PHENOMENALITY: *marvelous*
MYTHICITY: *poor*
FRYEAN MYTHOS: *drama*
CAMPBELLIAN FUNCTION: *cosmological, sociological*
PHENOMENALITY: *marvelous*
PHENOMENALITY: *marvelous*
Rough paraphrase from lead female "Alexandria" in THE DEEP ONES: "I think this whole Solar Beach community is a little Stepford-like..."
Well, ONES is a pretty rotten take on H.P. Lovecraft's concept of an aquatic, subhuman race from THE SHADOW OVER INNSMOUTH. But at least writer-director Chad Ferrin was halfway honest in admitting that his main purpose in adapting HPL was to emulate the much cheaper models of horror-cinema like STEPFORD WIVES. However, the more applicable example here would have been ROSEMARY'S BABY, given that DEEP is all about the members of a demon-worshiping cult seeking to co-opt the baby in Alexandria's womb and use it somehow for the evil purposes of their lord, this time called Cthulhu rather than Satan.
However, Ferrin is certainly not equal to emulating the better aspects of more mundane horror like the two 1970s movies named, any more than he is at adapting H.P. Lovecraft. Scenes of extremely banal dialogue are counterpointed by occasional creepy scenes of the weird, only-apparently-human denizens of Solar Beach. Production values are at least competent, nothing more. But the arc of the two main characters, the pregnant woman and her husband, is utterly without suspense and the doleful ending is all but preordained.
In many of the ensuing scenes, Ferrin's method reminded me of a lot of the films of Ted V. Mikels, in which actors spout reams of time-killing dialogue. In OLD ONES, at least, Ferrin does come up with better dialogue than Mikels usually did, and better than anything in DEEP ONES. Given the extremely low budgets of these Ferrin works, the director isn't able to produce effects worthy of the HPL corpus of concepts. Still, since HPL was an important figure in the world of crossover-fiction, OLD ONES does provide a crossover between the Deep Ones of Innsmouth, the demon-messenger Nyarlathotep, and mad scientist Crawford Tillinghast from the short story FROM BEYOND. (I don't count a minor character with the name "Randolph Carter" as a crossover-icon, since the one in Ferrin bears no resemblance to the one in the HPL universe.)
I can't say OLD ONES grabbed me, even though I recognize that it's much more ambitious than DEEP ONES. Both are far from the worst horror movies ever made, or the worst HPL adaptations. But I can't imagine anyone watching them more than once.
PHENOMENALITY: *marvelous*
PHENOMENALITY: *marvelous*
PHENOMENALITY: *uncanny*
PHENOMENALITY: *uncanny*
PHENOMENALITY: *marvelous*
On subsequent viewings of THE FLY, its most impressive aspects is not the monster itself, or the cool mystery-setup of the opening, or the horrifying conclusion (which was original to the movie). It's the curious fact that the movie's version of scientist Andre Delambre (David Hedison) isn't much in the mold of archetypal mad scientist.
Indeed, the script James Clavell produced from the George Langelaan short story seems determined to show the idyllic nature of the lives of Andre, his wife Helene (Patricia Owens), and their little son Philippe (Charles Herbert). Indeed, there's a scene in the movie that shows Andre as the ultimate altruist, also not present in the short story:
The disintegrator-integrator will change life as we know it. Think what it means. Anything, even humans, will go through one of these devices. No need for cars or railways or airplanes, even spaceships. We'll set up matter-receiving stations throughout the world, and later the universe. There'll never be famine. Surpluses can be sent instantaneously at almost no cost, anywhere. Humanity need never want or fear again. I'm a very fortunate man, Hélène.
With these words, Andre shows that his sin is not that of the ordinary over-reacher, who wants to prove to others how right his theories are. Instead, he's motivated by gratitude for his own good fortune, and wants to give his discovery to mankind in a display of ego-less generosity. But even though there's no selfish intent, he's upsetting the balance of the universe with his altruism, and so he pays the price of any other over-reacher.
Langelaan, of course, deserves full credit for THE FLY's excellent setup, which begins in media res, with Helene seems to have gone insane, stamping out her husband's life with a mechanical press. The added detail that she doesn't just squash his head but also one of his hands seems all but made for Freudian analysis. The film, being longer, throws in a number of time-killing incidents, like one in which Andre tests his matter-transport device on the family house cat (which at very least shows that Andre is a bit cavalier with the lower life-forms). Because of this incident, Andre's fate when he tests the machine on himself-- during which a fly gets into the test-chamber with the scientist-- might be seen as nature's revenge.
Another movie-addition is that while Andre's brother Francois is just another talking-head in the story, it's strongly implied that he nurtures a passion for his brother's wife. After the death of "Andre the Fly" at the climax, there's a slight suggestion that Francois may take over Andre's duties of husband and father to, respectively, Helene and Philippe. However, this prospect is cancelled out by the sequel.
Though Hedison's monsterized character is the star of the story, technically Owens carries most of the film as the put-upon Helene, conveying far more dimension than one finds in the female leads for monster-movies.
PHENOMENALITY: *marvelous*
MYTHICITY: *fair*
FRYEAN MYTHOS: *drama*
CAMPBELLIAN FUNCTION: *metaphysical, psychological*
*SPOILERS SPOILERS SPOILERS*
PHENOMENALITY: *naturalistic*
In 2012 I did a quickie review of this film, but on rewatching it this year, I decided to write a new one. After I finish this one I'll delete the previous version.
By all accounts director Bernard Girard completed this western, starring James Caan and Stephanie Powers, under a different title in 1969, when the influence on Italian spaghetti westerns on American cinema was at its height. It was finally released in 1974, probably to play off Caan's rising star, and then recut with a frame story and re-released under the title LITTLE MOON AND JUD MCGRAW. Over time a lot of fans have dubbed GONE as one of the worst westerns of all time. However, while it isn't good, it did pick up on the social anomie seen in the original Sergio Leone movies, and formulated the same basic situation seen in 1973's HIGH PLAINS DRIFTER-- that of a pitiless avenger destroying a corrupt town-- long before HPD went into production. I imagine there were other possible ancestors for both. not least Dashiell Hammett's 1929 RED HARVEST.
Also, GONE is not an adventure-story as I previously labeled it, but an irony, just like DRIFTER. One or two IMDB reviews complained of tonal changes in GONE, when it seemed to shift between comedy and ultraviolent adventure. But GONE is an irony, in which everything is meant to have a double meaning. I'm not saying GONE is a good or incisive irony, the way that DRIFTER is. But a lot of the tropes I identified as "fallacious figments"-- like the cutesy end-scene where Caan's character Jed shoots the film's cameraman-- are meant to convey a pseudo-artsy sense that anything-can-happen.
The flick begins mundanely enough, with Jed being released from prison for some unspecified crime. His mental flashbacks tell us that he holds a man named Nimmo (Aldo Ray) responsible for his sufferings, as well as for the murder of Jed's wife and child. Jed makes a beeline for the unnamed town where Nimmo rules with an iron hand. Jed watches from afar while the corrupt townsfolk carry on at a cockfight, and pitilessly watch as a young Indian female, Little Moon (Powers), is raped. Later Little Moon retreats to a craggy area overlooking the town, where Jed has made his camp.Jed watches as Little Moon washes herself in a mountain lake. He doesn't watch her nude display too long, for he announces himself by tossing a rock in the water. Moon gets dressed and attacks him, only to be dissuaded by a threatening fist. But because he doesn't show any desire to rape her, she starts hanging out with him, even though she only speaks Spanish.
Jed makes a few opening assaults on Nimmo's henchmen. This doesn't seem to upset Nimmo, though one of his cronies seeks out the ridge-area. This guy does try to rape Moon, claiming he didn't get his chance earlier. We then get another "fallacious figment" as Jed comes down like Tarzan, swinging down on a rope attached to who-knows-what. Nevertheless, Moon gets the victory because she just happens to have a sling and kills the rapist with a stone.
The rest of the film is just, as others have said, just a smorgasbord of incoherent violent scenes, though one does have the distinction of being among the best catfights in cinema. In short, Nimmo's regular hooker-girlfriend (Barbara Werle) takes objection when another whore (Elizabeth Leigh) tries to get with Nimmo. It's a really well choreographed fight, and I like to think the participants were doing their best to boost their careers as stuntwomen with this big fight. On a minor note, Sammy Davis Jr has a few scenes as a slick gunfighter employed by Nimmo, but Davis has no real impact on the story.
Jed and Moon attack the town with rocks flung by catapults that they whipped up out of nothing. Then Nimmo's men find and capture Jed, which is the first time Nimmo even learns who his nemesis. He's tied to a cross in the center of town, but Moon comes to his rescue, riding into town and lassoing the cross, so as to drag it away. No one seems able to pursue her. Finally Moon somehow devises a kite from which she can drop sticks of dynamite (how?) on the town. This clears out all the corrupt maggots and makes possible a final fatal clash between Jed and Nimmo. Then the triumphant hero kisses his damsel before they walk toward the horizon-- aside from shooting the cameraman, that is.
Though it's naturalistic aside from the injection of "figments" you're not supposed to believe in, the arty approach still places GONE in my category of "weird westerns."
PHENOMENALITY: *marvelous*
The first time I saw Season Three, I perceived a fall-off in the show's balls-to-the-wall qualities, so much so that I rather wished the show stopped with the second season. I now think the conclusion works, partly as a callback to the events of ARMY OF DARKNESS, and I agree with the stated verdict of Bruce Campbell, to the effect that this season rounded off everything possible that could be done with the character of Ash Williams. That doesn't mean the season doesn't have a big problem, though. The introduction of the overly "normie" character of Brandy, the daughter Ash never knew he had, undercuts the wild irresponsibility of the demon-hunting insanity.
FAMILY-- Again the Necronomicon summons the Evil Dead, and Ruby seeks to gain control of the demons-- this time by performing a ritual that will make her pregnant with a demonic version of Ash, the destined savior of the world. In Elk Grove Ash and Pablo encounter Ash's old (and barely remembered) lover Candy, who informs him that all this time he's had a daughter, teenaged Brandy (Arielle Carver-O'Neill), without knowing of her. This does move Ash to assume a more responsible role, meathead though he remains. Kelly shows up from some unexplained foray in the company of Dalton, a handsome fellow who belongs to a demon-fighting cadre, the Knights of Sumeria. This engenders jealousy in Pablo. Ash, Pablo and Candy get wind of a threat to Brandy, and rush to her school. However, the demons possess Brandy's friend Rachel, and in a musically themed combat, Rachel beheads Candy-- albeit only minutes after Candy has revealed to Brandy the identity of her father. Ash destroys Rachel.
BOOTH THREE-- I'm not sure what causes Ash to suspect that Ruby may've got access to the sperm Ash had on file at the local bank-- where Ash has long been a cheerful contributor-- but he shows up in "booth three" to investigate and once again has to fight the Evil Dead. He also finds out that for some time Ruby has been at Brandy's school posing as a counselor, but Brandy, revulsed by her father's role in her mother's gruesome death, refuses to believe Ash about Ruby. Dalton tells Kelly that because Pablo still has the script of the Book embedded in his flesh, Pablo remains a danger and should be eliminated.
APPARENTLY DEAD-- You know those disreputable relatives who make a scene at funerals, by brawling with the undead deceased? Well, that's Ash thanks to the demonic revival of Candy at her funeral, all for the purpose of further alienating Brandy from Ash. I guess this is a Ruby scheme though I didn't see what benefit that alienation was to her. A vision guides Pablo, Kelly and Dalton back to the cabin to unearth the magical dagger that seems to come and go so quickly throughout the story. A Deadite tree-monster impales Dalton with a branch (wish fulfillment for Pablo?) and Dalton too becomes a Deadite who must be destroyed. When Ash shows up at Brandy's home, he finds her watching tv with a convincing simulacrum of Brock, the grandfather she never knew. Ash is forced to destroy this fake father after having seen the real one slain by the Evil Dead.
UNIFINISHED BUSINESS-- Dalton proves to be right: Pablo is susceptible to being possessed because of his history with the Book (though the show really has no rules about who can or can't be possessed, as witness the possession of the innocent Rachel). Demonic Pablo bites Kelly's leg so as to infect it with a mini-demon face. More significantly, the spirit of the real Brock (no rules about whose ghosts can or can't appear either) manifests to fill in some blanks for his demon-hunting son. It seems that in 2012, while Brock and Ash were still alienated, Brock got a visit from a Knight of Sumeria and accidentally killed the guy-- which is important only because the knight has some missing pages of the Book with him, so that's a new grail to seek. Ash goes looking for Ruby, but she's at the cabin interrogating the corpse of Dalton, so Ash has to settle for learning that Ruby's spawn, Baby Demon-Ash, is terrorizing the "nurse" Ruby forced to care for the evil tyke.
BABY PROOF-- Ash escaped dealing with his daughter's "terrible twos," but all his hassles with the demon-tyke more than compensate. While Ash tries to capture Baby Ash, the spirit of Pablo communes with that of his uncle The Brujo and learns a ritual by which he can return to life. Pablo does so. Ruby regains custody of her spawn, but Brandy is finally convinced of her father's heroism and joins his team.
TALES FROM THE RIFT-- More Knights of Sumeria show up on Ash's doorstep, and thanks to the past-vision vouchsafed Ash by his dead dad, he's able to find the missing book-pages. The Knights, aided by alive-again Pablo, attempt a ritual to open an interspatial rift that might help them control the demons. However, one of their number goes Deadite, killing all the Knights save one until Ash is able to slay the possessee. Kelly, by this time rid of her demon-infection, gets a hard jones to kill Ruby. The two of them have a big splashy battle, but Kelly loses and is slain by Ruby. The evil witch then allows Kelly's dead body to be possessed by another sorceress, Kaya.
TWIST AND SHOUT-- Ruby's attempt at deception is undermined when Pablo receives a vision from the ghost of Kelly. However, by this time Kaya, posing as Kelly, has joined Ash and Brandy as they seek out the school dance, where they hope to confront Ruby. A big fight erupts in front of the horrified students and teachers, while Ruby's spawn, now grown to manhood, battles the real Ash. Though Ash kills his clone, Ruby almost kills the hero with the dagger. However, Brandy intervenes and saves her father's life by taking the dagger and (temporarily) dying.
RIFTING APART-- Gaining custody of Brandy's body, Ash has a brilliant idea how to restore her to life: he has Pablo stab him with the dagger, so that his spirit ends up with hers in the rift-world. This works better than expected, for Ash finds not only the spirit of Brandy but those of Dalton and Kelly too. Pursued by a demon, Dalton sacrifices his ghost-life to allow the others to return to the real world. Kelly can't manage to do so because Kaya's possessing her body. Meanwhile, Kaya gets hold of the last surviving Knight, name of Zoe, who's supposed to help Kaya and Ruby gain control of the demons.
JUDGMENT DAY-- Now Ruby has both the demons and the Ash Team after her, and despite the attempt she and Kaya make to conceal themselves, they have only minimal success. Ash battles Ruby, who fends off his best efforts thanks to her immortality, and even wrecks his precious chainsaw. However, the demons arrive and accidentally save Ash's life by sucking away the spirits of Ruby and Kaya. The absence of Kaya in Kelly's body makes it possible for Ash to attempt reuniting Kelly's spirit with her body-- which finally makes it possible for Pablo to get with Kelly. However, the demons have also made a full-fledged invasion of the earth-realm with an invulnerable sixty-foot demon.
THE METTLE OF MAN-- The world is finally beset by demons, though Ash only sees the part of the battle taking place in Elk Grove. Kelly is restored to her body, but the titanic demon is on the rampage, and American soldiers seek to evacuate the town before the military drops a nuclear warhead on the creature. Ash allows his friends to escape but seeks to find an alternative battle-plan, using a tank and the super-dagger to destroy the giant demon. However, in a transition intended to call back to ARMY OF DARKNESS, Ash is somehow transported into a post-apocalyptic future, where he accepts his new destiny to continue a new fight against evil.
If anyone had told me that Sam Raimi and his colleagues could make an epic out of the simple and unpromising materials of the 1981 EVIL DEAD, I would have scoffed big-time. I also would never have believed that Raimi et al could take a meathead character like Ash and make him into "the stone the builders rejected." Yet all the things that make Ash a loser in the real world-- his laziness, his vulgarity, his man-whorishness-- are the things that give him the vitality to be a larger-than-life hero. That's one reason I classified the series as a combative drama despite all the looney-toons slapstick, because Ash ends his career as a hero taking his leave of his friends and daughter, symbolically "dying" to the world of reality but finally accepting his heroic destiny in "the world to come."
PHENOMENALITY: *marvelous*
I've not been in any great hurry to review the last Sean Connery Bond-flick, having remembered it largely as fairly dull with snatches of dopey "camp" humor, possibly courtesy of screenplay writer Lorenzo (BATMAN) Semple Jr. But today I took the plunge.
I'll get two of my category-concerns out of the way first. Both the Fleming novel and the 1965 film fall into the domain of the uncanny, largely for the idea of a "bizarre crime" involving nuclear blackmail. However, one spotlighted Bond-gadget in NEVER-- a laser-ray watch-- is so removed from contemporary technology of the era that it conveys a marvelous phenomenality on the film, much as the attack-laser in the GOLDFINGER movie did for that film. I might argue that the miniature explosive dart that kills Fatima might also be outside the bounds of the uncanny as well. The "bizarre crime" is also the main reason I assign NEVER a "fair" mythicity: not that the makers of the film executed the important nuclear-blackmail trope all that well, but because they at least channeled some of the sociological ramifications of the threat.
NEVER came about because producer Kevin McClory acquired the rights to adapt the THUNDERBALL story, on which he unofficially collaborated with Fleming. Thus NEVER is a one-off independent of the Bond franchise that was managed, up to a certain point, by Eon Productions. McClory and his collaborators had rights only to work with what elements were in the THUNDERBALL novel as such-- though strangely, this didn't prevent them from inventing an evil henchwoman for NEVER, in clear emulation of the henchwoman Fiona Volpe, who had no precedents in the novel.
I haven't re-screened THUNDERBALL for a long time. so I won't comment on the plot-differences between NEVER and its sources. The only thing worth noting in the early scenes is that while Bond (a 52-year-old Sean Connery) discover a vital clue to SPECTRE's nuclear plot at a mundane health spa, his enemies don't find out that Bond is on their trail right away. In fact, Fatima, who is SPECTRE's contact person for an agent undergoing recovery from an operation, recognizes Bond through a window. Convenient, yes?
This contingency allows the script to have the villains make periodic attacks on the hero, but it takes away a lot of the suspense potential. Bond finds his way to the Bahamas, and to Maximillion Largo (Klaus-Maria Brandauer) the SPECTRE agent in charge of placing the stolen bombs in strategic places.
Now, Fleming utilized a certain amount of coincidence too. In the original book, Largo does not know that his mistress Domino Vitali is actually the sister of the man SPECTRE engaged to help steal the bombs, because the brother goes by another last name. Bond, however, finds out about the family relationship, and he goes out of his way to make contact with the "Domino Petachi" (Kim Basinger) of NEVER, so that he can use Domino against Largo. But this strategy makes less sense if Bond's enemies know who he is and could put a bullet in his head at any time. The fact that Bond also comes on to Largo's mistress also ought to shorten his lifespan, but Fatima Blush keeps bungling her assignments. She does finally get Bond at gunpoint, threatening to shoot off his nuts as a prelude to killing him. This is played so over-the-top that it merely becomes ridiculous, like most of the other "humorous" moments of the movie. Kerschner apparently did not favor a light touch.
One of the most egregious scenes involves Bond informing Domino of her brother's murder by her lover Largo. There's a similar scene in THUNDERBALL the movie, but the dance-scene in NEVER is a big splashy scene that makes the revelation utterly idiotic. Speaking of Domino, for most of the film she's a doe-eyed damsel, and though Basinger does decently with the unrewarding role, her Domino pales in comparison with both of the earlier incarnations. I also preferred Adolfo Celi's version of Largo, who seems like a dyed-in-the-wool Mafioso, while Brandauer seems more like a frustrated child-- particularly when he and Bond duel playing a 1980s video game of Largo's design. What is a SPECTRE agent doing designing video games?
Despite a fair quantity of big action scenes, many of them lack musical accompaniment, and those scored by composer Michel Legrand are entirely disappointing. The only spectacle that works fairly well takes place in Palmyra, where Largo takes the captive agent and his turncoat lover. Bond is put in one of those "traps that will kill you while I'm conveniently busy elsewhere," and so 007 gets free and saves Domino from being sold to Arab slavers. The pursuit of the heroes by the slavers through an ancient Mediterranean fortress is stronger than any of Kerschner's other set-pieces, and free of stupid humor. Later, at the climax Largo attempts to detonate the final bomb in his possession, so Domino, as in her two previous incarnations, gets to end his evil career with a well-placed spear. But this last minute "action-girl" moment doesn't dispel Basinger's damsel image, though she does make one of the most delectable Bond girls.
Finally, though Sean Connery looks very fit for his last outing as 007, he's a washout with the material as well. Connery-Bond in the sixties was not by any means a nice guy, but occasionally he showed passion to save women from dastardly fates when he didn't have to do so. There was a certain knight-like nobility in Connery-Bond that was probably translated from the books, but in NEVER Bond just seems smug and ironically distanced. The movie ends with the false intimation of further entries of this Bond-incarnation, which the producers knew was not going to happen in a million years. So the title NEVER SAY NEVER AGAIN was doubly ironic, because Kevin McClory would "never again" get any further chances to take part in the phenomena of the Bond franchise.
PHENOMENALITY: *marvelous*
Before watching REAPER-- a passion project for writer/director/star Tara Cardinal-- I glanced at some of the IMDB reviews and saw a lot of "worse movie I ever saw" type of responses. Well, REAPER's far from being the worst movie even in the ranks of low-budget fantasy-films. It's not exactly good, but even if I judged it as "bad," it would be the badness of stuffing the script with too much stuff rather than too little. I always prefer the bad films that make a real effort over the ones that make little or none.
To be sure, it's tough to fit together all the puzzle-pieces in the life of Cardinal's character Aella. She dwells in a fantasy-world where humans and demons intermingle on a regular basis, and of course given the budget, the demons just look like humans in makeup. She's the seed of a human mother never given a proper name and a demon-lord named Ganesh (a peculiar reference to a Hindu elephant-god). The mother apparently has exclusive custody to Aella at the point where Mom marries a human lord named Adonis. Then the mother trades young Aella to her father in exchange for a vial of demon-blood, with which the human mother can stay young forever, or at least a really long time. Ganesh treats his daughter cruelly, though we only see one flashback of him whipping her (teen?) self. Aella is rescued by the Reapers, a cadre of warriors who were also the spawn of humans and demons, and who, despite a few demonic features (Aella has scales on her back), pledge their loyalty to the human world.
In the film's real-time, Aella has apparently served her lordly father Adonis for a while. Most of the film's early action, however, is confined to Aella having practice bouts with other Reapers and with humans. Her contact with human lords has caused her to form a romantic dalliance with Prince Eris, but various factions want Eris to marry a human noble, Princess Indira. Adonis is really the only one who nags Aella to step aside; the few others who know about the affair seem okay with it.
After about half an hour of this melodrama-- including a side-plot about the possibility that Aella's inherited the prophetic powers of the mother she despises-- something finally happens to get the plot rolling. Aella is ambushed by a gang of humans, who riddle her with arrows, though this only incapacitates her. They take her to a hut and drain off her half-demon blood, planning to kill her thereafter. But Aella is rescued by her wayward mother, now billed as "The Teller Witch," who transports Aella to another hut, where the Witch lives with her other daughter, who for all the importance she has in the story might as well not exist.
If Aella or any viewer hoped for the mother to justify her past actions, there's not much of that. The Witch simply informs her prodigal daughter that the humans serve Ganesh, and that they intend to use her blood to strengthen an army to attack the semi-human Reapers and Aella's foster father Adonis. The broad implication is that doing so will bring about Ganesh's rulership of the mortal world, but political strategy is not a big concern here.
From then on, the rest of the film is mostly lots of running around and sword-slinging. Before Aella can return to the keep of Adonis, Bad Father Ganesh duels Good Father Adonis and kills the latter. Aella does find a half-dead Eris on the battlefield and feeds him her blood to revive him. I *think* she runs off because she thinks he's died, but Eris does revive and joins the Reapers in trying to fight the demons and their human allies. I can't say that any of the combat, armed or unarmed, is anything special, but I have seen much worse. Strangely, despite all the tactics used to build to a fatal confrontation between good daughter and evil father, the two of them fight for a few minutes, but Eris gets to strike the fatal blow. This, on top of Aella stepping aside to allow Eris to make his political marriage, seems like a curious attempt to downplay the main character in order to make her story seem "tragic."
Still, Cardinal does better than many actresses have in playing a tough swordswoman, and since the movie does at least have a muddled take on the concept of human-demon interactions in a fantasy-universe, I'll give REAPER a fair mythicity rating.
PHENOMENALITY: *marvelous*
I think the above screenshot might be Carina Lau, but she has annoyingly little representation online for this movie. That's a shame because, although Yuen Baio and Brigitte Lin are the leads in the ungrammatically-named DEADFUL MELODY, Lau is the only performer worth watching.
MELODY is a variation on a favorite trope of kung-fu films: that of having a bunch of clans pursuing some secret technique, usually recoded on a scroll or something similar. MELODY is the only time known to me when the clans are after a super-weapon: a magical lyre which, when played correctly, can cause its victims to explode. Moreover, they only explode after a lapse of time, like the fabled "dim mak" touch. Having such a weapon doesn't sound so much like the sort of thing kung-fu clans specialize in, but that's the story.
We first see the film's diva Brigitte Lin, later given the name "Snow," as a child. Her family is attacked by a gang of clans, all wanting the lyre. Young Snow's father and mother are definitely killed, though her brother's death is more apparent than real. Young Snow tries to keep the lyre from the thieves but falls with it off a cliff, thus frustrating the evil clan members.
Naturally, Snow and the lyre both survive. Somehow in adulthood she becomes phenomenally rich and a kung-fu expert, though apparently, she confides in no one. Snow wants to draw out the kung-fu killers and forms a plan to do so. She engages a security company to protect the lyre when she sends it overland to another recipient. As it happens, the only available guard for the caravan is Lui Lun (Yuen), and though he does possess some martial skills, he's not capable of fending off the clan-masters. However, Snow shadows the caravan and picks off the masters when they attack.
Unfortunately, the wire-fu used in MELODY is mediocre at best, and so the film lacks the dazzling qualities of other wuxia films of the period. Lin just essays her usual severe persona, while Yuen does his usual easygoing character, except when his father is killed because of Snow's manipulations. However, Lun's vengeance is forestalled when Snow finds out, and reveals, that Lun is the brother she thought she lost, who was raised by the man Lun thought his real father. All of these Dickensian revelations are bland and no more involving than the two main characters.
As stated, MELODY's one bright spot is Carina Lau's character Tam. Tam is the saucy student of one of the masters-- the only master who's more genial than the really villainous guys, though I would think he's still guilty of the murders of Snow's parents. Tam tries to steal the lyre from Lun but her ambition outpaces her abilities and he defeats her easily. In the course of their interaction, Tam falls for Lun, though it's never clear if Lun feel anything for her. MELODY might have been a little better had Lun and Tam hooked up at the end, if only because it would have taken the emphasis off the dud brother-sister revelations. Recent news asserts that there may be a remake of the film, but for myself I'd like to see almost any old chopsocky get an update rather than this nothingburger.
PHENOMENALITY: *marvelous*
When Satan tempted Jesus, the devil offered all the dominions of the Earth before being refused. Ash Williams didn't refuse, but then he wanted a much simpler prize from his tempter Ruby Knowby: just to live a bacchanalian existence in Jacksonville Florida with his boon buddies Kelly and Pablo. ln fairness, Ruby also promised the hero that she could control the Evil Dead, which Ash had never been able to do. So his decision was made, at least partly, in the hope that Ruby could control the foul spirits like a Boss of Bosses reining in lesser gangsters.
HOME-- Rather, what Ash wants is a home away from his real home, and Jacksonville fits the bill. While Ash is enjoying a party with Florida residents who all adulate him, he almost scores with a hot mother-daughter pair. But the mother and daughter turn into Deadites and start a riot. It's later revealed that Ruby sent the evil spirits to summon Ash and his friends to aid her, though she's pretty roundabout in the way she tells him to seek her out in his old home town, Elk Ridge. On the way back to Michigan, Pablo, whose visions have been in abeyance since the truce, begins to suffer from his earlier exposure to the Necronomicon. In Elk Ridge Ash suffers the slings and arrows of outraged locals, who believe him guilty of the cabin-murders from thirty years ago. He meets old girlfriend Linda, now married to the local sheriff, and has an acrimonious encounter with his father Brock (a perfectly cast Lee Majors). Team Ash meets a now powerless Ruby, whose demon-children, formerly the base of her power, have turned on, hoping to bring their demon-father Baal to the earth-plane.
THE MORGUE-- For some damn reason, Ruby hid the Necronomicon inside a corpse at the local morgue, so Ash and Kelly go corpse-diving, without even knowing which body to look in, thus leading to lots of ghastly gooeyness. Ruby hints of a ritual that can divest Pablo of his connection to the evil book. Ash spots his old teacher/lover Lillian (Carmen Duncan), with whom he had relations back in high school, but he's aggravated to learn that Brock is now dating her. (Ash hints that his father, being as lascivious as Ash is, tended to steal his girlfriends.) However, at the morgue the hero learns that Lillian's been dead some time, so he and his friends rush to Brock's house to destroy the Deadite. The good guys defeat Deadite Lillian, but Ash makes the boner of leaving the book, so painstakingly acquired in the morgue, inside his car, after which a couple of naughty teenagers steal both car and book.
LAST CALL-- Ash, desperate to recover his car, "the Delta," from the thieves, co-ordinates a big party at the bar of his childhood buddy Chet (Ted Raimi). It doesn't work. The two thieves hang out with some of their friends, including Lacey (Pepi Sonuga), daughter of Linda and Sheriff Emery. and one of them, Amber (Olivia Mahood) gets possessed-- and so does the Delta itself, keeping the other teens imprisoned or killing them. Amber seeks out Ash'party and comes on to both Ash and Brock. Their Oedipal conflict inspires them to compete to ride the bar's mechanical bull, and Ash is humiliated when his father wins. However, when like his son Brock tries to get some nookie in a restroom, Amber tries to kill him. Ash dispatches the Deadite, so that Brock finally realizes that his son really has contended with demons, and that Brock can finally show pride in his offspring. But the bonhomie is short-lived, for the possessed Delta, now carrying Lacey inside it, shows up at the bar and kills Brock by running him down.
DUI-- As much as Ash loves his car, he's obliged to pursue the possessed vehicle. Pablo overtakes the Delta first, and for some unknown reason, the evil auto allows Pablo to join Lacey, keeping both prisoners. Ash squares off against the Delta in a demolition derby arena, at one point getting atop the car's hood and "riding" it as his father rode the mechanical bull (with a hilarious imaginary dialogue with Dead Brock), before smashing the engine with his chainsaw. The car releases Lacey and Pablo, and when Pablo brings the book with him, it comes alive and tells him he can be rid of the tome by casting it into the car's trunk. Sure enough, Ash and Pablo find a portal to hell inside the Delta's trunk, and they consign the book thereto-- which of course does not solve their problems in the least.
CONFINEMENT-- Ash is arrested for having killed Amber, and the whole town believes him a serial killer, except possibly Linda. Emery locks up Ash and Chet. However, Ruby's traitor children have succeeded in summoning Baal to Earth, and he invades the jail by flaying the skin from a local cop and wearing it. (Why he can't just use simple illusion like other Evil Dead spirits, I do not know.) Ruby, Pablo and Kelly hold everyone in the jail at gunpoint trying to figure out Baal's identity. However, when Ruby separates from the group to retrieve the magic dagger Ash acquired from the cabin, Baal meets her and beats her down. Baal apparently leaves and so do the heroes, but in truth Baal has turned Emery into a vessel of his will.
TRAPPED INSIDE-- The allies return to Brock's house to attempt exorcising the book's influence from Pablo, with the aim of also defeating Baal. But through the vessel of Emery, Baal has convinced the whole town that Ash is a murderer, and the people gather outside the house, demanding Ash's surrender. For good measure, Baal revives Ash's sister Cheryl (Ellen Sandweiss) as a Deadite, even though her remains ought to be back in the forest. Since one of Brock's resentments of Ash stemmed from the belief that Ash murdered his own sister, this was obviously done to break the hero's spirit. Instead, Ash enthusiastically chainsaws the simulacrum, in such a way that the townsfolk learn that Ash really is a demon-slayer. However, Baal assumes another human guise and knocks out Ash.
DELUSION-- There's nearly no transition between the last episode and this one; Ash simply wakes up in an asylum and meets Doctor Peacock, who claims that all of Ash's experiences have simply been psychotic delusions. Peacock even shows the disbelieving hero a puppet made in Ash's own image. Ash also sees illusory versions of Pablo, Kelly and Ruby in the asylum, while on the outside the real allies are converging on the building. Ash is finally broken by the brainwashing and swears to re-acquire the book for Baal.
ASHY SLASHY-- The trio enters the asylum and meets Emery, who has made a deal with Baal to free his daughter Lacey. However, Lacey shows up at the bughouse as a Deadite and breaks her father's neck. Ash collars Pablo and forces him to go before Baal, who thinks he can use the book's imprints upon Pablo's body for his own purposes. Ash then reveals that he was never mentally dominated, he wanted Baal and Pablo in the same room so that Ruby could exorcise the demon. However, though Baal is apparently expelled, in taking his leave he manages to cut Pablo in half, killing him.
HOME AGAIN-- Broken hearted at the loss of Pablo-- whose bagged remains Ash keeps in his car-- Ash hits upon a solution. Since he previously used magic forces to travel to another time in ARMY OF DARKNESS, why not travel back to the past and stop his younger self from ever unleashing the Evil Dead? Ruby makes this possible, and soon they're back in the early 1980s. However, when the heroes arrive in the forest, Ash finds that Professor Knowby is now seeking to control the book's power, which has already possessed his wife and which the prof hopes to channel into the body of Tanya, a college student. Ash foolishly releases possessed Henrietta Knowby, resulting in chaos in the cabin while outside Ruby and Kelly seek to prevent their suffering the fate of Original EVIL DEAD: being raped by trees.
SECOND COMING-- Knowby doesn't escape, as he's killed by the Ruby of 1982-- whose surname of "Knowby" was apparently nothing but a jape, as the two are not related. Kelly and the 2016 Ruby arrive at the cabin. 2016 Ruby tries to tell 1982 Ruby that both Baal and Ruby's children will betray her, but 1982 Ruby simply kills her later incarnation. Ash and Kelly flee, but they get evidence of timeline-change when Ash regrows his missing hand. Also, Pablo comes back to life-- but wait, it's really Baal, who hid his essence in Pablo's corpse. Baal resumes his usual form and lets Ash and Kelly watch as Baal and 1982 Ruby seek to unleash all the Evil Dead upon Earth. Ash buys time by challenging Baal to a fistfight, and the amused demon consents, knowing that he can always cheat as he pleases. But Ash and Kelly turn the tables, banishing the demons to Hell and reviving Pablo for real. The season ends with Ash being feted by the citizens of Elk Grove for his deeds, though somehow 2016 Ruby is still around and planning more trouble for Season 3.