Friday, October 31, 2025

SNOW MONSTER VS. ICE SHARK (2019)

 

PHENOMENALITY: *marvelous*
MYTHICITY: *poor*
FRYEAN MYTHOS: *drama*
CAMPBELLIAN FUNCTION: *cosmological, sociological*

I don't get the sense that the SYFY channel, whatever its status these days, produces as many giant-beast films as it used to. However, I've been seeing more of them on streaming with Asian names in the billing, so I gather one or more Chinese studios have moved in to make up the deficit.

And just like the SYFY monster-flicks, this one, SNOW MONSTER VS ICE SHARK, is just as bereft of entertainment value as most of the American offerings. Actors who may or may not be talented are stuck reciting bland dialogue. One partial online review asserts that the movie was originally just called SNOW MONSTER, which was more accurate since SM is basically a routine emulation of KING KONG, but with a somewhat larger Abominable Snowman, albeit one with atypical goat-horns.

A fanatical Chinese scientist. name of Lin, sends an expedition into some snowy terrain-- the Arctic, possibly-- in search of a fabled snow monster. The expedition is headed by Lin's own niece Xiaoquin, but all members of the party go missing when a giant creature attacks them.

The government funding the project promptly sends an all-male task force to find the lost scientists, and once the soldiers are there, they stumble around for about half an hour before finally meeting a giant monster. Yet it's not the Snow Monster, but a predacious Ice Shark, leaping out of the water beneath the frozen ice. However, since the shark can't be allowed to take out all the heroes, the Snow Monster shows up and easily defeats the fish (which is nowhere near the snowman's size) by grabbing its tail and slamming it against a mountain. So much for the "vs." promised by the title-makers.

The soldiers are then taken prisoner by some snow-dwelling tribal humans who worship the Snow Monster. But as in more than one KONG remake, the natives and their monster are both benign, and the soldiers encounter at least one of the scientists they sought, Xiaoquin. So no more reason for fighting, right? Wrong; Uncle Lin is a corrupt dirtbag who brings in a lot more soldiers, and even a plane with a sonic weapon, in order to kill the Monster and harvest its genes for-- something or other. 

As in most of the SYFY monster-flicks, there's a lot of limited CGI fighting by the big critter, and he has a kung-fu priestess (Li Ruoxi) who provides most of the human-to-human conflict. Uncle Lin and his forces (were they government-controlled?) are wiped out, the tribe gets to keep its god-monster, and all the good people live and go home.

I will say the production values for this looked a little better than most of the SYFY items this genre, and though there's not a big monster-battle at least it is a valid monster-mashup. But those are the only merits of this forgettable bit of tripe.         

Wednesday, October 29, 2025

THE DEEP ONES (2020), THE OLD ONES (2024)

 

PHENOMENALITY: *marvelous*
MYTHICITY: *poor*
FRYEAN MYTHOS: *drama*
CAMPBELLIAN FUNCTION: *cosmological,metaphysical*

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. 


  Ferrin, not content with having pissed on HPL once, returned in 2024 to the same well, though at least this time he didn't seem to be taking a jejune Lifetime Movie approach to the material. A father and son on a fishing-expedition come across a man floating in a river and pull him out. The man, name of Russell Marsh (a reference to the Marsh family of INNSMOUTH), claims that he was born in 1865 and that he was thrown into the water near the Solar Beach colony, thus allowing Ferrin to work his DEEP ONES continuity into this film. One of the Deep Ones springs out of the river and kills the father. Marsh kills the monster and talks the son, name of Gideon, into joining him in a road trip. Marsh tells Gideon that he knows of a special machine, a "resonator," that can allow them to travel back in time and undo the death of Gideon's father.

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. 

AVENGERS ASSEMBLE, SEASON FOUR (2017-8)

 

PHENOMENALITY: *marvelous*
MYTHICITY: *fair*
FRYEAN MYTHOS: *adventure*
CAMPBELLIAN FUNCTION: *cosmological, psychological, sociological*

This season is subtitled "Secret Wars," which can refer to two multi-feature crossovers from Marvel Comics in the 1980s and 1990s. In the first, a bunch of Marvel heroes and villains were abducted from Battleworld by an entity called The Beyonder, and forced to fight one another in largely pointless adventures. In the second, the Beyonder shows up on Marvel-Earth and has a lot of pointless encounters with Marvel regulars. 

 My summing-up of these dubious comic-book events should make clear that I don't think any adaptation of these stories had much to offer in the first place, and thus it's not impossible that any changes could well be improvements. However, when the season begins with a bunch of big-name Avengers getting dispersed into other dimensions, it's not the Beyonder who's responsible, but a new Cabal of regular Marvel villains: The Leader, Kang, Arnim Zola, The Enchantress and The Executioner. Once the former regulars-- Thor, Hulk, Iron Man, Hawkeye, Black Widow, and Captain America-- have been scattered hither and yon, Thor's girlfriend Jane Foster summons a new cavalcade of heroes, informally called The New Avengers, to look for the lost crusaders and to take up the heroic slack. This team consists of Black Panther, Captain Marvel, Ms. Marvel, Vision, Wasp and the Ant-Man. What's historically intriguing about this development is that it begins roughly a year before the two live-action movies that climaxed the MCU's Phase Three, 2018's AVENGERS INFINITY WAR and 2019's AVENGERS ENDGAME. I can only conclude that the animation producers were given advance information as to how the Phase 3 conclusion would shape up, particularly with respect to neutralizing the prominent (and expensive) live-action versions of Iron Man and Captain America.

In the live-action universe, Marvel Productions then went through all manner of torturous efforts to make the public fall in love with a new concatenation of less expensive icons-- efforts that largely failed. Yet in fairness, ASSEMBLE's efforts to promote a group of "scrubs" to take the place of the previous heavy-hitters wasn't that bad. The Vision, Wasp and the Ant-Man were nothing special, and Captain Marvel, while lacking in charm, wasn't as tedious as in her two live-action incarnations. Ms. Marvel, who had been promoted in the comics to be an exemplar of a virtuous Muslim heroine, was in her animated form a fairly lively, quirky character, and for once, she was actually pretty good in a fight. I praised the producers' conception of Black Panther in my review of Season Three, and Season Four is truer to the comic-book icon, rather than following the dubious lead of the live-action PANTHER movies. To be sure, Season Four also injects some of the politically correct characters who later dragged down the live-action continuity, such as the Panther's obnoxious sister Shuri and the Jane Foster version of Thor. But at least they're only in the season briefly.

Further, since ASSEMBLE wasn't sidelining its big-name heroes for the same reasons as did the MCU, there was no problem with bringing them all back in the course of the season's 26 episodes. One could wish that when the MCU finally did debut a purported "New Avengers" in the 2025 THUNDERBOLTS, they'd chosen a mix of icons at least as good as the one in ASSEMBLE Season 4. In addition, Season 4 gives the big names some nice character moments. In the episode "Weirdworld," Bruce Banner becomes separated from the Hulk, and his allies Black Widow and Cap Marvel watch as Banner becomes obsessed with killing his alter ego. Late in the season, the Avengers' old foe Loki makes common cause with them against the Beyonder, and there are some good moments in which Thor is genuinely disappointed that his wayward brother has once more lied to suit his agenda.

The Beyonder is probably the weakest link in Season 4, but then as stated, his original model wasn't much to speak of.                       

Tuesday, October 28, 2025

WAR OF THE WIZARDS (1978)


PHENOMENALITY: *marvelous*
MYTHICITY: *fair*
FRYEAN MYTHOS: *adventure*
CAMPBELLIAN FUNCTION: *metaphysical, psychological*


WAR OF THE WIZARDS is an underrated magical fantasy that, while not meeting my criteria for high-mythicity, ranks in my book with similar charming (albeit child-friendly) productions by masters like Ray Harryhausen and Aleksandr Ptushko. WAR absolutely is not in any way a "space opera" just because there are a few opening scenes showing "spirits" in the starry heavens. It's true that co-director and FX-guy Sadamasa (DESTROY ALL MONSTERS) Arikawa worked out some effects-scenes that bore passing resemblance to the juggernaut that was the 1977 STAR WARS. But the universe of this WAR was predicated on the sort of folktales that genuinely took place "a long time ago," but in an archaic world far from space-lasers and FTL ships.  

Despite some opening narration, the movie takes some time to establish that universe. The most one can say is that at some time in the past, two great magical items get concealed in the ocean by parties unknown: a vessel of plenty, that will conjure up anything the owner wishes for, and a book of knowledge. The narration suggests that "three spirits" come to Earth looking for these items, but evidently the narrator can't count, because it's more like ten or twelve different questers.  I *think* the various spirits may have been alerted because humble fisherman Tai (Hsui-Shen Liang) finds the magic vessel on the ocean floor, fetches it up, and soon begins making wishes to benefit both himself and the local townfolk. Oddly, though the opening is careful to show that the poor fisherman is an avid reader of books, he apparently does not notice the book of knowledge in the same area as the vessel.



Tai's use of his endless wishes attracts several murderous agents who want the items. Some of them kill one another in competition for the prizes, and the last of them are slain by two beautiful fairy-sisters, Hyacinth and Violet. Tai is taken with the sisters and invites them to serve as his bodyguards, and they agree. There's like one more scene in which the girls beat up a couple of malcontents-- one of the few usages of martial fighting, since most of the spirits have magical, transformative powers. Tai is so taken with the girls that he offers to marry them both, and they agree. However, they fool him so that he doesn't get with either of them and the reason seems to be that they too were sent to collect the magical treasures by an evil fairy, name of Flower Fox (Betty Pei Ti).

I think Flower Fox gets tired of waiting for the sisters to deliver on their mission. She shows up at Tai's house, kills two other seekers with flame-breath, and cancels out the sisters' powers. Flower Fox captures her pawns and the magic vessel, but she doesn't know where the bamboo book is. In response, Tai dives into the ocean again and locates the book. Some timely advice tells Tai to "ride the Phoenix," and sure enough, when he surfaces a giant red bird sweeps him away from Flower Fox.

Up to this point, Tai has been a fairly passive protagonist, a lot like the original Aladdin of the Arabian Nights. However, the Phoenix takes Tai to some cloudy domain. Tai comes across some peaches and eats them, only to be reproved by an old man who meant the magical peaches for someone else. Both in Chinese and Japanese folklore, peaches often confer special powers and/or immortality, but the dubbed version of WAR just drops the point and goes on to the next thing: Tai asking to become the old immortal's disciple. I suspect that the dubbed version may have cut some training montage for time. In no time Tai, the former layabout, has mastered the use of a magic sword that fires ray-bolts, and even gets a suit of snazzy clothes from his master. He has at least become a temporary hero, though it's unclear if he made this ascension through training or through eating magical peaches.



Flower Fox threatens to flood Tai's hometown to get the book, but he temporizes until he's powerful enough to beard the evil fairy in her lair. With some help from the Phoenix, Tai vanquishes a rather impressive rock monster. However, the villainous fairy also has a human henchman, the mighty Steel Hand (Richard Kiel, who apparently played this part immediately after his star-turn in 1977's THE SPY WHO LOVED ME. released in the US three months after STAR WARS). The battle between Tai and Steel Hand-- so called because the henchman wears metal gloves-- is interesting because Tai has absolutely no kung-fu moves at all; he's like an ordinary guy fighting a colossus, except for having a magic sword to even the odds. The fight looks like it's modeled on those of the James Bond franchise, maybe even with some thoughts of GOLDFINGER in mind. Regardless, Tai defeats (but does not slay) Steel Hand. The hero goes looking for his captive wives, but now he has to fight Flower Fox, who conjures up multiple swordsmen out of the magic vessel. (Oddly Steel Hand is seen bringing the two fairy girls out of captivity.) Tai's then beats the villain by flinging the bamboo book at her. The book binds her arms and Tai prepares to kill her. However, two new spirits show up and surround Flower Fox with a force-shield that breaks his sword. The two new guys then send the evil fairy flying to heaven, and then they themselves fly into the sky with Violet, Hyacinth, and the two magical items. Violet and Hyacinth don't look like they're happy to be leaving, though it's anyone's guess if they'd rather stay with Tai. One of the "good spirits" invites Tai to join them all in heaven. However, the invitation may be sarcastic, for when Tai flies after them, his powers and costuming vanish. He falls into the same bay where he found the items, while a voice tells him, "You gained tremendous knowledge and great skillful powers. Be satisfied!" The film ends with Tai sputtering in the water while a fishing-boat comes to his rescue, assuring that he will survive to return to the workaday world. A fortune-cookie phrase that also appeared near the opening is repeated: "He who desires to possess everything must learn to be content with nothing."

I've no idea if WAR might owe anything to established Asian folklore. In Western terms, the "moral of the story" seems stuck somewhere between "Aladdin," in which a lazy loafer gets all his wishes fulfilled," and the Grimms' "Fisherman and His Wife," in which the greedy wife of the fisherman prevents their profiting from the wishes given them by a magical fish. My best guess is that the filmmakers wanted to give the audience some of the thrills of wish-fulfillment, while stopping short of total apotheosis. Thus Tai only gets a brief time to dally with the powers of the immortals, though I think he at least earns some of them, up to a point. Possibly the movie makes its message clearer in the original Taiwanese. But even if WAR isn't as clear as I might like it, I think there was some theme being invoked, that it wasn't just an endless, meaningless stream of marvels like those Asian films I've called "chopwackies."                      


Monday, October 27, 2025

HOLOGRAM MAN (1995)

 

PHENOMENALITY: *marvelous*
MYTHICITY: *fair*
FRYEAN MYTHOS: *adventure*
CAMPBELLIAN FUNCTION: *cosmological, sociological*

No one goes to PM Entertainment for well-conceived science-fiction societies, and HOLOGRAM MAN is in essence another near-future, low-budget flick derived from movies like ROBOCOP and TERMINATOR. However, the society in HOLOGRAM at least makes more sense than the one in the two CYBER TRACKER films.  

To be sure, anything one learns about this near-future world has to be acquired in the midst of running gun-battles. We're apparently in future-California, but we don't know anything of the rest of the world except that somehow, humans caused the destruction of the ozone layer. This put a repressive government under the control of one Jameson (Michael Nouri). In reaction to that repression, anarchist Slash Gallagher (Evan Lurie) organizes a small band of similar terrorists devoted to violent overthrow of the government. However, tough cop Decoda (Joe Lara) manages to stymie Gallagher and send him to prison. But in this future world, the government places convicts' bodies into statis while computers seek to reprogram the sinners into useful citizens.   

Years pass, and it's time for the prison parole board to review whether or not the reprogramming had the desired effect. Decoda, who would have preferred seeing Gallagher put down like the mad dog he is, attends the hearing, while both his girlfriend Natalie and her father serve as technicians in the process. However, elsewhere Gallagher's old gang engages a hacker to interfere with the computers. Bingo: not only has Gallagher not been reformed, he becomes a being of pure energy, a "phantom terminator" who can't be harmed by bullets or bombs. 

A little past the middle mark, Gallagher corners Decoda and Natalie at the computer building, shoots Decoda fatally, and leaves both cop and technician behind to be annihilated by a bomb. But Natalie apparently figured out what rogue process created the energy-Gallagher, so she puts the dying body of her boyfriend through the same treatment, making him into an energy-creature too. This leads to a big battle between cop and criminal, as well as getting rid of the tyrant who fomented the toxic situation.

For me the most interesting thing is that even though the hero becomes a super-powered being like the villain, I'm not sure Decoda counts as the main character. Aside from the rage the cop expresses at the callousness of both Gallagher and Jameson, Decoda is even more of a cipher than most action-heroes in flicks like this one. In contrast, Gallagher's psychotic persona gets much more attention, and though nothing he says is overly witty, the movie seems far more predicated on what happens when a hologram-- intended to be a neutral representation of a human psyche-- becomes infused with the evil of the psyche's owner. True, by the end of the story Decoda is the only surviving "hologram man," and I suppose he might go on crusading against evil a la the inhuman Robocop. But when his girlfriend asks what they should do in the wake of Jameson's demise, Decoda ends the film by throwing the power back to the people with one word: "Vote."

Not much humor in HOLOGRAM, but I did like it when one of the goons calls the hacker a "chip shit."

THE PHANTOM RIDER (1946)

 

PHENOMENALITY: *uncanny* 
MYTHICITY: *fair*
FRYEAN MYTHOS: *adventure*
CAMPBELLIAN FUNCTION: *psychological* 

Although the 1946 PHANTOM RIDER is mostly a by-the-numbers "costumed cowboy" serial, it has some points that elevate it above the level of the routine. 

For one thing, it has nothing to do with the Universal chapterplay of the same title, which was essentially just another outre-outfit oater. In that 1936 offering, Buck Jones just donned an all-white outfit, possibly with the idea of suggesting that he was ghostly, like The Ghost Rider of the comics, who appeared in 1949. In the 1946 serial, Doctor Jim Sterling (Robert Kent) ends up donning a costume designed to make him look like an ancient Indian spirit, consisting of buckskins, a feathered headdress, and a rubber mask covering his entire face, purportedly to make others think that he's Indian. The Rider never fools any white villains into thinking him a spirit, though a good number of the local Indians-- never given a tribal name-- apparently can't tell red-hued rubber from crimson flesh.

For the other thing, RIDER possesses some good progressive (back when that word meant something) political content. Easterner Sterling is on his way to become the doctor to a small western town, whose name might be Big Tree, like the nearby Indian reservation. On his way to town in a buckboard, Sterling gives a lift to Blue Feather (George J. Lewis), the college-educated son of the Indians' chief. Blue Feather provides exposition about how he educated himself so that he could improve the lot of his people in living in the white man's world, especially in dealing with the bandits menacing both the whites and the Indians. Blue Feather's main ambition is to create an Indian police force, vetted by the federal government and with the power to arrest the lawless. Sterling shows his approval of this lofty goal-- and within the first chapter, gets direct evidence of bandit predations. Blue Feather is wounded and sidelined, so the noble doctor decides to take over the young Indian's mission. With the help of schoolmarm Doris (Peggy Stewart), Sterling decides to assume the appearance of an ancient Indian savior, The Phantom Rider, to convince the Indians to follow the white man's way of fighting oppression.

As in the 1938 LONE RANGER serial, the bandits are hiding under the cloak of counterfeit authority. Local Indian agent Carson (LeRoy Mason) is not the real person assigned to the post, but an otherwise unnamed schemer using the position to coordinate his gang's activities. The Rider pops up and starts preying on the predators, they try to stop him, rinse and repeat. 

Despite a cool setup, RIDER falls into a lot of pedestrian situations, with no memorable cliffhangers and mostly gun-action. According to THE FILES OF JERRY BLAKE, the hero's rubber-mask disguise had a restrictive effect on what both Robert Kent and any doubles could do in fight-scenes. But the photography here is much crisper, and thus more involving, than in many later serials, so RIDER always looks good even if one has seen the same business a dozen times before. The story would have gained some heft had it built up conflicts between Sterling's profession and his avocation, or the character of Schoolmarm Doris. JERRY BLAKE liked the comedy relief of "Nugget," a grizzled miner, but he didn't do anything for me. The villains are also ordinary and no better than they have to be, and the formation of the Indian police force comes about a little too easily. I'm glad I had the chance to see it but will probably not watch it again. I suppose Bad Progressives would sneer at the serial for placing a "white savior" in charge, but to me it makes a world of difference when the savior, whatever his race, is helping others save themselves         

Sunday, October 26, 2025

A WHISPER KILLS (1988)

 

PHENOMENALITY: *uncanny* 
MYTHICITY: *poor*
FRYEAN MYTHOS: *drama*
CAMPBELLIAN FUNCTION: *psychological, sociological*

*SPOILERS SPOILERS SPOILERS*


If I ever again get the impulse, "Oh, X Celebrity just died; I'll watch this obscure thing in which he/she appeared," I need to kick myself. In this case I gave this worthless piece of TV fodder a chance because of the passing of June Lockhart. I would have done better to have watched the lousiest episode of her stint on PETTICOAT JUNCTION. The director here is long-time journeyman Christian Nyby II, but I blame the badness of eleven-time screenwriter John Bensick for not putting together even a basically serviceable script.

In some small town, Liz (Loni Anderson) runs a local newspaper in partnership with a guy she once slept with. She wants to keep things all business, he doesn't. Then the viewer (but no one else) sees the partner stabbed to death by what is pretty evidently (as shown in the advertising) a lean woman in a mask. A day or so later, a reporter named Dan (Joe Penny), friend of the deceased, comes to town, wanting to find the killer. Liz and Dan butt heads as a foretaste of their inevitable hookup, but she hires this apparent "bad boy" anyway. The killer announces her intent to kill again by phoning the sheriff and saying so in a forbidding whisper.

For the next half hour, Liz and Dan spin their wheels, wasting time and building no suspense whatever. Finally the script gets around to having Dan interview Liz's mother Mrs. Rogers (Lockhart), who reveals that Liz underwent psychiatric care after her father either was killed by an intruder or killed himself-- the script is vague about which is the case. After this big revelation, Dan suddenly starts seeing Liz in a different light, as a possible psycho-- though at no point does Loni Anderson play her character as anything but a square citizen. There's a suggestion that Liz might have been molested by her dad, and also that she had an affair with her psychiatrist, but it's just more time-killing crap.

I can't do better in pointing out, as did another reviewer, the absurdity of creating a mystery about a female killer in a script that only boasts two prominent female characters (though, curiously enough, former serial queen Phyllis Coates has a small role in the telefilm). So of course it's really Mrs. Rogers, but the lazy writer can't even be bothered to sketch out her motivations. Did she execute her two or three victims because she thought they threatened her daughter? Or (slightly more likely) did she resent her daughter because her husband has sex with Young Liz, and so decided to go after Liz's exes?         

Even in the domain of TV movies, this is one of the laziest scripts I've ever encountered.  

Saturday, October 25, 2025

THE FLY (1958)

 

PHENOMENALITY: *marvelous* 
MYTHICITY: *good*
FRYEAN MYTHOS: *drama*
CAMPBELLIAN FUNCTION: *cosmological, psychological*

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.                   


SWEET, SWEET RACHEL (1971)

 


PHENOMENALITY: *marvelous* 
MYTHICITY: *fair*
FRYEAN MYTHOS: *drama*
CAMPBELLIAN FUNCTION: *metaphysical, psychological*


*SPOILERS SPOILERS SPOILERS*

I'm not sure what's so "sweet" about Rachel Stanton (Stefanie Powers). She's certainly as victimized as any of the most persecuted heroines of Gothic tales, and in almost every scene her torment is torqued up to Warp Eleven. But there's nothing especially "sweet" about her. 

Rachel's torments start out with a bravura opening that's better than the rest of the movie. On the second floor of a manor house, a man, Paul Stanton, sits playing some sort of game with a deck of non-standard Tarot cards. He seems to see and hear his wife Rachel coming toward him, calling his name. He rushes to her, no longer seeing his real surroundings, and crashes through a window, falling to his death. The real Rachel arrives in the room moments afterward, aghast at Paul's catastrophe. The phone on Paul's desk rings, Rachel answers it, and a voice recites the images on the five Tarot cards Paul had just dealt himself.

Viewers never learn just what sort of occult beliefs the late Paul Stanton nurtured, but Rachel did not share them. However, the outre circumstances of Paul's death make her desire to know if she just concocted her impressions out of a psychotic episode, or if there's really supernatural hanky-panky going on. Fortunately, Rachel happens to live in or near a city with a functioning psychic research facility. From this source come the story's heroes: former surgeon Dr Darrow (Alex Drier) and his aide Johnson (Chris Robinson), a blind man who has developed psychic senses in compensation for his affliction. 

The pool of suspects is not a deep one, for RACHEL only has three other significant characters: Rachel's aunt Lillian Piper (Louise Latham), her husband Arthur (Pat Hingle), and their daughter Nora (Brenda Scott). Early in the film Lillian claims that she was indeed engaged in some sort of occult game with Paul, and that she was the voice on the other end of the line, though this confession removes none of Rachel's feelings of guilt. The husband Arthur is perhaps a little too invisible in early scenes, while Nora loudly reviles Rachel, claiming that she Nora was Paul's true love. This is fairly weak story-scaffolding, as the script never expounds on how the two cousins interacted before Paul married Rachel.

Further, the psychic assassin is still in play, taking exception to Darrow and Johnson trying to solve the mystery. In two separate scenes, Darrow is made to hallucinate in ways that might have caused the deaths of both investigators. Then about halfway through the flick, Aunt Lillian gets killed. Did Rachel go berserk and take her aunt's life?


I'll say one thing for screenwriter Anthony Lawrence-- who also co-wrote the underrated pilot for the PHOENIX TV show-- he doesn't dole out a lot of clues, but he does play fair by spotlighting a suspicious encounter between Arthur and his daughter Nora, one that carries a sexual vibe. (To be sure, one IMDB asserts that RACHEL was based on a book, though the IMDB page for the telefilm does not mention this.) Anyway, Darrow devises a way to trap the psychic schemers-- one that gives Johnson his first real role in the story-- and the duo soon learn that Nora, not the late Lillian, is the one with real mental talents. The motive, supplied by Nasty Arthur, has something to do with the uncle inheriting Rachel's fortune if she gets put away, though technically no one in the movie raises the possibility of committing the heiress. There's a struggle between Nora and the father who cajoled her into killing Nora's true love, and Nora "accidentally" kills her oppressor. Rachel's ghosts, so to speak, are laid to rest, while Darrow and Johnson stand ready to bust more ghosts in the TV show that followed this unofficial pilot--

--Except that when that show debuted under the new title THE SIXTH SENSE, Dreier and Robinson were out and the more telegenic Gary Collins became the sole investigator for SENSE's two seasons, on whose episodes Lawrence enjoyed a "created by" credit. I have not watched any full SENSE episodes since the show's initial run, and re-screening might uncover some gems. However, my dominant memory was that the episodes were dull and lacked any of the visual verve that director Sutton Roley brought to RACHEL. Roley and Lawrence were both essentially journeymen talents in the world of episodic TV, and I didn't see too much of distinction in either man's repertoire, except for the previously mentioned PHOENIX credit for Lawrence.  RACHEL by itself is a cut or two above the average Gothic-thriller telefilm from this period, but nothing more.           

Wednesday, October 22, 2025

GONE WITH THE WEST (1969/1974)

 

PHENOMENALITY: *naturalistic*
MYTHICITY: *poor*
FRYEAN MYTHOS: *adventure*
CAMPBELLIAN FUNCTION: *sociological*

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."      

ASH VS EVIL DEAD SEASON THREE (2018)

 

PHENOMENALITY: *marvelous* 
MYTHICITY: *good*
FRYEAN MYTHOS: *drama*
CAMPBELLIAN FUNCTION: *metaphysical, psychological*


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."                

    

Tuesday, October 21, 2025

NEVER SAY NEVER AGAIN (1983)

 

PHENOMENALITY: *marvelous*
MYTHICITY: *fair*
FRYEAN MYTHOS: *adventure*
CAMPBELLIAN FUNCTION: *psychological,sociological*

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.         
                 

Monday, October 20, 2025

LEGEND OF THE RED REAPER (2013)

 

PHENOMENALITY: *marvelous*
MYTHICITY: *fair*
FRYEAN MYTHOS: *adventure*
CAMPBELLIAN FUNCTION: *metaphysical, sociological*

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.  


        

Friday, October 17, 2025

DEADFUL MELODY (1994)

 

PHENOMENALITY: *marvelous*
MYTHICITY: *poor*
FRYEAN MYTHOS: *adventure*
CAMPBELLIAN FUNCTION: *metaphysical*

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.                 


ASH VS EVIL DEAD SEASON TWO (2016)

 

PHENOMENALITY: *marvelous* 
MYTHICITY: *good*
FRYEAN MYTHOS: *drama*
CAMPBELLIAN FUNCTION: *metaphysical, psychological*

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.