It’s Spring Break at the seminary! The wannabe monks are being set free for a spell; this means that they’ll proceed to prank the locals and (lightly) sexually harass whatever women come within reach.
Khoma (Leonid Kuravlyov), one of these prospective monks, finds that he and his friends have wandered too far away from town when night falls to find a decent bed. A farmhouse inhabited by an old woman provides some shelter, but he’s forced to bed down for the night in the barn. Eh, presumably he’s had worse accommodations. His rest is interrupted by a visit from the old woman, who it appears wants to do a little sexual harassment of her own. Well, Khoma isn’t having any of it, but she won’t take no for an answer. She turns out to be a witch, and casts a spell of him that stiffens him, allowing her to ride him around all night long. Wait, get your mind out of the gutter. What were you thinking? She forces him to carry her on his shoulders while flying around the countryside.
After finally landing, Khoma is freed from her spell. He promptly whacks the magic out of her, revealing her true form as a lovely young woman (Natalya Varley). Why she needed to disguise herself to get men to do her bidding is left unsaid. Khoma flees the scene, leaving the unconscious woman behind.
Little does he know his problems have just begun.
It was a dark and stormy night in Nameless Suburban Town. In the midst of some unsettling dreams, a bolt of lightning takes out the tree in the backyard of Glen’s (Stephen Dorff) home. The next day, the removal of the now-dead tree reveals a rather large hole in the ground. Well, dealing with it will have to wait. Glen’s parents are heading out of town for the weekend, leaving his older sister Alexandra “Al” (Christa Denton) in charge. A large panel of wood is placed over the hole, and strict instructions are given to NOT go in and poke around.
Well, try telling unsupervised teens that they can’t do something. Glen and his friend Terry (Louis Tripp) poke around in the hole. While digging out a large geode, Glen cuts himself on a splinter of wood. A few drops of blood fall into the hole – can’t be anything significant, right?
Langston (Larry B. Johnson). and his fiancee Diane “Sugar” Hill (Marki Bey) are running a decent little nightclub somewhere down in bajou country. The club’s been doing well enough to attract the attention of local mob boss Morgan (Robert Quarry), who has been pressuring Langston to sell. “Peaceful” negotiations haven’t worked, so Morgan sends his goons to rough up Langston one night after closing time. Well, they rough him up a bit too much, and he dies of his injuries. There were no witnesses, and nothing in the way of evidence, so even though it’s pretty certain Morgan was behind it, there’s nothing the local police can do.
Being a smart businessman, Langston had a will – and left the club to Sugar. Morgan thinks it will be easier to get her to sell the club, what with her being a woman and all – but she’s got plans for revenge. Plans that involve getting some help from beyond the grave…. Continue reading
It’s not your usual “get me to the church on time”. A team of demon fighters is racing through the streets, hot on the trail of….something unseen that is tearing up the pavement as it goes. Even a bunch of kids playing in the street isn’t going to stop them. Fortunately for the kids, the team has “portal guns” that open a sort of tunnel / gate that lets them pass through the space where the kids are playing.
You will note two things right off the bat.
Whatever it is ripping up the streets doesn’t bother taking shortcuts through / across lawns or even sidewalks. And the kids make no move at all to get out of the street when they hear something coming.
Well, at least they set the tone right away. And they got the stupidest bits taken care of at the start.
Anyway, they arrive too late to the wedding in the park to stop the Thing from attacking the wedding party and killing the groom. It almost kills the bride, but it turns out that she’s prepared. Thanks to a concealed blade (that looks like it would have cut her leg quite a bit as she walked around), she is able to fight and kill the Thing.
Turns out she – Summer Vale (Brigitte Kinglsey) – is a “warrior princess” whose mission is to kill demons who sneak over into our realm. And there’s been a surge in demonic activity lately. Can she and her team find out the reason behind it – and save the world?
It is pretty much agreed that the Star Wars prequel trilogy was….. well, “Not Good”. Admittedly, it’s not easy to tell a story when the ending is predetermined. But one shouldn’t need three whole movies to tell how Anakin Skywalker became Darth Vader. Quite a few fans took it upon themselves to edit the trilogy (removing the boring or tasteless parts (i.e. Jar-Jar Binks)) into a single, more “streamlined” film.
These fans pretty much succeeded in creating films that are faithful to the Star Wars universe, and tell the story rather well. It’s essentially a Grand Tragedy, how a young Jedi filled with promise was turned to the Dark Side.
The team at Film Addicted went a bit further. What if you not only condensed the story, but changed the tone?
Get your mind out of the gutter. This is NOT some sort of soft-core porn “nudie cutie”. It’s a “made for TV” play that aired on the BBC’s “Theater 625” drama anthology series, so other than a hint of some passing nudity in one scene, there’s nothing that could be considered lascivious.
It just happens to be set in the Year of the Sex Olympics. We’re not given any clue as to what a “sex Olympics” might entail. But what we do know is that the teleplay takes place in a not too distant overpopulated future, where everyone is effectively divided into the “hi-drives” (the leaders, movers and shakers, the “One Percent”) and the “lo-drives” (the plebians, the workers, the unwashed masses). The lo-drives are fed a nearly constant stream of lowest-common-denominator entertainment to keep them in line.
There are some who dissent, and some of the hi-drives are worried that their usual methods of keeping the lo-drives sated and content aren’t working anymore. Coordinator Ugo Priest (Leonard Rossiter) has a plan to try the broadest of physical comedy – a pie fight – in the hopes of getting people to laugh. It fails completely. When the accidental death of a protester on the set during a live “introduction” of some of the year’s sex Olympians causes the viewing audience to break out laughing, director Nat Mender (Tony Vogel) gets an idea. Continue reading
The Middle Kingdom has collapsed. As a democratic government struggles to find its feet, several factions are jockeying for power. In the chaos in a general’s mansion, traveling musician Sheung Hung (Cherie Chung) bops a hapless soldier, Tung Man (Cheung Kwok-Keung), on the head with her instrument, and scampers off with a box of valuable jewelry. To evade the police, led by Inspector Liu (Feng Ku), she stashes the box on a cart belonging to a theater troupe. It shouldn’t be too hard to follow it to the theater, sneak in backstage, and collect it, right?
At that very theater, manager Master Wong (Wu Ma) is struggling to get tonight’s production off on schedule. His daughter, Bai Niu (Sally Yeh), isn’t helping. She wants to be in the show, but he knows well enough that the theater is no place for a young lady. Especially because any distinguished guest might want to order an actress to come home with him – and the manager would be powerless to refuse.
One of those “distinguished guests” could be General Tsao (Kenneth Tsang), who is on the rise in the local game of “king of the hill”. What he doesn’t know is that his recently returned from abroad daughter, Tsao Wan (Brigitte Lin), has sided with the new democratic government. In cooperation with a young army officer, Pak Hoi (Mark Cheung), she’s plotting to pilfer the documents that would prove dad is in cahoots with foreigners to pretty much sell out the country.
Can these three young ladies find happiness, friendship, and success?
Noted barrister Sir Wilfrid Robarts (Charles Laughton) has just been released from the hospital after suffering a heart attack and is heading back to his office at the Inns of Court (where he is also fortunate enough to have his residence). Accompanying him, much to his irritation, is his home health care aide, Nurse Plimsoll (Elsa Lanchester). She’s tasked with looking after his health; making sure he gets plenty of rest, avoids stressful situations, takes his medications, and completely avoids his beloved cigars and brandy.
This is torture as far as Sir Wilfrid is concerned. Fortunately, almost immediately after his return to his office, Solicitor Mayhew (Henry Daniell) arrives, with Leonard Vole (Tyrone Power) in tow. Vole is in a really tight spot: a widow with whom he has been on friendly terms has been killed, and as he was the last person to see her alive, he’s expecting to be arrested for murder at any moment. Could the great “Wilfrid the Fox” be so good as to represent him in court? Shouldn’t be too hard – Vole’s wife Christine (Marlene Dietrich) can give him an alibi….
It used to be in Hollywood that a surprisingly successful flick would almost immediately spawn a flood of knock-offs that tried to ride the financial coattails of the hit. The many “killer big animal” movies that followed in the wake of Jaws (1975) are the prime example of this. These days, studios are more protective of their property – they’ll make their own sequels and reboots, thankyouverymuch.
Some of the examples are only clear in retrospect; those usually wind up getting their own subgenre. When Whatever Happened to Baby Jane? (1962) blew everyone away thanks to the performances of Betty Davis and Joan Crawford, a number of movies borrowed the idea of a deranged older woman terrorizing people, and the “psycho-biddy” genre came out of that.
Robert Aldrich, who produced “Baby Jane” and another entry in the genre, Hush… Hush, Sweet Charlotte (1964), snarfed up the rights to the 1962 novel The Forbidden Garden by Ursula Curtiss, and turned it into Whatever Happened to Aunt Alice? Geraldine Page and Ruth Gordon were signed to play the protagonists, the aging widow Claire Marrable and her housekeeper Alice Dimmock, respectively.
This film, created by Shane Carruth, has a reputation in the science fiction world for being one of the most complex and interesting movies about time travel in the entire genre. I’d wager that no other movie has had more “explainer” material written about it. Indeed, if you want to untangle all the loops and loops within loops, you pretty much do need a cheat sheet of some sort.
But those analyses have come to dominate all the reviews so much that people seem to have forgotten they’ve been watching a movie, and one should spend at least a little time going over its cinematic aspects.
Primer is the first of (to date) two films by Carruth, an indie (obviously) filmmaker from Texas. One usually wants to “be kind” with new works from aspiring artists and give them a large benefit of the doubt, but one also doesn’t want to be unfair to potential viewers.
So, with that in mind…..