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Mr. Vampire
(Geung See Sin Sang,
殭屍先生)

Director – Ricky Lau – 1985 – Hong Kong – Cert. 15 – 94m

*****

This review originally appeared in Manga Mania to coincide with the film’s UK VHS release from Made In Hong Kong. Running time as on VHS sleeve. See also my All The Anime review coinciding with the 2020 Eureka! Blu-ray.

SCREEN GEMS

MR. VAMPIRE

The Far East views vampires through completely different cultural baggage, the extraordinary result of which can be seen in seminal Hong Kong period horror outing Mr. Vampire (1985) – which spawned several sequels and influenced countless genre outings both in Hong Kong live action and Japanese animation.

HOW IT ALL BEGAN

Encounters Of The Spooky Kind (1980) sees director Sammo Hung spend the night in a haunted house where he encounters various undead manifestations. It’s no surprise that Hung acted as producer on the later Mr. Vampire, where director Ricky Lau distilled Chinese cadaver / vampire mythology into a subsequent industry staple. As Lam Ching-ying so clearly explains in Mr. Vampire: “There are good men and bad men…corpses and vampires…this corpse is turning into a vampire.” Producer and director went on to make Mr. Vampire 2, 3 and 4, all with corpse‑busting star Lam Ching-ying who returned a fifth time under a different director for the present day Magic Cop / Mr.… Read the rest

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Blade Runner –
The Director’s Cut

Director – Ridley Scott – 1993 (1982) – US – 15 – 116 mins 29 secs

*****

DO FILM EXECS DREAM OF ELECTRIC UNICORNS?

One of the two main motivating forces behind the current Tetsuo II: Body Hammer (Shinya Tsukamoto, 1992) – the other was Videodrome, (David Cronenberg, 1983) – Blade Runner turns up in the cinema here some ten years after its original release in a Director’s Cut.

According to the press handouts, this isn’t just the original cut prior to Warner Bros.’ encouraging director Ridley Scott to remove the downbeat ending and insert a film noir voice over to explain what was going on – the film has additionally been re-edited by the director to make it work for a nineties audience.

Thus, the redundant voice over has gone and the original down ending is back – to make more sense of the story. There’s also a new and crucial sequence in which Harrison Ford as Deckard (an ex-cop, or ‘blade runner’, who forcibly retires renegade androids known as ‘replicants’) dreams of a unicorn which looks suspiciously like an out-take from the director’s later big budget fairytale flop Legend (1985). The relationship between Deckard and the state-of-the-art replicant Rachel (Sean Young) (“she doesn’t even know,” he comments bitterly) is expanded too.… Read the rest

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Gladiator
(1992)

Director – Rowdy Herrington – 1992 – US – Cert. 15 – 101m

**

UK theatrical release: June 26th, 1992.

PLOT

Hitting on hard times, loner Tommy Riley (James Marshall) is living in a low life neighbourhood on Chicago’s South Side. High school days are punctuated by fights during the breaks; at night, Pappy Jack (Robert Loggia) rides around eyeing street brawls in search of new boxing talent. The moment he sets eyes on Riley defending himself in an alley, Pappy Jack signs him for a Friday night fight – to which Riley agrees in the face of loan sharks cornering him regarding payment his out-of-town father’s (John Heard) debts. Riley senior is attempting to put an alcoholic past (due to his wife’s untimely death) behind him, and believes that his current travelling salesman job will bring him back up from the social depths. The son’s match pays off the father’s immediate debts, but Tommy finds himself unwillingly trapped in the boxing game by Pappy Jack’s promoter boss Jimmy Horn (Brian Dennehy) when the latter buys Riley senior’s loan sharks’ debt so that he “owns” the lad. But our hero isn’t about to take all this lying down; he’s a fighter!… Read the rest

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Animation Features Live Action Movies

Volere Volare
(I Want To Fly)

Directors – Guido Manuli, Maurizio Nichetti – 1991 – Italy – Cert. 15 – 94m

*****

A sexually insecure man turns into an animated cartoon character as he tries to start a relationship with the woman of his dreams.

PLOT

The shy Maurizio (Maurizio Nichetti) works dubbing old black and white cartoons while his more outgoing brother (Patrizio Roversi) dubs porno movies. Martina (Angela Finocchiaro) is a freelance fulfiller of her clients’ bizarre psychosexual fantasies. Upon meeting, the two are attracted to one another, but Maurizio’s inhibitions in the face of romance cause him to be transformed – slowly – into an animated cartoon character. Martina, meanwhile, is highly dissatisfied with her hitherto love life and is searching for a man somehow different from all others she’s known…

OPINION

Easily saleable by the epithet “adult Roger Rabbit“, this gentle and greatly likeable Italian sex comedy makes cinema history with a final bedroom scene in which live action woman disappears under the sheets with a cartoon lover! Early animation buffs will spot interesting works by the Fleischer and Terry Studios, with hilarious sequences where Maurizio adds a cacophony of real time sound effects as a one man band. Later, little animated black and white ducks crawl into his coat; later still, his hands turn into animated gloves to grope Martina (against Maurizio’s will) at a restaurant.… Read the rest

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Ridley, Ripley,
Thelma & Louise

Alien

Director – Ridley Scott – 1979 – US – X – 116 mins 35 secs

*****

Blade Runner

Director – Ridley Scott – 1982 – US – AA – 117 mins 04 secs

*****

Thelma & Louise

Director – Ridley Scott – 1991 – US – 15 – 129 mins 22 secs

*****

At the end of Alien, Ripley (Sigourney Weaver), having defeated the monster, strips down to her underwear only to discover that she hasn’t defeated it at all and it’s still in the space shuttle with her in the archetypal Hollywood false ending of recent years. It begged the question, why did Ripley remove her clothing at this point if not for the obvious gratification of the male members of the audience (and, one should add, the accompanying box office returns)?

At the end of Thelma & Louise, the eponymous heroines (Geena Davis and Susan Sarandon respectively), on the run after the former’s rapist has been murdered after the event by the latter, find themselves trapped between the Grand Canyon’s gaping precipice on one side of them and massed hordes of police marksmen, ready to open fire if they don’t surrender, on the other. No pandering to male voyeurism here.… Read the rest

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Naked Lunch

Director – David Cronenberg – 1991 – Canada – Cert. 18 – 115m

*****

Originally published in Film And Video – The Magazine. See also my reviews in What’s On In London and London Calling Internet.

PLOT

New York, 1953. Bug exterminator Bill Lee (Peter Weller) runs out of roach powder whilst treating an infested apartment. His initial accusations against his employers’ theft of the substance are revealed as groundless when he discovers wife Joan (Judy Davis) is using the brown powder as a drug. She persuades him to take up the habit. In a downtown interview, two narcotics detectives introduce Bill to his “Case Officer” – a typewriter sized bug with a talking orifice in its back who instructs him to kill Joan, as she is an Interzone agent.

After shooting his wife, Bill seeks counselling from Dr.Benway (Roy Scheider) who gives him a counter narcotic. A Mugwump gives Bill two air tickets to the Interzone where he meets (among others) Swiss expatriate Yves Cloquet (Sands) and writers Tom and Joan Frost (Ian Holm and Judy Davis). Throughout his adventures, friends Hank (Nicholas Campbell) and Martin (Michael Zelikner) encourage Bill to write his book Naked Lunch.

OPINION

Attempts have previously been made to turn William Burroughs’ seminal book Naked Lunch into a movie, but David Cronenberg’s version (produced by Jeremy Thomas of The Last Emperor fame) is the only one to reach fruition.… Read the rest

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Witness

UK PAL laserdisc review.

Originally published on London Calling Internet.

Distributor Pioneer LDCE

£19.99

BBFC Certificate 15

Director Peter Weir (1985)

Starring Harrison Ford, Kelly McGillis, Lukas Haas, Danny Glover

Running Time 108 min

Dolby Surround

Widescreen: 1.85:1

Chaptered? Yes

CLV

2 Sides

First American movie by Australian director Weir was also Ford’s first attempt at serious acting (for all those who think the star didn’t have his work cut out on the Indiana Jones or Star Wars films which previously made his name). The piece shifts constantly between a generally unremarkable gun-laden, American cop thriller on the one hand and an utterly unique portrait of Amish life on the other – so unique, in fact, that most people who have heard of the Amish have done so through this film.

The simple respect afforded the Amish – an extreme post-Anabaptist, post-Mennonite Christian tradition that abhors post-industrial material in favour of a pre-industrial community lifestyle – is quite extraordinary given Hollywood’s usual smack-in-the-face / pat-on-the-head attitude towards Christianity. Here, Weir just notes and observes, making no judgements one way or the other, leaving us rather to make up our own minds.

What Weir does do, though – and to remarkable effect – is juxtapose this clean and idealistic world with a foul-mouthed, urban universe of corrupt cops.… Read the rest

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Black Rain

Director – Ridley Scott – 1989 – US – 15 – 120

**

UK Release date: January 26th 1990.

On paper, Ridley Scott’s Black Rain reads like a winner: a police action thriller with Michael Douglas and sidekick Andy Garcia (then a little known star in the ascendant) as an NYPD cop hunting a villain in Japan. Where the film scores heavily is on the visual style level; this is Blade Runner (Ridley Scott, 1982) imagery without the superficial Sci-Fi mega-budget special effects overlay. Or plot. The film looks startling throughout, due in part to Scott’s collaboration with Dutch cinematographer Jan de Bont (later director of Twister, 1996, not to mention Speed, 1994, and its sequel); every frame is a thing of beauty.

Unfortunately, Scott is not shooting a Hovis commercial here, and we need a rather more substantial screenplay – such as Alien (1979) or the extraordinary Thelma & Louise (1991) – than the flimsy sketch on which Scott hangs his current images. Generally, though, Michael Douglas – and the rest of the cast including the versatile Kate Capshaw (Indiana Jones And The Temple Of Doom, Steven Spielberg, 1984) – are wasted.

Things start off well enough with a leather-jacketed Michael Douglas racing his cycle against a fellow biker along a New York quayside.… Read the rest

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Batman
(1989)

Director – Tim Burton – 1989 – US – 12 – 126 mins

****

Batman amalgamates Blade Runner, Brazil, Star Wars and Vertigo while giving more screen time to its villain than its title character – UK release: August 11th, 1989

“What kind of a world is this where a man in a bat costume gets all my press?”, a confused Joker (Jack Nicholson) asks his aides. A fair question since Batman gives more screen time to its villain than its title character. Actually, it’s a movie that looks not unlike Brazil (Terry Gilliam, 1985), although it lacks that movie’s depth, with elements of Blade Runner (Ridley Scott, 1982), three scenes from Vertigo (Alfred Hitchcock, 1958) and one from Star Wars (George Lucas, 1977) thrown in for good measure. The screenplay compresses an incredible volume of action and about the right amount of necessary plot into its two hours, ensuring the audience gets its money’s worth.

Curiously, Batman (Michael Keaton) himself is simultaneously a peripheral, shadowy character in the background and the film’s main protagonist; this leaves much scope for further character development. Visually, he’s a vigilante Devil who drops in on unsuspecting criminals to mete out justice – an image at odds with the script’s paradoxical portrayal of him as a hi-tech policeman or James Bond figure.… Read the rest