Reviews from the Future

Great reviews although I don't think that much of Daughters of Darkness. It's easy on the eyes and has a certain atmosphere, but whenever I watch it, I keep expecting more of something which I don't get (which your review implies). On the other hand, I certainly get more than I bargained for in The Fourth Man, and I'm queuing it up now because I keep meaning to since most of my friends/family haven't seen it. It's pretty much a mind-blower.

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I've not seen The Fourth Man in years, but I remember really liking it. Not that unusual for me, seeing as I usually like Verhoeven's work.

As always, thanks for reading my thread guys, really appreciate the comments.

I did spare you a thought whilst watching Daughters of Darkness, along the lines of I bet Mark doesn't like this movie.

It's a minimalistic experience and I do admit to finding the deliberate pacing frustrating...almost. It's just that I was too busy doing Jungle Book snake eyes at Delphine Seyrig to even consider averting my gaze to ponder the weather. I think a lot of what you get from the film depends on how much you dig her performance, and I'm just a real sucker for glamorous seduction. The supporting cast come off as rather wooden and stilted by comparison, but I'd like to think that was a deliberate ploy on Kumel's part to make her seem more than human. By the end of the film I was almost ready to be her slave which is testament to how well it worked for me. As you say there is a distinctive desolate, bleak atmosphere to the Daughters of Darkness which almost feels like it's taking place at the end of the world-beyond time. Style over substance perhaps, but films like that are like poetry, so I guess you take what you want from them.

The Fourth Man just blew me away, and I probably should have rated it higher in retrospect. I bought the Korean disc on that one because the UK and US editions appear to be OOP.

HK, thanks again for dropping in. I've just noticed you've got a favourites thread on the go and will give it a look later after work.

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100 Favourites From The Future: REWIRED

Targets (Peter Bogdanovich, 1968) +
Bogdanovich's deeply allegorical debut feature might just be one of the best under-mentioned horror thrillers of all time. Whilst the director is best known for period rites of passage classics like The Last Picture Show (the film he made next), and Paper Moon; I find it odd that Targets doesn't garner more of a mention from fans of cult horror cinema - especially considering the perfect casting of Boris Karloff in his final screen appearance...

Aging horror film star Baron Orlok (Karloff more-or-less playing himself) feels he's an anachronism in the face of modern society, and subsequently announces his retirement from the business. Orlok's dismayed director best friend Sammy Michaels (Bogdanovich) swears he has the perfect script for him, but the Baron insists his last public appearance will be made the following evening at a drive-in theatre. Meanwhile Bobby (Tim O'Kelly) is a detached, gun obsessed young man who embarks on a killing spree that sets him on an unintentional collision course with Orlok...

For a lean scripted low budget debut feature Targets has uncommon narrative depth. Perhaps most fascinating is Orlok's notion that his old school, melodramatic brand of gothic terror, no longer has relevance when considering the contemporary horrors of sixties America. This he demonstrates with a murder story splashed across the front page of a newspaper, and the notion that nobody finds him scary when people kill without reason. It also carries extra weight considering the country was already in the midst of the Vietnam war. Karloff's performance is a wonderfully nuanced mixture of weary knowing humor, and sombre yet fond reminiscence of glory days gone by. This is intercut with the actions of cold calculating Bobby (who may or may not be a Vietnam veteran - an eerily prophetic character considering the Zodiac Killer would rear his head later that year). A man who calmly kills most of his family before casually taking pot shots at motorists on a highway, in a chillingly realistic sequence (pictured). If Tim O'Kelly gives a relatively insular, monotone performance; then the contrast between his very real monster, and the humanist depiction of Orlok - the introspective fictional boogeyman - is a masterstroke.

The climactic final reel of Targets is perhaps the most symbolic and memorable of the film. With nowhere left to hide Bobby resorts to shooting at drive-in patrons from behind the screen itself. The image of his rifle barrel aiming through a tiny hole whilst Roger Corman's The Terror blazes across the screen is unforgettable. A literal metaphor of film effecting the audience, as Bogdanovich may well have been asking the age old question as to whether art imitates life, or visa versa. The knowledge that drive-in horror cinema of the seventies would take a more cynically bleak and violent outlook only makes the themes and imagery of Targets all the more poignant. The fact that Targets is incredibly suspenseful and moving, as well as being a dream swan song for Karloff; elevates it to greatness.

Pretty Poison (Noel Black, 1968)
Adapted by Lorenzo Semple Jnr. from Steven Geller's novel She Let Him Continue (and not to be confused with the 1996 TV movie of the same title); Pretty Poison is another overlooked cult gem with hidden depths, and a deliciously mean streak of blackly comic psychological horror.

Arsonist Dennis Pitt (Anthony Perkins who made a career of playing nut jobs) is released on probation from a mental asylum, and takes up a job at a chemical plant. A fantasist and day dreamer; he's soon wooing sexy teenage beauty Sue Ann Stepanek (Tuesday Weld) by pretending to be a secret agent and filing her head with notions of covert CIA missions. She believes him and complies with his every whim, both carnal and probation skipping. But her apparent sexual awakening and craving for excitement soon lead to mayhem and murder, as the lines blur between manipulator and manipulated...

Pretty Poison is graced with an engagingly bright, witty script, and two fine performances from Perkins and Weld. Although typecast; Perkins imbues Pitt with a delightful boyish charm and whimsical naivety that's a joy to behold. Weld is equally brilliant (perhaps more so) as the decidedly deadly Sue Ann; a butter-wouldn't-melt minx who's happy to play along with Pitt until he's served his purpose. In support Beverly Garland also shines as Sue Ann's bitchy nemesis mother; the thorn in Pitt's side determined to split the pair up. This dynamic combined with snappy dialog, elevates what might seem like an unremarkable, dated, even predictable central premise; into something truly satisfying. The film manages to remain ambiguous regarding Sue Ann's true nature, whilst maintaining audience sympathy for Perkins' troubled character. Whats more there's a wry sense of irony concerning Pitt's evasive relationship with his compassionate probation officer (John Randolph) - the only one who gives two hoots about him. Perhaps best of all however is the film's ability to be both amusing and disturbing without meandering or becoming uneven. All in all a treat.


[EDIT] The previous post was split into two to allow Yoda to tag them at his discretion.

Good reviews, as always, UF. I didn't know of Pretty Poison, but I'll keep an eye out.

Excellent review of Targets. Tragically underrated film.

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Thanks for reading again guys.

Great review of Targets (though I skipped a few bits were I felt a potential spoiler coming). I liked the sound of it so recorded it a few weeks ago, and that review has just made me more interested in watching it.

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Twisted Nerve (Roy Boulting, 1968)
One of the most controversial British films of the late sixties; Twisted Nerve was banished to virtual obscurity thanks to it's spurious scientific links between the siblings of Downs Syndrome children (a condition unfortunately referred to as Mongolism in the film) and psychosis. Despite a pre-credits apology/retraction no doubt originally inserted in a desperate attempt to placate angry critics and health professionals (and which amusingly still precedes the UK Optimum dvd release); nothing could undo the damage of such negative publicity and Boulting's thriller was undeservedly banished to the movie dungeon of shame. Hardly surprising considering co-writer Leo Marks had already fallen foul of the establishment eight years earlier after penning Michael Powell's Peeping Tom.

Twisted Nerve follows Martin Durnley (Hywel Bennett) a sharply intelligent, but disturbed young man; mollycoddled by his doting mother, and despised as lazy by his disciplinarian stepfather (Frank Finlay). Unbeknownst to his family Martin has a secret child like alter-ego called Georgie, whom he often uses to manipulate people and situations. When his stepfather evicts him, Martin once again becomes Georgie in order to befriend a kind hearted young girl, Susan (the lovely Hayley Mills); after she helps him avoid prosecution for shoplifting a small toy. Obsessed, he's soon concocted a scheme to move in with Susan and her sexually frustrated mother (Billie Whitelaw) who runs a boarding house. Clearly besotted with this attractive and compassionate new friend, Georgie proceeds to woo her, whilst plotting revenge against his stepfather...

Watching Twisted Nerve today and it's hard to see what all the fuss was about considering the initial disclaimer. The film itself is a rather effective Hitchcockian psycho-thriller come character study, with a thoroughly convincing central performance from Hywel Bennett. As Martin he's a chillingly unlikable, cold hearted, if sporadically amusing psychopath. But as Georgie you'd be forgiven for feeling a pang of sympathy for the seemingly vulnerable simpleton manchild he imbues. The support is fine from Hayley Mills as the naive young Susan, and quite brilliant from Billie Whitelaw as her widowed mother who just can't help bedding sleazy boarder Gerry (Barry Forster). Elsewhere the film builds to some wonderfully tense moments, not least of which Martin's initial act of murder, and the climactic revelations concerning Georgie's true motives. There's a wonderfully perverse sense of sexual tension on the part of Georgie towards Susan, and a satisfying feeling of unpredictability as to what he's capable of as Martin. Also worthy of note is Bernard Herrmann's now famous spookily whistled theme tune thanks to Quentin Tarantino re-using it for Kill Bill. It seems even Alfred Hitchcock himself liked the film, as he cast both Billie Whitelaw, and Barry Forster in his highly regarded 1972 thriller Frenzy. Overall this gets a big thumbs up from me. I'd even go as far as to say it's a new top one hundred favourite; if I ever bother to update my list that is.

For some reason I get this confused with The Beast In The Cellar. No idea why. I don't know if I've seen this or not. I suspect not, but all those late 60's/early 70's British horrors kind of dissolve into one, unless I've seen them in the last 10-15 years.

I think you'd definitely remember this one if you'd seen it HK. It struck me as something you'd really like. I've been trawling through a lot of late 60's/early 70's psychological thrillers recently and this one impressed me more than anything else; hence the full review. I'll also try and get a review up soon of that 'other film' you mentioned recently
Once again thanks for reading and commenting - always appreciated.

Tower Of Evil aka Horror On Snape Island aka Beyond The Fog (Jim O'Connolly, 1972)
This is another forgotten gem of early British exploitation-horror that exploded onto my radar like Zabriskie Point a couple of months back. Cue an instant high priority reservation on LoveFilm and the inevitable words 'long wait' next to the title. But like all good things Tower of Evil (or TOE as I'll lazily refer to it here) finally arrived...and considering my insatiable appetite for lurid ahead-of-it's-time trash...then a good thing it certainly was and is...

After a satisfyingly atmospheric opening credits sequence depicting said tower (a remote island lighthouse) enshrouded in fog; TOE kicks off with two crusty sailors setting foot on the island and discovering a bunch of dead hippies. These two make captain Ahab look about as intimidating as a bottle of Matey bubble bath, but even they're more than slightly perturbed at the discovery of a homicidal female survivor. Fast forward to London and the poor girl is subjected to psychedelic memory regression through hypnosis involving what looks like a mobile youth club disco. We learn from flashbacks that she was one of four randy hipsters (including a pre Confessions Robin Askwith) who went to party on the island and got moidered. In the meantime a bunch of adulterous archeologists have also headed to the island in search of Phoenician treasure they believe to be buried in caves there, after one such artifact was used in the original killings. Probably not the best idea considering that whoever or whatever took a disliking to the hippies...is still lurking there...

With all of the island action shot on an endearingly creaky sound stage, and photographed by seasoned veteran Desmond Dickinson (The Importance Of Being Earnest, A Study In Terror); TOE carves out an eerie comic book atmosphere that perfectly complements the surprisingly high nudity and gore quotient. There's some nifty quick cut editing at work during many of the killings that heightens their visceral impact and keeps what almost comes off like an X-rated episode of Scooby Doo firmly within the realms of horror. The upscale cast (at least for a genre picture) are competent, especially the late Anna Palk, who really livens things up as a sassy man eating seductress. What's most evident whilst watching TOE however is just how progressive the sophisticated narrative structure and basic premise are. Indeed TOE plays more like an 80's slasher, with Saturday matinee undertones than the Gialli, Satanic and Psychological type horrors of the day. Undoubtedly influential considering Bernard Sherman's doom laden classic, Death Line (released the following year) features an identical killer (final twist aside). TOE may well have also influenced the likes of Joe D'Amato's infamous but dull nasty Antropophagus (1980), and even John Carpenter's The Fog (1980). Overall a nice mixture well worth checking out .



The Revenant (D. Kerry Prior, 2009)
On the shelf since 2009 this was almost completely unknown until finally hitting the festival circuit last year to a largely positive response from fans. Not surprising considering Prior has an impressive sci-fi/horror resume having worked on special effects for films like A Nightmare On Elm Street 3: Dream Warriors, The Lost Boys, The Blob (1988), and The Abyss. Unfortunately the film shows signs of post production tampering and looks unfinished, as there are rumored to be two different cuts floating around. I have the UK release which could use some work so which cut I have is anybody's guess.

With a story that echos Bob Clark's criminally underrated 1974 effort Deathdream aka The Night Andy Came Home (which in turn is an adaptation of The Money's Paw), and Joe Dante's contribution to the Masters Of Horror television series; Homecoming. The Revenant picks up with US marine Bart (David Anders) foolishly stepping out of his unit's APC into fatal ambush whilst on tour in Iraq. Following his open coffin funeral service complete with devastated girlfriend going on the rebound with slobby best friend Joey (Chris Wylde who steals the film). Bart crawls out of the grave and heads home after a wince inducing stint in the morgue involving the removal of oral sutures. What follows is a hit and miss buddy zom-com/action horror in which Bart and Joey form an unlikely vigilante duo, wiping out the local drug dealers in order to source fresh blood to prevent Bart from decaying...


The Revenant works better as tongue in cheek action horror as opposed to the broad comedy it often appears to be aiming for. Unfortunately Prior's script just isn't sharp enough to generate enough laughs and much of the comic timing feels way off the mark. In only one scene do the ingredients come together; that in which Bart improvises with a battery powered dildo in order to talk to a severed head. Unfortunately even this feels overly reminiscent of David Gale and Jeffrey Comb's exchanges in Stuart Gordon's Re-Animator, asThe Revenant is really just a series of derivative vignettes rather than a cohesive narrative. On the plus side the film is effortlessly hip; has plenty of action, and goes in some very interesting directions towards the final act, with Prior injecting lots of new ideas (perhaps too many) amongst the familiar tropes. Anders and Wylde are both immensely likable as the sympathetic lovelorn lead, and dead beat sidekick respectively. Whilst Jacy King provides some kooky support as a sexy meddling friend, and Louise Griffiths is suitably pretty yet vapid as Bart's love interest. It's just a shame the film is uneven on so many levels; not least the effects which are excellent in the makeup department, but clearly whipped up on the cheap where CGI is required (one embarrassingly inept montage sequence looks half finished). Overall though this is an interesting failure that I ended up embracing and will certainly revisit in spite of it's many flaws.



Killer's Moon (Alan Birkenshaw, 1978)
Apparently Killer's Moon had only garnered a limited theatrical release until Mr. Birkenshaw came up with the bright idea of using his most novel cast member (a three legged dog) for a promotional photo-shoot in a fashionable London cocktail bar. The story subsequently made a couple of national newspapers prompting the exhibitors to grant a national release for the film, and cult status beckoned. I guess not many dog owners can lay claim to their plucky canine companion foiling a robbery and losing a leg, before starring in an exploitation flick and securing a killer distribution deal. Awww shucks. Stories like that just warm the cockles of my cynical old heart. I haven't felt so moved since The Littlest Hobo aired it's final episode...

Anyway how's this for an inspired contrivance? A bus load of teenage school girls break down in the Lake District forcing the party to take refuge in an out of season hotel. At the same time four mental patients escape from an asylum having undergone experimental therapy with hallucinogenic drugs, which has left them believing they're dreaming; with no moral responsibility other than to rape and murder without consequence. No prizes for guessing where these guys are headed...I mean you've got to admire the sheer bad taste audacity on Birkenshaw's part. Throw in a couple of young randy but morally responsible male campers eager to assist the young ladies and you've got exploitation dynamite on your hands...well almost.



Clearly made on a pittance Killer's Moon also suffers from a painfully slow pace and the inevitable threadbare production values (all of the campsite scenes were shot on an unfathomably duff looking sound stage - which in this case does nothing for the film). Birkenshaw keeps things lively with some gratuitous nudity, an axe murder, the appearance of said three legged mutt supposedly maimed by the loonies, and the anticipation of forthcoming sleazy mayhem. The acting on offer is generally adequate, with perhaps Elizabeth Counsell and Hilda Braid coming off best as a couple of overbearing school teachers. Things begin to spice up when one of the escapees sneaks into a local woman's cottage and cuts off the tail of her cat whilst giggling like a simpleton. It would be repellent if it wasn't so fake looking and goofy which sums up much of Killer's Moon and left me loving an admittedly sub-par movie. Naturally the film climaxes with the nut jobs arriving at the hotel and having their way with all and sundry in a protracted sequence that veers delightfully between high farce and all out horror. Think Fawlty Towers meets A Clockwork Orange then dumb it down by seventy percent and you have the final act of Killer's Moon. A blood soaked depraved little film that miraculously manages to turn underwhelmed ambivalence into out and out admiration - cult enough? You betcha'.

Thanks for the heads-up on Tower Of Evil. I've heard the title before, but never looked any further than that. Shame on me, as it sounds just like my kind of thing.

I love this description.

I hope you check out TOE soon HK because I'd really love to know what you think. I'd say it's definitely your thing being a slasher fan. Have you watched Killer's Moon yet since mentioning it in the dvd thread? Slow start but well worth it in the end.

Let me know and as always thanks for taking the time.

Thanks for leading me here, Used Future. I've kind of been jumping around throughout the thread (like I do with books sometimes...I'm so impatient that I want to peek ahead..I know, I need to grow up!) but I saw on the first page your review of Death Proof and I totally agree with you. Parts of the film that totally blew for me where things like:
The "friends" of the second group, who left their cheerleader friend (the wonderful and beautiful Mary Elizabeth Winstead) with a very creepy guy who was told she was a porn star, just so they could try out his car. Some friends.

The extremely annoying Kim (Tracie Thoms), who kept saying, "I'm gonna tap that a$$!" with a scowled face while ramming the car into Kurt Russell's. I hated her character and didn't much like the other two girls in the car with her.

The fact that Stuntman Mike had survived, who-knows-how-many stunt crashes, plus the car murders, only to survivor, which establishes that he is a survivor, only to end up like he does in the end. I'm still not sure what his true fate was, but I can guess. I love Kurt Russell and thought he was very good in the film, but I preferred him in the first half. Much more creepy.

Loved your review of Targets. Great film. Love Boris as Orlok, great swan song for the late, great actor, and his final scene with Tim O'Kelly is aces. I'll try not to comment too much on the films in here in general, as it is your review thread, but I was just jazzed to find someone who agrees with me on a lot of films. Keep 'em coming!

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