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[Richard Hardbattle]

and more...
Wes Craven’s “SCREAM 3”
Buena Vista (Region 1)
Review:
If only everything in life was as reliable as Wes Craven. Sure, over his 30 years of
directing he may have made 2 or 3 clunckers(Swamp Thing, Hills Have Eyes 2 and
Vampire in Brooklyn spring to mind), but when he is at top speed and in full control,
his list of movies reads like a top ten list of some of the best, and most influential
horror movies ever made: Last House on the Left, The Hills Have Eyes, Deadly
Blessing, A Nightmare on Elm Street, Shocker, The People Under The Stairs, The
Serpent and The Rainbow, Wes Craven’s New Nightmare and, oh yeah.... Scream 1, 2
and 3.
Although Neve Campbell (Sidney), Courtney Cox Arquette (Gale), and David
Arquette (Dewey) all return for the final part, the original writer of the first two,
Kevin Williamson, hasn’t. Instead we have Ehren Kruger, fresh off the excellent
Arlington Road. Ironically, Scream 3 seems to follow the formula that the other
Scream movies have built up - and tried their damnedest to knock down.
Aside from the main three characters, we also have another group of fresh (and not so
fresh) faces for Wes to do away with: Patrick Dempsey, Scott Foley, Parker Posey and
Jenny McCarthy are all either victims or killers. None are as appealing as the original
films characters. Realising this, the film is peppered with genre favourites: Lance
Henriksen, Carrie Fisher and even Jay and Silent Bob make entertaining cameos. Even
somebody who died in a previous Scream makes an appearance.....
What the film lacks is good scares and good set-pieces. For example, in the first movie
we have the classic first scene with Drew Barrymore, the garage door sequence, and
the whole of the last reel. In Scream 2 you have the classic moment in the crashed
police car, and the fantastic sequence with Gale and Dewey in the school. In Scream 3
- well - I’m afraid that I cannot think of one scene which creates the tension in the
same was as we know Wes is capable of. I believe this to be the fault of the script
which removes the horror and replaces it with humour.
Compared to the first movie, which is available in an unrated format, complete with
blood and gore by the gallon, Scream 3 is anaemic. Barely a drop of gore throughout.
The first two movies are intense - Scream 3 just isn’t. This is just speculation, but I
think Wes may have been under pressure to make a more sanitised product after all the
recent school shootings in the US. Of course, by lowering the gore, you open up your
viewing audience (especially if the film is humorous), and you should get bigger
audiences.
By reading this, you may get the impression that I didn’t like the film - this is not the
case. By its very nature it is a hugely entertaining, well made movie - but for me, unless
the sequel is as going to be as good as, or better than the original - don’t bother.
This is not a Craven classic, but at least Wes took a good stab at it.
Image:
SCREAM 3 is the first of the trilogy to be given an anamorphic widescreen transfer,
but, for a recent release, this print doesn’t quite hit the spot. The Image quality is
generally fine, but I did notice a couple of problems. The colour appears to be
oversatuated and far too pinkish - this can be remedied by turning down the colour on
you TV by a couple of licks. Also, small digital artefacts can be seen shimmering in a
few scenes.
Sound:
Well, your systems should get a good workout here. A great 5.1 mix that is quite
aggressive. Split surrounds are frequently used to good effect (the cliff scene with
Dewey hearing both ladies screaming for help from different direction is fun - who is
he gonna help?). Your subs will rumble at all the right places. Very impressive.
Extras:
A good selection of extras - watch the alternate gorier start sequence involving a knife
through a shin - far better than the start in the actual film!
- English 5.1 Surround
- French 5.1 Surround
- English Captions
- Spanish Subtitles
- Screen-specific audio commentary with Director Wes Craven, Producer Marianne
Maddelena and Editor Patrick Lussier
- Deleted scenes and alternate ending with optional commentary
- Outtakes
- Behind-The-Scenes Montage of the 3 SCREAM films
- Creed's "What If" music video
- Cast and Crew bios
- 2 Theatrical Trailers
- 14 TV Spots
Overall:
Whilst the film is a disappointment, it’s not a complete failure. The ante was raised so
high by the other two films, that this one just fell a bit too short of the high standards
which were previously set.
If you enjoyed the movie at the cinema, chances are you’ll like the disc.

 

[Richard Hardbattle]

And this one - from the same director as THE OTHERS...
Alejandro Amenábar’s “THESIS” (Tesis)
Vanguard (Region 1)
Review:
The first time you watch this movie, three things spring to mind: Firstly, where the hell
did this little gem of a movie come from? Secondly, who is this lunatic Spanish
director, and, lastly, where have all my finger nails gone.....
Oh yes, fans of scary movies rejoice - we have a new title contender. AND the director
was only 25 when he made it!
Part of the joy of this movie relies upon the story being fresh - it seems to delight in
playing with your expectations - all the baggage you bring with you into this film is the
ammunition used against you. I will keep my description of the plot spoiler free.
Angela (Ana Torrent) is a student at a College that specialises in media. For her thesis,
she decides to pick on the old chestnut of violence in media and society. Her research
turns up two things: a new friend in Chema (Fele Martinez), and the realisation that
not only do snuff films exist - they also star students from her college as the victims.
As you can guess, cat and mouse games ensure.
This is Amenábar’s second movie. He directed, co-wrote and composed the
soundtrack for the film. Amenábar gives us a greatest hits package of classic suspense
sequences on a plate, just sit back and enjoy. Classic, nail-bitting scene follows even
more classic nail-bitting scene. My favourite involves our two heroes locked in a tunnel
underground - the killer(s) chasing after them - and then the lights go out - The screen
goes completely black, only the sound of Angela and Chema panicking can be heard -
and then, Chema lights a match, the only illumination they have, and tries to find the
exit before the killer catches up with them. After a few seconds, the screen goes black
again, and Chema and Angela use another match to guide their way. Amenábar wrings
every possible drop of tension out of this sequence - how many matches are left - are
they going in the right direction - will the killer appear in front of them - what is that
noise behind them. The viewer is convinced that the big jump will happen NOW, that
the killer will appear any second. It’s dazzling, confident film-making.
Obviously, the subject matter of this film, snuff movies, is quite distasteful, Amenábar
never lets the film become gory or excessive. This movie is better on every level (and
more tasteful) than the big budget movie, 8mm which has a similar theme.
Image:
The print is poor. Although framed at the correct ratio, this isn’t enhanced for
widescreen. The subtitles appear half in the picture and half on the black bar at the
bottom of the frame. The image is framed at what appears to be 1x1:66 and has been
raised slightly above the centre of the frame, allowing the subtitles to not be cut off
when the image is zoomed in on a widescreen TV (this is a nice touch on a otherwise
poor quality disc).
The image is very dark, and not very sharp. Definition is low. Blacks often appear as
grays. The subtitles cannot be turned off.
Sound:
Again, pretty poor. 2 channel surround in Spanish is the only option. Dialogue is clear
at all times, and the soundtrack is generally not bad. The music, although derivative of
other movies is fine.
Extras:
Menu
Chapter selections.
Overall:
If you liked Nightwatch and the original The Vanishing, you will love this movie. Its a
great, great thriller on a really basic disc. Buy it for the film not the DVD!

 

[Richard Hardbattle]

and Darios newie...
NON HO SONNO - DVD review
Well, just had the Region 2 Italian DVD turn up - and it’s a corker!
The picture is roughly 1:1.85, and is anamorphic. And is excellent.
The sound is 5.1DD in Italian or English. I watched the English version, as most of the
cast appeared to be speaking it! The sound rocks - the dialogue is deliberately low so
that you have to turn up the volume, only to cack your pants at the next audio assault -
it’s a similar trick Argento used in Suspiria, great stuff. The soundtrack is even by
GOBLIN!!!!!
As to the film, well, in my opinion, it is one of his best movies- certainly his best since
Tenebrae (and I LOVE Opera and Stendhal). The first 25 minutes or so reach an
insane(unsane?) frenzy that Argento hasn’t reached since Deep Red.....
****Beware: Spoliers Below:****
Head are smashed, banged and stabbed - Argento is trying to outdo his teeth on table
corner scene in Deep Red - any boy, does it he do it!!
There are at least two CLASSIC Argento scenes: The whole train sequence at the start
of the movie is outstanding, the now famous tracking carpet shot is awesome... I could
go on....
The resolution of the film also mirrors themes of many of Argentos earlier movies...
****Spoiler finish****
All in all, Argento has drop kicked the foolish Phantom, and returns to his roots with a
giallo that only the most miserable Argento fan would not enjoy. Sure it’s not a perfect
film - the usual Argento faults are also present, i.e. idiotic behaviour from smaller cast
members, but Max Von Syndow shines, and clearly is one of Argentos best characters
since David Hemmings in Deep Red.
If you can play Region 2 - and you like most of Argentos stuff - buy it - it is a
keeper...

 

[Richard Hardbattle]

and another...
Roman Polanski’s “THE NINTH GATE”
Artisan (Region 1 release)
Review:
If ever there was a movie that was going to divided it’s audience, this is it. You can
look at this movie in may ways: As a horror movie; as a comedy; as a thriller; or even
as a long boring film. Personally, I regard this film as the antidote to End of Days.
Johhny Depp plays Dean Corso, a rare books specialist. He is hired by Boris Balkan
(Frank Langella) to compare his copy of a book with two others. Only one is the
original, the other two are fakes. Of course, there is a catch: The book is called “The
Nine Gates To The Kingdom Of Shadows”, and was illustrated by the Devil. The
drawings contain codes, that, when decoded and read aloud, open the ninth gate,
summoning the Satan himself (sounds a bit like South Park!). The quest for the books
moves from New York to Europe, and Corso is threatened at every turn. Good job a
mysterious lady, (Emmanuelle Seigner - Polanski’s wife) keeps helping him out of his
sticky situations.
It’s a great looking and sounding film. Dean Tavoularis’ production design is, as usual,
excellent, and Darius Khondji’s cinematography simply shines - silky smooth camera
movements are in almost every scene. But for me, the highlight is Wojceich Kilar’s
imposing, playful score. It is a delight. If you can cast your mind back to Coppola’s
Dracula, you may recall that Kilar’s music was probably the best thing in the whole
movie.
The acting, all round, is fine. Depp in particular wears his best chameleon jacket,
immersing himself in Corso’s character. A lot of people don’t seem to like Emmanuelle
Seigner, but she plays her part with style and wit.
Generally, I think that people take this film far too seriously. It is slowly and
deliberately paced, and plays more like a suspense/thriller than a horror movie, but if
you watch the film closely, you can see Polanski at work behind the scenes, having a
ball bending and even breaking the conventions of the genre. If you are in any doubt as
whether or not the director is having fun, just listen to the music - at first it seems out
of keeping with the events on screen, but, as repeated viewing show, nothing could be
further from the truth.
Because this movie involves the Devil, it has been unfavourably compared to
Polanski’s Rosmarys Baby - I think that this is a mistake. This movie reminds me the
most of The Tenant: multi-layered, and a lot of dark fun. I know that a lot of people
don’t like the ending, but again, in the context of the film, it’s just about perfect. I
really think this is a great return to form for Polanski, and maybe even his best film
since Chinatown.
Image:
In a word: PERFECTION. One of the very best prints I have seen. 16x9 enhanced, no
edge enhancement, no colour bleeding or ringing.
Sound:
A lush 5.1 DD mix is provided, and although not a huge, bombastic soundtrack, the
music is separated nicely, and the dialogue is well recorded. Ambient split sound effect
are frequently used (you just have to listen carefully), and create a suspenseful
atmosphere.
Extras:
Scene access menu
Running commentary by director Roman Polanski
Isolated music score (composed by Wojciech Kilar)
Brief ‘making of’ featurette
Gallery of satanic drawings from ‘The Nine Gates of the Kingdom of Darkness’
Storyboards for a number of sequences
Trailers and TV spots
Cast and crew bios and filmos
Overall:
Although not for everybody, this remains a fine movie, which repays dividends with
repeated viewing.

 

[Richard Hardbattle]

only a few more...
William Freidkin’s
THE EXORCIST - THE VERSION YOU’VE NEVER SEEN
Warner (Region 1)
Review:
Why alter a masterpiece? Can only 12 minutes make a difference? Was William Peter
Blatty right?
There are going to be some spoliers in this review section. If you haven’t seen the
movie, just skip to the summary. OK.
After 25 years, the writer of the Exorcist, William Peter Blatty, and the director,
William Friedkin, were still in dissagreement. In 1973 Friedkin showed Blatty a rough
cut of the movie which blew him away. It was perfect beyond anything he dared hope
for the movie version of his novel. However, when he finally saw the film, he realised
key scenes had been removed (by Friedkin) before the movies release. Blatty was
devistated. He felt that there were now holes in the logic of the story, the
I know most of you have already bought the DVD of the Exorcist, but (and I must
emphasise this) you really haven’t seen the best of this great movie until you watch this
disc. Instead of being a passive viewing experience, it becomes a monster that simply
wants to disturb and physically assault your senses - what more could you ask for! It
simply KO’s the previous brilliant version and dances around it like a crazed Cassius
Clay. It’s awesome. The best directors cut ever. Even better than Aliens, The Abyss
and T2 (or anything else Mr. Cameron wants to touch up!).
Image:
Sound:
Extras:
Overall:
The first addition comes right at the beginning of the film; in fact, even before the
opening credit cards. It is a brief shot that starts on Regan's bedroom in Georgetown,
and the light goes dark. The camera pans down the rainy street past a couple walking
down the street and stops at a close up of a statue of the Virgin Mary. Some new
music cues have been inserted, and the brief few second shot then cuts directly to the
credit "A William Friedkin Film". Since this scene dissolves straight to the first credit
card, the music cue from "Beginnings from 'The Wind Harp'" is now very quiet and
indistinct.
A new, brief suspense music cue has been added to the shot of Father Merrin climbing
to higher ground for a better look at the Pazzuzu statue.
During the scene of the movie shoot at Georgetown University, the soundtrack
features newly recorded dialogue for the actors, AD, and the crowd of extras.
A new scene of Regan's first visit to the doctor's office has been inserted right before
Karras' visit to his mother in the state mental hospital. This roughly 6-minute scene
features Regan's first visualization of the demon, as well as Chris being told that her
daughter is using "advanced" and "foul mouthed" language. Regan is then proscribed
Ritalin(!), a common drug now but little-known then. This scene somewhat alters the
course of Regan's oncoming "illness", as the subsequent strange mutterings of the little
girl seem less surprisingly with this little bit of hindsight included.
During the scene where Chris tries to phone Regan's father for her birthday, we no
longer hear Chris scream, "I've been on this fucking line for twenty minutes!" The shot
ends before that line, and a new music cue has been added.
During the party scene, the shot of Regan laughing while serving drinks has been
omitted.
During the infamous scene when Regan's skull is x-rayed, during the early parts of the
procedure extensive dialogue by the doctor and nurse has been looped in, telling Regan
to "relax," "lie still," etc.
As Father Dyer helps Karras into bed, removing his shoes and turning off the lights, he
simply says,"Goodnight", as opposed to the original version's,"Goodnight, 'Dims'."
When Regan is examined by the psychiatrist, a brief "morph" of her face into the
demon has been inserted right before she grabs the poor doctor's nuts. A new Regan
growl cue has also been inserted.
When Chris comes home to discover Regan all alone (directly preceding the scene
when she discovers Burke Dennings has been killed), three CGI images of the demon
and the Pazuzzi statue have been inserted on the stove, the door and Regan's bedroom
wall. These "stingers" appear briefly for about 1-to-2 seconds each.
When Chris gets home and sees the lights flickering, there is "that new music cue"
again. It lasts from the point where the lights go out completely to when she enters
Regan's bedroom.
Chris' reaction to the news of Burke's demise has been reedited. It features an alternate
master shot of Chris and Jarv grieving. Jarv now leaves the scene and Chris turns to
Sharon, suddenly catching sight of Regan behind her.
After this different take of the exchange, the infamous "spider walk" has been inserted.
However, this version differs from the deleted scene shown on the 25th Anniversary
DVD. The walk itself has been cleaned up digitally to eliminate wires, and an alternate
take of Regan spitting blood has been inserted, with some additional CG tinkering. It is
an alternate take of the sequence that Friedkin and Blatty had tried due to the fact that
the scene "wasn't happening" for Friedkin as scripted. (The only version previously
known about is included on the 25th Anniversary DVD.) Both the director and
author/producer had long since forgotten about this outtake, but recently rediscovered
it in the vaults and used it as an excuse to reinsert the whole thing! The inclusion of the
spider-walk scene also features another new bit of music, for more of a hair-raising
experience. This new spider walk is then followed by a full 20 seconds of blackness,
which seems intended to allow the audience to react to this newly-inserted footage.
As Lt. Kinderman reveals his concerns over Burke's death to Father Karras, "that new
music cue" can be heard, once again, during this scene. There is also new music during
the new scene of Father Karras at the listening station at Georgetown University.
During a mass that Father Karras performs, a brief extra long shot of the sermon has
been included.
After recording Regan's demonic voice during their second encounter, a 2-minute
sequence has been reinserted of Karras listening to a tape Regan made before her
possession. This poignant insertion features Regan leaving a message for her father
after his and Chris' divorce.
We see Father Merrin receive "the telegram" as in other versions, but once he reacts to
it, we now can faintly hear the clanging sounds made by the Iraqi blacksmiths near the
film's opening.
After Father Merrin arrives to perform the exorcism, two brief shots have been added
as the priests prepare for battle. Sharon is shown listening to a radio for comfort in the
basement, followed by a subsequent scene with Chris offering Merrin some brandy,
followed by a brief friendly exchange between the two. Father Merrin agrees to have
brandy before the exorcism, despite his doctors' warnings. It's important to mention
this moment of weakness on Merrin's part because it may have something to do with
his heart attack, later on. This shot also features a new CGI background of
Georgetown inserted behind the picture window of the living room.
Just before Merrin and Karras enter the girl's bedroom to begin the exorcism, Merrin
asks Chris the middle name of Regan. This quietly moving passage runs just a few
seconds.
Following the first part of the exorcism, a brief exchange on the nature of the demon
between Merrin and Karras has been reinstated. (This scene is also available as an
outtake on the 25th Anniversary DVD.)
Following the "conclusion" of the first rite of exorcism, Regan continues breathing,
even when Karras looks over at her. In the original version, she briefly stops breathing,
and then Karras looks over at her.
When Karras "sees" his mother on Regan's bed, we hear the sounds of that mental
hospital all around us, letting us into Karras' guilt-racked mind for a moment.
A digital morph of the Karras-Demon back to Karras has replaced the previous splice.
Right before Karras leaps to his death through the window, Karras sees the face of his
mother in the window.
Two major additions have been made to the new ending of the film. The first involves
the medallion Chris gives Dyer. In the original version, he takes it and she leaves
quietly in the car. In the new version, he gives it back to her before leaving. This edit
changes the nature of the encounter, and removes the apparent guilt and shame still felt
by Chris in the original cut which Dyer does not resolve. We also now see Regan wave
goodbye to father Dyer from the car as it drives off.
Subsequently, the coda (also available on the 25th Anniversary DVD as a deleted
scene) has been altered to give the film the "spiritual uplift" William Peter Blatty has
often said the film lacks. After standing by the broken window and flight of stairs on
which Karras was killed, Father Dyer runs into Lt. Kinderman, and the two have a
brief exchange about movies. This passage is intended to illustrate that the devil has
not indeed "won", and there is still goodness in the world(?) The "happy ending" is
reedited slightly from it's form in the 25th Anniversary video. Kinderman now says,
"That's important" twice (obviously the same line relooped). There is "lip flap"
(mistimed audio to picture) during this scene. One shot has also been removed: Dyer
and Kinderman walking toward the camera, with Kinderman discussing a scene in
CASABLANCA and Dyer saying Kinderman looks like Bogart. The scene simply cuts
to the long shot of the two walking off after Kinderman asks Dyer to lunch. As the last
shot in the new version fades out, we briefly hear the Indian/Iraqi singing as heard in
the opening, which is then drowned out by the "Fantasia for Strings"/"Tubular Bells"
mix.
Perhaps the most controversial of the new additions, Friedkin has up until recently
disparaged this ending along with most of the scenes put back into the film) but since
seems to have had a change of heart. Or is his pocket book just getting fatter?
There are now credits for the restoration and reconstruction, resulting in more of Mike
Oldfield's "Tubular Bells" being heard during this extension; new music is also covered
in the restoration section of the credits.

 

[Richard Hardbattle]

Lucio Fulci’s “DON’T TORTURE A DUCKLING”
Anchor Bay (Region 1/0 release)
Review:
First things first: there are no ducks tortured in this movie. Just thought I’d better get
that out of the way.
This is, of course, the late, great Lucio Fulci’s overlooked giallo masterwork.
In rural Italy, somebody is murdering young boys - and as the community and the
authorities try to find out who is behind the deaths, Catholicism and superstition clash
in quite spectacular ways as the mystery unravels.
Released in 1972, this was made way before Fulci’s gore epics (such as The Beyond,
City of the Living Dead and New York Ripper) made him infamous. It has very little in
common with his early 80’s gory work; Duckling is a largely bloodless film - but that
doesn’t make it any less disturbing. Unlike Deep Red, most the murders take place off
screen (I think this was a wise move considering most the victims are children), and
Fulci shows unusual restraint throughout the film, apart from the superb climax, and a
particularly vicious chain whipping scene.
In a thirty year old film, full of unsympathetic characters, crudely dubbed into English,
on a particularly distasteful subject matter, its a testament to Fulci’s skill that he can
bring about one of the most beautiful and strangely moving giallos of all. Its simply the
kind of movie that just could not be made in these politically correct times.
Image:
For an elder old low budget Italian movie, this image is far better than we should
expect. Large portions of the film take place outdoors, and the 2.35:1 image is
certainly a treat. However, grain and noise is evident, but this is not unacceptable
considering the age of the print. Blacks are nice and dark, and there is no digital
enhancement or ringing present. Anchor Bay again provides a 16x9 enhanced for
widescreen version of this classic movie.
Sound:
Not much to shout about here, simply the English Mono track. Although clearly
recorded, it does sound thin and packs no punch. It would have been nice to be able to
select the original Italian dialogue with English subtitles.
Extras:
Filmographys
Animated themed menus
Overall:
Don’t buy it for the extras, buy it for the movie.

 

[Richard Hardbattle]

Dario Argento’s "DEEP RED" (Profundo Rosso)
Anchor Bay (Region 1/0 release)
Review:
Agento’s body of work can, with a couple of exceptions (he has also filmed a western
and a romance) be split into two distinct types of movie - supernatural horror, or
giallo. Giallo (the Italian word for the colour yellow) is a term used to describe a
sub-genre of Italian horror movies that are more like a mystery/thriller than the
standard horror fare, the word refers to a popular brand of Italian thriller books all
with distinct yellow covers.
Simply put, this is the greatest giallo of all, and is one of Dario Agento’s finest
moments. Everything comes together perfectly in a magnificent tour-de-force of
power-house direction.
Agento has always been criticised for having dumb characters stumble through a
non-existent plot - just be slaughtered. Logically, the critics may be right - but
Argento’s movies are always more concerned with simply freaking the viewer out. For
example: Suspiria and Inferno make almost no attempt at having a cohesive story in
the traditional manner, but it doesn’t matter - Argento is so busy scaring the be-jezus
out of you, by using loud unsettling music, dazzling colours, bizarre camera angles,
jolting jumps and plenty of gore, plot can seem almost incidental.
This, however, is not the case with Deep Red. The story is solid, providing many
classic Argento moments, not least the clever and spectacularly gory finale.
Structurally, along with Tenebrae, this is the most logical of his movies (even though
walking mannequins seem to appear out of nowhere waving large shinny daggers!),
and Argento provides a great horror mystery which pays dividends with repeating
viewings (and yes, you really can work out who the killer is - and no the ending isn’t a
cheat!). The acting by all concerned is fine (particularly by the underused David
Hemmings and Argento regular Daria Nicolodi).
Image:
For a 25 year old low buget Italian movie - this image is not far off reference quality.
As usual with Agento, colour plays a large part: huge sweeps of red start the movie, as
red curtains part the reveal the opening seance. No grain, noise or colour bleeding is
visible, even in the reinstated scenes. The 2.35:1 image is breathtaking and puts all
other versions of the movie to shame (anyone remember the cropped Redemption VHS
tape?). Very high marks to Anchor Bay for providing a full 16x9 enhanced for
widescreen version, the extra resolution really does help. 10 out of 10.
Sound:
A newly mastered 5.1 English soundtrack is provided, and appears to be the usual
arrangement from Chance Audio - i.e. better then mono, but not quite the same as a
more recent Dolby Digital bombardment. It should be noted that because this version
of the film is complied from many different sources to provide the longer directors cut,
some of the English language dialogue was never recorded. This means that sometimes
Italian dialogue and English subtitles kick in. Initially, this is off-putting, but soon the
great movie sucks you in, and you don’t even notice. And besides - this is the only way
to see the full uncut movie, and doesn’t happen very frequently. Again, Anchor Bay
have done the business.
Extras:
Although light on extras, also included are:
The restored cut
New 5.1 audio
Original Italian and mono soundtracks
Reunion after 25 years (Very brief interview with Argento & members from Goblin)
Filmographys
Animated themed menus
Overall:
An essential purchase for any horror or thriller fan. Outstanding.

 

[Richard Hardbattle]

last but not least.....Harold “Herk” Harvey’s “Carnival Of Souls”
The Criterion Collection (Region 1 release)
Review:
Lets just take a moment to stand back and distance this movie from the recent dire
remake. “Wes Craven Presents” or not, the remake was one of the worst films I ever
had to sit through. Why a remake? Beats me. They never seem to work. And why
remake a great film in the first place, surly they should be remaking the bad films to
make them better? La Femme Nikita or The Assassin? I know what I would rather
watch!
This is a low budget 1961 horror movie directed by Herk Havery. This was the only
feature film he ever made (although he did make over 400 corporate films for Centron
Corporation) - and its a stunner. Its one of those films you can sit down and watch
with a big cheesy grin on your face because its a perfect film......full of imperfections.
Before I explain myself, let me describe the story for you: Mary Henry is involved in a
car cash; she drags herself out of the river and is the only survivor. She gets a job
playing the church organ in a new town. Ever since the crash things have been a little
different for Mary. Strange things start happening, not least the continued appearances
from the ghostly white faced man (played by Harvey) - she is being haunted.
The acting is stilted, the dialogue is false and the film is poorly paced, yet, after a few
minutes of watching, you, the viewer become almost hypnotised: all of the sudden, the
acting is rather good, the music creepy, the camerawork inventive, and that man with
the white face... well, he certainly goes straight through me every time I saw him.
Key sequences will linger long in your mind. They include such memorable moments
like when the dead rise up and try to get Mary to dance with them in the carnival, (very
similar to George Romero’s Zombie films), or the appearance of the man at the foot of
the stairs, or (my favourite), the amazing sequence where nobody can see or hear
Mary, very, very creepy stuff.
In many ways, this film reminded me of the David Lynch movie, “Fire Walk With Me”
(I think that Lynch has certainly seen Carnival). Like that movie, Carnival Of Souls
boasts no gore or special effects as such, but in truth, the film doesn’t need them. Its
main asset is the atmosphere, and its strange power to stick in your mind long after the
lights go out. Just think of the moment in “Fire Walk With Me”, when Laura find Bob
in her room - its just like the man with the white face.
Image:
Both discs are presented in the original 4x3 aspect ratio. The quality of the image is
something to behold: It is simply breathtaking, and right up there with the very best
black and white films on DVD - it is even better than Criterons own Third Man DVD,
which is saying something! Blacks are deep and true, and whites have no noticeable
grain. For a 39 year old movie, this transfer is just about as state of the art as I have
ever seen. 10 out of 10.
Sound:
Digital mono only - but it does sound very clear. The organ music is nice and loud.
Note that at some places the dialogue appears “out of sych”, however, this is not a
fault with the disc (or your player), its simply because the sound for the film was
“looped” after the filming had taken place. In some ways, it adds to the creepy nature
of the movie, and is in no way a distraction.
Audio commentaries are available on the Directors cut version of the movie, and does
even include the now dead and gone director.
Extras:
Disc One -- Original theatrical version of film (78 minutes, RSDL)
Disc Two -- Extended director’s cut of the film (83 minutes, RSDL)
The Movie That Wouldn’t Die! The Story of Carnival of Souls: a documentary on the
1989 reunion of the cast and crew
Aprox 45 minutes of outtakes with Gene Moor’s organ score
Theatrical trailer
An illustrated history of the Saltier resort in Salt Lake City
The Carnival Tour: a video update on the film’s locations
English subtitles for the deaf and hearing impaired
Selected audio commentary by screenwriter John Clifford and late director Herk
Harvey with the extended director’s cut of the feature
One hour of excerpts from films made by Centron Corporation, and industrial film
company based in Lawrence, Kansas that employed Harvey and Clifford for over 30
years
An essay on the history of Centron from Ken Smith’s Mental Hygiene
Printed interviews with Harvey, Clifford, and star Candace Hilligoss, illustrated with
vintage photos and memorabilia
Overall:
One of the best releases this year, and possibly Criterion’s best ever release. Hopefully
more people will get to see this movie and recognise both its class and its far reaching
influences.

 

[Julie K]

Well, my latest shopping spree was not a real success. I bought Funhouse and Creature on impulse ("Hey! $5.00 DVDs!") and let me tell you, those two could be a double feature at a crap-o-rama festival. I'm a bad reviewer and couldn't finish either. Ewwww.
But let me tell you about a DVD I recommended a few pages ago. You won't find it at your local store, but it's well worth locating:
The Dead Next Door
A scientist has created a virus that infects dead tissue and reanimates the dead! Of course, the dead are hungry for living flesh and are soon everywhere. The government creates the Zombie Squad, a crack unit of soldiers dedicated to killing the dead and/or capturing them for furhter experiments. In an attempt to reverse the virus, one Zombie Squad team is sent to find the notes on the original virus. Along the way, they encounter protesters condeming the killing of the dead ("Let the Dead Walk!") as well as an odd cult devoted to the dead. And, of course, zombies, zombies, and more zombies.
It should be said before all else, that The Dead Next Door is a very low budget movie. It was filmed on Super 8. That's right, Super 8. Naturally, this means that the DVD presentation is not something you will want to use as a demo disk for your $10,000 home theater. It's pretty grainy and scratched. But if you can get past that, you're in for a nice little treat.
Whatever funds director J. R. Bookwalter had obviously has gone for the gore and make-up. There are some amazing effects here and Bookwalter clearly knows that zombies and gore are a prize-winning combination. He also managed to convince a huge number of extras to shamble around as zombies and, in a scene never shown in any other film, has zombies roaming around Washington DC and climbing the fence in front of the White House.
Another consequence of filming on Super 8 is that all dialog is dubbed in post production. But for us genre fans, a nice little treat is in store! Bruce Campbell has dubbed four of the voices himself. He is most recognizable as the voice of the main lead, a character by the name of Raimi (and we've got Romero, Savini, King, and Carpenter as characters as well), but if you listen you should be able to pick up the others.
As you can tell, I really like this movie. It has its flaws as do all low budget affairs and suffers more than most others because of the Super 8. But this was made by a fan of the genre who clearly knows where the priorities lay - gore! I recommend this to all zombie lovers with the caveat of having realistic expectations. The picture quality is poor. The acting is none too good. With the exception of Bruce Campbell, the dubbing is not great. But on the whole, this is a fun little low-budget zombie gore-fest. What more can you want?
You can get it at www.tempevideo.com. (I am not affiliated, etc etc)
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"Some people think I'm over-prepared, paranoid...maybe even a little crazy. But they never met any pre-Cambrian life forms, did they?"

 

[MaxY]

Julie,
Just be glad that Funhouse was only $5 when you got it. I paid a whole $12 for it and felt ripped.
Oh I take it the Dead Next Door is only avalable online?
I would say it looks as though some more people have found this thread. Welcome aboard.
Max
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[Julie K]

Oh I take it the Dead Next Door is only avalable online?

Yep. If you want it you'll have to order online.
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My DVDs
"Some people think I'm over-prepared, paranoid...maybe even a little crazy. But they never met any pre-Cambrian life forms, did they?"

 

[Mark Zimmer]

It's been a while since I checked in on this thread. Max, thanks for the heads up on the Massacre movies; I've been considering them for a while and didn't know if they had plenty of blood and booty, or at least enough to make it worth my while. I have this sudden itching to run to Best Buy...gotta remember to pick up Invasion of the Blood Farmers too.
I should be saving up for the horror binge coming on the 28th, but hey, they're cheap, right???

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"This movie has warped my fragile little mind."

 

[Mark Zimmer]

Well, I couldn't restrain myself. I went over to Deep Discount DVD and ordered all 5 of the Massacre movies--a buck cheaper each than at Best Buy + no sales tax--as well as some other stuff that I've been meaning to pick up (Stepford Wives SE, Truck Turner, etc.)....now for an evening with a bottle of Mad Dog 20/20, a couple bags of chips and a Sorority House Slumber Party Massacre!!!
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"This movie has warped my fragile little mind."
[Edited last by Mark Zimmer on August 17, 2001 at 03:50 PM]

 

[ErikG]

Max and Wes,
Thanks for the info. regarding Valentine. To be safe, I think I will rent it first.

 

[MaxY]

Well there is an Upcoming Chat With Anchor Bay and i was just thinking...
I know we will all have a question or two for them about upcoming titles but I think we should all show up at the chat and make sure that when asking your question you let them know how much we really like the work they are doing. Be sure to mention a thanks for the widescreen 16x9 enhanced titles.
You know just a little thanks for the good job now keep it up and get me ____________ on DVD.
Max
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[MaxY]

Well Just like Jason, Freddie or Michael this thread pops up once again....
OK Guys I have gotten a few more viewed this weekend. Let see we got Zombies, Necrophiliacs and Space Aliens where should I start first?
I guess Zombies are fun..
Oasis of the Zombies
Well this one is another French Zombie movie from Image's EuroSchock collection. This time in 16x9 Widscreen in the original 1:66 aspect Ratio. :up:
OK well this one did not come off as a Softcore porn like Zombie Lake did (Leave to the French to make a Straight Zombie movie feel like Softcore Porn) though there were some lingering but shots and some sex scenes they were much tamer. Oh and there was one time when I was unsure if the Zombie was eating her or well you know...
Cheesy lame effects but hey at least they tried harder then just green paint.
Basic Story Durring WWII a group of Nazis with Stolen gold get wiped out by the French (Yeah right) and only one Frenchman survives the battle to be rescued. Flash Forward to the Future the surviors son goes back with some friends and $$ for eyes. In the time since this little Dessert Oasis has gained a rep of being well Spooky. Zombies attack.
The effects were great but they were kind of fun. Worth a rent but not likely a buy.
OK Now what? Necrophiliacs?
Macbre
This is Lamberto Bava's first movie as a director. It drags at places and is for the most part gore free with a couple of exceptions.
I would suggest the Far Better A Blade In The Dark or Demons.
and now what Space Aliens?
Species II
While the first one got some attention and the second one never seemed to get any recognition, I think that the second one might just appeal to some of those in this thread. There is an Unrated version onf DVDs that seems a little sexier and goreier then and R movie would allow. Story is only a little different from the First and Marg Hilgenberger, Michael Madsen and Natsha Hensridge all return from the original.
A bit quite gorey with lots of sick stuff and at times fun. Never as much fun as the original but lots more gore and sex.
Max
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[Samuel Des]

Been meaning to follow-up on this thread, but I've been out-of-town! (Did ya miss me?)

Caught Species 2 as well, Max. Ugh! I couldn't believe how bad it was! There is a genuinely disturbing outtake where the male-hybrid-alien-astronaut-whatever transforms into the Species-thing-whatever while having sex with two, uh, groupies. It is titilating, but again, disturbing.
Oerall, it is an "us or them" flick. Kill the species aliens or they will will... well, I'm not REALLY sure what the consequences would be; but judging from the theme music, it is probably something pretty serious.
Anyway, the plot is powered by a genuine B-device: telepathy. Natasha H. (NH) can "see through" the eyes of the male-hybrid-alien-astronaut-whatever. Through this "connection," NH leads her human chaperones/military cronies on a hunt for the male-hybrid-alien-astronaut-whatever. Violence then rears its ugly head.
But why NH would want to help the humans is never explained! She is routinely tortured by here "caretakers;" and she is made to understand that the only reason why she is alive is because they haven't found a way to kill her yet. And she still wants to help the humans? Huh?

Anyway, thumbs down. The groupie sex scene is worth noting for its spookiness and gross-out factor.
When I get a chance, I'll post a few comments on The Kiss, and Abel Ferrera's The Addiction if any here are interested. General comments: I'd say The Kiss is worth it. The Addiction is kinda pretentious, but also worth a rental. Neither is worth a purchase in my opinion though.
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SAM

 

[MaxY]

Sam,
i didn't say Species II was smart I said it was pretty Gore filled.
Did anybody Else Pick up the Maniac or Wicker Man LEs yesterday.
I found 2 Maniac Tins in Best Buy and bought both. I did not find any Wickerman LEs but I ordered 2 last night when I got home. The Maniac Tin looks cool and it comes with a Soundtrack CD that is not round, it is shapped like the Maniacs head. Very cool but I have not tried it out to see if it works yet.
As for the Extra copies of each they will be given away in DVD contests on that other site I am on.
Max
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[MaxY]

Oh I forgot to mention I got Nightbreed even if it is not the DVD it could be.
I am think we are about to see a good surge in Horror releases as Halloween draws closer. The kiddies are going back to school and soon it will be time for our minds to dream of ghouls.
I don't know I just have the feeling this next few months is going to be bery bery good for Horror movies.
I was looking at the Maniac Tin and my old Elite version of the movie and there seems to be a big difference in running times, almost 10 mins. I wonder what the differences could be?
Max
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[Samuel Des]

Boy: pretty soon, Max will be known as "that guy who started that horror thread."

You're dead on about Species II, Max. I regret sounding so judgemental!

It is worth a rental, but I wouldn't recommend buying it unless you are a fan of the franchise.
I didn't know Nightbreed was available on DVD. I may check that one out. There is something about that movie that I really like.
Regarding The Addiction versus The Kiss (as mentioned earlier). The Addiction has this really cool look that is emphasized by its being in black and white; it makes it look and "feel" more gory than The Kiss, but I think that The Kiss is a far better movie. It isn't pretentious like The Addiction, and there is something absolutely thrilling in the thought of an ancient creature possessing... well, you'll have to check out the movie. I may end up buying The Kiss if I find it.
Anyone else care to comment/make further suggestions? We're closing in on the Season, you know....

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SAM