Lieutenant Jangles is one of those movies that you seriously have to take with a grain of salt. Like an infection boil, it may be tempting to squeeze out the pus and rid the unsightly presence, but its best to let it grow on you and succumb to the natural cause of events.
The writing, directing partnership of Nic Champeaux and Daniel Cordery may on face value feel like a bastardisation of good taste, but between them they have created a lovesong to 1980s Ozploitation action movies. They even set the film during this archaic time, where crime was at an all time high and rules were firmly out of the window.
It’s great to see Brisbane get a bit of lovin’ too on screen, and setting it in the heart of Queensland allows the warm sunshine glows to juxtapose the dirt, ridden and gritty streets that provides the tale of the film.
Our rogue-ish, protagonist and titular character is not the easiest to warm to, with no redeeming qualities whatsoever other than to get the job done, no matter what the cost.
When we’re first introduced to Jangles, he is in the throes of having an actual pissing contest with his partner. Only for the jokes and macho bravado to come to a painful end when his comrade is fatally killed in a gangland shootout.
From here on, we see the rise, fall and redemption of Jangles vengeful pursuit to bring down those responsible. Along the way, we witness crass toilet humour jokes, comedy that could be viewed as incredibly non PC, but to see it through this lens would miss the point of this venture
Lieutenant Jangles wears its heart on its sleeve, and doesn’t shy away from its vision. It gives you all the usual ropes; the hot-headed chief; the buddy cops; the unusual camp, European villain; and the love interest. All these elements play off one another with heightened virosity, amping up each of them to the extreme.
The Prognosis:
It may not suit everyone’s tastes but Lieutenant Jangles does not excuse its position, thrusting the audience headlong into a world where action, law, and order has no rules. All of this is abandoned for balls to the wall entertainment.
You’re either gonna dig it or not, but if you stick with it and embrace it, you cant help but be enamoured by the charm of LJ.
Since its release back in 1958, the infamous scene of cinema-goers running from fear of their lives in The Blob has cemented The Colonial Theatre in film history and brought patrons to its doors to reenact the scene. This has now been embraced on an annual basis where the theatre resides in Phoenixville, Pennsylvania as part of their Blobfest celebrations.
What is this appeal from this gelatinous glob? What causes people to still live out this moment from the celluloid archives over sixty years on. Looks like its time for another retrospective…
The Blob (1958)
Directed by Irvin Yeaworth, The Blob would feature Steve McQueen for the first time in a leading role for a feature film; and let’s face it brings the cool factor in what is essentially a B-Movie science fiction horror film about an alien life form that crash lands on Earth to decimate small town America.
The rift in this case would see a reversal in image of the delinquent American teens. No longer are they outcasts with a grudge against the system, but these representatives of the outskirts of society, are actually the solution and bastions of hope in a world surrounded by Soviet oppression and the impact that the Cold War would bring about. The threat of this entity that would ooze its way around town and consume people, altering them with infectious zeal, and growing larger with every passing day.
McQueen’s teen, Steve is introduced while on a date with his girlfriend Jane (Aneta Corsaut) at lover’s lane when they witness a meteor crash, and they go in pursuit to find where it has landed.
The first to be consumed by the red entity is Barney, and one of the elder citizens of the town, who makes the foolish mistake of poking the meteor with a stick, and having the gloop envelop his hand. Steve and Jane take Barney to the local doctor, little knowing that he will be the next victim.
Time to call in the authorities who are sceptical of Steve’s warnings, putting it down to another wayward prank.
Before long the blob engulfs The Colonial Theatre leading to the afore-mentioned scene of patrons running enmasse, and then turns to another young American icon, in the diner where Steve and Jane are trapped. The solution and salvation comes in the form of carbon dioxide extinguishers, freezing out the creature.
These few flashes of what should have been a forgotten flick with its low grade science fiction storyline would resonate deeply and send ripples across the the drive-in movie scene, one that would be notably replicated 20 years later when screened during Sandy and Danny’s date in Grease.
As the film draws to a close, we’re left with the blob being dumped into the Arctic and the words The End? This open-ended conclusion will lead to the possibility of return, which of course it would do 14 years later with…
Beware The Blob aka Son of Blob (1972)
Unfortunately the sequel would prove to be a train wreck of epic proportions and would be the one and only time that Larry Hagman (J.R. Ewing, his Dallas alter-ego) would direct a feature. The issue is that it does too much to replicate the original without making a mark of its own. In doing so, it becomes insignificant and paltry in contrast. Where it tries to add humour, it misfires in a big way, and the trio of drifters consisting of Hagman, Meredith Burgess, and Del Close who are taking over by the blob smacks of wasted talent.
Hagman also seems to miss the point of its origin, by having the entity encroach on the hippie movement as though it is a plague on America’s wellbeing. This seems counterintuitive to the idea that youth are the answer to overcoming evil in its wake. Instead the solution is more of an attack on our media consumption with the Sheriff standing in a pool of blobooze; a symbol of the current state of America, wallowing in the stagnant quagmire that forms the building blocks of its forefathers.
And the least said about the skating rink sequence, the better.
What is interesting though and probably its greatest claim is through Dean Cundey who worked as one of the team in charge of The Blob’s special effects. Cundey would go on to work on The Thing, and Halloween.
It would take a further 16 years before new life would be born out of the blob that would not only find its mark but resonate with a new audience.
The Blob (1988)
Thanks to director Chuck Russell, The Blob would rise again at the height of the 80s home entertainment scene. It also capitalised on the body horror movement with creature effects that was a signature of its time. On its release, it was overshadowed by other features which is a crying shame, as looking back at the film now, it has its own appeal and the humour lifts it above the crowd, marking it as one of the better horror features in the latter end of the decade.
It goes bigger, but perhaps not better than its predecessor. It does boast Shawnee Smith (Saw) screaming her ass off and Kevin Dillon, mullet included, as our troublesome protagonist. He is our rebel against the cause in a world that is now born out of distrust against the regime, filled with conspiracies. Our blob is also manufactured by mankind as a biological weapon, fueling the fire of scepticism, and shifting the film’s threat from outer space to one that is our own undoing.
If this film passed you by, or was missed amongst the crowded horror scene that branched its way into the home movie rentals market, then it is well worth a look.
For this writer, casting my eyes across the three instalments of the franchise with its beats and mis-beats, and the fact that it’s been nearly forty years since the last entry made a wave, is the time ripe for another awakening.
How the blob will manifest if it does resurrect once more is one that intrigues, for its guise and current state of climate, given all that has transgressed since the 80s, would seem to be the perfect fodder for humankind’s demise.
Daniel de la Vega’s latest feature, On the 3rd Day finds its place on Shudder’s Exclusive and Original platform. While it does serve up some fairly predictable choices, there is certainly some appeal in the manner that de la Vega chooses to weave his tale.
The centrepoint of catharsis stems from the moment when Cecilia and her son Martin are involved in a car accident. Cecilia was in the throes of escaping her abusive husband when the catalyst occurred. The story picks ups three days later with Cecilia trying to piece the puzzle along with now trying to find her son; absent since the car crash.
Who was responsible?
Who is this mysterious elderly religious man, hellbent on his own quest and the other party in the collison. Is this coincidence or divine reckoning that has brought these two together only to counter against one another towards the film’s climactic reveal?
The further Ceclia digs into her lost days, the more of the past she uncovers with brutal truths exposed.
The air of intrigue that hangs in the air of Cecilia’s character is the main draw card here and Mariana Anghileri’s portrayal of our protagonist is a big draw card as she delicately dapples with strength and vulnerability. It is this balance of emotional range that allows the audience to play along with the poetry of the piece and despite its obvious movements, is captivating all the same.
The Prognosis:
On the 3rd Day treads a foreseeable trail but in this case it’s not the destination that is its selling point but the journey it takes us on. Celia’s plight and dedication to find out the truth of the mystery carries our own intrigue with careful deliberation to hook us in and deliver a satisfying tale.
…would symbolise the bridge between Universal’s golden horror era and their move into the sci-fi genre. It also marks the last of the iconic monsters to be born out of the giant film production house. Directed by Jack Arnold (who also helmedIt Came From Outer Space (1953)), The Creature would follow a group of scientists who uncover an amphibious humanoid known as the Gill-man in the heart of the Amazon.
Released in 3D at the point of its decline in the early 50s, and also in the traditional two-dimensional format, managed to capture over $1m in Box Office takings but was overshadowed by its predecessors.
Among the scientists are Dr. David Reed (Richard Carlson) and Kay Lawrence (Julia Adams), the latter forming the object of affection for Gill-man. The film was reported to been inspired by the tale Beauty and the Beast, which is evident at least in the creatures pursuit for love among humankind, fascinated by the beautiful Kate, leading to a similar conclusion to King Kong, where the monster kidnaps the female lead and ends up riddled with bullets. In this instance, though, the monster doesn’t fall a great height , but instead sinks to the depths of a supposed watery grave.
The story is a simple one enough, and is entertaining despite treading in familiar territory, carving out the usual horror movie tropes. It’s appeal lies mainly through the underwater sequences and the cinematography captured to instil fear and create atmosphere. The Gill-man would be portrayed by Ricou Browning for these water scenes, who had the gruelling task of holding his breath under for minutes at a time to deliver the strenuous fight scenes. On land, this task of donning the creatures mask fell to Ben Chapman, who had to wear the costume for 14 hour stretches in the heat and with minimal visibility at best. Considered a success by Universal, a further two instalments would come in the franchise with…
Revenge of the Creature (1955)
Jack Arnold would be charged with directing the creature once again, only this time the Universal monster is far removed from its native Amazon landscape and confined in captivity where it is studied by Professor Clete Ferguson (John Agar) and his student Helen Dobson (Lori Nelson). The film follows a familiar trajectory though of unrequited love as the creature pursues and captures Helen, only to be shot by police in his escape for freedom. Ricou Browning would once again return for the underwater segments, and Tom Hennesy filling in for the above ground sequences. Revenge though would be something of a forgotten entry other than to be mocked in Mystery Science Theater 3000, and for boasting Clint Eastwood as an uncredited role as a lab technician. This didn’t stop the creature from returning to screens however three years down the track with…
The Creature Walks Among Us (1958)
The creatures final feature length appearance for Universal would see a different director with John Sherwood but would still see Ricou Browning in full Creature make up (Don Megowan would take on the on-land duties), although now the look had altered slightly. This follows its rescue and surgery after being burned in a fire, the creature becomes physically more human looking and loses its gills, developing lungs to breathe.
The villainy and fear factor falls more in human terrain this time with the abusive and mentally unstable Dr. Barton (Jeff Morrow). The creature sided with a tale of what it means to be human or beast? When we go through such psychological stages, can we truly rid our genetic make up, or in the creatures case, would the call of the ocean prove to be too great?
Our last shot of the iconic creature would see it on the beachfront, walking into the great sea.
The Creature’s cultural impact would still hang in the minds and inspirations of film creatives for years to come however, with several attempts at a remake and appearances in films such as The Monster Squad, and the more recent Creepshow series on Shudder. It’s most affection nod tough comes in Guillermo Del Toro’s The Shape of Water, eager to give the creature one last shot at love.
The Retreat marks an important entry into the genre scene with its representation of queer scene without subjecting either of its lead characters to being a perpetrator, hellbent on revenge. Instead it flips this archaic notion by having the LGBTQi community the subject of eradication by a group of people who wish to rid them from society by means of gruesome torture. There are times I was guilty of second guessing the film’s direction expecting it to sink to predictability by having a twist in one of our lead characters that would reveal them to be the instrument of torment. Thankfully however, Director Pat Mills along with writer Alyson Richards play it straight down the line with the focus on the couples’ relationship and the test that they must endure in order to survive, united or doomed to failure.
The film however does fall foul of tripping over the usual tropes in its representation of our protagonist couple, where one has commitment issues and the other is hoping for more from her partner to cement their future together. Renee (Tammie-Amber Pirie) has some depth to her character as the more reserved partner, potentially harbouring some old wounds or trauma. As the story pans out there is intrigue to be found in her past with a hardened past that could also be her strength if she is able to overcome her demons. Valerie (Sarah Allen) however is a little two-dimensional at times with her optimistic outlook on life, which is set to be quashed if she is to endure the ordeal.
On a weekend getaway, Renee and Valerie set off for the idyllic retreat, only to find this bnb style hideaway is nothing but a trap to lure non-heterosexual people into a lair of uncertain return. The tormentors then inflict all kinds of pain and punishment on the victims while filming it for their own sadistic means.
The Prognosis:
The Retreat treads lightly in an all-too-familiar terrain, but is bold enough to place a queer couple at the helm of this survival torture horror. The narrative is enjoyable enough, despite being content with a middle of the road affair. It would have been interesting to go deeper with the characters and provide a more meaningful journey for them to take on their road of endurance.
Luke Boyce has steadily been making a name for himself in the film industry behind the camera as a director or producer, namely in making promos for the big sporting teams of Chicago. His latest outing sees him in the Director’s chair for his first feature length movie and with a promising hook.
The premise has a stripper, Angie (Caito Aase) trapped in a peep show booth along with a religious protester, Sally (Shaina Schrooten) when the world is hit by an apocalyptic event. Oh and it has a retro fit of 1980s Chicago as a setting for good measure.
Unfortunately, the film struggles to meet these bold expectations, providing the audience with tired and two-dimensional characters for us to champion their desire for survival.
If you’re going to have a primarily two person feature to keep you captivated for 1hr and 26 mins, then you have to provide a weighty script with characters that have depth to their personalities.
All of this is sadly lacking and we’re left with a lacklustre narrative that is far from apocalyptic.
Our two leads manage to fight their way out of said phone booth when faced with a zombie, only to be tested further when they venture into a labyrinth of snake type nasties in an underground world. This underbelly of Chicago feels like a cheap attempt to replicate the upside down in Stranger Things. The effects are fairly good however, showing that there is promise in Boyce’s vision, and that hope may lay in his next feature, Revival.
For Revealer though, these tests of mental will and endurance seem pale and much like the story itself, on a road to nowhere.
The Prognosis:
There are nuggets of potential in this flick but too often the dialogue is weak and doesn’t offer enough to support a decent premise.
Just as Universal were making significant strides away from the horror genre and into the sci-fi realm with It Came From Outer Spaceanother new name would rise to take up the mantel. This production company would have its roots across the pond on British soil, but the Hammer Horror epithet was yet to come and the name would be generated in familiar territory, science fiction.
Four Sided Triangle is a complex tale, but contains some essential ingredients on Hammer’s path to notoriety. None more so than with its director Terence Fisher who would spearhead the Hammer vision and helm the Christopher Lee and Peter Cushing starring film, The Curse of Frankenstein just two years later. For now though, Fisher’s playing field would follow a couple of scientists, Bill (Stephen Murray – A Tale of Two Cities) and Robin (John Van Eyssen – Quatermass 2, Dracula), who dabble in the duplication of objects.
The duo find their scientific breakthrough and look on the borders of success, but as with these things a dramatic barrier must stand in the way and serve as the antithesis to their genius. In this case it is through our love triangle as both Bill and Roy have eyes for their longtime friend, Lena (Barbara Payton – Bride of the Gorilla). The only trouble is, Lena only has romantic feelings for Robin. Heartbroken Bill doesn’t acquiesce but comes with another solution – duplication of Lena. What he doesn’t account for however is that the replicant Lena, named Helen will also fall for Robin. Not content with this, Bill devises a new way to win Helen’s affections through electro-shock therapy to erdicate any memory she has of Robin. Bill’s pursuit for love will only lead to ruin, but how many will fall in his endeavours to win Helen’s heart is left until the final reel.
There are some marked moments that lift this low budget flick above the grade for its time, tackling some interesting subject matter. Fisher also lends a level-headed approach to story-telling in order to deliver the compound narrative in a simple way for audience to understand. Narrated by a secondary character Dr. Harvey (James Hayton – The Pickwick Papers) who breaks the fourth wall through flashback with his pleasing and harmonious nature only solidifies Fisher’s strong direction further.
The film deserves more recognition, being overshadowed by Hammer’s next turn in The Quatermass Xperiment and of course The Curse of Frankenstein. Both of which would stem the way for Hammer’s future, but neither would be as bright without Four Sided Triangle shining a light for the production company to walk towards success.
1953 would prove to be a significant point in Universal horror history with the release of Ray Bradbury’s It Came From Outer Space, mainly because of a notable turn towards science fiction.
Interestingly the fear factor is reduced with the alien invaders actually being stranded on Earth after crash landing their spacecraft and are trying to get home.
The story joins astronomer John (Richard Carlson – The Ghost Breakers) and a school teacher, Ellen (Barbara Rush) as they go in search of a large meteorite that has fallen in their small town.
They soon discover however that the meteor is in fact the aforementioned spacecraft, but when John tries to tell his tale to the locals, he is met with a series of doubters. Trouble soon arises when some of the locals start to disappear and return with their personalities altered ala Invasion of the Body Snatchers. This brings the sheriff to suspect foul play and that there might be truth in John’s alien invasion story after all. Cue miscommunication and preconceptions that could lead to the downfall of humankind, It’s no wonder that this story has been labelled as an anti-communist propaganda film when you look at the underlying subject of alien invasion and the silent threat of destruction that hangs over everyone.
Despite being a pretty mediocre film, lacking substance ICFOS became an iconic feature for its time, it managed to reach the pop culture zeitgeist and has oft been referenced since. For me though is a fortunate set of circumstances that led to the creation of the Metaluna Mutant, once considered for the alien design but dropped in favour of the shape-shifting, single-eyed, jellyfish mutants on display. This decision would pave way for the Metaluna Mutant to have a more credible platform to launch its iconic look in This Island Earth… but that’s for another time.
Described as the world’s pre-eminent stop motion animator, Phil Tippett has been harnessing his craft through such fine works as the original Star Wars trilogy; Indiana Jones and the Temple of Doom; Robocop; and Dragonslayer.
Such is the talent that he brings to his craft, a long dormant vision, 30 years in the making, has finally come to fruition, thanks in part to a kickstarter campaign to aid in the funding.
Mad God is a beautifully bleak dystopian tale filled with a blend of industry, machine-like creatures, in tune with the organic infestations that embody the landscape.
This outlook is something straight out of the insane mind of Dr. Frankenstein, with some of these creatures born out of assembled body parts, adding to its appeal.
Whilst I do love the artform of stop animation, it can deter in places and feel fragmented as a result. Mad God can feel like this at times when viewing which can be due to the production time frame.
Weaving together these surreal images is The Assassin, shrouded in a jacket and a gas mark, who is charged with a mission to destroy the world as we know it. His journey of descent into an inferno of lust, power, greed, and the destruction of life is a cyclical and hellish one. It bears a light on the shadowy side of humanity, forcing the viewer to face its brutality.
The Prognosis:
Through all its fragments and destruction, is beauty and evolution at its core. Director Phil Tippet is a master of his craft and his labour of love is a must see for all fans of stop animation.
The dystopian landscape is a visually striking and harrowing masterpiece that captures the dark heart of humanity in a way that this style of art form and an auteur of his field can truly supply.
Having launched into the film industry as an intern through hit or miss horror production studio, Blumhouse, Mickey Keating has now directed six feature films including Darling, Carnage Park, and Pod.
HIs latest outing, Offseason, now streaming on Shudder, much like his other movies is drenched in inspirational nods to the films of yester-year. Most notable here is 1973’s Messiah of Evil, a supernatural horror that follows the pursuit of a young woman’s lost father.
Similarly here, we journey alongside Marie (Jocelin Donahue) who receives a letter to attend to her mother’s grave, which has been vandalised on a remote island. Accompanying her is George, played by a criminally underused Joe Swanberg (You’re Next), known for his involvement with the mumblegore movement. It’s important to stress this link because much like those movies a similar style is at play with a guerilla style improvisation in the dialogue that never quite hits the mark on this occasion.
Once the couple brave the storm and cross the only bridge from the mainland, they encounter a strange and isolated town that strikes as if it was pulled straight out of Lovecraft’s The Shadow Over Innsmouth. There are legends of a demonic creature from the sea, a cult that are ensnared by his command, and all this ties to a pact that involves Marie’s deceased mother. Are these all figments of a deranged collective? Or is there truth to it all, and Marie is part of a trap, lulled to fulfil a prophecy?
It is clear that Keating has a vision in mind with some stylistic set pieces that weave together Marie’s plight into a strange world. There are moments of promise, but in his execution Keating fails to string together these moments of confusion to form any sense of clarity. We, like Marie, end up lost in the exposition, struggling to navigate our way towards the films conclusion with any sense of satisfaction.
The Prognosis:
Despite having a great calibre of actors to fill his cast, Director Mickey Keating struggles to harness any weight to this Lovecraftian inspired horror.
There are some promising set pieces but it fails to produce any cohesiveness and instead wallows in its narrative mire.
Surgeons of Horror 