Try To Remain Calm And Watch Official Trailer For UFO

Super Bitch DVD Review

Massimo Dallamano's latest film to be re-released, Super Bitch, takes us down a different route to the previously reissued, The Night Child. Instead of religious horror, the cinematographer turned director takes us on a tale chock-full of espionage, blackmail and sexual depravity. It is likely to have its fans, but to a casual viewer, it's difficult to understand the point of Super Bitch.

Undercover police inspector Ivan Rassimov attempts to expose an escort agency that has been blackmailing high profile clients into smuggling drugs over the border.

 Super Bitch begins like a trashy James Bond film/Euro-Crime thriller opening with crime honcho, Mama (Patricia Hayes), in a ruined Middle-Eastern city arranging drug deals with a mysterious stranger. It's not long until this stranger is wiped out by a skulking undercover cop, Cliff (Rassimov) soon resulting in a high octane car chase. Super Bitch begins feeling focused, however, things then seem to take an unfocussed turn with the plot soon verging on softcore erotica meets crude comedy. It all simply feels a bit disjointed and unclear.
The title Super Bitch (used for the film's 1980s reissue, to cash in on Stephanie Beacham's fame as Sable Colby in Dynasty and The Colbys), does not feel hugely appropriate - it gives the impression Dallamano's film is like The Stud or The Bitch. The original Blue Movie Blackmail is probably a more fitting title.

Beacham does bring her traditional feisty sex appeal to the role and as ever is a complete pleasure to watch as Joanne, the escort sleeping with high profile clients. Ivan Rassimov brings a sense of sleazy gravitas to the role of Inspector Cliff, playing the part of the Dirty Harry-esque cop well. 

There is also a funky trumpet infused score from Riz Ortolani (that screams cult film), used to fit the ever shifting tone of Super Bitch. Cult film enthusiasts are likely to enjoy the madness and incoherency of this feature, as well as its trashy charm. Where else would you see a high profile politician dressed as a rabbit being fed carrots by a half naked Stephanie Beacham or Patricia Hayes driving a convertible filled with oddball Italians singing songs about her?

If in the mood for something madcap, and slightly different you could do a lot worse than Super Bitch. However, if you are look for a solid story and sense of focus, Super Bitch is one to miss.
As always, Arrow Video have restored the print to a stellar quality and included a selection of interesting special features, including short documentary, 'Bullets, Babes and Blood'.

Andrew McArthur 

★★1/2☆☆

Stars: Stephanie Beacham, Ivan Rassimov , Patricia Hayes
Director: Massimo Dallamano
Release: 29th October 2012
Certificate: 15 (UK)
Buy Super Bitch:DVD

Excision Review

90210's AnnaLynne McCord leads the cast of Excision, a dark, visually rich tale, filled with stirring horror and tinges of black comedy. The unique style and self-awareness that fills Richard Bates Jr.'s film helps assert it as one of the finest features of 2012.

Pauline (AnnaLynne McCord) is a teenage outcast, infatuated with the idea of performing surgery. Her sinister behaviour alienates her from her image-conscious parents, Phyllis (Traci Lords) and Bob (Roger Bart) as well as her bitchy classmates and judgemental teachers. Only Pauline's young sister (Ariel Winter) who suffers from cystic fibrosis understands her, resulting in the young outcast attempting to perform life-saving surgery on her sibling.

Bates Jr. does not hold back in any way, fully transporting us into the mind of a twisted teenage outcast. Excision captures the gore-filled fantasies that clog Pauline's psyche with a trippy visual originality. This is paralleled by the cynical glistening sheen of middle class suburbia, a world that tries its best to subdue Pauline's warped fantasies. This idea of crude madness in suburbia gives vibes of the iconic work of John Waters (think modern day Polyester or Serial Mom), who has clearly been an influence on the young filmmaker. The teenage outcast theme in Excision also feels slightly reminiscent of the likes of Carrie, whilst the elements of body horror have David Cronenberg written all over them. It is essentially the best elements of many classic horrors and cult films finely crafted into one feature.

Part of the pleasure of Excision comes from the perfect elements of self-aware, dark comedy layered throughout the feature. From Pauline's no holds barred attitude with her parents and classmates to the frequent cynical looks at suburban life, Excision hits a perfect balance between horror and comedy.

Excision's cast is also likely to delight fans of camp and cult cinema. AnnaLynne McCord (90210) is completely unrecognisable in this dark role, managing to make us sympathetic to a highly unlikeable character. Pauline may be completely demented and her actions repulsive, but McCord's performance still connects with viewers - primarily when seeing Pauline bonding with younger sister, Grace. Roger Bart (The Stepford Wives) excels as Pauline's tired Father, whilst Ariel Winter's (Modern Family) pitch-perfect turn is likely to tug at your heartstrings.

The performance of the year, however, goes to the magnificent Traci Lords as Phyllis, Pauline's mother. Phyllis appears as a harsh, controlling figure to begin with - we see her judging her family every morning at the breakfast table, yet we still connect through Lords' stellar performance. We gradually see that Phyllis is a flawed character who simply wants the best for her children, however this is hindered by Pauline's actions slowly breaking her family apart. Lords is a revelation.

Excision also features an amusing appearance from John Waters' as a minister who counsels Pauline. Seeing the Pope of Trash as a devout representative of God is just another element of Bates Jr.'s clever, self-aware screenplay. Malcolm McDowell adds further star quality as a frustrated teacher, whilst Ray Wise and Marlee Matlin bring some further fun to the cast .

Excision is a must see for fans of cult cinema - it is the finest horror of the year.

Andrew McArthur 

★★★★★

Stars: AnnaLynne McCord, Traci Lords and Roger Bart  
Director: Richard Bates Jr.
Certificate: 18 (UK)
Ltd. Theatrical Release: 2nd November 2012
DVD/BR Release: 12th November 2012
Pre-Order/Buy Excision:DVD / BLU-RAY

London: The Modern Babylon DVD Review

With 2012, Diamond Jubilee, Para-Olympics, Olympic Games and all, placing London under the gaze of the world’s media; London: The Modern Babylon gives the capital city another chance to take centre-stage.

Julien Temple’s kaleidoscopic ode to London mixes archive footage with interviews, film and television clips, documenting its history throughout the Twentieth Century up to the present day, from idyllic Edwardian summers, through war, immigration, rock and roll, and boom and bust. Temple mixes his footage, juxtaposing his images to create a fluid tableau of events covering the last hundred years or so. Early Twentieth Century immigrants appear alongside their modern day counterparts, suffragettes and Mary Jane’s Mishap, accounts of racial tension and class divides with the voyeuristic first-person filter of Michael Powell’s Peeping Tom. From 1905 to 2012 it’s a glimpse at a city which has changed immeasurably over the decades, but still retains an enduring sense of identity.

As is to be expected from the man who helmed such films as The Great Rock ‘n’ Roll Swindle and Oil City Confidential, music plays a pivotal role in the creation of this two hour, London-centric collage. Footage of bombed-out terraces and air-raid shelters roll along to the beat of Mr Churchill Says, while riots and anti-war demos (not surprisingly) dance to the tune of Street Fighting Man. The result is an entrancing amalgam of sights and sounds that feels immensely substantial, pertinent and raw, even if so much of this trip down memory lane might really be old news.

The stars of the show are without question the city’s inhabitants. Tony Benn, and the late Malcolm McLaren pop up to wax lyrical about their home town, along with numerous commoners who have made the city their home over the years. It’s an intriguing and expressive way of reinforcing the notion that an organisation is only as good as its people.

London may receive an inordinate amount of exposure in comparison to this nation’s other cities of note, but Temple’s ability to weave and create such an alluring, musical, rhythmic tribute should be of interest to even those who hail from very distant towns.

Chris Banks (@Chris_in_2D)

★★★★☆

Rating:15
UK DVD Release Date:29th October 2012
Directed by: Julien Temple
Cast: Michael Gambon, Hetty Bower , Miss Marsh , Tony Benn
Buy:London: The Modern BabylonOn DVD

Hammer Films DVD Special Edition Reviews: Rasputin, The Mummy's Shroud, The Devil Rides Out

The Hammer vaults flaunt perhaps the world’s greatest collection of classic horror.  Sure, the Universal monsters have garnered legendary status and are perhaps a little more dependable for production value, but for cult status and cast, the British titan has no real adversaries. Perhaps due to the company’s recent revival and the commencing of its film production (last years The Woman in Black starring Daniel Radcliffe was new-wave Hammer produce) classic Hammer films have been re-mastered and reissued on DVD and Blu Ray, making now the best time to own an integral part of cinema history.

Rasputin (1966)

Rasputin, a holy man with the power to heal the sick, slowly makes his way through pre-revolution Russia towards St Petersburg with the sole intent of working his way towards the Tsars, his ruthless pursuit of wealth and power mark him as a danger to all those who stand in his way.

                One of Hammer’s many historical-epics-on-a-tight-budget, Rasputin starring Christopher Lee as the infamous holy man-cum-mad-man is handled with diligent care and mindfulness to its capabilities. In less skilled hands the film could have appeared over-reaching, but with a solid cast and careful scripting it keeps its focus on character.

                It’s important that the film be labelled as a historic drama with a dark side (what history doesn’t have a dark side?) as opposed to Hammer’s typical horror, to label this a horror movie feels somewhat criminal and dismissive. The thing that constantly amazes is Lee’s wonderful performance as the boisterous, brutish, subtle, and manipulative Rasputin.  Never before, and possibly after, has Lee achieved that range of character; his ability to slip between the mad monk’s many faces is the prize of the feature and the staple that holds it together.  The film does unfortunately waver at points, losing its focus or drifting into less arresting grounds, but on the whole it’s an enjoyable a and unwholesome affair.

Directed By: Don Sharp  Cast:Christopher Lee, Barbara Shelley , Richard Pasco

★★★☆☆

The Mummy’s Shroud (1967)

The Mummy’s Shroud is perhaps the most bipolar in terms of quality out the three releases, at its best points it appears quant, romantic even, adventurous, and unsettling, yet on the other hand it can seem amateur and messy.  The third of Hammer’s Mummy films, Shroud allows itself to become victim to tedious writing, the typical story of “archaeologists warned against their escapades, unleash terror on themselves”, seems the basis for just about every Mummy film in existence. If you ignore the recycled narrative then the film can still thrill.

                Once the Mummy is awakened the film breathes new life into itself picking up pace. The Mummy scenes are actually quite vicious; Eddie Powell’s (Christopher Lee’s regular stunt double) slow cumbersome movements and the brutality of his Mummy’s attacks foresee a time when monsters like Michael Myers and Jason Voorhees would rule the screens. A fantastic climax leaves the film in good standing, but one can’t help but wish the rest of the film achieved that level of excitement.

                There are glimpses of style and suspense but too few to mark the film out, this along with the fact the feature is mostly a few tense scenes strung together with a lack of real grit, lure the film into a middle ground of average horror.
Directed by: John Gilling Cast: André Morell, John Phillips , David Buck

★★☆☆☆

The Devil Rides Out (1968)

One of the truly great Hammer contributions to cinema, The Devil Rides Out is an exercise in perfect occult horror. Adapted by Richard Matheson from a Dennis Wheatley novel, the film follows two old friends, The Duc de Richleau (Christopher Lee) and Rex Van Ryn(Leon Greene) as they try to rescue a deceased friend’s’ son from the clutches of a satanic cult. The cult, led by the diabolic Mocata (Charles Gray), will stop at nothing to retrieve the young man and punish those who crossed them.

                Jumping straight to the point is a key factor in the films’ success; the story keeps the characters moving and never takes a dull or pointless turn. A stellar performance from Lee (one of his very best, and personal favourites) ensures that the plot is guided carefully around any possibly ridiculous devices. One of the key strengths of the piece is Lee’s polar relationship to Gray’s equally mesmerising Mocata, the two play out a battle of wits whilst rarely sharing any actual screen time.  The action is kept in check, the plot is gripping, the Wicker man vibe is strong and helps put a stamp of purely British terror on the feature, plus there are more than a few genuinely unnerving scenes.     
The film is frequently criticised for its disappointing visual effects, but apart from a dodgy spider gag the effects work pretty damn well.  The appearance of the actual Devil is a terrifying visitation thanks to some brutally unattractive make-up, as is the appearance of the Angel of Death, things that out of context could seem dated, but given the sharpness of the script and Terence Fisher’s tight direction pulls off smoothly.

                Few Hammer films achieve the crisp and startling quality of this piece after all these years, and even fewer are almost faultless. The Devil Rides Out is not just a fantastic example of Hammer’s capabilities, but a perfect alignment of those qualities that evade most horror productions; a stellar script, perfect cast, and genuine thrills.

Directed by: Terence Fisher Cast:Christopher Lee, Charles Gray , Nike Arrighi

★★★★★

SCOTT CLARK

Your Sister's Sister Blu-Ray Review

Any one who says love isn't complicated must be reading too many Mills 'n' Boon novels need to get a grip of reality. Life is complicated but is also beautiful in it's simplest form just like relationships, so introduce Lynn Shelton the director of Humpaday to the mix. Take those simple conventions of life make them complex going on farcical but most of all situations become truly believable resulting in the charming Your Sister's Sister.

Lost in emotional slump for the past year due to his brothers death Jack (Mark Duplass) takes the advice of his best friend Iris (Emily Blunt) to spend a week at her family's remote island retreat for a week of solitude and reflection. Upon arrival at the house Jack discovers some one is already there, Hannah (Rose Marie De Witt) Iris Sister who is also there for reflection with the end result the pair spending an awkward night together. The following morning the pair get an unexpected guest when Iris arrives at their front door setting off boundless revelations, complicated secrets and emotionally twisted tale of siblings and best friends, loyalty and love.

When you have a film that has improvisation or even improvisation in any form it can be a risky move. In Your Sister's Sister what we get is something that's brutally honest most of all very sincere.Everything is kept believable thanks to the characters who are likeable as well as creating a nice chemistry between the three leads which never feels forced. To highlight how natural and flowing things where Shelton captures the moment with scenes were shot in one shot which is a rarity these days.

Your Sister's Sister isn't a laugh out loud a minute film nor a romantic comedy in the same description as the Romcoms we get these days a dime a dozen. I would go as far as calling this more a sitcom as it's all in the dialogue and the rapport of the characters, also we don't get bombarded with long winding info on each character just enough to know she was with him, he is a slacker, she was with her then with him and Bob is your uncle.

Everything seems to work thanks to the performances of the cast. Mark Duplass despite the one been lumbered at times with the films 'awkward moments' handles Jack's part masterfully balancing his character's mischievous buffoonery with endless insecurities. His handling of the character probably thanks to him been one of the founders of Mumblecore sub-genre, so if Duplass is Ying Rose Marie De Witt must be Yang. As Hannah she is cheekily manipulative , homewrecker of sorts but also a fragile troubled soul too.Emily Blunt as Iris delivers a safe performance and been the bigger name of the three cast members credit goes to her as she proves she has the ability to improvise an area many other bigger names have either tried and failed miserably or don't even go near. You may also ask how come Iris and Hannah are sisters whilst one is American the other British? Don't have to Sherlock Holmes to figure it out but I won't spoil the moment as it's a funny scene but it gives the film an extra dimension. With De Witt been a late replacement for Rachel Weisz you wonder if this film would have worked with 2 British female leads?

In words of a former Colleague Your Sisters Sister is also a film that will be enjoyed 'by dudes' just as much as women.There's no fantasy fairytale scenarios just 3 normal fragile souls in need of some 'me time' but now finding themselves in a rather crowded retreat,a crowed house that leads to some farcical results. For all it's charms Your Sisters Sister does at times fell a little stretched , even flat at times but thanks to the simplicity of the plot and great performances from the cast it keeps the film interesting but most of all entertaining. The end scene may frustrate some of you but as improvisation is the name of the game here Lynn Shelton leaves this point of the film for you to improvise.

Paul Devine

★★★1/2☆

Rating:15 (UK)
DVD/BD Release Date: 29th October 2012
Directed By: Lynn Shelton
Cast: Mark Duplass, Emily Blunt , Rosemarie DeWitt
Buy/Pre-Order Your Sister's Sister:DVD / Blu-ray

Lords of Salem Trailer

 At last we have the first trailer for Rob Zombie's latest film; The Lords of Salem. Zombie's film film career started back in 2003 with House of a Thousand Corpses two years later saw the release of the sequel:The Devil's Rejects, a significantly more grown-up film that really showed off Zombie's talents behind the camera. He rebooted the Halloween franchise, made a part two that was just as stylish and visceral, visited the world of the animated in The Haunted World of El Superbeasto. So far Zombie has garnered a significant amount of praise marking him out as one of the more interesting directors indulging in macabre cinema today, his latest film looks like it could be his most inventive, haunting, beautiful, and art-house flick.

Directed and Written by: Rob Zombie
Starring: Sheri-Moon Zombie, Ken Foree, Bruce Davison, Patricia Quinn, Jeff Daniel Phillips

Synopsis: The town of Salem is visited by a 300 year-old coven of witches, after a local DJ plays a record sent to her mysteriously by unknown persons.

SCOTT CLARK

Watch The Fantastic Portrait Of A Projectionist Short

When we go to the cinema we do seem to take things for granted and when changes happen we only seem to comment what we see in front of us if you like to say 'shop floor'. The ticket prices, snack prices, atmosphere of the cinema screen, quality of the film but everytime we do this we do forget probably the most important person....The projectionist. He or she is responsible of setting up the magic we pay to watch enfold in front of us but if your a lover of film (or cinephile as we call them at Cine and The People's Movies) they are also going through drastic changes thanks to the digital age.

35mm is dying been replaced by digital films, you could say it's the end of film, as many old films are too fragile to be transferred, you may not know if your local cinema has changed but where is 35mm film still running? Good question, Ridwaan Fridie, a projectionist from South Africa still is living the dream and he is the subject of Philip Bloom's fantastic short film documentary Portrait Of A Projectionist.

Portrait of Ridwaan Fridie. A film projectionist in the Labia theatre in Cape Town, South Africa for the past 24 years but with big changes on the horizon where does that leave Ridwaan?

If you love film in every way this short doc will go down a treat.

Portrait of a projectionist from Philip Bloom on Vimeo.

source:Firstshowing

The Night Child DVD Review

Chances are, The Night Child is not a title that most viewers will easily recognise. Fortunately, this little-known Italian horror from  1975 receives its UK DVD release from Arrow Video this month, much to the delight of many genre fans. Boasting chills similar to Don't Look Now, Who Saw Her Die? and Suspiria, The Night Child is not to be missed.

Massimo Dallamano (the renowned cinematographer of A Fistful of Dollars and For a Few Dollars More) directs this tale of a documentary maker (played by Richard Johnson) exploring the world of Italian Satanic art for a BBC television program. After gifting his daughter (Nicoletta Elmi)  an ancient medallion, she simultaneously begins to develop violent tendencies - surely that has nothing to do with the fact that this medallion belonged to a notorious young murderess.

Dallamano is a master of crafting atmosphere and tension with The Night Child blurring the lines between the horror film and an art piece. Alongside Dallamano's brooding and utterly unsettling direction, this feature also boasts the stunning cinematography of Franco Delli Colli (The Last Man On Earth). With these two major creative talents involved, The Night Child guarantees some beautifully crafted set-pieces and some truly unique scares. 

Credit must go to Dallamano for not simply falling into the trap of writing a rehash of The Exorcist. The director fills the film with religious iconography, tailored to the atmospheric Italian setting, as well as the use of flashbacks showing the dark history of the medallion. Thankfully instead of relying on dated make-up effects (like we see in so many possession features), The Night Child leaves the work to the stellar acting talents of child star, Nicoletta Elmi (Who Saw Her Die?), who dominates the screen as the possessed young Emily. There are some real moments of cool Italian charm here - you would never see Linda Blair's Regan MacNeil smoking a cigarette and giving her nanny an icy stare, like we see Elmi do in The Night Child.

Staples of the genre do feature, some handled with a campy charm - mainly a scene stealing turn from Lila Kedrova as a tarot-card obsessed confidant of Johnson's character.  For all the avid croquet fans reading (queue tumbleweed), you are unlikely to want to play by a cliffside after witnessing the fate of one of Emily's victims. This scene in-particular is one of the standouts of The Night Child, showing Emily's nanny sent tumbling down the cliff into a barren river is likely to send a shiver down your spine. Other moments, including one sequence which looks like an early version of The Omen glass sheet decapitation scene, helpfully remind us that The Night Child is a film way ahead of its time. 

Once again, this feature has been lovingly restored by Arrow Video, with stellar picture quality and an insightful  short documentary on the Italian possession film.

The Night Child is a stunning piece of Italian horror. Dallamano's visually rich direction and unique scares show that this is by no means a cheap imitation of The Exorcist - in my opinion it is equally as enjoyable.

Andrew McArthur 

★★★★☆

Stars: Richard Johnson, Nicoletta Elmi , Lisa Kedrova
Director: Massimo Dallamano
DVD Release: 25th October 2012
Certificate: 15 (UK)

Beast Of Southern Wild Review

Having spent the majority of 2012 hovering up accolades at numerous worldwide festivals, Beasts of the Southern Wild arrives in blighty to compete for yet another award at the London Film Festival (the Sutherland award for first feature) before its general release on Friday. Seen as one of the trending ‘green issue’ films when it premiered at Sundance in January, Benh Zeitlin’s is a startlingly assured debut and one that will mark him out for bigger projects and budgets.

His take on the environmental issue is not littered with numbers or facts choosing instead to go for the emotional jugular, hitting his mark with a near folkloric tale of 6 year-old Hushpuppy and her sick yet strong father Wink…yes the names are a bit much. The two live in ‘the bathtub’; a flood risk plain of the southern delta of America and home to a drinking rabble of idealists, drop-outs and elderly couples all instilled with a joire de vive that allows them to celebrate rather than fear their unusual homeland.

Zeitlin plunges us into the mud, dirt and maggots of the bathtub and all its creatures – human, farmyard and sea, unafraid of getting our fingers dirty. This living, breathing squalor lies alone, cut off from the mainland by a great barrier allowing Zeitlin to create an almost mythical community detached from the worries of ours and fill it instead with a world of magical realism and no little style.

Hushpuppy’s near Buddhist take on the Universe being a finely balanced place dependent on ‘everything fitting together jus right’ creates a heartbeat for the film – one made overt with the throbbing pulses of the many creatures held to Hushpuppy’s ear. It’s when a storm threatens to ruin her homeland for good that the earths impact starts to turn her zen like view into a tale of survival. The weather turns, water rises and Hushpuppy is quickly forced to make the most of the skills her ailing father has taught her. Brought with it are the beasts of the title; pre-historic giant boars set free from their ice-capped tombs and free to plunder all before them.

The inevitable backlash may already be underway – the vague, poetic one-line musing narration, elements of poverty porn and the music video qualities of the pre-credit sequence all feeling the ire of some but there is far too much wonder in the whole to focus on the minute. The sense of community in the bathtub may not ring particularly true but it’s one conjured up with real affection. Beautifully lit and photographed, this rough and ready backdrop becomes a character of its own as, aided by his own score, Zeitlin successfully creates a tone unseen in American cinema away from a Terrence Malick film.

Much of the plaudits are coming the way of 8 year old star Quavenzhane Wallis, with talk already turning to a possible Oscar nod – an understandable if slightly knee-jerk reaction to the capabilities of a minor holding her own in such an inventive film. Surely, however, much of the praise must be attributed to Zeitlin himself. He has crafted a visionary, rich and warm feature that belies his relative novice and, in the shadow of Katrina’s clouds, forced an issue as important as environmental concerns almost subliminally into screens around the globe.

Matthew Walsh

★★★★½

Rating: 12A
Release Date: 19th October 2012 (UK&Ireland)
Directed by: Benh Zeitlin
Cast: Quvenzhané Wallis, Dwight Henry, Levy Easterly