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Movie review: Lieutenant Jangles

10 Sunday Jul 2022

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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.

  • Saul Muerte

Retrospective: Undead (2003)

12 Sunday Dec 2021

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Before the Spierig Brothers would take on what would be their second feature film as their writer, director, producer team with Daybreakers starring Ethan Hawke, and possibly their best movie to date. 

Before they would even attempt to expand the Saw franchise with Jigsaw and then to breathe further life into the Hammer Films productions with Winchester, they would craft their first feature, Undead; a schlocky, low budget, zombie / alien invasion feast set in remote Australia.
The movie has just been released by Umbrella Entertainment as a Blu-ray/Dvd edition for their Beyond Genres collection. Check out the extras at the foot of this article.

The movie itself is not exactly brain fodder, but I remember from its initial release back in 2003 that it was a lot of fun to watch and packed with that unusual blend of Aussie humour that always seems to lift the storyline. There are some iconic moments too, namely from Mungo Mckay’s character Marion, a doomsday prepper who has encountered a paranormal encounter before and has been subjected to being an outcast ever since. His performance channels somewhere between Ash Campbell for sheer resilience and his namesake, James Wayne, with a cowboy like approach to survival and armed with a triple shotgun among his many resources.

Interestingly though, Marion isn’t the hero of the movie, as our lead protagonist falls to meek Rene (Felicity Mason) who has been a downtrodden character most of her life and just wants to get the hell out of Kansas. When push comes to shove though, she soon shows her metal and comes out fighting.

To look at this movie and scorn the performances though which I have seen some people comment on is to miss the style that The Spierig Brothers were going for. Clearly, they wanted to experiment with some visual effects, something that the extras in this release shines a light on. Undead would be their showpiece and a playing field for them to experiment with what they could do through a feature narrative. The problem as always is budget, which there wasn’t a lot of. So knowing this, the filmmakers went with a ramped up melodramatic, pulp style 50’s invasion feel. One that, knowing this beforehand, takes the pressure of applying a highbrow response to and simply letting it flow and enjoying the ride.

The film is packed with a lot of set play, from zombies attacking, survival instincts, seedy characters, bullheaded police officers, aliens, infection and nods to the era that formed the base of these kind of movies, one that comes to mind are some of the earlier scenes in Village of the Damned. There are also elements of Night of the Living Dead at play here, all of which goes to show that The Spierig Brothers are lovers of their craft and with Undead shows a great introduction to the celluloid mainstream with a film that wears its heart on its sleeve. So while it may not be original or groundbreaking, Undead still offers enough to entertain and essential viewing for film lovers who are interested in following the journey of a couple of creatives in the rise.

  • Saul Muerte

Undead is released on Blu Ray and DVD by Umbrella Entertainment.

Details of the extras are listed as follows:

  • Original Soundtrack CD
  • Audio Commentary with Directors Peter and Michael Spierig and Cinematographer Andy Strahorn
  • On the set of the Undead
  • Attack of the Undead – Short Film
  • The Making of Undead
  • Homemade Dolly Video
  • Undead Camera and Make-up Tests
  • Stills Gallery
  • Theatrical Trailer

Retrospective: Possession (1981)

09 Thursday Dec 2021

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Possession marks one of those unsung movies from the early 80s that oozed its way along the grapevine, causing the occasional ripple among viewers and critics alike across the years. Recently the film celebrated 40 years since its release and is now considered a cult classic among some. Ashamedly, it is a movie that passed me by and I only recently caught the film in time for its anniversary. In a way, it’s not too surprising that I missed out on its initial release as it was criminally shafted into the video nasties group that so many were subject to at the time and perhaps the reason why it has become something of a forgotten gem.

Recently to commemorate this feature, Umbrella Entertainment released a Blu-ray/Dvd edition as part of their Beyond Genres collection and it’s jam-packed with over 4 hours of extra footage which I’ll list at the foot of this article.

So, why does it deserve such recognition?

Possession is a visionary film, where every scene is a spectacle and eviscerates the human soul and exposes every ounce of humanity at its most controlling. All the characters strive for power and control and with every movement, vibrating, convulsing, and straining to reach resolution but bound to repeat the cycle of events all over again. This raw energy stems from Director Andrzej Zulawski who would draw from personal experience to write the screenplay, and the anger and vitriol is part of what we see evicted onto the screen. 

Fueling these emotions is an incredible leading cast in Isabelle Adjani in her dual role of Anna, a domestiecised and sexuallay repressed wife, and Helen, a teacher and picture of innocence and virtuosity. Sam Neill also stars as Mark, a spy with a mysterious connection with the political underbelly of Eastern Europe, and a man who is set in his time, expecting that his home life should remain in a certain state and not alter. Threatened by change and a loss of identity, Mark constantly is fighting to remain at the heart of all that surrounds him, tightening his grip, only to watch it slip further from his grasp. 

There are many levels that are at play here, which elevates the movie into highbrow territory, none more so than the depiction of a city under political unrest with the physical divide between Berlin’s East and West. The constant threat of destruction in a world hinged on uncertainty. There are a series of doppelgangers at play too with Adjani’s Anna/Helen characters and Neill’s two versions of Mark, where one version symbolises all that is wrong with humanity, and the other, all that seems right, a yin and yang of balance and imbalance. The viewer is placed at the epicentre of the carnage. As the characters fight for their ideological past, they rip apart their very surroundings destroying all that once was. The infamous scene in the underground passage where we bear witness to Adjani’s electrifying performance as Anna experiences a violent miscarriage, is one of the most brutal scenes that I’ve seen on screen. This scene alone is a dark and disturbing depiction of the core being ripped out due to the trauma and conflict that humanity subjects itself to. Infused with cutting edge creature effects that would fit perfectly in any Cronenberg feature, spearheaded by Italian special effects maestro Carlo Rambaldi (Alien, Deep Red).

By the films conclusion as the world seems to be setting itself right again, we’re left with a dubious outcome with Mark and Anna’s son Bob in the wake of turmoil, afraid of both his ‘parents’ and the sounds of war and destruction in the background, a sign that we are all doomed to repeat the same mistakes over and over if we insist on our ridiculous pursuits of perfection; possessed by this ideal and obsessed with fulfilling our desires, unwilling to relinquish control.

For more thoughts and discussions on Possession check out the Surgeons of Horror podcast here:

  • Saul Muerte

Possession is released on Blu Ray and DVD by Umbrella Entertainment.

Details of the extras are listed as follows:

  • Audio commentary with Director Andrzej Żuławski
  • Audio commentary with Co-writer Frederic Tuten
  • The Other Side of the Wall: The Making of Possession
  • Interview with with Director Andrzej Żuławski
  • US Cut of Possession
  • Repossessed – Featurette on the US Cut of Possession
  • A Divided City – Location Featurette 
  • The Sounds of Possession – Interview with Composer Andrzej Żuławski
  • Our friend in the West – Interview with Producer Christian Ferry
  • Basha – Poster Analysis Featurette 
  • International Theatrical Trailer
  • US Theatrical Trailer

Movie review: Nightmares (1980)

17 Tuesday Aug 2021

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Nightmares is one of the pioneer movies from the Ozploitation scene, released in 1980 by director John D. Lamond who had set out to make the most gratuitous movie that he could.
The auteur of the genre would openly admit that it’s by far from being the perfect film and had room to be better.
Provided with the opportunity to make a low-budget, quick feature was in his grasp and the weaknesses are clearly on show here, but this is also part of its appeal.
A gritty, voyeuristic journey from the mind of a deeply psychologically scarred antagonist, a product of her environment, where it is little wonder that she would become unhinged. 

As a young girl, Cathy (Jenny Neumann) tries to prevent her mother from copulating in promiscuous behaviour with a strange man, but a car accident results in her mother’s fatality and her father is more intent on blaming her for the outcome than on the reasons behind his wife’s infidelity.

The story is possibly one of the weaker components without much drive for Cathy to enact her episodic killing sprees which centre on an acting troupe for a theatre production that she is one of the cast members of called Comedy of Blood. Among her fellow cast members is a certain Gary Sweet (Police Rescue) in his feature debut and possible love interest. It’s not all doom and gloom however as there are whispers of promise from screenwriter Colin Eggleston, who had notably directed another Australian classic two years earlier with Long Weekend.

The film trudges along to its own drum, and despite the misbeats, the kills are relentless and exposes humanity at its most vulnerable, and with the full frontal deaths doesn’t shy away from brutality.
It also throws in some interesting characters ripe for the kill into the mix, which you just hope will meet their due comeuppance, a hook that keeps you engaged to the end.

The Diagnosis:

The literal meaning of the words in this piece is unimportant… the beauty and the drama is contained within the drama and the opposite nature of the juxtaposition of the words . That and the comedy of death.

George D’alberg

The words of the theatre director in the movie sums Nightmares up nicely.

It’s the thin line between comedy and horror that blends in a gratuitous way, cementing the film firmly in the Ozploitation scene.

It’s either your thing or not, but for me, a solid night’s entertainment, especially if you take it for what it is, and not scrutinise too deeply.

Nightmares is currently available as a Blu-ray release as part of Umbrella Entertainment’s Ozploitation Classics collection.

  • Saul Muerte

Retrospective: Patrick (2013)

06 Friday Aug 2021

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While it’s clear that director Mark Hartley is a huge fan of the original 1978 feature of Patrick, and the Ozploitation scene, this is none more evident than in his fantastic documentary Not Quite Hollywood: The Wild, Untold Story of Ozploitation! It seems an obvious choice for someone so immersed in the subgenre should take the helm and wield a reimagining of the classic Aussie feature, what is absent however, is the essence of the original feature that made it so iconic.

That’s not to say that it’s poorly constructed, the film is crafted well enough and Hartley does well to tap into the world of psychokinesis, and draw it out for a modern-age audience. It boasts a decent cast in Sharni Vinson (You’re Next), Rachel Griffiths and Charles Dance. All of whom manage to craft out some nice performances from dialogue that feels a little strained at times.

For those unfamiliar with the narrative, Patrick tells the tale of Kathy (Vinson), a nurse who starts work at a psychiatric clinic where she meets the titular character, Patrick, a comatose patient who has the ability to move objects with the power of his mind. 

Patrick is also being systematically abused by Dr Roget (Dance) and the Matron (Griffiths) through a series of Electroconvulsive therapy. This is like kicking the hornet’s nest and stirring a world of hatred in Patrick, who also becomes dangerously obsessed with Kathy and begins to manipulate things and people who come close to her, so that he can have her for himself.

The Diagnosis:

The film is slick enough, perhaps too slick, not harbouring the grit of its predecessor, but the cast are engaging and tied to the script despite its flaws and bring life to the fore. 

Stand out for me will always be Vinson, who deserves more praise than she currently receives and Dance happily chews up the scenery and gives across condescending like no other performer that I know. For that it’s worth the watch.

Currently this feature serves as a double feature blu-ray alongside the original in a current release by Umbrella Entertainment.

  • Saul Muerte

Retrospective: Patrick (1978)

05 Thursday Aug 2021

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Patrick, which was released back in 1978 sits firmly in the centre of the Ozploitation scene, a genre of Australian exploitation films that are filled with a mix of low-budget horror, comedy, sexploitation and action that wears its heart  on its sleeve.

Directed by Richard Franklin under the penmanship of Everett De Roche (Long Weekend), Patrick could easily be dismissed as farcical but it’s precisely the absurd nature of the storyline that is its appeal.

The film opens with the titular Patrick (Robert Thompson – an actor who should be applauded for his ability to keep his eyes open for an elongated period of time) kills his parents in an oedipal act, throwing an electric heater into a bathtub. 

Somehow Patrick ends up in a coma, something that is never fully explained, but is arguably irrelevant when it comes to the telling of the tale and to get said subject into the setting of choice, the Roget Clinic in Melbourne with all the hallmarks of the Bates house in Psycho. This is of no surprise as Franklin is a self-confessed fan of Hitchcock and would go onto direct Roadgames for his follow up feature, a film heavily inspired by the premise of Rear Window.

Surgeons of Horror podcast: Roadgames (1981)

Franklin would even go to direct the sequel to Psycho in 1983.

We follow the film through eyes of nurse Kathie Jacquard (Susan Penhaligon) who is appointed at the hospital to look after Patrick and soon encounters that there more to her patient than meets the eye and that in spite of being physically bound to his bed, has learnt to explore other sensory means through the power of psychokinesis. Her infatuation with this discovery fuels Patrick’s own lustful desires towards Kathie and thus throws those nearest to her into his wrathful rage.

There are some notable support performances on show here that warrant recognition, namely the larger than life Robert Helpmann who plays Dr. Roget and hams up his role, injecting some much-needed melodrama into the mix and moulding the tone of the film despite Franklin’s efforts to tone it down. Equally Julia Blake’s  Matron character is suitably insipid, casting a wonderfully dark light across the spectrum of the hospital; and Rod Mullinar who plays Kathie’s wayward husband in contrast to Bruce Barry’s egocentric and potential love interest Dr. Brian.

Perhaps one of the greatest things about this movie is Franklin’s depiction of male empowerment at the heart of the film. With Kathie seemingly trying to break down this impregnable barrier in her life, from her adulterous husband, the cocksure Dr. Brian, to the deranged Dr. Roget..Even Patrick himself who is incompacitated throughout the bulk of the film is trying to exert his will over Kathie, who must ultimately rise above this all.

Upon its release in Australia, Patrick did not receive the praise that it deserves but instead saw greater success abroad, but controversially was heavily dubbed Stateside, in spite of Franklin deliberately casting English actors to gain greater appeal abroad. The irony being that this very move is partly what isolated its homegrown audience.

Since then however it has reached a cult following and even gained a fan from acclaimed American director Quentin Tarantino.

For me, I went in expecting a certain kind of film, which it is, but was happily rewarded by the sheer enjoyment and direction. 

It would go on to inspire a sequel in Italy called Patrick Still Lives and then more recently in 2013 a remake would transpire, the latter of which would star Charles Dance and Sharni Vinson (You’re Next) and serves as a double feature alongside the original in a current release by Umbrella Entertainment.

  • Saul Muerte

Retrospective: Slither (2006)

19 Saturday Jun 2021

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15 years ago, before he would helm the Guardians of the Galaxy movies, Director James Gunn would mark his directorial debut with Slither, a black comedy, sci-fi horror movie centred around a small town in South Carolina that comes under siege from an alien parasite.
It’s a visual spectacle peppered with some humorous dialogue, highlighting the slow paced energy of the townsfolk suddenly thrust into a frenzied assault on their humble town and investing their bodies.
Upon its release, Slither was considered a flop, as it never fell short of the budget used to make the film by a few million.
I remember being a little bewildered by this at the time of its release as I thoroughly enjoyed its energy and direction, coupled with its strong influences from both Carpenter and Cronenberg, directors with whom I greatly admire their work.

It also boasted cracking performances from Nathan Fillion (who had already made a name for himself in Firefly) as Police Chief Bill Pardy, Elizabeth Banks (Brightburn) as Starla Grant, our female heroine, and Michael Rooker as her overbearing and protective husband Grant, who also becomes the first infected by the parasite.

The effects on show are its main selling point who create the tentacled, worm-like creatures with an element of Lovecraftian, body morphia. The humour too is light and zestful, which suits Fillion’s on-screen persona and a testament to Gunn’s writing ability.

This June, Umbrella Entertainment have released a blu-ray edition of the film as part of their Beyond Genres series with some cracking extras including: 

  • Audio Commentary with James Gunn and Nathan Fillion 
  • The Slick Minds and Slimy Days of Slither: Making of featurette – 10 Mins 
  • Who Is Bill Pardy? – 5 Mins 
  • Slither Visual Effects Progressions – 5 Mins 
  • Bringing Slithers Creatures to Life: FX Featurette – 19 Mins 
  • Slithery Set Tour With Nathan Fillion – 5 Mins 
  • The Gorehound Grill: Brewin’ The Blood – 3 Mins 
  • The King of Cult: Lloyd Kaufman’s Video Diary – 9 Mins 
  • Deleted Scenes – 11 Mins 
  • Extended Scenes – 8 Mins 
  • Gag Reel – 8 Mins

All of which resurrect the fun element that was notably present behind the scenes and projected in all facets of what we see on-screen with the final product. This further cemented for me that Slither is a gem of a movie and the reason why it has garnered a cult following as a result.

If you haven’t caught this film, or was deterred by the low box office attendance at the time of its initial release, then I highly recommend that you check it out.

  • Saul Muerte

Movie review: Occupation: Rainfall

19 Saturday Jun 2021

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Spanning the last five years Director Luke Sparke has hit the ground running, producing, writing, and directing three feature length movies and showcasing that Australia can release high budget, slick looking films.

Whilst you can’t fault Sparke for pushing the visuals and action sequences to the limit, producing some fantastic, fast-paced, frenetic moments with an effective punch, he has come under fire for weak characters and convoluted plotlines that dampen the spectacle.

His latest venture, (an extension of his pet post-apocalyptic project Occupation series, and first sequel) Occupation: Rainfall, is unfortunately no different.

The story picks up following the band of Australian survivors after the alien invasion of Earth and throws the audience in the thick of a war, where the allies’ numbers are dwindling.

Dan Ewing returns once more as hard headed Matt Simmons, who effectively brings the braun to the piece whilst struggling to collaborate with alien accomplice Gary (Lawrence Makoare) and find a common ground to work on so that they can rise above their obvious differences to defend the alliance. In many ways Sparke is drawing from the buddy cop movies that many action films have drawn from as their central character journey. Some of the shared moments work really well in this instance and are engaging, but too often they are quashed by the need to drive more action into your face rather than pause for breath and build on character. This does however highlight an absence of originality when it comes to story development. 

Through the cloud of combat and explosions there are moments where the supporting cast prove their worth and lift the script above its potential, hiding the notable flaws. Chief among them is Temeura Morrision returning as Peter Bartlett, Daniel Gillies as Wing Commander Hayes who tries to do everything according to the book in order to ensure human survival, and Jet Tranter taking over the role of Amelia Chambers from Stephanie Chambers to provide the heart of the film.

The Diagnosis:

Yes, Director Luke Sparke more than proves his worth of high-budget, slick looking action movies in a system that falls outside of Hollywood here in Australia.

It’s just a shame that three movies into his credits, Sparke hasn’t managed to get a grasp on his writing. I can see why he is hanging onto his vision through the Occupation series, and he certainly is a visual director, but too often the action sequences smother the characters and plot, which feel secondary as a result.
If more time were spent on developing some engaging and believable characters along with solidifying the narrative, Sparke would be a force to reckon with in the film industry.
As it stands though there is some work to be done to finesse what is obviously a creative mind, to harness this vision and strengthen what promises to be a further instalment in this franchise.

  • Saul Muerte

Movie Review: Psycho Goreman

04 Friday Jun 2021

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Since Steven Kostanski and the Aston-6 collective first hit the scene back in 2011 with their feature, Manborg, the Canadian outfit have been producing low-budget creature features that hark back to the movies we grew to love in the 80s Home Entertainment scene.
In 2016, Astron-6 turned heads and a few tentacles with their Carpenter/Lovecraftian inspired gem The Void, but I would venture to say that their latest offering, Psycho Goreman is their most triumphant feature to date. 

Infused with a perfect blend of humour and stylistic visuals that project the look and feel of 90s hit series Mighty Morphin Power Rangers, Psycho Goreman comes across as a dark and twisted take on a kids adventure flick.

The premise follows two siblings, bossy and overbearing Mimi (Nita-Josee Hanna) and an overtly agreeable Luke (Owen Myre) stumble across a hidden gem buried in their backyard.
Unbeknownst to them, this gem also yields absolute power over an evil monster, hellbent on bringing about the destruction of the universe.
Unfortunately for this overlord, he didn’t anticipate the ignorant and cruel youth that would hold him in their grip to play stupid pranks and games, the usual silly stuff that kids get up to.

Along the way, the kids and their puppet monster that they have dubbed Psycho Goreman or PG for short, encounter The Paladins of Obsidian, PG’s former army that overthrew the Templars before he was incarcerated, the Planetary Alliance, and their two quarrelling parents, all in search for their own means of power and or corruption.
This leads to an ultimate battle where they compete in a diabolical game of Crazy Ball with its confusing rules.
Who will claim victory?

The Diagnosis:

Kostanski manages to direct a beautiful love song to the 90s period of home entertainment with a warped and visually appealing feature. 

Psycho Goreman is peppered with humour and is the dark candy of kids sci-fi adventures of yester-year.
It rekindles the energy of the visual treats we hold dear to our hearts in our childhood and garnishes it with gore-tastic moments that Kostanski and the team have made their signature style.

PG should firmly be on your genre-film pulse. Tap into this baby and enjoy its insanity.

  • Saul Muerte

Movie review: Awoken (2020)

22 Monday Feb 2021

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I gotta say that I was pleasantly surprised by Awoken. I had prejudiced this Horror, Mystery, Thriller on face value because of its quiet film release here in Australia where it premiered at the Adelaide Film Festival and has been subjected to the Straight to Home Entertainment release.

This is an unfair judgement on my behalf though, as Awoken is one of those admittedly middle-of-the-road movies, but it does just enough to keep you hooked and entertained to its conclusion, which is a testament to Director Daniel J. Phillips and his writing partner Alan Grace.

Phillips chooses to keep his setting simple, predominately in one location and in doing so, can heighten the tension surrounding his key players, whilst keeping the budget low.

HIs storytelling is also strong, flicking from past and present with the use of old medical tapes that the research team slowly trickle through to gain an understanding of what they are up against.

And the choice of subject matter in Fatal Familial Insomnia is also one that sparks the imagination of terror in us all as this disorder affects the thalamus, part of the brain structure that controls our emotional expression and can lead to lack of sleep and dementia. 

With a select group of subjects, a small medical team, led by leading doctor, Robert (Erik Thomsen), go all flatliners and try to do some underground research in literally an underground laboratory in the hopes of finding a cure or a breakthrough to help those suffering from this condition. Robert has had previous experience in conducting similar experiments and serves as  the chief advisor and patriarchal figure of the group.

Our lead protagonist, Karla (Sara West – Ash Vs Evil Dead) is one of these medical students, who’s brother Blake (Benson Jack Anthony – Cleverman) suffers from the genetic insomnia condition and is subjected to this observation trial. The clue here is in the genetics component as it its revealed that their mother also had the same condition and was subjected to similar medical trials.

It is through their studies though that things begin to escalate. Cut off from the world above and incredibly sleep deprived, both patients and medics alike begin to hallucinate.

Is this the instabilities of the mind though? Or is there demonic possession at play?

The Prognosis:

Awoken doesn’t break new ground in the realms of science vs religion and suspected demonic possession, but what it does do well is construct a tight knit, well crafted storyline that drip feeds the tension whilst building up the paranoia and uncertainty of reality.

Some of the effects are a bit tried and tested, falling into the fairly predictable terrain, but Director Daniel J. Phillips has carefully positioned the audience into a false sense of security and then dialling up the entertainment level, whilst spinning a strong thriller that poses all the right questions towards a highly amped ending.

Surprisingly good and well worth checking out.

  • Saul Muerte

Awoken is currently streaming on Shudder ANZ