Month: February 2013

Bela Lugosi Gets His Voodoo On: LFM Reviews The Restored White Zombie on Blu-ray/DVD

By Joe Bendel. Bela Lugosi got there first—before Val Lewton, George Romero, or the AMC network. Yet when he appeared in what is considered the very first zombie film, it was thought to be a rather odd career choice at the time (the first of many, as it turned out). Of course, Victor Helperin’s White Zombie would look like a prestige picture compared to his Ed Wood films. In fact, the Haitian voodoo chiller has always had its champions, very definitely including Rob Zombie, but the state of the public domain prints has made it difficult for mere mortals to embrace it. In a welcome turn of events, Kino Classics has released a crisp new restoration (produced by Holland Releasing) on DVD and Blu-ray, now available from online retailers everywhere.

Madeleine Short and Neil Parker are to be married in the manor house of Charles Beaumont, but they really shouldn’t. The plantation owner is really interested in taking Short for himself. Not exactly a seductive figure, Beaumont seeks the help of Murder Legendre, a voodoo master who runs his sugar mill entirely with zombie labor. With a name like that, Legendre has to be evil, but whether he has supernatural powers is a debatable point.

Unable to win over Short, Beaumont slips her Legendre’s zombie mickey on her wedding day. Soon after tying the knot, Short passes away—or so it seems. Of course, Legendre has her up on her feet and shambling about Beaumont’s estate in no time. Much to his disgust, the wealthy old planter finds her soulless body to be poor company. Can Parker save her, once he pulls himself out of the bottle? He will have some help from the missionary, Dr. Bruner, whose constant need of matches serves as the film’s annoying comic relief.

Lugosi is pretty darn sinister as Legendre, who does some really cool voodoo business with candle fetishes. Presumably the price of sugar is down, since he cannot seem to afford a full set of buttons for his tunic (even with a horde of unpaid zombie laborers at his disposal). Nonetheless, we should not let pedantry stand in the way of our appreciation of a great Lugosi performance.

While Lugosi delivers for his fans, his co-stars often sound like the former silent stars they were. At least, as Parker nee Short, Madge Bellamy spends a good portion of the film in the form of a speechless zombie. Likewise, fellow silent veteran John Harron’s over-acting will make viewers miss the mannered David Manners (the WASP-ish protagonist of Dracula, The Black Cat, and The Mummy).

So White Zombie offers Lugosi and zombies, which should be enough for viewers any day of the week. There is also an original rumba composed for the film by Xavier Cugat, heard in the unusually expressionistic scene of Parker’s mournful binge-drinking. Such sequences can be more fully appreciated when seen as part of the restoration, which looks tremendous on Blu-ray. Although independently produced by Edward Helperin, White Zombie could be considered an honorary Universal monster movie, since it was filmed on U’s back lot, with richly detailed sets and props leased from the studio. It also features the work of one of Universal’s biggest stars, Lugosi, and the studio’s make-up wizard, Jack Pierce.

It is ironic that Lugosi would lend his support to a comeback vehicle for former silent stars Bellamy, Harron, and Robert Frazer (who maintains his dignity as Beaumont) when his later filmography consists of one dubious attempt to re-ignite his career after another. He deserved better karma for appearing in White Zombie. It also happens to be nearly as stylish a horror film as The Black Cat. Affectionately recommended, White Zombie is a film any zombie fan or Lugosi admirer should know. It is now available in its fully restored glory, thanks to Kino Classics, with a vintage Lugosi interview included as a bonus.

LFM GRADE: B+

Posted on February 5th, 2012 at 2:03pm.

New York Overrun by Mutant Soviet Insects: LFM Reviews Spiders 3D

By Joe Bendel. New York’s subway rats have finally met their match. That is a bad thing. When mutant spiders crash to Earth with some old space junk, they take roost throughout the lower Manhattan tunnel system in Tibor Takacs’s creature feature Spiders 3D (trailer here), which opens in California theaters this Friday.

Who knew downtown stations still took tokens? Probably not for long, though. They are about to be renovated the hard way. Jason Cole is just starting his shift at the transit command center, when the “Noble Street” stop is rocked by the remains of a Soviet space station that somehow carefully threaded its way through the surrounding buildings, into a perfect man-made lair. Since the spiders are not viral, initial tests give Cole the go ahead to re-open the station. However, when waves of rats start freaking out and dying, even the MTA (or NYT as they are called here) can tell they have a problem on their hands.

It turns out the Soviet-era brain-trust spliced some ancient alien DNA together with some spiders because that seemed to be the thing to do at the time. The resulting mutants cast some wicked webs that supposedly have all kinds of military applications. That is why the American armed forces have set up shop somewhere just north of Battery Park City with the original scientist who masterminded the Soviet experiments.

Spiders indulges in the annoying fantasy that a former Soviet scientist has the standing to give a high ranking American military officer a lecture on morality. Indeed, the clichéd villainy of Col. Jenkins is a real buzzkill in what could have been a perfectly pleasant exercise in campy bug-hunting. Let’s be honest, if mutant spiders really do start falling from the sky, we’ll be praying to see the American troops arrive.

From "Spiders."

Not surprisingly, Spiders works best during its most Cormanesque moments. The special effects are a decidedly mixed bag, but the creepy way their legs move looks good on camera and jut out well for 3D presentations. For the most part, though, it is glaringly obvious this is a B-movie, which is not necessarily a bad thing.

Starship Troopers’ Patrick Muldoon, who previously co-starred in Takacs’s Sci-Fi Channel movie Ice Spiders, is pretty credible as a transit bureaucrat under extreme stress. By now, he and Takacs must be real experts on surviving a mutant spider attack. Christa Campbell also shows some screen presence amid the bedlam as his ex-wife Rachel, a researcher with the city health department. As one would expect, Spiders follows in the long genre tradition of couple’s therapy through monster rampage. British actors William Hope and Pete Lee-Wilson largely embrace their characters’ stereotypes, chewing a fair amount of scenery as Col. Jenkins and Dr. Darnoff, respectively.

While watching Spiders, it is hard not to think of Rick’s line in Casablanca: “there are certain sections of New York, Major, that I wouldn’t advise you try to invade.” Sure, the mutant spiders terrorize lower downtown, but if they tried coming uptown we’d see who’d be crying then. Spiders should have been a lot more fun, but the anti-military bias is just a tired bummer. For giant mutant genre diehards, it opens this Friday (2/8) in the Golden State, including the Burbank Town Center 8 and the AMC Atlantic Times Square in Monterey Park.

LFM GRADE: D+

Posted on February 5th, 2012 at 2:02pm.

When California was a Land of Opportunity: LFM Reviews Silicon Valley on PBS

By Joe Bendel. They made the space program and the personal computer possible. They were not just brilliant scientists. They were the original venture capitalists. The far-reaching scientific and economic revolutions initiated by Robert Noyce and his colleagues are explored in The American Experience’s first-rate Silicon Valley, which airs on most PBS stations this Tuesday.

A bright student at Grinnel College, Noyce happened to get an early look at two of Bell Labs’ first ever transistors, through his professor, Grant Gale. He would remain a foremost expert on the devices and their successors from that point forward. After an unrewarding East Coast corporate stint, Noyce joined soon to be Nobel Lauriat William Shockley’s semiconductor laboratory, in what was then nowheresville California. That was a somewhat gutsy move at the time, but Noyce was just getting started.

Fed up with Shockley’s erratic behavior and dubious strategic decision-making, Noyce and the rest of the so-called “Traitorous Eight” set out on their own, establishing Fairchild Semiconductor with the backing of Sherman Fairchild’s family of companies. Noyce was the last to join the insurgency, but the one most needed for Fairchild Semiconductors to make a go of it. He understood the science, but he also had persuasive powers the others lacked. Opting to develop a silicon-based semiconductor (a model Shockley had explicitly rejected), Fairchild scored some crucial government contracts right out of the gate. Yet Noyce would eventually pick up and start over once more. Ever heard of a company called Intel?

From "Silicon Valley."

Co-written, co-produced, and directed by Randall MacLowry, Silicon Valley does two things unusually well. It nicely explains the enormous technological benefits offered by transistors, semiconductors, microchips, and microprocessors, in terms accessible for viewers not particularly savvy about the insides of their computers. It also gives Noyce and his comrades full credit for their game-changing entrepreneurship. MacLowry clearly establishes the substantial risks Noyce took, as well as the considerable reward he reaped. As a result, viewers might just find themselves feeling a vicarious giddiness for the up-start success of Noyce’s start-ups. That is a powerful response for a television documentary to inspire, but Silicon Valley is unquestionably the best of the last three seasons for American Experience, at least.

Many Fairchild and Intel alumni share their memories of Noyce and the formative years of Silicon Valley, including Andy Grove and surviving members of the infamous eight, Jay Last and Gordon Moore. MacLowry also incorporates a wealth of archival photos that vividly remind us of what the future used to look like in years past. The film is also a bittersweet reminder that California used to be synonymous with opportunity and new beginnings, rather than bankruptcy and stagnation. As a documentarian, MacLowery is rather diplomatic, completely ignoring Shockley’s later controversial championing of eugenics, simply depicting him as a miserable boss and incompetent businessman instead. Still, it is a reasonable call, considering how such hot button topics are apt to distract public television viewers.

It becomes obvious watching Silicon Valley what a great dramatic feature this story could become in the right hands. Dominic West would be a decent likeness for Noyce. However, in a world where Ashton Kutcher is cast as Steve Jobs, you have wonder whom Hollywood might come up with. Taylor Lautner, perhaps? At least MacLowry did right by the band of pioneers who made Silicon Valley what it is today. Highly recommended as a work of scientific, economic, and cultural history, Silicon Valley premieres this coming Tuesday (2/5) on most PBS outlets nationwide.

LFM GRADE: A

Posted on February 4th, 2012 at 9:59am.

LFM Reviews Houston @ The 2013 Sundance Film Festival

By Joe Bendel. H-Town is way different from the Ewings’ Dallas, but there is still a lot of energy money there. That is indirectly why German corporate headhunter Clemens Trunschka is visiting. He is supposed to make a confidential offer on behalf of a client to a prominent Texas petroleum CEO without alerting his current firm. This turns out to be easier said than done in Bastian Günther’s Houston (clip here), which screened as part of the World Dramatic Competition at this year’s Sundance Film Festival.

Trunschka drinks too much, straining his relationship with his wife Christine. Perhaps sensing trouble at home, his son has been acting out at school. It is a problem his father is not inclined to face. In a way, the assignment to recruit Steve Ringer comes at an opportune time, getting Trunschka out of the house for a while. After missing Ringer at an exclusive European energy conference, Trunschka must follow him to H-Town. However, the combination of jet lag, liquor, and the blinding Texas sun seem to have a disorienting effect on the headhunter.

Since Ringer’s gatekeepers keep him locked up tighter than Rapunzel, Trunschka will have to get creative to reach him. The pressure is mounting, which has a further destabilizing effect on the German. However, a fellow guest in his hotel seems eager to help. Robert Wagner, the actor’s namesake as he is quick to point out, seems to be the perfect caricature of the loud backslapping American. In fact, he is clearly supposed to make viewers suspicious—about Trunschka.

From "Houston."

While there is plenty to make viewers wonder about the firmness of the German protagonist’s grip on things, Günther’s approach is tightly restrained, dry even. Trunschka’s dark night of the soul is all about brooding rather than knock-down drag-out binge drama. Ulrich Tukur, best known for The Lives of Others and John Rabe is perfectly suited for the tightly wound, quietly cracking-up Trunschka. He can do a slow burn better than just about anyone. Likewise, Garret Dillahunt nicely hints at an unsettling undercurrent beneath Wagner’s aggressively good humor.

Cinematographer Michael Kotschi makes the most of Houston’s dazzling sunlight and the reflections off its glass and steel towers, creating a real sense of an urban wonderland. While strikingly composed, the entire film is too fixated on shiny surfaces, never really getting to the characters root cores. Nonetheless, some commentators will surely embrace the film as another critique of the capitalist system, even though it depicts a rather singular crisis—a self-destructive alcoholic’s inability to convey a lucrative job offer to a highly successful executive.

Houston looks great, but mostly offers empty calories, despite the quality of Tukur’s work. Still, it might be interesting to some East and West Coasters as a window into Europe’s perspective on the Texas state of reality. As a result, Houston is likely to get further festival play, particularly given the two well known German and American principle cast-members, following its world premiere at the 2013 Sundance Film Festival.

LFM GRADE: C+

Posted on February 4th, 2012 at 9:58am.

Don’t Let It Get You Down: LFM Reviews John Dies at the End

By Joe Bendel. It starts with a wickedly macabre riddle. Where it finishes is not so clear. One would assume the title offers an obvious clue, but not necessarily. Those who require a rigorously logical approach to the space-time continuum might be out to sea, but genre fans looking for a wild trip will find it in Don Coscarelli’s John Dies at the End (trailer here), which opens today in New York.

Based on the novel by Jason Pargin published under the pen-name David Wong, JDATE (as it is cheekily abbreviated) follows the story character David Wong has to tell reporter Arnie Blondestone, in a series of rapid-fire flashbacks. He really does not look like a Wong, but looks are frequently deceiving in this reality.

“Wong” and his partner John are amateur exorcists approaching professional status. Two years ago, they were exposed to a drug known as Soy Sauce. This stuff really opens up the doors of perception. Now they can see beings from other dimensions and tell you what you dreamed last night. Unfortunately, just as Wong adjusts to the sauce, he learns his best friend has died. Shortly thereafter, John starts calling him, first to apologize for all the drama and then to guide him through a series of predicaments. Eventually, they reunite to confront an imminent threat from another universe, on what appears to be the Eyes Wide Shut world, with the help of their powerful ally, Dr. Albert Marconi, who masquerades as a television psychic. Or something like that. Then it becomes a bit complicated.

What Bill & Ted were to stoner science fiction, JDATE is to psychotropic genre fare.

Like the original source novel, the film is episodic in structure, madly hop-scotching back and forth across time and planes of existence. The audience just has to live in the moment of each segment, which are almost always outrageously clever. Frankly, viewers really do not care if the lads save the universe. They will just want to see what comes next.

From "John Dies at the End."

As Wong and John, Chase Williamson and Rob Mayes are likable lugs, who treat the bedlam with admirable seriousness, never winking at the camera. However, it is the supporting characters that really enrich JDATE. Executive producer Paul Giamatti is kind of awesome as Blondestone—a rather more complex role than it first appears. Likewise, Clancy Brown delivers pure genre gold as Dr. Marconi. There’s also a dog, Bark Lee, as himself, who deserves consideration for next year’s Golden Collar Award, if they can keep it going that long. There is even a brief appearance from Angus Scrimm, the cult favorite from Coscarelli’s Phantasm.

JDATE’s energy and inventiveness are impressive. As eccentric as things get, the film never feels forced or self-consciously hip. That is the real trick. As a result, the rough edges, apparently the result of budgetary limitations, can easily be forgiven. In fact, they become part of the charm. Highly recommended for fans of over-the-top sci-fi-horror hybrids, John Dies at the End opens today (2/1) in New York at the Landmark Sunshine, with Coscarelli attending the evening screenings tonight and Saturday.

LFM GRADE: A-

Posted on February 1st, 2012 at 11:44am.

Chick Flick: LFM Reviews Girls Against Boys

By Joe Bendel. Thirty-some years ago, a film like this might have generated all kinds of controversy, regardless of its merits. It could be considered a sign of social progress that it now only inspires shrugs. Nonetheless, gender-oriented vigilantism should never be such a hum drum affair. Indeed, that is about the size of Austin Chick’s Girls Against Boys (trailer here), which opens today in New York.

Shae thought she was going to have a lovely romantic weekend with her technically married boyfriend. Instead, he dumps her, having resolved to make his marriage work for the sake of his young daughter. His timing is lousy, but frankly this is sort of the right thing to do. He will pay for it, though. First, the depressed Shae turns to her co-worker Lu for support. At Lu’s prompting, they embark on an all night bender, culminating in the loft of a group of hipsters everyone in the audience can tell are blindingly bad news. Unfortunately, Shae is so disoriented she leaves with Simon, the worst of the lot, who does exactly what we suspect he will.

The next morning, she reports the crime to the police, who are ridiculously disinterested. One would think any red-blooded NYPD cop would relish the opportunity to roust a pretentious Greenpoint “artist,” but evidently not. However, Lu is perfectly willing to lead her into a Thelma & Louise-style revenge killing spree.

From "Girls Against Boys."

There are two paths a film like this can take. Either it becomes a dark psychological study in which viewers are supposed be horrified by the acts the two “girls” commit against the “boys,” or it should be a cathartic exercise in frontier justice-by proxy. Yet Chick tries to steer a middle course, suggesting that maybe on the one hand, the guys deserve some form of cosmic retribution – but then again, there seems to be something a little off or overboard about Lu’s plunge into binge murder. The resulting lukewarm tone leaves little lasting impression. Even when the women get medieval on Simon, GAB’s only halfway memorable scene, Chick chickens out, wrapping it up just as it starts illicit an emotional response.

Danielle Panabaker is actually pretty good covering Shae’s considerable range of extreme emotions and Nicole LaLiberte can flash some seriously crazy eyes as Lu. The rest of the cast just isn’t bad enough to stand out in any way. One wonders if the word generic was used in the casting notices.

Clearly, GAB thinks it is edgy and challenging, but in reality it is gutlessly noncommittal. Completely lackluster, Girls Against Boys will profoundly disappoint the grindhouse audience it is targeting when it opens today (2/1) in New York at the Quad Cinema.

LFM GRADE: D

Posted on February 1st, 2012 at 11:43am.