Reviews

Eighties horror nonsense, only notable for the good looking Brian Krause of Charmed, alongside Alice Krige as a mother and son in a decidedly bizarre non-PC familial relationship. The plot is silly, and only worth mentioning in that Cat's Eye did it better with the life force being taken from innocents. A who's who of horror & fantasy writer/directors ham it up in cameo performances, Tobe Hooper, Clive Barker, Joe Dante, John Landis and cult favourite, Ron Perlman. Also featuring a manically weird performance by the master of horror himself, Stephen King. Oh, and lots of cats, most notably Clovis, the Attack Cat, who did attack splendidly and probably stole the show as far as the acting went.

First off, I wondered why Cineworld decided to basically shove this film into a missable time slot and one week run. Yeah, I get it. It was admittably at first glance, a pitifully low budget film like a stage play transferred to the screen but that didn't mean it could have not have worked. The lack of stand-out vfx, the barely workable dialogue and wooden by the numbers delivery by half the cast, the others led to overdramatizing a simple line in order to lend weight to their appearance - led me to feel that the whole production was conducted over an intensely short time limit and consequently was rushed to completion every step along the way. I feel that it's likely the original scope of the movie was bigger, with a consequently bigger budget for everything, especially vfx. In the end, it turned out to be a make do production.

The basic idea of a Romans Vs Werewolves story, from a dark age of Britain, set up in the North far from civilization with only the wild Pict barbarians for any interest in a barren cold unforgiving land - is a good basis for a horror story. Writer & director Stuart Brennan also acted in this film too, and it shows. Like a one-man self-production, if I hadn't been sure he was on screen, I would have thought he was manning the camera as well. Stuart Brennan has made a worthwhile contribution to British film-making out of self-producing, writing, directing and acting at various times in his films across his career in film, and at times has carried it off well. Though, not this time.

In execution, the film comes across like a BFI film school student movie. In which case, as it was shot - yes it would have worked brilliantly as a short of about 25-30 mins. And of course, Brennan should have relaxed the reins and only stuck to the actor and writing duties, there then would have been scope for another director to make more out of the film in the shortened time allowed, tightening up precedings considerably and giving it a short, sharp shock delivery.

Some of the female actors playing warrior women and soldiers at times actually felt natural and of their time period. Though the costumes and dressing of the actors were mostly an afterthought, and this had a profound effect in the way they portrayed their roles as fighters. Also not enough rage was shown by the infected soldiers to project the pain and madness that overcame them, as the infection proceeded to ultimately change them from human to beast. The swordplay could have been more effective. One particular scene could have been made much more dramatic, exciting and effective if the camera shutter ran at double speed for the swordplay scenes in order to crank up the action but slowed down to half-speed when this could have been used to show the disorientation of the agitated scared soldiers - and the infected trying to cope with the increasingly sickening effects of the werewolf bites. These are are staple of movies action sequences and done well is pleasing to the viewer. I think there may have been some camera shutter speed effect during the villager storytelling flashback scenes.

I did enjoy the landscape scenery, so kudos to the location manager, the cinematography was quite good overall and kept me in my seat at the cinema - except for the staging of the night scenes, in the circumstances given the overabundance of lighting which is a definite giveaway to a film's low-budget origin, if not done well. This led to a lessening of any tension that would naturally have been felt by the viewer, as the soldiers huddled together can't see anything beyond a few feet around them, yet the camera seems at least 30-50 feet away in order to get everyone in shot, so too much light in the scene. The only thing I will remember fondly of this film a year from now, is the quick speed flash movements of the werewolves, the camera work and sound in these instances provided genuine apprehension and heightened tension.

I have read the laughably brief 1/10 rated copy and paste parrotted reviews left on and I'm certain most reviewers couldn't be bothered to spend time actually stating what it was they absolutely abhorred about this film, so just copied the previous review. In doing so, other reviewers who may have had some to contribute just decided not to, and let the film stay dead without providing any help by trying to revive the poisoned corpse. I unbelievably still admire this film even if it did leave me totally unmoved.

If this film ever makes it to TV, Horror Channel or Film4, I will watch it again to see if there was anything I missed in the actual storytelling itself. Not the filmed action. If I had watched this on TV, I probably would have changed channels or left the cable box on record to catch up with it later when I was bored. 5/10 rating - worth watching if nothing else is at hand on TV or as a download.

Edit: May 2020. I revised down my rating, but I still believe that this film deserves more than the 1/10 or 2/10 rating that most reviews have given it. I just watched a Mystery Science Theatre 3000 episode "reviewed" watch of Hamlet, the TV version from 1960 starring Maximilian Schell - a great actor normally, but utterly wasted on this production. And seriously, not even the jokey live commentary by the MSTY 3000 spaceship crew, saved this Hamlet. It was s*** and I can't believe this episode ever aired. Now that is a 1/10 review. Not even swearing, gratuitous nsex and violence would have saved this Hamlet. So, in comparison, Wolf (2019) is a masterpiece - 10/10!

Arthur Tracy aka the Street Singer plays himself as a careworn artist run down from the pressures of fame. In need of rest away from the stage, he runs off into hiding, sparking media interest into his disappearance. Tracy comes upon a travelling band of gypsies, feels attraction for their simple way of life and of course falls for the lovely Susan, played by Lilli Palmer, who is the daughter of the gypsy chief. He also meets Betty, played by young Rae Collet, a very cute little girl who becomes enthralled with Tracy after he sings A Whistling Gypsy Lullaby. His main performance is in the Command Performance being broadcast live on radio, where he sings The Toreador Song from Carmen; he also reprises the Whistling Gypsy Lullaby song on stage in the hope that it would be heard by the ill Betty before he is able to go to her bedside.

Tracy's singing voice is charming and suited of the period in the thirties and his vocal strength lifts the songs above the standard fare found in such artist driven vehicles of the time. Talking Pictures TV - Freeview 81

Eccentric millionaire Frederick Loren (Vincent Price) concocts a complicated and fiendish plan to catch out scheming would-be murderers, his wife blonde femme fatale Annabelle Loren (Carol Ohmart) and concerned psychiatrist Dr. David Trent (Alan Marshal). Frederick invites a motley crew of guests as party attendees for his wife's party, offering each of them $10k to stay all night locked in the haunted house, scene of multiple murders in the past.

One of the guests, the house owner Watson Pritchard (Elisha Cook Jr.), is a survivor of a previous incident during which his brother was murdered. And seemingly two steps away from being committed himself, Pritchard has returned to warn the others of the terrors of this house and possibly meet his fate. The action revolves around the murder plot and forces test pilot Lance Schroeder (Richard Long), into an investigation of the house's secrets in order to find a way out of the house, so he can contact the authorities. Scream queen secretary/typist Nora Manning (Carolyn Craig) forces the pace along screaming the place down and jumping at shadows at every opportunity.

Although this film was made in 1959, it follows the normal path of this type of haunted house movie, where a clueless group of people are frightened into taking precipitous actions while armed with guns - due to sheer terror. False walls,traps, red herrings and suspicious motives of all the guests locked together in the house until morning.

Talking Pictures TV - Freeview 81.

Mostly every other reviewer has already reviewed the film adequately so I don't need to repeat that. I enjoyed the story and it made a good romantic holiday movie, light on faith, but strong in the bonds of fellowship with friends & family.

The only part of this story that seemed original and true to the situation though, was the fact that Cody spent night after night in the lumber yard workshop making the wooden bench for the area at Luke & Rosie special place, as a celebration of love. It seemed to me that apart from falling in love with Faith, and Nevada City; Cody wanted to leave something substantial behind when he returned to Afghanistan.

The romance seems believable and heartfelt, and is an all-round feel good family Christmas movie. The veteran / serving soldier elements feel a little misplaced in this movie and should only be considered as a prop to build the plot on.

At an RAF reunion, an ex-RAF, dashing American pilot Paul Smith tells of his now heroic career as a test pilot. A minor fight occurs, instigated by Peters, now a surly import/export businessman - turns nasty during which quick-tempered Stevens threatens to kill him. The other chaps break up the fight and explain that Peters is alright when he hasn't had a drink. Stevens has another drink, which has been spiked. Later they all drift off and Stevens leaves after the party. Next day Stevens awakes with no memory of the night before since leaving the reunion and finds blood on his suit. He discovers that Peters has been killed and realizes he has become the chief suspect.

He has been setup and decides to relive the events of the night before, ably abetted by fiancée Louise Parker in the process of seeking the truth - and hopefully supporting evidence, in order to clear his name, before he is arrested for murder by the police. In doing so he ends up acting as a private detective investigating all his old war buddy suspects.

The police are always once step behind the protagonist in the chase to question him on (multiple) murder charges but two steps behind in their investigation. The Scotland Yard head of the investigation detective treats the whole affair as something to keep his sergeant awake, sending him from seemingly one dead body to another, and from one poor alibi to another for all the suspects. Who all have reasons to lie about who & what they know regarding the dead import/export businessman Peters.

A lot of action happens at night conveniently and lends the film a noir coating that produces a modicum of real menace at times and passes the time in a brisk fashion with a straight-forward denouement and delayed nuptials. The pacing is adequate and does enough to hold your interest. And despite the darkened London landscape and the recurrent 'I say, see here, old boy' type of speech that is strewn throughout the dialog, the film's themes and story line place it neatly into the American style of film noir.

Starring Mark Stevens and Jean Kent, the cast includes a sprinkling of well-known British stars - John Bentley, Thora Hird, Sam Kydd, Jack Lambert and Cyril Smith. 6/10.

American ballistics expert Howard Graham is in Istanbul, Turkey. After being recalled home to the USA, he dim-wittingly stumbles hesitantly through an assassination plot from one dilemma to another in ever-decreasing circles while trapped on board a ship travelling to Batumi, a Soviet port. The snare he finds himself in, involving the differing military interests in Turkey, grows tighter by the minute, leaving him bewildered.

Orson Welles contribution as Turkish secret police Colonel Haki is quite understated in this film, not allowing his presence to dominate the screen, so instead showcasing the lead actor's talent with the screen being hogged by Joseph Cotten. We follow his character Graham weaving along a dark path of distrust and treachery, that ultimately leads to a fatal confrontation between the competing conspirators in a nighttime, rain-soaked Turkish hotel. Ruth Warrick plays Graham's wife and sultry Dolores Del Rio (at the time of filming, Wells's current partner), a courtesan and traveling companion, are the feminine interests. Eustace Wyatt provides the meat of the Nazi lead villain - Muller, with Jack Moss as the creepy bespectacled assassin Banat.

Directed by Norman Foster from an Orson Welles - Joseph Cotten screenplay; Journey Into Fear is anything but that and feels solely as a director-actor combination contrivance for the studio's (possibly contractual) need to provide the release of product. Even one as butchered as this, RKO failed to damage Welles's long term acceptability and credibility, though Welles did enough damage to his career himself. As wartime espionage, the plot though apparently convoluted, is simple and formulaic, with the proceedings plodding, the action minimal, the ending coming sooner than expected and unwelcomed. Contributed in part by harsh editing, to the rushed pace of the final reel. As a film noir, it also fails to grip the viewer due to lack of suspense & tension and little emotional connection with the protagonist. This makes it for me, one of Welles's least successful films - one to forget.

Other reviewers have taken time to detail the film's failings in plot, execution and continuity, which most likely was due to the severing of connections between RKO and Welles's Mercury Productions prior to the film's release. I am not bothered and truthfully I have spent far longer in reviewing this than is necessary, but wanted to state why it disappointed me so much. I feel that later viewings may elicit a better psychological & emotional connection with the film, now the plot generally holds no significance.

I watched the British released version, without as I have been advised elsewhere, the USA version's opening narration or final letter scene between Haki and Graham.

The UK version presented by Talking Pictures TV recently, premiered on Freeview 81; prior to the end credits finished with Graham outside in the torrential rain on the (third-floor?) hotel ledge gripping the wall - when his wife Stephanie, unaware of much of the proceedings, calls to him emphatically to come down immediately as if he is a stupid boy.

Other reviewers have given their decisions on the worthiness of this film, its plot & the character portrayals within. I am not going to go over the same ground but go into the on-screen motivations of the characters I saw.

The interesting standout thing I noted was that, it is revealed in the last scene at the end of the film, that Boris Turganev was a British agent - who after now being convicted of espionage, was to be allowed to escape and return back behind the iron curtain to continue working for the British. Stephen Murray's portrayal of the spy Turganev was that he seemed genuinely to detest what he was doing and actively wanted to prevent the deaths of anyone involved, good or bad.

So Turganev was a pacifist scientist in reality even though he was a spy. Even though she was brilliant and close to a scientific breakthrough, Turganev tried to persuade Leila (June Thorburn), a female scientist he became fond of, to leave her work and marry the man that loved her. Knowing like him, Leila might later to have to compromise her scientific ideals in order to continue to develop her work.

Talking Pictures TV - Freeview 81

Castle Sinister is a WWII spy murder things-that-go-bump-in-the- night romp that never really takes itself too seriously. The atmospheric brooding dark Glennye Castle is itself a character of the film and as such it gives the most convincing performance of all concerned. Starring relatively unknown British actors & actresses.

The protagonist is a government agent sent up to investigate the rum goings-on at Glennye, where a local agent has been killed and another recently gone missing due to the supernatural appearances of the local spirit. Glennye is supposedly haunted by a hooded, robed spirit of a previous dead lord of Glennye. At the outset this seems a plausible and possibly entertaining murder mystery yarn put in the war context but turns out to be even more far-fetched than a robed hooded spook.

The ploy is threadbare and the acting one-dimensional, let alone wooden. Even after the goings-on have been fully explained I still failed to fully grasp the real motivations behind what was going on, and was left very much like I had just watched a b&w version of a Scooby Doo movie - the only thing missing was the bad guy stating 'I would have gotten away with it, if it wasn't for those pesky kids!'

Talking Pictures TV - Freeview channel 81, Sky 343