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19 Movies Looks At More 1950s SF (Mostly)

19 Movies Looks At More 1950s SF (Mostly)

Them (1954: 10)

The Citizen Kane of Big-Bug Movies. The first and probably the best, it set the template for all the rest. Superior script, superior acting by James Whitmore and James Arness, who actually gets to speak this time around. Keep your eyes out for a very young Leonard Nimoy.

Cast: James Arness: The Thing From Another World (1951).

Themes: Law Enforcement, New Mexico State Police, FBI. Military, Army. Scientist, entomologist. Settings, New Mexico desert. Los Angeles sewer system. Radiation, mutant causing. Giant Animal, ants.

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Ellsworth’s Cinema of Swords: Premium Peplum

Ellsworth’s Cinema of Swords: Premium Peplum

(Goliath and the Sins of Babylon, Italy, 1963)

If you like this kind of thing, this is the kind of thing you’ll like. Between 1959 and 1964, the leading genre of Italian adventure films was the peplum, or sword and sandal movie. The fad for these began in 1958 with the first Steve Reeves Hercules film, and there were a whole lot of Hercules films to follow, but we’re going to save those for another day and cherry-pick our way through the non-Herc movies. Peplum films tended to be made quickly and cheaply: indifferently written, poorly acted, and with weak production values. Even those with larger budgets often ran aground on the rocks of tedium and cliché. But there were a few silk purses among the sow’s ears, so this week let’s point out some fun exceptions that might be worth your time. If, you know, this is the kind of thing you like.

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Warrior Women Watch-a-thon Part 2: The Middle Ground

Warrior Women Watch-a-thon Part 2: The Middle Ground

My look back on my Warrior Women film marathon continues with a clutch of movies that I don’t consider terrible, but don’t meet many of my requirements either. For a detailed rundown of the criteria I imposed on this project, see Part 1 here.

The first four in this group actually pass the Bedschel Test, but are still lacking in anything resembling practical armour. This group also includes a cheat film, as I had seen Red Sonja back in the day (and had mostly forgotten it), but I got around this using an entirely unnecessary loophole, which meant watching it in Spanish on YouTube with a translated transcription on my phone. Red Sonja still feels like a bit of a wasted opportunity and merely a vehicle for more Schwarzenegger flexing (who reportedly regards it as one of his worst films).

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Fantasia 2021, Part I: Introduction and Preview

Fantasia 2021, Part I: Introduction and Preview

Summer’s come around again, and with it another installment of the Fantasia International Film Festival, the Montreal-based genre festival it’s been my pleasure and privilege to cover for Black Gate since 2014. Fantasia’s back up to a full three weeks after last year’s two-week version, starting today and running until August 25; here’s the full schedule. COVID-19’s still out there, though, so this year like last most of the films are streaming rather than shown in a threatre. Some are at scheduled times, others are available on demand over the course of the festival, and all movies are geo-locked to Canada though panels and discussions will be available worldwide through Zoom or YouTube.

But a few films have in-person screenings at Montreal’s venerable Imperial Theatre. This briefly caused me to ponder: doubly vaccinated as I am, am I comfortable going to a movie theatre? I never came to a conclusion because at the start of July I felt a pain in my foot, and when I finally bothered to have a doctor look at it two weeks later, found out it was a stress fracture. I now have a boot cast to wear through the end of August, and while it lets me get around it’s probably still a good idea to avoid needless strain on the foot. So I’ll be taking in the festival from the comfort of my couch.

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Ellsworth’s Cinema of Swords: Lone Wolf and Cub, Part 1

Ellsworth’s Cinema of Swords: Lone Wolf and Cub, Part 1

Lone Wolf and Cub 1: Sword of Vengeance (Japan, 1972)

Lone Wolf and Cub, the celebrated samurai manga series by writer Kazuo Koike and artist Goseki Kojima, began in 1970 and, wildly popular, eventually ran to many thousands of pages and was adapted to both film and television. However, it was virtually unknown in America and Europe until 1980 when the compilation Shogun Assassin was released, drawing on the first two motion pictures. But Shogun Assassin emphasized the series’ brutal violence and was regarded by most in the west as trash cinema, a reputation that was unchanged until 1987 when the Lone Wolf and Cub manga series was finally republished in the US and UK by First Comics. With covers and endorsements by then-fan-favorite Frank Miller, the comics were widely acclaimed, and the movies finally found release in the United States and Europe in their original forms.

This week we’re taking a look at the first three Lone Wolf movies from 1972-73. Despite their level of gore and carnage, which was considered extreme at the time, these are serious films, adapted from the manga by Kazuo Koike himself. Their success is all the more remarkable because star Tomisaburo Wakayama, middle-aged and heavy, looks so little like a samurai matinee idol. But Wakayama had been a dedicated martial artist before he became an actor, and his surprising athleticism adds depth and credibility to the role.

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Unearthing the Scattered Memories: Detectorists

Unearthing the Scattered Memories: Detectorists

I don’t really know what to say about detectorists (lower case intentional), which I finished watching this morning. It’s not much of a binge, since there are only nineteen half-hour episodes.

Except to say that this is the sort of thing I want to watch at this stage of my life. Quietly amusing rather than uproariously funny; gently engaging rather than gut-wrenchingly dramatic. It is almost completely devoid of sitcom clichés. No handsome leads — Andy (Mackenzie Crook) looks exactly like a dastardly pirate (he actually was in one or more of the Pirates of the Caribbean movies), and Lance (Toby Jones) looks like a garden gnome. And yet, you grow to like them so much that they become almost handsome. They’re bog-standard middle aged guys who lead mundane lives — but, crucially, they’re not losers. They’re everymen in whom hope springs eternal.

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Masters of the Universe: Revelation Celebrates the Origins of He-Man

Masters of the Universe: Revelation Celebrates the Origins of He-Man

This article contains minor spoilers for Masters of the Universe: Revelation.

Our mighty Eternian hero and his celebrated motley crew of bouncing and shooting heroes did not originate as the beloved moral wielding Filmation show (aka marketing campaign) of the 80s. His origins are much more concrete than animation cells, mired in plastic and slime. Before he uttered the words “By the Power of Grayskull” on TV to throngs of enthused children, he first held up a plastic Power Sword in his molded toy hand.

Well, half a Power Sword.

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Ellsworth’s Cinema of Swords: A Little History

Ellsworth’s Cinema of Swords: A Little History

El Cid (USA/Italy, 1961)

“Inspired by historical events”: the dreaded phrase that history wonks have come to learn usually means “bears little resemblance to historical events.” But hey, historical epics have to start somewhere, and it might as well be with a little history. To be fair, historical adventure film concepts often start from the best available accounts, but then scripts get rewritten and rewritten again, producers and directors have their own ideas about how the screenplay should get visualized, and before you know it you’ve got… well, El Cid (1961) for one, with a couple of other examples as well, including an admirable entry in The 300 Spartans (1962), which tries harder than most to get it right. I’ll be interested to hear what you think.

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Ellsworth’s Cinema of Swords: Zatoichi’s Finest

Ellsworth’s Cinema of Swords: Zatoichi’s Finest

Zatoichi’s Vengeance (Japan, 1966)

The Zatoichi films, a chambara series that features Shintaro Katsu as a blind yakuza swordsman, was very popular in Japan, running throughout the Sixties and totaling 19 films in quick succession, followed less rapidly by a final half-dozen “special” entries. Though the films in the series tend to follow a familiar formula, they are successful because the elements of that formula are a rich mixture of suspense, pathos, action, comedy, and wistful romance. Katsu’s Zatoichi is a blind masseur at the lowest level of Shogunate Japan’s social hierarchy, but he deeply resents the abuse he suffers from his social betters, and his preternaturally keen senses enable him to develop the skills of a sleight-of-hand gambler and, more importantly, a lightning-fast swordsman. A master of iaijutsu, or the slash on the draw, Ichi holds his blade in a reverse grip that is lethally effective when he gets inside the guard of those wielding longer katanas. He also has a lightning wit that enables him to suss out plots and conspiracies from a few overheard clues. Best of all, though he has a temper, Ichi is inherently good-hearted and always comes to the aid of the vulnerable suffering at the hands of their abusers.

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Was 1982 the Best Year Ever for Sci-fi Film? The Starlog Summer Wrap-Up

Was 1982 the Best Year Ever for Sci-fi Film? The Starlog Summer Wrap-Up

I made an enjoyable foray into the November 1982 “’Science Fiction Summer’ Wrap-Up Issue” of Starlog Magazine over the 4th of July weekend, to see how well the reviews of various films have held up. When were the reviewers prescient, and when were they embarrassingly myopic? Did any of them have a sense that they were reviewing films during a year that is now regarded as one of the greatest ever for genre cinema?

1982 is a pretty significant year for science fiction, fantasy, and horror. In retrospect it is kind of incredible how many films that are considered iconic played in movie theaters that summer. Just check out this list of films reviewed: Star Trek 2: The Wrath Of Kahn. Conan. E.T. The Extra Terrestrial. Blade Runner. Tron. Poltergiest. John Carpenter’s The Thing. And while Mad Max 2 debuted down under in 1981, it made its American debut (as The Road Warrior) in 1982.

Wow.

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