Tuesday, February 27, 2024

JAILHOUSE WARDRESS - BLU-RAY REVIEW

If we’re to believe the phony Anglicized credits, JAILHOUSE WARDRESS (1979) is just another routine women-in-prison film, but seldom have distributors sought so earnestly to camouflage a film’s true origins and pass it off as an entirely new picture like the lovable hucksters at Eurociné. Perhaps best known on these shores for producing several Jess Franco films such as FEMALE VAMPIRE (a.k.a. EROTIKILL, 1973), this Paris-based distribution outfit and production company has also become synonymous with a number of hastily cobbled-together films, of which JAILHOUSE WARDRESS is probably their most infamous. Following the success of Jess Franco’s far superior WIP film BARBED WIRE DOLLS (1975), which Eurociné distributed and owed the rights to in France, they decided to offer their very own contribution to the genre. But rather than take the time and trouble to shoot an all-new film, Eurociné instead ransacked Franco’s picture, stretching out miles of ‘previously viewed’ footage with a handful of ‘all-new’ insert scenes overseen by in-house director Alain Deruelle, which they probably threw together over a single long weekend. It shows. 

 

Essentially a re-hash of BWDJAILHOUSE WARDRESS is a jumbled, schizo mix of mismatched scenes, a conflicting mix of characters, and paltry budget. Care of re-dubbed footage taken from Alain Payet’s SPECIAL TRAIN FOR HITLER (a.k.a. HELLTRAIN, 1977), a twitchy SS Colonel (Roger Darton) is forming a plan to eliminate “traitors and defeatists” from the Third Reich during the waning days of WWII, and upon Hitler’s own recommendation, Fraulein Elsa Ackermann (Monica Swinn) is ordered to run the operation. Next, we’re in a cramped apartment in modern day France, which possibly doubles as a Mossad safehouse (we know this because there is a large Israeli flag in the living room) where Jewish secret agents discuss the “red Heidelberg file”, which details the ongoing search to find and kill the SS Colonel from the opening who killed “thousands of Jews in concentration camps.” It develops that this Colonel has fled to South America with Elsa (“You know the story...”), where they are now running a local prison, which sets the stage for the rest of the film. 

 

Virtually the entirety of BARBED WIRE DOLLS (minus most of its sexually explicit material) seems to have been recycled here, albeit with its continuity drastically rearranged. Adding to the confusion, newly-shot footage with Eurociné regulars Nadine Pascal and Pamela Stanford as a pair of jovial prisoners clashes severely with Franco’s original downbeat scenario, and does nothing to propel the story forward; they merely lounge around the prison in constant states of partial or total undress discussing nothing in particular, and despite utilizing large portions of BWD, much of that film’s dreary - and highly potent – atmosphere is completely eliminated here. More in line with some of Eurocine’s other piecemeal films such as HOUSE OF CRUEL DOLLS (1974) or OASIS OF THE LOST GIRLS (1981), few of the disjointed storylines and newly-shot scenes ever properly gel, while disconnected pages of seemingly unrelated scripts seem to have been cut together using third-hand gaffer’s tape. When Nestor (Didier Aubriot, who poorly replaces the always watchable Eric Falk from the original) has his way with the prisoners, the film resorts to some flaccid attempts to instill some excitement, but much of the potentially offending scenes come across as laughable (“Close your eyes! There’s nothing to it!” remarks one of the girls.), which is made doubly ineffective by Daniel J. White’s crudely inserted and wholly inappropriate jazzy interludes; and it’s also hard not to notice the black-painted balsa wood doubling for solid iron bars! Following various prison subplots and backstories (including Lina Romay’s and Jess Franco’s infamous slow-motion death scene from BWD), our Jewish operative from the beginning finally reasserts his omnipotence with a bonus minute of action…

 

Despite its lowly pedigree, JAILHOUSE WARDRESS has seen more than a few releases during the digital era, beginning with Videofilm Express’ NAZI FILM COLLECTION, a 6-disc box set from 2010, which saw it issued alongside several other Eurociné Nazi-themed war films. This Dutch Region 2 PAL DVD was touted as a 16x9 release, but was weirdly stretched to accommodate a 1:85 image, so in order to watch the film in its intended 1.66:1 framing, viewers had to manually adjust their aspect ratio settings on their DVD player. The film was in English and included optional Dutch subtitles. In 2017, UK based label Maison Rouge released a slightly improved transfer of the film (albeit now weirdly in a 1.40 widescreen format) with marginally better colour timing, but for most casual viewers, the film’s differing film stocks and poorly recycled footage will make for a frustrating viewing experience. Earlier this year, thanks to MVD Classics and their continuing relationship with Eurociné, JAILHOUSE WARDRESS made its worldwide Blu-ray debut, and much like Maison Rouge’s UK disc, this is virtually the same transfer with a very minor uptick in quality thanks to the higher bitrate, but this still remains a poorly prepared transfer, which is littered with surface scratches and fluctuating contrast that lacks any real detail. As an interesting side note, the prominent swastika which adorned Maison Rouge’s DVD art is conspicuously missing from MVD Classics’ otherwise identical BD cover image, which in this day and age, is not surprising. 

 

There are no extras to speak of, other than a few newly-constructed trailers for some of MVD Classics’ other Eurociné product, which for the record include Pierre Chevalier’s CONVOY OF WOMEN (1m03s, 1974), Jess Franco’s GOLDEN TEMPLE AMAZONS (1m50s, 1984), Amando De Ossorio’s Canadian-set western HUDSON RIVER MASSACRE (1m30s, 1965), and Alain Payet’s NATHALIE ESCAPE FROM HELL (1m13s, 1978). 


Although still of interest to the more fetishistic Jess Franco fan or indiscriminate Eurotrash completists, JAILHOUSE WARDRESS has the arguable distinction of being one of the poorest films in the entire Eurociné catalogue! And that’s really saying something! 

 

Wednesday, January 24, 2024

RAT MAN - BLU-RAY REVIEW

Crawling from the trashiest depths of the Italian film industry, Giuliano Carnimeo’s RAT MAN (1988) was an attempt by producer Fabrizio De Angelis, and his prolific production company Fulvia Film, to further extend the waning popularity of the Italian horror film. As per the film’s opening narration, the Rat Man was “developed by introducing the sperm of a rat into the ovum of a monkey”, and the resulting hybrid, which even carries a “potent poison” in its teeth and under its nails, wouldn’t seem out of place if it was accompanied by a showman’s pitch or some Carny-style hyperbole. Lurking behind some unnervingly long incisors and enlarged clawed hands, Carnimeo’s film is noteworthy for the sheer lowbrow audacity of casting the late Nelson De La Rosa (1968 – 2006) as the title monster. Measuring a mere 71cm (that’s 2’4” for you yanks) in height, De La Rosa was an inexplicably tiny actor who would later gain a measure of fame when he appeared alongside Marlon Brando in the unmitigated Richard Stanley / John Frankenheimer disaster that was THE ISLAND OF DR. MOREAU (1996). Filmed entirely in the Dominican Republic from an original story by Dardano Sacchetti (using his usual nom de plume David Parker Jr.), this largely forgotten horror film was resurrected via Cauldron Films’ lavish BD (its first official North American home video release), which finally shows the film on its very best behaviour. 


Dr. Olman (Pepito Guerra), an apparently renowned molecular biologist who works in one of filthiest laboratories imaginable, is hoping to present his Rat Man hybridization (whom he refers to as ‘Mousey’) at the next genetics congress, but before he can do so, the aforementioned title creature escapes. When a mutilated body is found during a beachside photo shoot, Marilyn (Eva Grimaldi), Peggy (Luisa Menon) and their photographer Mark (Werner Pochath), who treats everyone with undisguised scorn (“The only thing that he’s got that clicks with me is a shutter!”), decide not to report it because Mark doesn’t “want to be interrogated.” Later that night, Peggy is clawed to death following a lengthy confrontation with a knife-wielding local, a sequence which has more in common with any number of gialli than your typical monster film. When Peggy’s sister Terry (Janet Agren) comes looking for her in this tropical paradise, she is quickly befriended by mystery novelist Fred Williams (David Warbeck), when they inadvertently share a taxi. Despite her initial icy aloofness towards him, the two of them eventually team up and try to find her missing sister as the Rat Man continues to scurry about sinking his teeth into the local populace…

 

Beginning with an introductory voiceover from Dr. Olman, the script attempts to make some unsubtle allusions to H.G. Wells’ classic novel The Island of Dr. Moreau, and while RAT MAN does reveal some similar themes about humanity’s curious nature, Carnimeo’s film moves several notches below Wells’ text without even a hint of the ethical and philosophical concerns depicted in the book. It’s this seeming laziness and general indifference to the material that ultimately hampers the film, which could have benefitted from a little more creative energy into the fantastical components of the story. At one point, Warbeck’s character Fred Williams casually remarks that as a writer, he is “short on inspiration”, which is perhaps Sacchetti’s own self-referential dig at his one-note script. In an interesting side note, one of the disc’s extra features has veteran director Alberto De Martino discussing his brief involvement with the film as a post-production consultant wherein he points out the “fundamental mistake” of the story’s premise and its non-threatening monster, which you could simply “squish” under your feet. So, at his insistence, it was decided to add the fatal poison to the monster’s genetic make-up, to try and help produce a more sensible scenario. Despite this much-needed tinkering, it still seems, along with the cast and crew, plot and characterization all wandered off to enjoy the pretty tropical scenery, but it’s always fun watching David Warbeck do his earnest if bored-looking best while trying to make sense of things. As the body count begins to rack-up, RAT MAN still musters enough odd touches (e.g., mousey crawling out of a filthy toilet or eerily climbing up a wall) and bursts of energy, including a well-choreographed finale between a frequently-nude Eva Grimaldi and our titular varmint, and is this respect, you can’t help but radiate a modicum of fondness for the entire endeavour. 

 

Never officially released on North American home video, RAT MAN did appear on some video store shelves in the US and Canada via Caribbeam ABC Video (titled THE RAT MAN on the vid box), a dubious Puerto Rican VHS videocassette, which was overly dark and didn’t do the film any favours whatsoever. In 2008, UK-based label Shameless Screen Entertainment unveiled the film’s first DVD release, but it was compiled from a number of sketchy source materials, which were murky, lacked depth, and bordered on unwatchable. Fortunately, it now looks better than ever thanks to Cauldron Films’ new Blu-ray, which features a brand new “4K restoration from the negative” that finally preserves the film’s colour integrity along with tons of previously-obscured details, and while it still lacks the stylish verve of Carnimeo’s earlier Sartana spaghetti westerns, this nicely-detailed HD presentation benefits the film greatly. The DTS-HD Master Audio 2.0 mono audio is likewise a massive improvement, which is freed of the hiss and VHS-sourced buzz of Shameless’ DVD; it all sounds remarkably good.

 

While the film hasn’t lost any of its morbid fascination over the last few decades, Cauldron Films have included a wealth of interesting extra features to try and put everything in perspective beginning with a lively audio commentary from Mondo Digital’s Nathaniel Thompson, and authors Troy Howarth and Eugenio Ercolani. In it, they discuss a wide variety of topics in regards to this “interesting installment of Italian horror” including De La Rosa’s “pop culture lineage” and his great screen presence, independent exploitation mogul Fabrizio De Angelis and how he created a “safe haven” for many aging directors in their twilight years, Mainetti’s “fun electronic score”, a ton of background info on director Carnimeo and DP Roberto Girometti, the simplistic nature of these latter-day genre films, the film’s striking – and very misleading – poster art, the many English voice talent actors, and a very funny quote from director Sergio Martino regarding the inordinate amount of shower scenes in Italian trash films! As usual, the three of them work very well-together discussing the film with equal parts affection and nostalgia (and occasional laughter!) in this thorough and well-researched listen. Good stuff!

 

Other, no less significant extras include a trio of featurettes from Eugenio Ercolani, which begin with Lighting the Rat Man (16m24s), an on-camera interview with Roberto Girometti wherein he discusses his early career as a camera operator, his brief working relationship with Roberto Rossellini who “embodied the magic of cinema”, and of course, his time working on RAT MAN alongside director Carnimeo and producer De Angelis who was a “bossy” personality and frequently referred to as “The Cobra.” In Framing the Rat Man (17m21s), long-time camera operator and DP Federico Del Zoppo is interviewed and talks about the technical side of his work, but he also indulges in a ton of anecdotes from his time in the Italian film industry, his work on RAT MAN, and his relationship with producer De Angelis working on other horror films such as KILLER CROCODILE (1989). Lastly, in the aforementioned Just a Fin (6m34s), an audio interview with director Alberto De Martino, he casually chats about his time working with Fulvia Film “supervising pictures” such as RAT MAN, his dislike of the horror genre, the difficulty of working with Michael Moriarty on BLOODLINK (1982), and his total dislike of MIAMI GOLEM (a.k.a. MIAMI HORROR, 1985), which he has since disowned. The film’s energetic theatrical trailer (“The body was chewed by rats!”, 2m08s) is also included. The initial 2-disc limited edition pressing also included Stefano Mainetti’s entire score on a separate CD (19 tracks, 36m24s), a double-sided poster, and a nicely-illustrated slipcase with artwork by Justin Coffee, and as of this writing, it’s still available from the Cauldron Films website. 

 

All-in-all RAT MAN falls short of being an Italian horror film classic, but despite its flaws, it’s unusual enough and remains consistently watchable, especially via Cauldron Films’ outstanding Blu-ray. Order it from Cauldron Films or DiabolikDVD.

Friday, December 29, 2023

UNPOPPED CINEMA’S TOP 25 BEST DISCS OF 2023

This was another fantastic year for physical media releases, but it was an exceptionally strong year for box sets. Thanks to the tireless efforts of Arrow Video, Imprint Films, Indicator, Mondo Macabro, Radiance Films, Severin Films and Vinegar Syndrome, several staggering collections flooded the market with the kind of unprecedented care that is truly astonishing as seen by Severin’s THE SENSUAL WORLD OF BLACK EMANUELLE, a massive 24-film, 15-disc collection that remains one of the finest curations ever conceived for the home video market. Once again, it’s the boutique labels who are working overtime to release as many heretofore ignored, unseen and/or highly-requested films onto disc, which include skilled transfers, judicious extras, and eye-popping packaging. So, without further delay, let’s take a look at some of my favourite discs of 2023!

 

THE ABOMINATION [1986] (Visual Vengeance) – Unfolding in a bizarre, surreal world unto itself with some odd biblical allusions (“The plague will be upon you very soon!”) and tons of mind-melting gore, this exemplary DIY effort from Texan indie filmmaker Bret McCormick has been languishing in the VHS graveyard for far too long. Over the years, THE ABOMINATION has become a triumph of the low-budget aesthetic among die-hard tape collectors, so Visual Vengeance has spared no expense to deliver this one-of-a-kind monster film to disc, which includes a pair of commentaries (including one with director McCormick and fellow Texan filmmaker Glen Coburn), a making-of documentary, several interviews with the cast and crew, deleted scenes, and plenty more besides! This is an outstanding disc and ranks as one of the best releases in VV’s ever-expanding catalogue!

 

AFTER HOURS [1985] (Criterion Collection) – Martin Scorsese’s much-treasured and deeply dark comedy finally gets its very deserved UHD/BD release, which looks spectacular here, and is well-supported by several new and archival extra features, which only strengthen this vibrant bit of filmmaking. 

 

BLOOD AND BLACK LACE [1964] (Arrow Video) – Flawlessly restored in 4K, Mario Bava’s incredible giallo has never looked better than it does here on this exceptionally well-packaged UHD, which also comes stacked with a wide array of extra features. Absolutely essential! 

 

BOLLYWOOD HORROR COLLECTION [1984 – 2006] (Mondo Macabro) – MM’s long out-of-print Bollywood Horror Collection DVDs, which spanned three volumes and featured the work of pioneering horror specialists Shyam and Tulsi Ramsay, have been expertly updated for this impressive box set with “new 2K restorations from the original negatives.” Benefitting greatly from the uptick in quality, this set also includes cast and crew interviews, trailers, and a superb 80-page book with writing on the films from Bollywood expert Tim Paxton. It’s worth noting that MAHAKAAL (1993), the Ramsay’s take on Wes Craven’s A NIGHTMARE ON ELM STREET (1984), which was included in MM’s original third volume DVD, now resides with Massacre Video, and is therefore not included in this collection. However, MM have instead added the Ramsay’s “last horror film to date” THE GHOST (2006), which only sweetens this already superb collection that everyone into worldweird cinema should own!

 

COSA NOSTRA: FRANCO NERO IN THREE MAFIA TALES BY DAMIANO DAMIANI [1968 – 1975] (Radiance Films) – Brimming with cheek-kissing and close-ups of suspicious faces, this trio of way-above-average collaborations between Franco Nero and director Damiano Damiani have been in dire need of proper English-friendly HD presentations for years, whose reputations are likely to be enhanced with Radiance’s new Blu-ray collection. Although each film demonstrates an astute use of the commercial genre, rather than non-stop visceral action, these socio-politically aware dramas, which for the record, include THE DAY OF THE OWL (a.k.a. MAFIA, 1968), THE CASE IS CLOSED, FORGET IT (1971) and HOW TO KILL A JUDGE (1975), are all reliant on tight pacing, careful dialogue and strong performances from Franco Nero, Claudia Cardinale, Riccardo Cucciolla, Lee J. Cobb, and many others. Supplemented by a wide variety of informative extras including audio commentaries, revealing video essays, several new and archival interviews, and a 120-page perfect-bound book, Radiance have finally afforded these previously under-seen films the respect they deserve. 

 

THE CRIMINAL ACTS OF TOD SLAUGHTER: EIGHT BLOOD-AND-THUNDER ENTERTAINMENTS, 1935-1940 (Indicator) – Having first encountered the films of Tod Slaughter via Johnny Legend’s third volume in his popular Saturday Night Shockers VHS collections, (pairing MURDER IN THE RED BARN [1935] and THE FACE AT THE WINDOW [1939]), this murky-looking videocassette left a lot to be desired, but Slaughter’s scenery-chewing presence still managed to burst forth from the screen with an incredible energy that was completely unforgettable. Born Norman Carter Slaughter, this former theater actor carved a niche for himself as the preeminent star of early British horror cinema, whose films and career are well-represented in this magnificent collection, which brings together eight of his most popular films. It goes without saying that Indicator’s new “4K scans of the original nitrate negatives” are an incredible feat of restoration which look absolutely stellar, and are given the deluxe treatment herein with a shocking number of extra features (including a 120-page book!), which makes this an essential purchase for either the enthusiastic fan or anyone else curious about this memorable, one-of-a-kind thespian.

 

THE CURSE OF THE SCREAMING DEAD [1982] (Vinegar Syndrome) – Previously released on DVD in a compromised re-edited edition by Troma as CURSE OF THE CANNIBAL CONFEDERATES, this regional zombie shocker from director Tony Malanowski is definitely not for everyone with its somnambulistic pacing, amateur acting, and uneven photography, but it also has a low-budget charm that is undeniable. Newly “scanned & restored in 2K from the original 16mm camera reversal”, this film will always have a rough-hewn appearance, but VS have done wonders with this new restoration, which is further bolstered by several extra features. Spread over 2-discs, disc one includes the feature film (in its original version) along with NIGHT OF HORROR (1981), Malanowski’s earlier and far more anemic original version, both of which include revealing commentaries from the director and star Steve Sandkuhler. In addition, disc two includes extensive making-of documentaries, and several on-camera interviews, including one with Stephen Thrower, whose monumental book Nightmare USA (Fabpress, 2007) devoted an entire chapter to the film and director. Regardless of the film’s generally poor reputation, this is a meticulously assembled package that comes highly recommended!

 

DANZA MACABRA – THE ITALIAN GOTHIC COLLECTION VOLUME 1 & 2 [1964 – 1972] (Severin Films) – Following up on Arrow Video’s magnificent GOTHIC FANTASTICO: FOUR ITALIAN TALES OF TERROR from last year, Severin have since released two exquisite box sets of beautifully restored and likeminded Italian gothics (and a couple of wholly unique examples!), which should continue to enhance this genre’s burgeoning reputation within North America. Some of the highlights include a gorgeous UHD of Antonio Margheriti’s gothic staple CASTLE OF BLOOD (1964) starring Barbara Steele, and stunning HD debuts of Renato Polselli’s incredible THE MONSTER OF THE OPERA (1964), José Luis Merino’s SCREAM OF THE DEMON LOVER (1970), Mel Welles’ LADY FRANKENSTEIN (1971), ‘Finney Cliff’/Garibaldi Serra Caracciolo’s THE SEVENTH GRAVE (1965) and Paolo Lombardo’s THE DEVIL’S LOVER (1972), the latter two making their official worldwide disc debuts. But the real icing on the cake is the inclusion of Giorgio Albertazzi’s never-before-seen 4-part mini-series JEKYLL (1969) and Corrado Farina’s “startling reinvention of the Dracula mythos” THEY HAVE CHANGED THEIR FACE (1971), which has long been difficult to see outside of murky grey market bootlegs. Supplements include informative audio commentaries with film historians and authors Kat Ellinger, Rachael Nisbet, Rod Barnett, Robert Monell, and Annie Rose Malamet as well as scores of on-camera interviews, video essays and trailers. As an added bonus, Severin have also included a bonus soundtrack CD of the never-before-released score for Elvio Monti’s THE DEVIL’S LOVER! Bursting with beautiful imagery and tons of appropriately malevolent atmosphere, Severin continues to do valiant work rescuing these wonderful films from the throes of obscurity. 

 

DIRECTED BY SIDNEY J. FURIE [1970 – 1978] (Imprint Films) – While it could be argued that Furie’s THE IPCRESS FILE (1965), his shadowy – and visually very savvy – counter-espionage thriller starring Michael Caine (itself released by Imprint Films in 2021 as part of THE HARRY PALMER COLLECTION), or his Billie Holiday biopic LADY SINGS THE BLUES (1972) are probably his most recognized films, but Canadian born Sidney J. Furie, a director whose career has spanned decades working in the U.K., U.S. and Canada, has been otherwise almost entirely neglected. Well, along with Daniel Kremer, the author of Sidney J. Furie Life and Films (University Press of Kentucky, 2015), and the ever-busy folks at Imprint Films, they have corrected this oversight with this fascinating and very thorough collection. Gathering together most of Furie’s ’70s output, which includes THE LAWYER (1970), LITTLE FAUSS & BIG HALSY (1971), HIT! (1973), SHEILA LEVINE IS DEAD AND LIVING IN NEW YORK (1975) and THE BOYS IN COMPANY C (1978), each of these films feature uniformly strong performances, and a stylistically diverse approach to the material, which further reinforces Furie’s versatility as a director. Boasting new 2K and 4K scans, each film looks terrific (SHEILA LEVINE looks especially nice in this worldwide disc debut) and come fully-stacked with tons of special features including multiple audio commentaries (all of which are moderated by Kremer), and far too many extras to mention individually, but rest assured, you will come away with a far greater appreciation of the man’s work. Any self-respecting filmgoer should snap this up without hesitation!

 

EAST END HUSTLE [1976] (Canadian International Pictures) – After a young hooker named Cindy (Andrée Pelletier) quits her day job and leaves her pimp (Miguel Fernandes), she even convinces Marianne (Anne-Marie Provencher), the young upstart, to do the same. This causes a small rebellion among the working girls, which forces Miguel to call in some of his mob friends who resort to equal opportunity brutality without hesitation. Despite the rudimentary premise, much of the narrative takes great pains to humanize its cast of working girls very effectively, with much of the principal players rising above the lowly – but entertaining – material. Add to all this an authentically sleazy Montreal backdrop and plenty of nudity, and you’ve got a rather exceptional blend of sub-genres that is part softcore sex pic, a kitchen-sink social drama and sleazy actioner. Criminally underseen, CIP Releasing’s flawless UHD/BD combo brings out all the gritty realism of ’70s era Montreal, which is further enhanced with several extra features with director Frank Vitale, Troma’s Lloyd Kaufman (the film’s U.S. distributor), composer Len Blum, a very informative audio commentary with Canuxploitation.com’s Paul Corupe and film historian Jason Pichonsky, and a liner notes booklet with writing on the film from Alexandra Heller-Nicholas. 

 

FRANKENSTEIN ’80 [1972] (Cauldron Films) – Although clumsily-executed across the boards and strung-together with only the flimsiest of plotlines – albeit still highly entertaining nevertheless – Mario Mancini’s sole directorial debut remained conspicuously absent in anything even close to resembling a passably watchable version in North America. But thanks to Cauldron Films, this shamelessly trashy Italo-horror gets a real first-class presentation, which will serve as a real revelation to anyone familiar only with Gorgon’s VHS tape (“He had a bone to pick…”) or Cheezy Flicks’ VHS-sourced DVD. Film historian Heather Drain provides a very entertaining fact-filled audio commentary, which compliments this schlocky film perfectly, while the prolific – and always welcome - Eugenio Ercolani provides a couple of terrific interviews with star Dalila Di Lazzaro and film historian Domenico Monetti. Outside of this fantastic release, Cauldron continued to impress, which also saw them release beautifully-packaged editions of Lucio Fulci’s CITY OF THE LIVING DEAD (a.k.a. THE GATES OF HELL, 1980 – their first UHD!) Ruggero Deodato’s OFF BALANCE (a.k.a. PHANTOM OF DEATH, 1987), ‘Ted Archer’/Nello Rossati’s TOPLINE (1988), ‘Larry Ludman’/Fabrizio De Angelis’ THE LAST MATCH (1990), and ‘Anthony Ascot’/Giuliano Carnimeo’s RAT MAN (1987), so if you don’t have ’em, do yourself a favour and pick those up as well! Read review.

 

FROM HOLLYWOOD TO HEAVEN: THE LOST AND SAVED FILMS OF THE ORMOND FAMILY [1959 – 1974] (Indicator) – Released in conjunction with Jimmy McDonough’s extraordinary 360-page book The Exotic Ones: That Fabulous Film-Making Family from Music City, USA – The Ormonds (Fabpress, 2023), this equally remarkable Blu-ray collection represents the cinematic evidence of this wholly unique family, which includes Ron Ormond, his wife June and their son Tim. Bringing together 13 of their feature films including early barebones exploitation efforts such as UNTAMED MISTRESS (1951), WHITE LIGHTNIN’ ROAD (1967) and THE EXOTIC ONES(1968), their near death experience following a plane crash resulted in a very abrupt career change for the Ormonds.  This life affirming event eventually brought about a series of unabashedly harsh bible-thumping religious films, some of which starred Estus W. Pirkle, a sermonizin’ hellfire ’n’ brimstone, commie-bashing evangelist who rails about the dangers and sin and evil. Painstakingly compiled, Jimmy McDonough’s obsessive – and much-welcomed - tenacity is all over this box set, which includes the usual in-depth extra features, making this rarefied collection an absolute must-have for the simple fascination of discovering trash film luminaries such as this. If not, God bless you, Mr. Pirkle would be proud of you for not heeding your baser impulses… I, for one, couldn’t resist. 

 

HOUSEBOAT HORROR [1989] (Umbrella Entertainment) – Long-time established Australian label Umbrella have released several mouth-watering special editions this past year, but none have been as revelatory as this collector’s edition Blu-ray of Ollie Martin’s HOUSEBOAT HORROR, which has the unique distinction of being Australia’s first SOV (shot-on-video) horror film. While this is nothing more than your standard FRIDAY THE 13th (1980) clone, which includes a clunky script, some sloppy kills, and plenty of ’80s retro appeal, the Aussie setting alone (which includes locations at Lake Eildon in Victoria and some Melbourne suburbs) warrants a look-see by devotees of both Ozploitation and slasher genres. While not for all tastes, Umbrella’s impressive collector’s edition definitely outshines the film itself, which features a new “upscaled and color corrected” 1080p master alongside a seemingly endless array of extra features beginning with an enticing audio commentary with Tony Martin (moderated by Jarret Gahan), a 30th Anniversary Monster Fest Q & A with much of the cast and crew, a ton of interviews, Ollie Martin’s stuntman doc THE MAD DAREDEVILS DOWN UNDER (1990), and plenty more besides! Housed in a rigid slipcase, the collector’s edition also includes art-cards, a reversible poster, and a fantastic 48-page perfect-bound book with writing from Emma Westwood, John Harrison, and Andrew Leavold, which provides loads of additional context on this Ozploitation oddity.  

 

THE LAST HORROR FILM [1982] (Severin Films) – Following several attempts from both Troma and 88 Films to release a definitive DVD and/or Blu-ray of this fascinating, one-off slasher film, which reunited Joe Spinell and Caroline Munro, the two stars of William Lustig’s MANIAC (1980), has finally been put to rest with this definitive UHD/BD combo. The new 4K scan taken from the “original negative with additional scenes sourced from a 35mm print discovered at the Cinémathèque Française” is a real eye-opener and brings to light a number of previously obscured details. As for extras, Severin have included several featurettes (including a fascinating locations visit with Michael Gingold and Severin’s David Gregory), and two new audio commentaries beginning with Spinell’s best friend Luke Walters (who was present during much of the shoot in Cannes), who divulges plenty of info about the troubled production, while Munro and FrightFest programmer Alan Jones discuss her time working with Spinell and the challenges brought about on said film in this highly-entertaining listen. The limited-edition website exclusive also included a 100-page (!) book with a look at “how not to make a horror movie” with co-producer/co-writer/co-star Judd Hamilton and an interview with director David Winters, which was housed in a collectible “Maniac II: Love to Kill” slipcase. 

 

MARTIN [1977] (Second Sight Films) – One of the more eagerly anticipated releases of the last few years, George A. Romero’s brilliant multi-layered suburban horror film finally got its long-belated disc debut with this stunning UHD/BD combo.  As usual, Second Sight have pulled out all the stops, which includes a bundle of extra features, and Donald Rubenstein’s haunting score on a bonus CD. It’s really quite incredible just how good this new 4K restoration looks, which of course, comes highly recommended!

 

NIGHTMARE [1981] (Severin Films) – Garnering a vast cult following over the years, Romano Scavolini’s scuzzy slice’n’ dicer offers up many of the genre’s traditional trappings (the film borrows part of its outline from John Carpenter’s HALLOWEEN [1978]), but it’s also one of the most memorable, gore-drenched efforts to emerge out of the early ’80s slasher craze. NIGHTMARE (or NIGHTMARES IN A DAMAGED BRAIN as per its U.K. Video Nasty title) has always had a complicated video history, so it’s great to finally have this film looking so good on this definitive 3-disc UHD/BD combo, which is crammed with audio commentaries, new and archival interviews (including one with Tom Savini, who finally sets the record straight about his involvement with the film), an extensive still gallery, trailers, and Damaged: The Very British Obscenity of David Hamilton-Grant (2023), a superb feature length documentary, which focuses on the British video distributor who was jailed for releasing the uncut version of said film during the U.K. Video Nasties fervor of the early ’80s. This is a stunning, must-have release of this grim and unsettling film. 

 

THE PACK [1977] (Scream Factory) – Thoughtfully plotted and well-scripted, Robert Clouse’s tense and compelling animal attack film leaps to Blu-ray at long last, which looks very good in this new “2K restoration from the best surviving element.” Unlike Warner’s old made-on-demand DVD, Scream Factory’s Blu includes a great assortment of extras beginning with a wonderful, well-researched audio commentary from Lee Gambin, an authority on the subject and author of Massacred by Mother Nature: Exploring the Natural Horror Film (Midnight Marquee, 2012), who adds a plethora of information about the film. Other extras include an interview with star Hope Alexander-Willis, and audio interviews with actor Sherry DeBoer, production manager Thomas LoFaro and composer Lee Holdridge, who provide tons of background info and insight on this solidly entertaining film. 

 

THE SENSUAL WORLD OF BLACK EMANUELLE [1974-2021] (Severin Films) – A stunning labour of love, this comprehensive collection of the Black Emanuelle films (mostly starring the strikingly photogenic Laura Gemser) showcases a total of 24 films highlighting different key areas of Gemser’s lengthy career, which also focuses on her numerous collaborators that also include director ‘Joe D’Amato’/Aristide Massaccesi, her husband and fellow actor Gabriele Tinti, and many more friends and colleagues. With over 40 hours (!) of extra features, this gorgeously-designed collection also includes The Black Emanuelle Bible, an extraordinary 356-page book, which not only includes thorough examinations of every Black Emnanuelle film and/or variation thereof, but several insightful essays as well. It goes without saying that Severin Films have truly outdone themselves with this incredible box set, a jaw-droppingly exhaustive, first-class presentation that defies every possible expectation! This is, without question, the finest release of the year! Read the review: Part 1, Part 2, Part 3, Part 4, and Part 5

 

THE SINISTER DR. ORLOFF [1984] (Mondo Macabro) – One of several Dr. Orloff films director Jess Franco made throughout his career, this version of the oft-told story was perhaps the most difficult to locate outside of dreary bootlegs. In what is essentially a remake of THE AWFUL DR. ORLOF (1961 – notice the different spelling), this updated re-telling replaces the dark and gloomy gothic atmosphere of the original with the sunny Alicante coastline of Spain, and instead of gruesome skin grafts, Dr. Alfred Orloff (this time played with appropriate gusto by frequent Franco collaborator Antonio Mayans), attempts to transfer the soul of his dead mother (Rocio Freixas) into the bodies of recently kidnapped young women to help satisfy his… um, incestuous urges. Like most of Franco’s films from this time period, he does what he can with the very limited budget, coaxing excellent performances from his trusted troupe of actors (including a nice extended cameo from Howard Vernon, the original Dr. Orlof) who have no problem handling the taboo material and the usual overdoses of nudity and sex. MM’s disc is a real sight for sore eyes, which looks immaculate in this new 4K transfer from the original camera negative, and is ably complimented by some terrific extra features including an audio commentary from Troy Howarth and Mondo Digital's Nathaniel Thompson, and separate interviews with Mayans and Franco authority Stephen Thrower, all of whom provide plenty of knowledge about said film and the continually expanding universe of Franco’s fascinating career.

 

SRIGALA [1981] (Terror Vision) – Directed by Sisworo Gautama Putra, this Indonesian knock-off of Sean S. Cunningham’s FRIDAY THE 13TH (1980), which also includes several other interesting plot points and oddball characteristics, arrives on Blu-ray in a stunning 2K transfer taken from the original camera negative. Retaining the film’s original 2.39:1 aspect ratio, Terror Vision’s fantastic new restoration is backed by a number of on-camera interviews with many of the film’s participants, and a beautifully designed, eye-popping slipcover. Highly recommended!

 

TOD BROWNING’S SIDESHOW SHOCKERS [1925 – 1932] (Criterion Collection) – Although best known for directing Bela Lugosi in DRACULA (1931), director Tod Browning’s undisputed masterpiece is the extraordinary FREAKS (1932), which has finally arrived on Blu-ray in this handsome set, which also includes THE UNKNOWN(1927) and THE MYSTIC (1925), two of Browning’s silent-era films that also feature a predominant sideshow milieu. Criterion’s new 2K overhaul looks terrific with nicely nuanced depth and detail missing from the previous Warner DVD, but equally important, are the inclusion of numerous extra features (both new and archival), which do a great job of introducing and reinforcing the importance of Browning’s body of work. 

 

T.R. BASKIN [1971] (Fun City Editions) – Long unavailable on home video and virtually forgotten, Candice Bergen stars as the title character who ventures to Chicago “to seek fame and fortune”, but is met with disappointments in her work, her new ‘friends’ and the men she meets (here represented by Peter Boyle and James Caan). Bergen is absolutely remarkable in the tricky role whose snarky façade is perhaps her response to the daily grind of modern big city life in general or perhaps just the loneliness of it all. Written by future director Peter Hyams and directed by Herbert Ross, it’s great to finally have this back in circulation, which not only looks terrific in this new transfer, but is accompanied with several terrific extras (including an interview with Hyams) to help give this misunderstood film a new lease on life. 

 

VINEGAR SYNDROME’S LOST PICTURE SHOW [1966 – 1987] (Vinegar Syndrome) – In honour of their ten-year anniversary, VS have unleashed this years-in-the-making, ten-film collection of thought-to-be-lost American genre films, which will probably confound and/or frustrate some of the more casual VS fans, but for the more adventurous, cinematically broad-minded viewers, this is a treasure-trove of weird delights. Outside of the films themselves, which includes everything from early slashers such as Oliver Drake’s THE LAS VEGAS STRANGLER (1968) to Donn Greer’s indescribable kiddie film THE RARE BLUE APES OF CANNIBAL ISLE (1975), VS have packed their set with a dense array of special features (including Elijah Drenner’s wonderful film restoration doc AGAINST THE GRAIN [2023]) and a couple of perfect-bound books detailing all of the films, which should keep most B-film enthusiasts occupied for the better part of a month! 

 

THE WHIP AND THE BODY [1963] (88 Films) – Previously released in several compromised editions, this Region B Blu from the U.K. finally gets things right with a superb transfer sourced from “archive materials”, which corrects various day-for-night shots and eliminates the blue tint found in Kino Lorber’s Region A disc. Affording this remarkable Mario Bava film the respect it deserves, 88 Films have also stacked their disc with two excellent audio commentaries (one with author Troy Howarth and Nathaniel Thompson, and the other with author Kim Newman and Sean Hogan), as well as interviews with scribe Ernesto Gastaldi, Mario’s son Lamberto Bava, and several trailers for the film. The entire package is housed in a colourful rigid slipcase, which also includes a 40-page book with writing from Marta Oliehoek-Samitowska, Francesco Massaccesi and Rachael Nisbet. Even if you own the Kino Blu or German EMS DVD (both of which include Tim Lucas’ superb audio commentary), 88 Films’ new Blu is definitely worth the double or triple dip!

 

ZERO WOMAN: RED HANDCUFFS [1974] (Neon Eagle Video) – One of the most outrageous ‘pinky violence’ films (a successful sub-genre, which was born out of the Japanese sex or ‘pink film’ that mixed sex and violence) to come out of Japan, Yukio Noda’s highly-stylized, incredibly violent film stars Miki Sugimoto in a career-defining, no-holds barred performance, which totals all-out, balls-out, action/exploitation. Featuring a vibrant 4K restoration, the disc also includes an audio commentary from film historian Samm Deighan and an interview with Tokyoscope: The Japanese Cult Film Companion (Viz Communications, 2001) author Patrick Macias, while the limited edition also includes a nice illustrated booklet with writing on the film from Chris D., and a limited slipcover with artwork from Justin Coffee. And if you haven’t already done so, go ahead and pick-up Neon Eagle Video’s extras-laden, debut release of Yu-Lung Hsu’s KILL BUTTERFLY KILL, which is another must-have Blu from this new and exciting boutique label. 

 

 

HIGHLY HONOURABLE MENTIONS, which are also very worthy of your time!

 

3 DAYS OF THE CONDOR (Kino Lorber Studio Classics UHD), 5 WOMEN FOR THE KILLER (Vinegar Syndrome),  ATTACK OF THE BEAST CREATURES (AGFA), BLACK MAGIC RITES (Indicator UHD), A BLADE IN THE DARK (Vinegar Syndrome UHD), BLOOD MONEY & SAVAGE GUNS: 4 CLASSIC WESTERNS VOLUMES 2 & 3 (Arrow Video), BLOODSUCKING FREAKS (Vinegar Syndrome UHD), CITY OF THE LIVING DEAD (UHD – Cauldron Films), COPPERHEAD (Terror Vision), COUNT DRACULA (Severin Films UHD), CROCODILE (Synapse Films), CUJO (Kino Lorber Studio Classics UHD), CURSE OF THE DOG GOD (Mondo Macabro), DELIRIUM (Vinegar Syndrome), DR. BUTCHER M.D. (Severin Films UHD), ENTER THE VIDEO STORE: EMPIRE OF SCREAMS (Arrow Video), EXTRA TERRESTRIAL VISITORS (Severin Films), ESCAPE FROM HELLHOLE (Terror Vision), FATAL GAMES (Vinegar Syndrome), FLESH AND FANTASY (Vinegar Syndrome Labs), THE FLESH TRILOGY (Vinegar Syndrome/Distribpix), GORGO (Vinegar Syndrome UHD), THE HARD PART BEGINS (Canadian International Pictures), THE HAUNTING OF JULIA (Imprint Films 2-disc set or Scream Factory UHD), THE HORRIBLE DR. HICHCOCK (Radiance Films / Region B), THE HOUSE THAT SCREAMED (Arrow Video), IMPULSE (Grindhouse Releasing), INFERNAL RAPIST (Vinegar Syndrome), THE IRON PREFECT (Radiance Films), KILL BUTTERFLY KILL (Neon Eagle Video), THE LAST MATCH (Cauldron Films), MAGIC, MYTH & MUTILATION: THE MICRO-BUDGET CINEMA OF MICHAEL J. MURPHY, 1967 – 2015 (Indicator), MAGNUM COP (Raro Video), MARQUIS DE SADE'S PHILOSOPHY IN THE BOUDOIR / EUGENIE (Blue Underground UHD), MEAN STREETS (Criterion Collection UHD), MESSIAH OF EVIL (Radiance Films), MOTHER’S DAY (Vinegar Syndrome UHD), OFF BALANCE (Cauldron Films), THE PSYCHIC (Severin Films UHD), RAT MAN (Cauldron Films), ROBOT MONSTER (Bayview Entertainment), THE TEXAS CHAINSAW MASSACRE (Second Sight UHD), TOPLINE (Cauldron Films), UNMAN, WITTERING AND ZIGO (Arrow Video), and VIOLENT STREETS: THE UMBERTO LENZI / TOMAS MILIAN COLLECTION (Severin Films). 

Monday, December 18, 2023

MAGNUM COP - BLU-RAY REVIEW

By this point in his career, Maurizio Merli’s succession of militant police inspectors had virtually exterminated all the available criminal lowlife in Rome, Milan and Naples combined, but in Stelvio Massi’s MAGNUM COP (1978) we witness the Italocrime experience effortlessly transliterated to the mean streets of Vienna, Austria. Although released on tape during the VHS era as FEARLESS, New World Video’s U.S. videocassette version was promoted along the lines of a FATAL ATTRACTION (1987)-type erotic thriller (“A story of intrigue, deception and fatal seduction.”), which was re-edited and even re-scored, but thanks to Raro Video’s new Blu-ray, it’s great to finally have this enjoyable slice of Italian action back in circulation, which is a must-see, simply because it stars the great Maurizio Merli.

 

Massi wastes no time getting down to the nitty-gritty, and even before the opening credits roll, ex-cop-turned-private-eye Walter “Wally” Speda (Merli) thwarts a kidnapping of the French consulate’s daughter by masked bandits with his usual brand of shoot-first-ask-questions-later brand of law enforcement. In light of this brazen shoot-’em-up, Speda faces the possibility of jail time for “spraying bullets at people as if they there were targets”, but thanks to his quick-thinking actions, Speda informs the press that it was his former boss Inspector Nardelli (Andrea Scotti) that foiled the kidnappers. 

 

Soon after, Speda is hired by Austrian banking tycoon Von Straban (Alexander Trojan), to try and find his daughter Annelise (Annarita Grapputo), who may be held against her will by a Roman Hare Krishna cult. Even though he quickly locates her, Annelise soon makes her escape from Speda’s flat after getting naked and faking an epileptic seizure, only to be subsequently abducted by a group of unknown men. No sooner than Speda arrives in Vienna, Annelise’s father quickly drops the search for his daughter and dismisses Speda from the case, which even causes concern for Austrian police chief Karl Korper (Gastone Moschin). However, when a young girl named Gina (Claudia Messner) turns up dead and sexually molested, Speda correctly deduces that an underage prostitution ring is probably tied-in with Annelise’s disappearance as well. When not obsessing over his case, Speda makes the acquaintance of Brigitte (Joan Collins), an exclusive burlesque dancer who becomes increasingly smitten with Merli’s down-on-his-luck dick, but as his investigation progresses, Brigitte is just one more character hiding behind a phony façade…

 

Alias “The Fox” and described in advance press materials as “An ex-policeman, an adventurous, bragging and over-bearing type…”, Merli’s character jokingly refers to himself as “The greatest private eye in the world!” and whose apartment is decorated with numerous crime and detective film memorabilia (which includes Italian posters for John Huston’s THE MACKINTOSH MAN [1973] and Sam Peckinpah’s THE KILLER ELITE [1975] to name a few). In a nice change of pace, Merli’s role herein is filtered through some lightweight comedy, an attempt by the typecast actor to distance himself of his humourless vigilante cop mould, which is best characterized by his back-and-forth banter with Benny (Massimo Vanni), his PI agency partner, who does little except play scopa (one of three prominent card games in Italy) or imitates Robert De Niro’s “You talkin’ ta me?” schtick from Martin Scorsese’s TAXI DRIVER (1976).  

 

While endeavouring along with the help of detective Karl (Moschin drives a showy green Porsche Carrera and also wears a customary Tyrolean hat, just to make sure we know he’s Austrian), Speda must also resist the temptations of the enigmatic Brigitte, whom he first meets at a swanky nightclub called the Queen Anne performing a chaste burlesque routine. Later in the film, the ever-lurking henchman Strauss (Werner Pochath) and owner of the Queen Anne roughs-up Speda for “getting too close” to Brigitte, but she and Speda strike up an unlikely relationship just the same. However, dramatic tension soon escalates when Speda realizes that Brigitte is nothing more than a procurer for the prostitution racket luring underage girls into this sordid world with the promise of extravagant clothes and a glamorous life. When Renata (Jasmine Maimone), one of Speda’s underage informants, attempts to solicit him (“Do you wanna make love?”), she ends up the victim of a timely ‘hit-and-run’, which eventually leads to one of the more bizarre, revenge-driven denouements of any Merli film.

 

Co-produced by Austrian nudie specialist Franz Antel (best known for his ’70s “Sexy Susan” films with Terry Torday), the film offers noticeably more titillation than your average Italocrime film including plentiful topless scenes from imminent TV star Joan Collins and Annarita Grupputo, who also shed her clothes in Mario Imperoli’s far nastier polizieschi LIKE RABID DOGS (1976). Although lacking many of the genre’s traditional trappings, director Stelvio Massi still manages to stage a brief car chase on the outskirts of Rome, and an energetic foot chase through the Viennese metro, all of which is set to Stelvio Cipriani’s driving flute-and-guitars score.

 

Continuing to champion some of the lesser-seen Eurocrime films Italy had to offer, Raro Video’s new Blu-ray (distributed by Kino Lorber) includes a fine-looking transfer of this engrossing, albeit largely forgotten Merli film. Here retaining the film’s original export title FEARLESS FUZZ, this HD presentation is quite pleasing with plenty of depth and a nicely balanced colour scheme; overall this is an impressive transfer. The DTS-HD Master Audio 2.0 tracks feature English and Italian (the latter with optional English subtitles) audio, which sound clean and without any faults, especially in view of the film’s original production limitations and Italy’s dubbing practices. For the record, prominent voice talent artist Ted Rusoff does a great job as the voice of Merli, and who is quite obviously having a blast doing so, while Robert Sommer adds a humourous Austrian accent to Karl’s character and the ubiquitous Pat Starke dubs Jasmine Maimone, the jailbait informant. Incidentally, Maimone would go on to star in Luigi Cozzi’s much later PAGANINI HORROR (1989), where she was again voiced by Starke in the English version. 

 

The one big – and very welcome - extra is an audio commentary with Mondo Digital’s Nathaniel Thompson, and authors Troy Howarth and Eugenio Ercolani who fill the entire running time very pleasantly. They casually discuss plenty of relevant points of interest about the cast and crew along with references to other polizieschi films, the era in which it was made, Cipriani’s terrific score, and plenty more besides; it’s the usual high standard you’ve come to expect from each of these very knowledgeable gentlemen, and well worth your time.

 

While it may lack the gritty gusto found in the best of Lenzi, Di Leo or Girolami, MAGNUM COP still amounts to an engaging and satisfying film which generally places dramatics over pyrotechnics, but is further boosted by Joan Collins’ presence and Stelvio Cipriani’s sturdy score. Order your copy from Kino Lorber or DiabolikDVD.