a lot of fun watching this but it does feel a little strung together. The initial impact wanes in the middle chunk with a few great impactful moments scattered towards the end, particularly with the main scientist desperately working towards a cure. It’s a fascinating piece of horror history and an important DNA strand for the zombie genre as we know it. The fans of Romero will find a lot to enjoy here, but it ultimately lacks the finesse and character depth that would elevate Dawn and Day of the Dead into crossover appeal. It’s an inventive grindhouse flick with the makings of greatness, and that is definitely something worth witnessing.

  • Oscar Jack

Further links:

Podcast: George A Romero’s The Crazies

Podcast: George A Romero’s Night of the Living Dead

Podcast: George A Romero’s Dawn of the Dead

Podcast: George A Romero’s Day of the Dead

Podcast: Lori Cardille interview

Movie review – Leave (2023)

15 Wednesday Mar 2023

Posted by in Movie review

≈ Leave a comment

Tags

, , ,

Much like Morgan Saylor’s performance in Shudder’s exclusive and original feature A Spoonful of Sugar, the horror streaming platform has released another gripping lead performance in its latest outing, Leave. In this instance the performance in question comes from Alicia Von Rittberg, better known for her portrayal of Queen Elizabeth 1st in Becoming Elizabeth. Unfortunately though, this is the only redeeming strength in an otherwise slow plodding, unfulfilling film.

Essentially the premise is bound by Rittberg’s Hunter character yearning to find the missing piece of the picture, namely who her parents and real family are. Having just graduated to University, Hunter embarks on a detour to discover her true origins. All she knows is that as an infant, she was left abandoned in a cemetery, wrapped in garments emblazoned with satanic symbols. This probably would be enough warning for anyone not to venture down a seemingly treacherous path to resolution, but Hunter continues pressing forward, even when a malevolent spirit appears, warning her not to do so. 

As we journey alongside Hunter, the audience endures some slow, moving scenes aimed at adding tension to the piece, but instead feels too close to grinding to a halt. Despite Rittberg’s efforts, and she pulls up all the stops to ground her character and add depth to her trauma, we are left ambling along with little care to connect with her inevitable plight. 

The Prognosis:

For all his best efforts Director Alex Herron struggles to add enough atmosphere to his psychological thriller, a necessary ingredient for the subgenre. Where he tries to apply a dark and moody setting, he loses sight of building up tension for admittedly a substandard script. Alicia Von Rittberg is a joy to watch, and potentially the only ray of sunshine in a pretty mediocre narrative.

  • Saul Muerte

Movie Review: Pearl (2023)

13 Monday Mar 2023

Posted by in Movie review

≈ 2 Comments

Tags

, , , ,

Sometimes a bad situation can produce gold, or even a Pearl.

While in New Zealand shooting the very fantastic “X”, director Ti West and star Mia Goth decided to make productive use of their COVID lockdown time. Rather than perfect their sourdough recipe they began writing a prequel or backstory for “X’s” psychopathic geriatric, Pearl.

So, straight off the back of filming “X” they began pre-prod then the subsequent shooting of “Pearl”.

Set sixty years before “X”, Pearl is a young woman rapidly going mad by her own ambitions, unfulfilled sexual desires, and a general lack of human interaction. It’s 1918, The Great War and the Spanish flu are almost done, and new bride Pearl is whiling her isolated days away murdering small livestock, humping a scarecrow, and dreaming of being a movie star (pretty normal stuff really), on the same farm (only newer) we saw in “X”.

 “Pearl” is a dark, ingenious character study that showcases the intense talent of Mia Goth. Her 7-minute monologue at the end of the film alone is a performance that demands to be studied in all screen-acting classes. And that deranged ‘smile/cry’, holy moly it is truly unnerving.

West and Goth have done something remarkable here. They’ve added layer upon layer to the character of Pearl and quite frankly this is treatment almost never reserved for the ‘villain’ of a horror film. Oh, and it may be a hip little indie A24 art film but at its core it’s still a gory AF horror.

The Prognosis:

I really loved “X”, I was blown away by “Pearl” and now I wait in eager anticipation for the third film in this mythology – “Maxxxine”.

  • Myles Davies

Retrospective – The Man Who Could Cheat Death (1959)

11 Saturday Mar 2023

Posted by in retrospective

≈ 1 Comment

Tags

, , , , , , , ,

To conclude the decade, following a string of successful hits in the horror genre, Hammer Films would produce an oft neglected feature when placed alongside their showpieces, The Curse of Frankenstein, Dracula and The Mummy, possibly as a result of poor distribution in the States. It’s a shame as it bears all the hallmarks of Director Terence Fisher’s classic traits that made such an impression on moviegoing audiences, and stars Christopher Lee as our potential hero and romantic love interest.

The stage is set in Paris at the turn of the century where we meet a doctor named Georges Bonnet (Anton Diffring, who for years I thought was the same guy who played Decker from the A-Team (Lance LeGault) Where Eagles Dare). Bonnet harbours a disturbing secret however, the secret to eternal youth, using a procedure that belies his 104 years of age. The only way that he can maintain this is through a surgical operation on the glands, and needs the assistance of long time accomplice Dr. Ludwig Weiss (Arnold Marle) and the use of human fluid. Not exactly something that is available on tap, and so Bonnet resorts to murder, all in the name of immortality.

When Ludwig’s age becomes a hindrance though, Bonnet must seek alternative means, perhaps in Pierre (Lee) a fellow surgeon with a high degree of promise. Bonnet is also slipping up however when a model Margo (Delphi Lawrence) goes missing in mysterious circumstances, and Janine (Hazel Court – The Curse of Frankenstein) continues to pursue his love interests. How long can Bonnet hide his secret? And will Pierre (who also has an adoration towards Janine in this macabre love triangle) find out the truth and put an end to Bonnet’s evil doings?

Initially based on a play by Barry Lyndon called The Man in Half Moon Street and starred both Diffring and Marle in their respective roles in an anthology tv series, in which an adaptation was scripted by Jimmy Sangster. Hammer would garner the rights to a movie adaptation peppered with their current look and feel through Fisher’s more than capable hands. Initially if Producer Anthony Carreras had his way, another Lee, Cushing vehicle would have been produced but Cushing would have to step aside due to illness, a move that infamously had Carreras fuming and seeking legal action against the high profile actor.

Some may feel that there is more style than substance on show here, which I can see their position but despite this and the dialogue heavy sequences, both Diffring’s performance and the effects when the ageing process starts to take effect, make this a worthy watch.

  • Saul Muerte.