Dead Birds (2004)

Modern horrors come in all shapes and sizes, but many people keep trying to insist that they're all unscary and not worth your time. There are many, many fine horror movies still being made and released each year, it's just that the better movies aren't always as easy to hear about and get hold of. Most people will know this already, I'm not saying anything new, but it's always worth remembering every now and again. Especially when you come across a movie like Dead Birds (recommended to me many years ago by the fine folks who used to populate the IMDb Horror board).

Henry Thomas, Patrick Fugit, Michael Shannon, Isaiah Washington, Nicki Aycox and Mark Boone Junior star as a bunch of outlaws who rob a bank in 1860s America. They then hide out at an abandoned plantation before their next stage of the plan - getting to Mexico and splitting the gold. But it's not long until mistrust starts to take hold, as well as a sense of unease about just where they're holed up for the night.

With great acting from all involved, Dead Birds is a horror movie that feels a bit different while hitting a number of familiar genre beats. Henry Thomas is a decent lead, but the real treats come from the supporting cast (especially Michael Shannon before his name was so well known and Isaiah Washington). Nicki Aycox could easily, in a lesser film, be sidelined as nothing more than a token female character in the group, but she's given some decent moments and she does well with them.

The script by Simon Barrett does a great job of making each bit of character motivation clear and also allowing for some flashbacks that provide imagery to feed into the fear-filled present. The main characters may not realise how the fear is building until the second half of the movie, but it is. All around them.

Director Alex Turner also deserves praise for his handling of the material. There are a few jump scares here and there, with some decent CGI helping one or two of them, but he also keeps ladling on the atmosphere like golden honey. The film may blend Western elements with the horror, but it's not trying to be a horror Western, specifically. Oh no, it's just a horror movie that happens to take place in years gone by when there was a shorter life expectancy and bigger divisions amongst men (namely race and allegiance to certain flags). It's a real shame that Turner doesn't have much more to his credit yet.

Do check it out when you get the chance and I don't think you'll be disappointed.

Dead Birds is showing today at The Filmhouse - buy your ticket here - as part of the 20th anniversary celebrations on the run up to Dead By Dawn.

8/10

http://www.amazon.co.uk/Dead-Birds-Nicki-Lynn-Aycox/dp/B0007RUSUS/ref=sr_1_1?s=dvd&ie=UTF8&qid=1359152412&sr=1-1

The Pool (2001)

Having heard about, but not seen, The Pool for years, I was expecting something awful. Something so bad that it would easily become a movie by which I could judge all others (e.g. "well, it's bad, but it's no The Pool"). So when it turned out to be a decidedly average slasher with one or two half-decent moments I was pretty disappointed. I had to throw away the list of derogatory words I had noted down for the review and start with a completely blank page/screen.

A bunch of bright young things decide to celebrate their freedom from a prestigious European school by partying in a swish swimming pool. The big problem is that they're not alone in the building. There's also a masked killer eager to hack and slash through them before the night is over.

Directed by Boris von Sychowski, The Pool is absolutely generic stuff. If one or two more death scenes had shown some wit and imagination or if some more style was layered over everything then that wouldn't have been so bad. However, style is in short supply and there's really only one death scene that shows both wit and imagination.

The most fun to be had comes from spotting familiar faces among the cast. Isla Fisher and James McAvoy are the most recognisable of the bunch, but UK viewers might also know Cordelia Bugeja and/or John Hopkins while German viewers may have already seen Paul Grasshoff and Elena Uhlig in other projects. Jonah Lotan has done his fair share of TV work, as has Linda Rybova. While many of the faces may be familiar to viewers in different parts of the world, it's a shame that almost everyone is pretty bad. Perhaps it's because they have been thrown into such a strange mix or perhaps they just ARE that bad, it's hard to tell. At least Fisher isn't in it for that long and McAvoy is always dependable (though even he struggles).

The script, by von Sychowski and Lorenz Stassen (with some help from Ryan Carrassi in adapting the dialogue), doesn't help anybody. Exchanges between characters are dull and there are no memorable one-liners that you'll find yourself quoting once the end credits have rolled. In fact, there is nothing here that you will remember, or even want to remember, once the end credits have rolled. It's not eye-searingly awful to endure, but it's just not worth bothering with. Mercifully, it's beginning to fade from my memory already.

4/10

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Battle Royale (2000)

Before the main review, do remember if you're in the Edinburgh area and consider yourself a bit of a horror fan then THIS is for you - the All Night Horror Madness at The Cameo promises to be a great night and after enjoying the movies that are lined up I will be placing reviews here next week.

In the future, Japanese society isn't holding up as well as it used to and so the government takes more and more extreme measures to punish and cow the population. In a premise familiar to movie fans, people are grouped together and left in an area that they can only leave once all bar one is dead. They are given a bag with a weapon (well, a useful item ranging from binoculars to a gun), they have exploding collars around their necks to keep them in line and they have to be ready to move at any moment when certain areas are designated as danger zones and can no longer be occupied (otherwise it leads to that exploding collar . . . . . . . . exploding). The most upsetting thing about it is that those picked for the battle are just schoolkids.

That's the basic core of Battle Royale, but it doesn't really begin to cover just what makes this movie so fantastic. It is a Lord Of The Flies for the 21st century that also manages to mix in elements of Wedlock and The Running Man with a bit of Class Of 1984 and just a pinch of Heartbreak High (or the Japanese equivalent). As highly derivative as it is, it also manages to feel very fresh and interested in more than just stringing together darkly comedic death scenes. Okay, you may find that hard to believe as each death is accompanied by the name(s) of the deceased and the running count of how many are left alive, but it's true.

Based on the book by Koushun Takami, the script by Kenta Fukasaku is handled perfectly by his father, Kinji Fukasaku. With 42+ characters, it may seem quite dense and confusing in the early scenes, but things soon settle down as the deaths begin and viewers are given time to familiarise themselves with the main characters.

Takeshi Kitano plays the (ex-)teacher who explains the rules to the children before sending them out to begin their fight for survival. Tatsuya Fujiwara, Aki Maeda, Taro Yamamoto, Masanobu Ando, Ko Shibasaki, Chiaki Muriyama and Sosuke Takaoka all play various combatants who manage to stand out from the crowd. Ando and Shibasaki are particularly enjoyable thanks to their clear sociopathic tendencies, but everyone does well in their respective roles. There are times when you get the usual histrionics associated, rightly or wrongly, with the Japanese acting style, but they are few and far between.

The violence and death may be ugly, but the movie has some nice camerawork that keeps the action in focus without revelling in every single drop of blood spilled. The soundtrack, mixing well-known classical pieces with music by Masamichi Amano, fits perfectly with the way everything is presented.

Even now, while writing this review, I am struck by what a strange movie Battle Royale is and what a delicate balance of elements it maintains from start to finish. There are emotional moments, there are horrible and hilarious mistakes that end up in multiple deaths, there are moments in which the rules of the schoolyard run in scary parallel to the rules of the deathmatch and the whole thing almost bulges at the edges of each frame with social commentary. And, of course, there are all of those schoolchildren frantically trying to kill each other.

9/10

http://www.amazon.co.uk/Battle-Royale-Disc-Edition-Blu-ray/dp/B007RM1G7K/ref=sr_1_2?ie=UTF8&qid=1362454057&sr=8-2

When Time Becomes A Woman (2012)

Once again, I find myself in the enviable (and also difficult) position of being offered an advance viewing of a movie that I hadn't heard anything about beforehand. This time the email was sent to me by Ahmad Alyaseer (director and co-writer, with Rana Alyaseer, of the film). Ahmad told me that this movie was "the first Sci-Fi feature film from Jordan and probably the Middle East." I have no reason to doubt him, but my own knowledge of Middle Eastern cinema is very limited so I will state here and now that anyone who knows different is more than welcome to comment here and provide some more information. What is definitely beyond doubt is the fact that the movie has already been selected for a number of festivals, including the 38th Boston Sci-Fi Film Festival and the Pollygrind Film Festival (where it won an award for best cinematography).

So let's get to the film itself. What is it about? Well, it's a conversation between two people, for the most part. A conversation about identity and responsibility and belief and ego and much more. The film takes place in the future, but there are no visual clues as everything is related via the scripted dialogue spoken by Najwan Baqaeen and Zaid Baqaeen. That's it. Two people talking on a beach for 70 minutes. During that conversation, details are revealed about the state of the planet and some major problem that needs to be fixed. That particular strand works well, it's just a shame that the rest of the script can't match it.

When Ahmad Alyaseer contacted me I replied with my usual proviso: "I'd love to review the movie and hope to enjoy it, but I can't guarantee that it will get a positive review." That's my standard reply now because I genuinely DO appreciate being offered the chance to see any new movies and genuinely always hope to enjoy them. It's mutually beneficial. The filmmakers get a good review and my review gets spread around a bit more. Sadly, it doesn't always work that way and I end up feeling like someone who has been invited for a nice meal and then thrown up during the main course.

When Time Becomes A Woman has a number of elements that could be made into something very good, but it suffers from a lack of budget/scope/vision. Alyaseer does enough to make people forget that this is his feature debut, which is something to be proud of, but he doesn't do enough to take the ideas that he has and make them into a fine, low-key sci-fi movie along the lines of Primer or The Man From Earth, for example. Sci-fi movies don't need lots of money and CGI thrown at them as long as they have interesting ideas. This movie has a couple of decent moments, but they don't make up for the lack of activity in the rest of the movie and the circular, repetitive dialogue that may or may not be the result of something lost in translation.

Najwan Baqaeen and Zaid Baqaeen are fine in their roles and they need to be. If this movie starred the wrong two people then it would have been unwatchable. It's tough going as it is and bad acting would have been the final nail in the coffin. Najwan and Zaid aren't great, but they do enough to get by.

I know that I'm sounding very negative here and I feel bad about that because the film looks comparable to, and even better than, many movies made with a much bigger budget. I'm not sure of what the exact budget for this was, but it's listed on IMDb as approximately $5,000 and I'll go along with that for now. What Alyaseer has done with that $5,000 certainly shows that the man has potential to do something memorable with more money and resources at his disposal.

As a movie, it just didn't really work for me (sorry Ahmad), but as an example of a starting point for the technical quality that can be achieved with little money and a crew of about five people all taking on a variety of roles it does quite well.

3/10

When Time Becomes A Woman is currently doing the festival rounds so you may get a chance to catch it at a cinema near you if you keep your eyes peeled.

Captain Ron (1992)

If you mention the movie Captain Ron to some people, then they may grin and try to tell you that it's a fantastic film. They will be wrong, but they won't realise that. Captain Ron is one of those movies that SEEMS better when some time is passed and you're thinking about all of the different roles that Kurt Russell has played and then your brain goes "oh, don't forget that he was great in Captain Ron". Your brain will be correct to remind you that Russell was/is great in the title role, but that will then lead you to remember the entire movie with a coating of fondness that it doesn't really deserve. It's mildly amusing and it's something I'd watch again if it was on TV during a horrible, rainy afternoon, but it's nothing great.

Martin Short plays Martin Harvey, husband to Katherine Harvey (Mary Kay Place) and father to Benjamin (Benjamin Salisbury) and Caroline (Meadow Sisto). When Martin inherits a yacht he gets very excited and immediately plans a family trip. He wants them all to enjoy themselves and learn a bit about life on the ocean while someone takes charge and helps them bring it back to America to sell it. The person who comes to take charge of the boat for them is Captain Ron (Russell). Ron has one glass eye, an uncanny talent for getting lost and an easygoing, somewhat slapdash, manner that soon starts to get on Martin's nerves. Can the two men survive at sea together for the whole journey? And does Ron actually know what he's doing?

Directed by Thom E. Eberhardt, who also worked on the screenplay with John Dwyer, Captain Ron is easygoing, by-the-numbers, comedy fare. Martin Short plays the highly strung character that he's played many times before, Mary Kay Place is a supportive wife and the Salisbury and Sisto are kids who change during the course of their trip, for better or worse. People fall overboard, some DIY goes horribly wrong, there's an embarrassment that befalls the married couple when they try to have some quality time on their own, etc. etc. etc.

The big plus point in the movie is Russell in the role of the captain. There are times when the character could become annoying and unsympathetic, but Russell plays him with such a laid-back, kindly demeanour that even as he's making mistake after mistake it's hard to think unkindly of him. As Martin Short's character starts to lose his patience with Ron, viewers end up warming to him even more and that warmth stays throughout until a final third in which some danger is added and characters need to show what they're really made of.

Undemanding fun, lifted up to the top of the rigging by Russell.

6/10

http://www.amazon.co.uk/Captain-Ron-DVD-Kurt-Russell/dp/B0001IMC9S/ref=sr_1_1?s=dvd&ie=UTF8&qid=1362364373&sr=1-1

Anvil: The Story Of Anvil (2008)

"Even though Anvil doesn't give me pay it gives me the joy and the pleasure that you need to get through life" - Steve 'Lips' Kudlow, Anvil

Anvil were, and still are, a hugely influential heavy metal band. Back in the 1980s, when hair was long and trousers were tight and guitar solos were . . . . . . long and tight, Anvil seemed poised to become superstars. Then it didn't happen. Nobody really knows why, judging by this documentary, but Anvil just weren't destined for greatness. Thankfully, nobody told them that and they kept working hard over the years to regain their former glory and prove that they deserve to be a success. Anvil: The Story Of Anvil covers a pivotal time in the life of the band as they make personal, and financial, sacrifices to give it all one more go at becoming rock gods.

If you're not a fan of heavy metal then this may not appear to be a documentary that you'll be rushing to watch, but give it a go and you may well find yourself as entertained and uplifted as I was. Because this isn't really about heavy metal, although it obviously IS. Anvil may be a heavy metal band, and their music is scattered throughout the soundtrack, but this is about people who have kept their spirits up throughout more than two and a half decades. It's about having self-belief that may have others doubting your sanity, but that may also be entirely justified.

Steve 'Lips' Kudlow and Robb Reiner are the core of the band and the documentary really focuses on them. They're two men who are much more than just band-mates. They are best friends and even almost brothers. When things go wrong they are quick to take it out on one another, but they stick it out through even the bleakest of times. Sadly, plenty does go wrong and it always seems to be when they most need it to go right.

The problems begin when the band goes on a tour arranged by Tiziana Arrigoni. Tiziana may be a big fan who believes that the band deserves more exposure and a better lifestyle, but she's a terrible manager. A small European tour quickly turns into a disaster, all of which is caught on camera by director Sacha Gervasi, before the band members return home to consider their next move (for Anvil's guitarist Ivan Hurd that next move involved marrying Tiziana, funnily enough).

There are moments in the documentary that you can't believe weren't put there to raise laughs, to deliberately tip a nod and a wink to This Is Spinal Tap, but those moments are just part of life in a band and part of what these musicians have to endure as they keep following their dream. You will laugh, though mostly at the situations and not AT the band members themselves, but you will also be impressed by their dedication to their own cause and how they keep dealing with whatever is thrown at them - from venues not wanting to pay to music execs not knowing how to market their music.

As the end credits roll you might just end up agreeing that Anvil deserve some respect and deserve their place on stage in front of a sell-out crowd. Why not? If Lemmy, Slash, Lars Ulrich and many other rockers think so highly of them, then they definitely shouldn't be dismissed just because fate hasn't smiled upon them in a while. That's one of the many lessons here applicable to everyone, no matter what they do in life.

8/10

http://www.amazon.co.uk/Anvil-Story-Blu-ray/dp/B001UE8JBW/ref=sr_1_2?s=dvd&ie=UTF8&qid=1362315111&sr=1-2

Frankenstein And The Monster From Hell (1974)

The final entry in Hammer's series of Frankenstein movies is actually a welcome return to form for all involved, mainly thanks to the character of Baron Frankenstein being once again portrayed as someone well-intentioned but morally dubious as opposed to the outright evil schemer he was depicted as in Frankenstein Must Be Destroyed.

This time around the Baron (Peter Cushing) is joined by young Simon Helder (Shane Briant), a man who has been sentenced to time in an insane asylum after being caught carrying out experiments based on the Baron's work. When Frankenstein reveals his real identity to the young man and outlines a plan it's not long before the body parts start to pile up and things get ever more problematic.

With Anthony Hinds writing and Terence Fisher directing, this particular Hammer horror rises above its relatively low budget to provide a fitting final outing for the man who is constantly trying to cheat death.

Cushing is as good as ever, Shane Briant acquits himself well and Madeline Smith, John Stratton, Bernard Lee and everyone else onscreen (including David Prowse, hidden once again behind a mask but doing a better job than he did last time he was asked to play the central creature) manage to hold their own.

It's perhaps inevitable that a lot of the material here feels overly familiar and a little bit lazy but there is also some dark, twisted stuff in here (including the reason for Madeline Smith's character not talking) and some proper nastiness that still manages to retain some impact to this day.

It's not really the best swansong that we could have for the Baron but it's a hell of a long way from the worst and, for that, I'm glad.

7/10

http://www.amazon.co.uk/Frankenstein-And-Monster-From-Hell/dp/B004NOQ9W2/ref=sr_1_1?ie=UTF8&qid=1354725685&sr=8-1

The Millennium Bug (2011)

As a family (the father played by Jon Briddell, the daughter played by Christine Haeberman and the stepmother played by Jessica Simons) head out into the middle of nowhere to relax and ensure that they avoid any chaos caused by Y2K - yes, the movie is set on December 31st, 1999 - then it becomes pretty obvious where this movie is going. Anyone going to an isolated location to enjoy some peace and tranquility will almost inevitably meet up with a disfigured and demented family when residing in horrorland. Unsurprisingly, that's exactly what happens here. But there's more to it. The Millennium Bug of the title isn't just referring to Y2K, as one particular cryptozoologist (Ken MacFarlane) knows.

Yes, this is part killer redneck movie and part killer bug movie and after an unsteady start it soon gets to its feet and runs headlong towards a finale as blood-soaked as it is non-CGI. Movies are getting a lot of love nowadays if they state that they're going back to just practical effects and when you see end results like those on display here . . . . . . . . it's hard not to wish that most movies would leave the computers switched off.

Written and directed by Kenneth Cran, The Millennium Bug is over the top and gory in a way that will remind many horror fans of the glory days of past horror. It throws plenty into the mix, but still keeps a good balance as the story strands weave together and move forward. People may, rightly, worry that this is yet another movie trying to replicate those low-budget, grimy exploitation movies of yesteryear, but they will be pleased to hear that it's not. Despite the extreme gore and the craziness of it all, it never feels as if it's deliberately setting out to be shocking or quirky because it's so brilliantly entertaining.

The cast aren't all exactly from the Daniel Day-Lewis school of acting, especially Briddell, Haeberman and Simons, but those playing the redneck family get to have more fun and set about the material with glee. John Charles Meyer becomes the "star" of the piece, but Trek Loneman is a lot of fun, as is Ginger Pullman (a beautiful woman, though you wouldn't know it from how she's made up here).  Adam  Brooks, Ben Seton and Sandi Steinberg are also entertaining. Ken MacFarlane falls somewhere in the middle, his acting isn't all that great, but he provides a lot of fun in the second half, playing the one person who sees beauty in the killer bug.

Horror fans can do a lot worse than check out this little gem. It's a bit rough in places and certainly has moments in the first third that will give you cause to doubt your choice, but when the madness begins it really does start to shine. And fans of practical effects will absolutely love it, it's a reminder of why we can put up with imperfections and mistakes when the material, and execution of it, has real heart.

7/10

http://www.amazon.com/The-Millennium-John-Charles-Meyer/dp/B009DH378I/ref=sr_1_1?ie=UTF8&qid=1362310073&sr=8-1&keywords=the+millennium+bug

Unlawful Entry (1992)

In the late '80s and early '90s, the glossy psycho thriller was a popular box office choice for many viewers. This was due, in no small part, to a certain smash hit by the name of Fatal Attraction. Then audiences were treated to the psycho-centric likes of Pacific Heights, Dead Calm, Single White Female, The Temp, The Crush, The Hand That Rocks The Cradle and many other entertaining releases, including this one.

Directed by Jonathan Kaplan and written by Lewis Colick (though there were a couple of other people involved in creating the story), Unlawful Entry holds up as a superior entry in the psycho thriller sub-genre for two reasons. First, the presence of Ray Liotta, who can play a menacing psycho like few others. Second, the fact that this particular psycho is also a policeman, which really hits home just how scary it can be if any member of Joe Public is ever at the mercy of someone in authority abusing their power.

Kurt Russell and Madeleine Stowe play Michael and Karen Carr, the married couple who meet Officer Pete Davis (Liotta) when he is one of the men who responds to their call after a traumatic experience with an intruder in their home. Pete and his partner, Officer Roy Cole (Roger E. Mosley), make a great impression, both being professional and friendly, and it seems as if Officer Pete may be a good man to have as a friend. However, when Michael realises that Pete doesn't always act in accordance with the law himself he starts to get worried and he tells Karen that they shouldn't spend any more time with him. Of course, by then it's a little too late. Pete sets out to get what he wants and he has his powers as a policeman to help him get it.

The movie, essentially, boils down to a battle of wills between Russell, playing a regular guy, and Liotta and those two men really work well against one another. Madeleine Stowe isn't left out, but the film is certainly more about different types of alpha males. Roger E. Mosley does well in his role, Ken Lerner is good as the friend/attorney Roger and Deborah Offner is likable enough in the role of Karen's friend, Penny. Fans of Dick Miller will be pleased to see his brief cameo and fans of Djimon Hounsou will also be happy, despite the fact that his role is even smaller than that of Miller's.

It may be, like many others of its kind, quite hard to believe at times, but Unlawful Entry also keeps things more tense and uneasy throughout because of the thorough feeling of helplessness that Kurt Russell ends up experiencing. It may be nothing more than a slick, well-made thriller, but there are moments that strike uncomfortably close to home when aligned with news stories that have been known to crop up about corruption in the police force. It serves as a worrying reminder that bad people can do bad things, no matter what uniform they wear.

7/10

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J. Edgar (2011)

Written by Dustin Lance Black and directed by Clint Eastwood, J. Edgar is the biopic of J. Edgar Hoover and it's a pretty decent film. The sad thing is, however, that it could have been a great film. It seems that Eastwood is content with sitting on his laurels lately instead of delivering the quality of movies that he was giving to audiences not more than five years ago.

Leonardo DiCaprio plays the main character, starting the movie made up as an old man. It's an important time in his life, time to think back over everything that he's done and to get his memoirs written and as he tells his story to a young man typing everything out the audience gets to see many episodes from his life. They may not all be true interpretations of events, sometimes J. Edgar Hoover would say whatever would place him in the best light, but they all add up to paint a picture of the man who started off with great ideas and ended up with great, many would say too much, power. As Mulder might put it he "put the eye in FBI."

Considering the subject matter, this is a surprisingly dull movie at times. Various episodes do, of course, provide some excitement, but when it comes to the central character it does seem as if the script, and in turn Eastwood, is content to just barely scratch the surface. Perhaps he didn't want to upset those who are now working in the house that Hoover built.

It's a shame that the script and direction are so unimaginative and unexciting because the cast all do well and have the potential to do better. DiCaprio, in particular, is excellent in the main role. His performance isn't unlike the performance he gave in The Aviator, especially as Hoover becomes more and more driven and paranoid. Naomi Watts is fine as Helen Gandy, the woman he takes on as his secretary and also the one person he seems to trust completely. Armie Hammer is superb as Clyde Tolson, the man who may or may not have been Hoover's lover, but was certainly a close, dear friend and colleague. Then we have Judi Dench, who may not be in the movie for all that long, but does her usual great work as the mother who casts a long shadow over Hoover's life. Small, but enjoyable, turns from Josh Lucas, Dermot Mulroney, Stephen Root and Denis O'Hare help keep boredom at bay, but only just.

J. Edgar is certainly not a bad movie, in my opinion, but it feels like a wasted opportunity for almost all of its two-hour plus run-time even though it has enough interesting elements throughout to make it worth at least a one-time watch - the look at Hoover's self-aggrandising version of events, the rumours about his sexuality, the film even takes one moment to hint at the alleged cross dressing. I don't think many people will love it, but some people may like it a bit more than I did.

6/10

http://www.amazon.co.uk/J-Edgar-Triple-Blu-ray-Region/dp/B005RYA5XQ/ref=sr_1_1?ie=UTF8&qid=1361915312&sr=8-1

Dr. Jekyll & Mistress Hyde (2003)

Sadly, this isn't a fun and cheeky riff on the classic Robert Louis Stevenson story (unlike Dr Jekyll & Sister Hyde). It's adult erotica that uses the essence of the tale to string together some scenes in which people have sexy times with each other. Usually women getting naughty with other women. There's a screenplay by Bruce G. Hallenbeck ("based on" the classic tale, of course) and I was about to dismiss his role immediately, but he does actually put some semblance of a storyline in the mix, even if it is hard to find sometimes.

A doctor (Julian Wells) is talking to an interviewer about her attempts to separate the pure from the lustful side of females. Meanwhile, her husband (Boz Tennyson) has sex with their maid (Ruby Larocca). things then move on to a scene that shows the good doctor dealing with one of her patients (played by popular adult movie starlet Misty Mundae), injecting her with a new serum and then they start to have sex. It's just all too lusty, however, and poor Misty Mundae is driven insane by her new, overworked sex drive. The doctor takes her own serum, transforming her into Heidi Hyde (not to be confused with the hi-de-hi-de-hi-de-hiiii from "Minnie The Moocher"), and then wanders the streets, quickly bumping into a young woman she wants to have sex with (Misty Mundae once more). They have sex. Andrea Davis plays someone who joins them. For sex. People start to get a bit upset at each other, but it's okay because they soon have some more sex.

That's it then. Indeed, it's probably the lengthiest plot description I've ever written for a film of this kind. Director Tony Marsiglia makes sure that everything is erotic enough for those who enjoy such things, but keeps everything far removed from anything that would be deemed hardcore. It's all very softly lit and teasingly presented.

The actors and actresses involved don't do a great job, but who watches this stuff to stumble across a future Oscar winner? Misty Mundae is the star of the show, but Julian Wells is very attractive too. As for Ruby Larocca and Andrea Davis, well there was just too much flesh on display by the time their main scenes came around and I was just waiting for the credits to roll. No I hadn't gone blind, you cheeky monkeys.

The strange thing about this stuff is that it's never really worked for me. I find some of the women attractive, of course, but seeing them in carefully edited lovemaking montages just doesn't come high on my list of priorities. I have so many other things I'd prefer to do: watch better movies, read a good book, take the dog for a walk, etc. etc. etc.

People will mock me, and often do, for this viewpoint and they'll wonder why I watch such stuff if I have no interest in it. Well, Misty Mundae AKA Erin Brown has gone on to make a bit of an impact in the horror genre so that's the first reason. The second reason? As mentioned in my review of An Erotic Werewolf In London, morbid curiosity forces me to see if any of these soft-core porn parodies ever contain enough elements showing that they care one bit about the original material.

Let's face it, I may have hated this film, but it wasn't exactly torture to sit through. As ever with these movies, anyone thinking of watching the film for their own personal happy happy joy joy will probably want to add a point or two.

3/10

http://www.amazon.co.uk/Dr-Jekyll-Mistress-Hyde-DVD/dp/B00009RS0Y/ref=sr_1_1?s=dvd&ie=UTF8&qid=1361703610&sr=1-1

The Siege (1998)

The Siege is an interesting thriller that may seem overly familiar to viewers now, but certainly seemed quite unique and daring when first released back in 1998. I'm not going to say that it was the first film of this kind, but I will say that after the real shock of 9/11 and then the subsequent escalating war on terror it has become a movie unfairly overshadowed by many more recent releases (including, for example, the thought-provoking Unthinkable).

The basic plot of The Siege concerns retaliation against America, on American soil, by a number of terrorist cells who want one of their leaders returned to them unharmed. That would be all well and good, but nobody is admitting that they actually HAVE the leader in their custody, which makes for quite a stalemate. Caught up in the middle of this tension is staunch federal agent Denzel Washington, working alongside his partner Tony Shalhoub, and a CIA operative (Annette Bening) who keeps clashing with them as she works on her own agenda. Bruce Willis plays Major General William Devereaux, a man who may prove useful or may, in fact, prove to be the most damaging individual in the city.

With Edward Zwick in the director's chair you know that this isn't going to be a vapid and glossy action movie, though perhaps they tried to market it that way when it was first released (I really don't recall). Zwick is the guy who will take a closer look at courage and morality and will make it interesting, entertaining and invested with emotion. That blend isn't always appealing to some, and he doesn't always get it right, but I've enjoyed many of his movies BECAUSE of the mix of emotion and intellect that I'm sure provides plenty of ammunition for his detractors.

Bruce Willis isn't given too much screen-time here, so don't let his presence put you off if you're not a fan (I usually quite like him, but realise that many don't). The main focus here stays on the triangle formed by Denzel, who is on his usual good form, Shalhoub, who is given one of his better movie roles and does great with it, and Bening, who is the weak link, despite how much more interesting her character could have been. I've liked Bening in a lot of movies and tend to think that her weak turn here is more the result of some poor writing than any major failing on her part. And it's not that she's bad, it's just that she should have been better. Sami Bouajila does okay as Samir Nazhde, who might be able to help the good guys stop further attacks if they can keep him in the game long enough, and David Proval does well as another agent doggedly trying to get information that will help break the case.

The screenplay by Zwick, Lawrence Wright and Menno Meyjes is surprisingly good. While the first half of the movie seems to hit standard beats and be walking a well-worn path, the second half takes a different direction and looks at things from a completely different angle. The fact that it was a very prescient movie also adds to its interest. Protests were held by many Muslims and Arab groups when it was initially released, but the film has an ace or two up its sleeve to counter the criticism it received. One of those comes in the shape of Tony Shalhoub's character, a Lebanese-American who is undeniably a good guy through and through. The other ace? Well, I wouldn't want to give too much away. Needless to say, the film shows racial profiling and stereotyping as both a tool used by government agencies and also a mistake made by people driven to distraction while something possibly much worse transpires before their very eyes.

It's a flawed film, as most of Edward Zwick's movies are, but it's also well worth watching, especially in light of events that we've seen since the turn of the 21st century.

7/10

http://www.amazon.co.uk/The-Siege-Blu-ray-Edward-Zwick/dp/B002M4CF0A/ref=sr_1_5?ie=UTF8&qid=1361828833&sr=8-5

Django (1966)

Django is a name that has towered over the Western genre for many years before Quentin Tarantino decided to take it and put it to the masses with the fantastic Django Unchained. I'm sure that many people will now seek out the older movies thanks to the major homage from Tarantino and that can only be a good thing, especially when the film holds up as such fine, influential, entertainment.

Django (Franco Nero), the titular hero, is a gunslinger who walks around dragging a coffin behind him. This, as you can imagine, makes for some strong imagery. In the first moments of the movie he guns down some men who are attempting to punish a woman named Maria (Loredana Nusciak). It turns out that Maria is a prostitute who has been caught in between a rock and a hard place, in the shape of Major Jackson (Eduardo Fajardo) and General Hugo Rodriguez (Jose Bodalo), two enemies who have been ruining a town caught up in the midst of their ongoing battles.

It may not have been the first of its kind, but it's hard to argue against the fact that Django is the most important and influential Western of its time. It certainly spawned enough sequels (both official and unofficial) and imitators, as did the classic Leone Westerns from the same period. Film fans can enjoy the movie, but they can also take great pleasure in spotting every moment and scene that has since been homaged in other movies (and not just by Tarantino).

Franco Nero is great in the main role, every bit as cool and mesmerising as Eastwood ever was. It's no wonder that to many people he will always be the character, despite how many others have played him, or variations of him. Loredana Nusciak is a suitably appealing damsel in distress, Angel Alvarez is great as the bartender who wants to keep his life as well as his bar and Eduardo Fajardo and Jose Bodalo are entertaining potential villains, depending on how they deal with Django.

Behind the scenes, Sergio Corbucci is the man responsible for this enduring creation. Not only did he direct the film, but he also wrote the screenplay with his brother, Bruno Corbucci, and a few other helpful scribes. Then there's Luic Bacalov, the man responsible for the superb score, who also deserves a fair bit of praise and Enzo Barboni does a good job with the cinematography. Ruggero Deodato fans will probably already know that he was an assistant director on the movie and it's certainly a worthy entry in his filmography even if he's not getting the biggest credit.

While it was never the most obscure movie, it's good to know that more and more people will discover this film after yet another cinematic love letter from Tarantino (love or hate his work, he does his best to point people towards the movies that he's always loved). Django isn't a great spaghetti Western, it's not a great movie for its time, it's not something to be viewed just as a hugely influential work of art. Django is a great movie, period.

9/10

There have been some criticisms of the Bluray release so fans may just want to opt for the DVD here until the film gets the treatment it so deserves - http://www.amazon.co.uk/Django-Newly-Re-mastered-Region-DVD/dp/B00ABH20HI/ref=sr_1_2?ie=UTF8&qid=1361482202&sr=8-2

Countess Dracula (1971)

Okay, let's be clear about this from the start. This is not really a Dracula movie, we don't get any fangs or big bats or people who sleep in coffins. This is, however, an excellent Hammer flick loosely based on the legends woven around the life of Countess Elizabeth Bathory.

Countess Elisabeth Nadasdy (Ingrid Pitt) is much put out when she hears the reading of her deceased husband's will. It orders his fortune to be shared between his widow and his only daughter (played by Lesley-Anne Down). Rather than share the wealth the countess comes up with a plan after finding that the blood of young girls can make her look young and gorgeous again. With youth back on her side, she bags herself a handsome man (Sandor Eles) and arranges to have her daughter waylaid en route and then proceeds to take her place. But just how long can she keep finding the victims she needs to retain her youth?

Jeremy Paul wrote the screenplay, based on a story by a number of people who took inspiration from the life of lady Bathory, and Peter Sasdy directed this lusty, busty release from the studio that dripped blood and it's a good job they do too.

Once fans get over the disappointment of this not being an actual vampire movie there's much to enjoy here. It has plenty of nefarious scheming, all planned and carried out by a beautiful femme fatale. The look of the thing is up to Hammer's usual standards, the cast are all very good (the central role helped to make Pitt quite the horror icon while Nigel Green is wonderful as a co-conspirator, Sandor Eles is very good as the unwitting object of Elisabeth's affection and the rest of the cast do just fine, despite all being overshadowed by Miss Pitt's luminous beauty) and the pacing is just right.

It's the perfect blend of blood and lust, with an essence of sleaze given an outer coating of velvet finesse, that made the studio such a bankable name at its height and I recommend this movie to all of the fans.

7/10

http://www.amazon.co.uk/Countess-Dracula-Special-Ingrid-Pitt/dp/B000GUK3QA/ref=sr_1_1?s=dvd&ie=UTF8&qid=1354417663&sr=1-1

Bubba Ho-Tep (2002)

An elderly Elvis Presley, his real identity SO secret that he is the only one left who actually remembers it (or does he?), and an elderly, and coloured, JFK join forces against a soul-sucking mummy in one of the finest cult movies to attain major success (in rental/DVD purchase terms, at least) in recent years, thanks to word of mouth and unflagging fan support.

Is it cult? Is it any good? Many fans would give a resounding yes as an answer to one or both of those questions. I do too. It shows writer-director Don Coscarelli ( who wrote the script based on a short story by Joe R. Lansdale) as a man with more up his sleeve than deadly metal balls (re: Phantasm, for the uninitiated). Although I, like many other Phantasm fans, want another instalment in that franchise I will be more than happy if he keeps directing movies as good as this one and John Dies At The End.

A fantastic performance from Bruce Campbell, superbly supported by Ossie Davis (R.I.P.), holds this film together. The two men have fun with their characters, but also show a real warmth and vulnerability. Considering who they are supposed, or believe themselves, to be, that's no small feat. Ella Joyce deserves a mention as a nurse looking after the men while Bob Ivy has the thankless task of playing the titular villain.

A giant, flying scarab beetle, a mummy sucking souls from an orifice that you wouldn't think fit for that purpose, the King, a black JFK, it all sounds like kooky, camp fun but what really sets this film in your memories is the emotional core.

It's about taking one last stand, it's about the fleeting moments of happiness we look back on in our old age and either regret because we made mistakes afterwards or regret because we can't have them back, it's about finding strength when you've spent so long accepting your fragility and, in a way, it's about the endurance of legends (or heroes, if you prefer). I may be reading too much into it but I think this movie DOES have all that and more. I challenge you to watch it and tell me different.

Bubba Ho-Tep is showing at The Filmhouse today as part of the run up to the 20th Dead By Dawn so get your tickets here - http://www.filmhousecinema.com/showing/bubba-ho-tep/ - and enjoy it on the big screen.

9/10

http://www.amazon.co.uk/Bubba-Ho-Tep-Special-2-DVDs/dp/B000P5FDIY/ref=sr_1_5?s=dvd&ie=UTF8&qid=1359152307&sr=1-5

Katy Perry: Part Of Me (2012)

Oh dear.

If anyone actually believed for a moment that I was a huge film fan who sometimes knew what he was talking about then that's all about to disappear right now. Why? Because I really enjoyed Katy Perry: Part Of Me.

Mixing some concert footage with a lot of behind the scenes moments, this charts the hard work and many setbacks that Perry endured on the road to becoming "an overnight success". Set during her massive 2011 world tour, it shows her phenomenal success in the music world while also capturing the end of her marriage to Russell Brand - a situation that obviously causes her a lot of pain and tears, but is put aside when she lines herself up to get on stage. Ever the professional, Perry goes from being wracked with tears backstage to gripping the mike and making sure she has a big smile on as she prepares to entertain her latest crowd of fans.

If you don't like Katy Perry then you're unlikely to enjoy this, but I wouldn't rule it out completely. She may be a pop star who appeals to the teen demographic and she may have a cutesy, quirky style that some find offputting, but this movie shows that she also has a level head on her shoulders and a determination to succeed and give 150% in everything she does.

You might have already gathered that I'm already a big fan of the woman and you may be wondering why. I am, after all, not in her main demographic. First, she's very attractive, in my opinion, and I'll continue to hold that opinion, despite some other people who argue against it, despite the fact that she never returns my calls and despite the fact that I have to abide by that restraining order, dammit. Moving swiftly on, I actually like most of her songs. She's not the greatest songstress of her, or any other, generation, but she writes some good stuff and she writes some damn catchy stuff. She also seems to have a good sense of humour, which is another major plus point, and is always full of positive energy. Then there's the fact that she remains impressively individual in an industry known for homogenising and compartmentalising everyone and she makes it seem so effortless.

There are a million Lady Gaga fans who would read this and throw a hissy fit, wondering why I am praising Perry with comments usually attributed to their idol. I hate Lady Gaga, really can't stand her. I have a running joke with my young daughter where I pretend to be an out of touch old fart and ask her questions like "well, are you still listening to that Lady Goo Goo?" It's just a silly thing that makes me sound as old as I am, but it also allows me to not give her any recognition whatsoever. I'm not completely unaware of the positive influence that Lady Gaga has on her fans, but she makes it all seem like a daily battle against everyone else in the world whereas Katy Perry promotes the same message of individuality and positivity while also managing to smile and not just run through the bag of tricks that Madonna already used up over a decade ago.

Anyway, all of this has been a pathetic attempt to defend my enjoyment of this film. I'll watch some stuff like this with a smile and the knowledge that I'm enjoying it even while it could never be classed as something good (yep, Spiceworld: The Movie comes into that category), but watching Katy Perry move from her childhood under the parentage of two Christian pastors to her globe-spanning position as one of the queens of pop is genuinely inspiring stuff, whether what you see on-screen is 100% open and honest or just carefully managed and manipulated excerpts from one hectic year.

7/10

http://www.amazon.co.uk/Katy-Perry-Triple-Blu-ray-Digital/dp/B008D24HYM/ref=sr_1_2?s=dvd&ie=UTF8&qid=1361350308&sr=1-2

 

Backdraft (1991)

As a tribute to firefighters everywhere, Backdraft works. As a piece of fluff that will appeal to any youngster who always wanted to be a firefighter, Backdraft works. As an entertaining and involving movie, Backdraft just doesn't cut it. After a decent run at the box office, this movie exploded (no pun intended) on home video. Well, I can't tell you if it was popular everywhere, but it certainly quickly became the must-see movie at my high school. I think, if my memory serves me correctly, that this may have been due in no small part to the reduction (removal?) of the rental windows that I remember being brought about by Robin Hood: Prince Of Thieves. I am only going by personal recollection here so may be completely incorrect. What is definitely correct is that this particular movie was very popular on video at Liberton High School (which, ironically, still hasn't burned to the ground, despite my fervent prayers).

The plot is standard melodrama, directed by Ron Howard and written by an ex-firefighter named Gregory Widen (who witnessed someone killed by the titular occurrence). William Baldwin (one of the many lesser talents in the Baldwin brood) plays Brian McCaffrey, a young man who finally passes the test to become a firefighter and ends up stationed alongside his big brother, Stephen 'Bull' McCaffrey (Kurt Russell). Big brother wants to look after him and he does that by working him harder than anybody else. Scott Glenn is another one of the old hands while Jason Gedrick plays the other new recruit, a young man lucky enough to not have any older brother on HIS case. On top of the tension between the two brothers there are also a worrying number of fires that seem to have been engineered, possibly, to kill certain people. Robert De Niro plays the investigator trying to find out how the fires started.

Apparently, when she read the script Jennifer Jason Leigh (who plays Jennifer Vaitkus, Brian's old flame who may be reignited) said that she wished she could play the fire because it's the best part and that really tells you all that you need to know about the movie. The fire IS the best part. When the flames are billowing around the screen the movie gets interesting. At all other times it's just a messy mix of horrible, super-cheesy lines and completely uninteresting personal drama that is all underlined by a manipulative score from Hans Zimmer.

Kurt Russell is always good to watch, as far as I'm concerned, and there's also a lot of fun to be had when De Niro is onscreen. There's also a lot of fun to be had in the moments featuring Donald Sutherland, as an imprisoned arsonist, and the always-great J. T. Walsh plays a slippery politician and is . . . . . . . . . . . . great, as always. Scott Glenn is alright, Clint Howard has a tiny, but enjoyable, role and Jennifer Jason Leigh and Rebecca De Mornay both do okay with what they're given. Jason Gedrick may not be great, but the weakest link in the cast is bland, talentless William Baldwin who drags the film down with his weak "talent". A better leading man MIGHT have improved the movie ever so slightly, but it's hard to say. As the saying goes: "you can't polish a turd".

Ron Howard isn't a consistently great director, but he has made many very good movies (personally, I love Apollo 13, Parenthood and Frost/Nixon, among others) and I haven't seen a movie from him that I have completely hated. Having said that, this one is the worst I've seen from him so far.

4/10

http://www.amazon.co.uk/Backdraft-Blu-ray-Kurt-Russell/dp/B004GCK6W0/ref=sr_1_2?ie=UTF8&qid=1361296523&sr=8-2

The Horror Of Frankenstein (1970)

Frankenstein for a new generation. This movie doesn't have any of the elderly Hammer stalwarts (and they're sorely missed) but it does have an energy to it and a lot of positives thanks to a witty script and a great central performance from Ralph Bates. He may be no Cushing but he gives an enjoyable, youthful take on Victor Frankenstein and carries the film through some of its lean patches.

Directed by Jimmy Sangster (who also co-wrote the film with Jeremy Burnham), this movie may upset the purists but it's hard to see how anyone can come to hate it. Yes, it's essentially a rehash of The Curse Of Frankenstein but that's not the worst cinematic crime in the world. Young Victor upsets a number of people, from his father to his lecturers, as he grows from a boy into a man obsessed with the idea of bringing the dead back to life.

The pacing is brisk, the acting is all enjoyable (highlights = Kate O'Mara playing a great, lusty housekeeper, Dennis Price as a professional graverobber and Veronica Carlson as the fragile beauty this time around) and everything still feels lovingly crafted and unrushed, even if it is aiming for a younger audience.

I felt, as many others surely did, that I would miss many of the more seasoned Hammer stars this time but I actually managed to put them aside and enjoy almost every moment of the movie, a testament to just how many things the movie gets right. The one, big, negative point is the monster itself when it finally appears. Dave Prowse just doesn't cut it as the creature and it's in the moments featuring his lacklustre performance that the movie falters.

I'm sure that I'm not going to change the minds of any die-hard fans here but I liked this film a fair bit and think it deserves a bit more praise than it gets. It maintains a balance between nastiness and dark comedy from the first scene right up to the wonderful punchline just before the end credits roll and, personally, I think it's a much better way to push the character to modern audiences than the approach that was attempted with Dracula A.D. 1972.

Of course, I may be completely wrong (it wouldn't be the first time). Give it a look and see what you think. If you enjoy it then I can put on my smug face for a day, if you hate it then I can go back to hiding behind the false beard and dark glasses.

7/10

Yet another movie available in this bargain boxset - http://www.amazon.co.uk/The-Ultimate-Hammer-Collection-Disc/dp/B000HN31KQ/ref=sr_1_1?ie=UTF8&qid=1354487105&sr=8-1

The Baytown Outlaws (2012)

I went into The Baytown Outlaws expecting to enjoy it, but I was being hopeful. I didn't really know much about the plot and I certainly had no idea who the main actors were. Eva Longoria and Billy Bob Thornton were the main names being used to market the movie, but I knew that they weren't in it for all that long. Thankfully, Clayne Crawford, Daniel Cudmore and Travis Fimmel in the lead roles are pretty perfect and they help make this into one hell of an enjoyable experience.

The three men I just mentioned play the Oodie brothers, gun-toting lads who are more than happy to kill any criminals that are working in their area. They get the satisfaction of being good citizens and also pleasing the local law enforcement (well, pleasing Andre Braugher's character anyway). When they are approached by the fine-looking Celeste (Eva Longoria) with a job offer that will see them a fair bit richer for getting her godson, Rob (Thomas Brodie-Sangster), back to her. It seems like an easy job, but they have to get Rob away from the dastardly Carlod (Billy Bob Thornton) and then avoid retribution from the people who will come after them, including some dangerous women played by Zoe Bell and the gorgeous Serinda Swan, among others.

Directed by Barry Battles (who also co-wrote the movie with Griffin Hood), The Baytown Outlaws is a near-perfect slice of entertainment for fans of this particular style. But what particular style is it? Well, that's the beauty of it. You get a choice. If you want rednecks arguing with each other then you can enjoy the many moments in which the Oodie brothers get on each other's nerves (though Lincoln, played by Daniel Cudmore is mute unless talking through a speech synthesising device, but leader Brick, played by Clayne Crawford, and McQueen, played by Travis Fimmel, more than make up for his relative silence). If you want something that's more violent and confrontational then don't worry because there sure are plenty of moments that will make the grade for you there. Want something rough and rugged that also has real heart? It's got that. The movie covers all bases, really, and expertly blends thrills with comedy and some real emotion.

This is thanks in no small part to the script and direction, of course, but everything is also given a major boost by the top-notch cast. The actors playing the Oodie brothers are absolutely superb. They carry the movie effortlessly and collectively make for the best anti-hero(es) that I have seen on-screen in some time. Billy Bob Thornton has some fun, Eva Longoria does well enough and did I mention the gorgeous Serinda Swan (who I last saw in the godawful Creature)? In fact, the cast is a veritable who's who of people that you will know from other movies even if the name escapes you. Andre Braugher is best known to many people for his role in The Mist. Michael Rapaport, who has a small, but memorable, role has been in plenty, from True Romance to Deep Blue Sea. Zoe Bell, who put in many years as a hard-working stunt-woman, is perhaps best known to audiences nowadays for her role in Death Proof and even Thomas Brodie-Sangster may make people scratch their heads while they try to figure out what else he has been in - he's been in plenty, but I remembered him most clearly from Love Actually (and it's fun to see that he's grown up, but his face just hasn't changed a bit). Paul Wesley, who plays a non-local officer named Reese out to upset the status quo, was the only face I didn't recognise from other movies, but he has an extensive filmography full of stuff that just hasn't passed before my eyes yet.

Overall, I can't think of any other 2012 release that has the mix of great characters, fierce violence, hot and dangerous biker chicks, corrupt police officers and even a cracking soundtrack accompanying everything. The fact that it also has one of the best title sequences I've seen in a long time is just the icing on the cake. Rent it, see it, consider buying it.

8/10

http://www.amazon.co.uk/Baytown-Outlaws-Blu-ray-Paul-Wesley/dp/B0090JBOZW/ref=sr_1_2?s=dvd&ie=UTF8&qid=1361165344&sr=1-2

Truck Turner (1974)

"Who's the black bounty hunter
That's a sex machine to all the chicks?
Truck!
You're damn right.

Who is the man
That would risk his neck for his brother man?
Truck!
Can you dig it?"

Yes, although this is a movie all about a bounty hunter named Truck Turner (played by Isaac Hayes) it's really just a great blaxploitation flick that keeps Hayes as close to the Shaft persona (played by Richard Roundtree, but arguably made more famous thanks to that great theme sung by Hayes) as possible while throwing in everything else that will keep audiences happy: a great cast, plenty of violence, some gratuitous nudity and a script full of gems. The fact that many scenes end with a punchline or laughter akin to the end of each Police Squad episode makes it all the better.

Here's the plot. Truck Turner is an ex-football player who is now the toughest bounty hunter going. He's like Dog the bounty hunter, except for the fact that he's black, unsympathetic to anyone he catches and quick with his fists and gun. So he's not like Dog at all, I suppose, but they do at least share the same vocation. When Truck takes a big pimp out of action he ends up in a whole heap of trouble when a madam named Dorinda (Nichelle Nichols) puts a big price on his head. All guns are aimed at Truck, but perhaps the biggest threat comes from the cool and calculating Harvard Blue (Yaphet Kotto).

Oscar Williams and Michael Allin may have written the script and Jonathan Kaplan may have been sitting in the director's chair, but this movie belongs to Hayes. The man owns his central role, whether he's blasting holes in baddies or seducing women away from their fried chicken (no, I'm not being racist for the sake of a cheap gag, that ACTUALLY happens), and he's also responsible for a soundtrack so funky that it may have been playing during the conception of Prince.

Mind you, let's not dismiss everyone else so quickly. Alan Weeks is good fun as Jerry, Truck's partner and good friend, and it's always nice to see the likes of Scatman Crothers and Dick Miller, even if they don't get a lot of screentime. Annazette Chase plays Annie AKA Truck's woman and does fine with her role, but the woman turning heads is Nichelle Nichols. What would Captain Kirk say if he saw/heard Lt. Uhura looking and speaking as she does in this? It's certainly a lot better than her appearance years later in the dull horror movie, The Supernaturals. Yaphet Kotto is fantastic from the moment he appears to his very final scene, the man was at the top of his game in the '70s in my opinion.

There are one or two genuinely decent action sequences, though some moments are marred by entertainingly incongruous fashion choices, and even an impressive early use of a technique (SnorriCam) that has become quite commonplace in recent years, but those don't add enough to make it a great film. It is, however, a good one and fans of blaxploitation movies should certainly love it.

6/10

http://www.amazon.co.uk/Truck-Turner-DVD-Isaac-Hayes/dp/B00009MGKJ/ref=sr_1_1?ie=UTF8&qid=1361165112&sr=8-1