Showing posts with label Creature. Show all posts
Showing posts with label Creature. Show all posts

Friday, October 31, 2008

Jack Brooks: Monster Slayer (2007)

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PLOT:


Remember those blissful nights you spent, out in the forest, camping with your family? Remember the fire, the marshmallows, the storytelling? Remember your family being ruthlessly slaughtered by a forest troll? No? Well, Jack Brooks does. And he’s pissed. Since that time, Brooks (Trevor Matthews) has become a plumber (and my understanding is that this means he’s voting for McCain), one with an immense anger issue. How does he cope with his anger? Considering the title of the movie, you can probably guess.

The monsters in question--the monsters who Jack Brooks must slay--are led by Professor Gordon Crowley (Robert Englund), who teaches night school for a group of ne'er do-wells, Jack among them. Prof. Crowley is a well-meaning old chap who unfortunately runs afoul an evil black heart that takes him over, and gives him the power to create zombies. Or something. Zombies that Jack Brooks must slay. In the process, Jack overcomes his anger issues, and saves some members of his night class--but not all of them, or it wouldn't be gory enough.

REVIEW:


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Jon Knautz’s Jack Brooks: Monster Slayer is a harmless and fun creature feature, the kind of thing that you can pop on when you want a few laughs and a cheap thrill. It’s not really audacious, or ground breaking, or even particularly interesting, but it’s entertaining and it's reasonably well done. I guess this is damning it with faint praise, but all things considered, Jack Brooks doesn’t really screw anything up, and in the realm of low-budget horror films, that definitely counts for something.

The film is anchored around the performances of Englund and Matthews, and both are up to the task. Englund is able to give the sort of schlocky-yet-consummate performance you’d expect from an actor who has been living and breathing the genre for years--he’s practically this generation’s Vincent Price. He might not try very hard, but he doesn’t have to. Prof. Crowley’s an amiable guy, and Englund plays him in such a way that you can’t help but feel bad for him once he’s taken over by the ancient, evil force, making him the bad guy of the film.

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Matthews, a relative newcomer, plays Jack as a high-strung loser, an average dude who can’t catch a break. His dialogue, though forced, is usually good for a laugh; complaining about his violent temper, he says: “Fuck man, I broke a bottle over my head once because I couldn’t open it! I mean, you know… that doesn’t even make any sense!”

There are no computer graphics in Jack Brooks, so some old timey horror purists should be happy--for instance, the monster that Prof. Crowley eventually morphs into is a gigantic puppet that took as many as eight handlers to operate at one time. In this sense, it has a definite old school feel to it; it’s kind of like a Stuart Gordon film (though less sleazy), or Evil Dead II (though less funny). Though low-budget, most of the monsters are quite impressive-looking; the cyclops and the Professor-creature are perhaps the most entertaining of the bunch.

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The Anchor Bay DVD of Jack Brooks: Monster Slayer is presented in its original 1.78:1 aspect ratio, and contains a host of special features, including an audio commentary with the director, the writer, the composer, and Jack Brooks himself, Trevor Matthews. It’s nice to see a few behind the scenes videos; one that gives you insight into the monster-making process is interesting, but I’m not sure that anyone needs to see video from the World premiere at Sitges. Storyboard comparisons; a still gallery; deleted scenes; an art gallery; the trailer--all that shit is there.

Jack Brooks: Monster Slayer may not break new ground, but it’s good entertainment for anyone who wants to kill 80 minutes with some decent laughs, some old school monsters and gore, and a reasonable amount of bloodshed. Though I can see the humour falling flat for some, in most cases I think it hits its mark, and though the film might wait too long to bring on the real bloodshed, the final battle is gruesome and fun enough to make up for it.

Thursday, June 5, 2008

Fiend Without a Face (1958)



The most interesting thing about the DVD release of Fiend Without A Face is, frankly, the company that released it. The Criterion Collection prides itself on releasing "important classic and contemporary films", and indeed the company pioneered "special edition" releases of the most well regarded films, ranging from Citizen Kane to The Seven Samurai.

Their definition of "important" has been criticized as they released films like The Rock, Armageddon and The Blob, however those films have a cultural importance (and fan-base) that justified their releases. Fiend Without A Face has quite a fan-base as well, collected from decades of television showings and blurry memories of the film's creature. That being said, while Fiend remains an entertaining, above average science fiction creature feature, i'm not quite sure it deserves to be among such luminaries.

Taking place on a Canadian based American Air-base (though actually filmed in England), the film centers on a series of mysterious killings that the locals are blaming on nuclear experiments (dealing with cold war missile control) taking place at the base. Faced with growing unrest, Maj. Jeff Cummings (Marshall Thompson) decides to research the incidents, leading him to Professor Walgate (Kynaston Reeves), a scientist with experience researching telekinetic abilities. After forming a relationship with the scientist's assistant (Kim Parker), Cummings discovers that the bodies of those killed have had their brains and spinal cords removed from their bodies. Christening the attackers as "mental vampires", Cummings discovers that Walgate's experiments have gone out of control, and their power is growing thanks to the nuclear tests.



The creatures themselves are truly unforgettable. Disembodied brains with antennae and a wriggling spinal cord behind them must have been an eye-opener for impressionable youth in the 50s, and the stirring, bloody climax of the film was something unheard of at the time. In fact, the film was edited for violence in both England and the United States, and banned outright in several other countries. Compared to films today the violence is certainly tame, but it's not difficult to see why audiences (and reviewers) were disturbed by the content in a pre-Blood Feast world.

The creatures are brought to life through some sub-Harryhausen stop motion effects that still remain effective, though charmingly dated. When shot, the creatures explode with blood and eventually melt gruesomely. However, almost all of these very amusing effects take place in the film's final 15 minutes.

Unfortunately, the creature is mostly what remains worth recommending about the film. The acting ranges from passable (Marshall Thompson in the lead), to laughably bad (Stanley Maxted as Colonel Butler), and the first 50 minutes of this 74 minute film move at a slow pace, the creatures remaining invisible when they attack. The direction by Arthur Crabtree is flat and pedestrian, and while the script (by Herbert J. Leder, director of some notable monster movies himself) throws out some entertaining scientific gobbledygook, the pacing is terminally slow.



There are also strange inconsistencies in the plot, particularly when it comes to the relationship between Cummings and the professor's assistant. She bitterly chides him for upsetting the professor in one scene, and then makes sympathetic eyes at him in the next. Such plotting errors are to be expected in genre films of the era, but one would hope that a film in the Criterion collection would be a cut above. Unfortunately this is not the case.

While I question the choice of releasing the film in the first place, Criterion (as usual) did a great job with the presentation. The film suffers from print damage in the first ten minutes, but after that the print is clear of significant damage and presented in its original 1.66:1 ratio.



They were also able to come up with some interesting special features, the most significant being a full length commentary (actually a conversation) between author Tom Weaver and executive producer Richard Gordon. The track is candid and genial and features some wonderful information regarding the film's production. I'd go as far to say that the commentary is often more entertaining than the film itself, as Gordon's memory remains sharp and Weaver is a good-natured interviewer.

We're also treated to an illustrated essay on British science fiction and horror film written by Bruce Eder, as well as trailers for The Haunted Stranger, Corridors Of Blood and The Atomic Submarine. Finally, there is a photo gallery with commentary from Gordon, as well as a gallery of vintage newspaper advertisements.



I don't mean to be harsh on what is actually a very memorable b-movie, I just feel that its reputation comes more from the messy, exciting climax (said to have inspired Night Of The Living Dead) then the hour or so that comes before it. Worth seeing, but don't go in expecting a science fiction classic.