VIDEO REVIEW: The Pirates of Blood River

VIDEO REVIEW: The Phantom of the Opera

VIDEO REVIEW: The Awful Dr. Orlof

VIDEO REVIEW: Dr. No

VIDEO REVIEW: King Kong vs Godzilla

VIDEO REVIEW: Panic In Year Zero

VIDEO REVIEW: Varan The Unbelievable

VIDEO REVIEW: Gorath

The Lucid Nightmare - Gorath Review by jayskitstar

VIDEO REVIEW: Carnival of Souls

LET'S GET HAMMER'D: The Phantom of the Opera

The Phantom of the Opera
Director: Terence Fisher
Year 1962
 
The Phantom of the Opera is an excellent Hammer Film Productions adaption of the famous Gaston Leroux novel by the same name. Set in a number of elaborately gothic locations and centered on an ornate opera house, the movie boasts a lucid atmosphere that commendably captures Leroux’s writings, while ate the same time, the production stakes claim to a few stylistic choices of its own. High on production value and ambience, this horror entry blends the famous Hammer style with the conventions of the legendary story of The Phantom of the Opera to make a cinematic spectacle that any genre lover should appreciate.
 
The film follows the haunting occurrences at a London opera house by an illusive specter who seems determined to halt production on the theater’s next play. With a determined director named Harry Hunter and a ruthless producer named Lord Ambrose d’Arcy, the opera pushes forward through the sabotage, but it isn’t until the lead actress of the play, Christine Charles, is kidnapped that people start to question if the Phantom of the Opera is indeed a ghost, or a jaded individual with other motives in mind. Driven by his love for Ms. Charles and resolute in keeping the opera afloat, Harry sets off on a quest to track down the Phantom of the Opera, but what he finds is a storied past that flips his perception of the play he is directing and the producer behind it.

Edward de Souza plays the role of Harry Hunter, the director with a heart of gold and an attitude to match. As the hero of the piece, Edward is tasked with the larger than life obstacle of getting the audience to support him every inch of the way and Edward does that commendably. With a sharp wit and a charismatic demeanor, Edward lives it up as the central actor of the production. Pairing with him is the lovely Heather Sears playing the role of Christine Charles. Christine is a shy and timid character who slowly blossoms as the film moves along. When we first see her she is auditioning for a part in the play and in these moments she is a bit restrained and apprehensive about her future at the opera house, but after she gets the part and becomes more confident we start to see a more outgoing sort of character that still holds on to that delicate aspect that made her so endearing. Sears is perfect in the role and her performance is heartfelt and somber.
 
On the other side of the coin we have Michael Gough taking on the role of Lord Ambrose d’Arcy, the biggest asshole in the world. Gough is in top form, portraying the spineless dirt-bag to the letter and his venomous nature and heartless attitude is exceptionally devilish. It’s hard to believe that this actor would later in life play the sweet role of Alfred in Tim Burton’s Batman, but I guess that is a testament to his quality as an actor. Opposing Gough’s Lord Ambrose d’Arcy is Herbert Lom in the role of The Phantom. Lom is one of those classic actors who often gets lost in the shuffle and passing of time, doomed to be forgotten by the majority of the movie watching public, but the man has garnered quiet an impressive career throughout the years. From his work on Spartacus, to Mysterious Island, to Bang! Bang! You’re Dead!, to Journey to the Far Side of the Sun, to Mark of the Devil, to Murders in the Rue Morgue, to Asylum, to The Dead Zone, to King Solomon’s Mines, the guy is a walking talking genre mastermind. Sadly he passed away this year, but his legend will not be forgotten by this reviewer and by the huge following of cult fans that have followed his work. His role in The Phantom of the Opera was definitely one of his best, and his portrayal of the haunted composer is one of my personal favorites.

As this is a Hammer film, the production value of this movie is of the highest of qualities. The sets are lavish, the locations are gothic, and the overall feel of the film is abundantly classy. There is also a great deal of variety to the locations of the movie. We’re given numerous glimpses of the expansive opera house, both in the concert hall and in the behind the scenes locations. From the dressing rooms and lobbies, to the dark and dank underbelly of the opera house’s underground tunnels, the film spares no expense in giving us a plethora of interesting locales for the story to take place in. I especially enjoyed The Phantom’s cavernous lair, as it really spoke for the scope of the production.
 
The scale of the film can also be seen in the time frame in which the narrative takes place. We are given a large breadth of history in both the origin story of The Phantom and how he came to be and also with the sordid involvement of a certain opera producer and the ramifications that come about from his one heinous act. I loved the scale of the story and I felt that it added to the epic nature of the production. This is not uncommon for a Hammer film to do, because it seems to be a tradition for the production company to tell larger than life tales, giving us all the aspects and storied facts. I loved the thorough approach to this famous story and I personally feel that this is the most accomplished imagining of Gaston Leroux’s novel to date. All in all, The Phantom of the Opera is a Hammer produced entry that really gives respect to the source material in that it fleshes out its characters and allows us to appreciate the scope and heart of this most heralded tale.

The Phantom of the Opera is a sorely underrated Hammer effort that tells a compelling story about one man’s horrifying transformation into a monster and his agonizing struggle to reclaim himself and everything he lost. Terence Fisher knocks another one out of the park with this entry and his expert eye can be seen throughout this entire production. With a cast of highly capable actors it isn’t hard to guess that this film is extremely entertaining and surprisingly fresh for being a retelling of a classic novel.
 
Surrounded in that distinct style that only Hammer can bring, the film is lavishly depicted and classically portrayed. Every inch of the frame is coated in that haunting atmosphere that seems to infect every Hammer produced movie. With its gothic locations, both above and below ground, the moments in this film are just so surreal and astounding that you have to respect the artistry on display. When tackling this film, I wasn’t to optimistic on being blown away by the story, but the fairytale quality that the movie omits is quite intoxicating and especially inviting. You’ll find yourself being swept up in the mystery and hopefully my review will lead some of you to take on the film for yourself. It really is a special interpretation of the classic story and if anything else, you really can’t go wrong with a Hammer film. Check it out! The Phantom of the Opera is…..

This dude loves to just hang around the set.

Just look at how Lord Ambrose d'Arcy sits. What an asshole!

Watch out! Rat Boy will stick ya!

Christine doesn't appreciate it when you pass gas while on a hansome cab ride.

Get down from there Rat Boy!

Don't even think about it Rat Boy... you little perv.

Any requests?

Pull my Phantom finger.

Pull my finger or your ass is FIRED!

Talk about the recital from hell.

What a PRICK!

Take off that fake mustache you moron.

We don't need no water let the mother fucker burn!

So I kidnapped your girlfriend... big whoop.

You've got something on your face.

Watch as Lord Ambrose shits his pants.

Much love from my Phantom homie.

HAZZAH!

REVIEW: Gorath

Gorath
Director: Ishiro Honda
Year 1962
 
Gorath is a fantastic Japanese disaster film produced by the cinematic powerhouse, the Toho Company. Directed by the legendary filmmaker Ishiro Honda, the movie has enough dynamic elements to make it one hell of an entertaining drama, with a few wacky moments thrown in for good measure. If you’re looking for a film with an over the top plot and an extraordinary amount of destruction, then look no further, Gorath is coming for you.
 
The film tells the tale of Earth’s eminent doom, with the discovery of a giant planet sized meteor named Gorath that is a whopping six thousand times the size of Earth. It turns out that this behemoth is on a collision course with the Earth and it is approaching at a tremendous rate. With all of the world’s scientists working night and day, they come up with a mater plan to save the planet and escape this global disaster. What is this master plan you might ask? Well it’s a doozy. By placing a mass amount of rockets in Antarctica, the scientists plan to simply move planet Earth out of the way of the approaching Gorath. With the collaboration of all the nations of the world, can the human race beat the insurmountable odds put against them and in the process defy the very logic that holds our solar system together? You bet your ass they will! It’s a Toho production of course. There’s nothing but good old fashion entertainment here and tons of it. Now let’s save this damn planet!

Like with so many enjoyable Toho films, Gorath is directed by the legendary Japanese filmmaker Ishiro Honda. With so many films under his belt, this man has nothing left to prove. He’s created a handful of Godzilla films including the classic original, dabbled in some enjoyable sci-fi fair like Battle in Outer Space, Mothra, The H-Man, and The Mysterians, and he’s had a huge hand in bringing some fantastic films to the forefront like Varan the Unbelievable, Matango, Latitude Zero, and King Kong Escapes. Hell the guy even brought two of the most iconic science fiction movie monsters in cinematic history together under one flick when he directed King Kong vs. Godzilla. The guy is a true legend and his filmography speaks volumes on how successful his career had been over the years.
 
With Gorath, he tackles the genre of disaster films and what a treat this movie is. Taking a page from his Battle in Outer Space plotline, Honda throws an overwhelming situation at the human race, forcing them to pull together and forget their differences for the benefit of the greater good. In Gorath, this plot device isn’t executed as inspirationally as it was in Battle in Outer Space, but it still manages to inflict some sense of wonder at the concept of humankind realizing that they’re all in this together. I’ve always been fascinated by disaster flicks, especially doomsday ones where the Earth is threatened by a global killer of a disaster, and Gorath delivers on that wild premise and then some, by adding in some wacky flavor that only Toho and Ishiro could dream up.

As I mentioned in the summary, the genius idea that the scientist have in order to survive this coming catastrophe is to place rockets on the Earth’s surface and nudge us out of the way of Gorath’s path. There are so many things that defy logic in this premise, but that’s what is so special about a Toho science fiction film and an Ishiro Honda directed one at that. Forget the fact that if this method was used in the real world it would have devastating effects as equally horrific as an enormous planet colliding with our own. When it comes to one of these fabulously fun flicks, you just have to learn to go with the flow and trust in Honda and the world that he has set up. Within the context of this cinematic creation, the idea of moving the planet’s orbit isn’t as impossible as you would think. I enjoyed the simple outlook of the movie and I really got a kick out of the practical, yet naïve notion, of nonchalantly placing the Earth wherever we want. It’s a fun premise and to actually see this plan set into action is a splendid moment in wacky cinema history.
 
In order for the film to partake in this wild scheme, the filmmakers had to execute a large number of miniature shots to show the operations in Antarctica as they prepared to install the rows upon rows of rockets that would eventually propel the Earth out of its orbit. The effects work for these shots are grand in scale, depicting some masterfully envisioned models and wonderful miniature work. There is also a great deal of destruction to be had in this film, that is rendered in that wild Toho fashion of demolishing those already mentioned and masterfully created models. The destruction really gets going when Gorath reaches the outskirts of our planet, bringing its substantial girth with it. The gravity from Gorath begins to wreak havoc on our planet, sending the oceans to spilling over and ripping mountainsides like they were made of Styrofoam, which they most certainly might have been made of. The effects work in these scenes is standard for a Toho production, which is always a damn good thing. We get to see the full destruction in a handful of steady long takes that never pull away from the carnage, produced by the demolition of these artistic renderings of specific locations throughout Japan. The technique of miniature work is a slowly vanishing trade, but here we get to see it in its full glory. There’s nothing like it and it’s just another one of the aspects of Gorath that make it so much fun to see play out.

Gorath is another great effort brought to us by the great people of the Toho Company and the expert eye of director Ishiro Honda. The story is an interesting one, giving us an inside look at what it would take in order for the planet Earth to survive a collision with a rogue star six thousand times its size. The atmosphere of doom is wonderful and the thematic pull of all the nations coming together to weather the storm is a great treat to see performed on the screen. You always wish humanity shows its best side in life, but to be able to see a representation of mankind working together for the greater good in order to avert a disaster gives this reviewer a glimmer of hope that maybe we’d do the same thing if up against the same odds.
 
The overall look of the film is grand in scale, showcasing some iconic imagery that supports the epic nature of the narrative and holds true to the weighted concepts that the film hits upon. The miniature work is also well thought out, bringing that trademark Toho seal of approval that seems to be a guarantee when watching one of their many efforts during this time period. If there is one production company that can churn out hit after hit, it would be Toho. These guys never disappoint when delivering a movie that seems destined to entertain the masses. If you’re looking for a disaster flick that has the fun factor of a Toho movie then give this one a try. It has got the stuff that genre nuts crave. Look out because Gorath is on a……

So lifelike you won't believe your eyes!

Did I forget to turn off the space iron?

We're all going to die! WEEEEEE!

Fiddlesticks! I hate that damn Gorath!

You're alright in my book you goofy dumb bastard.

Get a hold of yourself... there's got to be a bathroom around here somewhere.

I have no idea what the hell this means.

Well hello there.

What are you morons doing in there?

Space is fun! WEEEEEE!

Ah, the memories before Gorath.

Shhhh! I'm trying to use the phone!

What do you want Frank? You called me.

Run! It's a giant walrus! Eat your heart out Gorath!

This just in! Gorath is AMAZING!

We got you in our sights you son of a bitch.

What are you looking at butthead?

That was a close one folks, but it turns out that Gorath just wanted to snuggle.

Alright everyone! Tonight... everyone gets laid!

BOND 1: Dr. No

Dr. No

Director: Terence Young

Year 1962

Dr. No, the first film in a long and outstanding cinematic legacy of stylistic espionage, introduces us to the legendary character of James Bond, played by the always cool Sean Connery. While not the first motion picture to shed light on the character of 007, it is credited for launching what would become one of the most enduring film series in the history of the silver screen. 

In the film, James Bond is sent off to investigate the disappearance of a fellow agent, who was last reported working in the tropical locale of Jamaica. Indulging in the sights, sounds, and dangers that the intoxicating island setting provides for our hero agent, Bond finally follows all clues to a mysterious man named Dr. No. Conspiring from his hidden lair on his own private island, the mastermind secretly plots to bring about the downfall of the United States space program. With the help of a few undercover allies and one beautiful young woman, can Bond foil Dr. No's diabolical plan while looking cool as shit? You're damn right he can.

The names... oh screw it. You know my damn name!

James Bond... Man about town.

In Sean Connery's first stab at the icon role of James Bond, he absolutely nails it. The constant cool demeanor and charismatic ambiance that he exudes from the character, resonates through and through in the performance and really gives us a good feel for the kind of man James Bond is. In fact, Connery did so well in my opinion that he gave his predecessors an impossible task in trying to fill his shoes. His mannerisms and carefully crafted movements became the staple for who 007 was, not to mention his expertly delivered one liners and smooth talking dialogue.

Connery's confidence level in this film and all of his following efforts in the role, are tremendously captivating and wholly honest in the portrayal of the quid-essential superman mold that Bond has so famously been branded in. I've enjoyed all of the various James Bond actors throughout the years, but Sean Connery's performance as the super agent has always been my all time favorite. In Dr. No, he really shines and sets the bar so high that no one would be able to fully take the reigns in his absence.

Looks like he's the only one who showed up for the party. Awkward.

James Bond is driving through the DANGER ZONE!

I must say that the location of Jamaica for Bond's first mission in this cinematic interpretation of Ian Fleming's larger then life secret agent series, is just superb. There's enough variation across this expansive island to satisfy the globetrotting aspects that will eventually come to be the staple of the series and the hundreds of imitators that would soon follow in the wake of Dr. No's success. James Bond takes in the sights as he battles over land and sea, while also finding some time to mingle with a few of the lady folk of the area.

The locations of coastal towns, dusty roads, and sandy beaches caressed by crystal clear waters make for a nice visual palette of extremely pleasurable senses. If there's one thing that I've always loved about the James Bond series, it's the beautiful and exotic locales. In this first entry, they started out on the right foot. Having been there on two separate occasions, Jamaica is a wonderful place that director Terence Young has captured beautifully and melded seamlessly within the extravagant trappings of Bond's world.

Hands off the merchandise Mr. Bond.

You can take these beautiful sea shells when you pry them from my cold dead hands!

While I'm on the topic of beautiful visuals, we come to another cornerstone of the Bond series and that's the woman. James Bond just can't seem to keep his mind out out of the gutter and who can blame him when he's up against such a stunning caliber of stylish beauties. Ursula Andress, of She, The 10th Victim, Clash of the Titans, and The Mountain of the Cannibal God fame, introduces us to the long running tradition of presenting to the world the most exotic and enticing women of the era. Playing the role of Honeychile Ryder, or more simply Honey Ryder, Ursula projects a confidence that is both sexy and intriguing. Her character has a duality to it, like most Bond girls do, and that's the ability to appear both helpless and at the same time fully capable. It's a conundrum in itself, but it seems to be a staple for what would appear throughout the Bond series and it's a fact that would help damper the misogynistic trappings that James Bond tend to represents. The effort helps, but in the end James Bond really and truly is a man's hero and who can fault him for staying true to his demographic.

Catering to the boys is presented none to clearer, when we are gifted an introduction of a lifetime by the curvaceous Ms. Ryder. Her entrance is legendary among Bond fans and has been payed homage to in a handful of films including the 21st installment of the Bond franchise where James Bond, played by newcomer Daniel Craig, emerges from the ocean showcasing one of the more muscular looks that the secret agent had showcased up until this point. Ursula's presence in the film and her iconic scene, made a clear and precise line in the sand that dared her Bond girl predecessors to cross, let alone live up to. She definitely left her mark on the franchise and stands high among the rich cast of Bond girl legends.

They found me. I don't know how, but they found me. Run for it Quarrel!

It's not the size of your fish display that counts, it's how you use it.

Finally that brings us to the dastardly bastard, Dr. No. Every Bond film must have a villain and in the case of Dr. No, there's no exception. A scientific madman, bent on collapsing the United States space program, Dr. No is no slouch when it comes to the villainy department. The guys got one of the sweetest evil lairs this side of Dr. Evil's volcanic lair and he's one hell of a snazzy dresser if I do say so myself. Sporting what can only be described as a full body condom, Dr. No really knows how to impress the ladies.

What makes him even that much cooler is the fact that he is played dead serious by accomplished actor Joseph Wiseman. Having an uncanny resemblance to Patrick Stewart, Wiseman plays the evil genius to the letter, ordering his army of minions around and basically being a total bad ass. I mean come on, you'd have to be pretty bad ass to pull off an outfit like that. Bubble boy suit and all, Wiseman wholly excepts the absurd and goes with it, creating one of the most memorable and formidable villains that James Bond will come to fisticuffs with. A word to the wise, look out for his judo chop.

Does this suit make me look fat?

Let's get the hell out of here!

Dr. No is a perfect introduction to the world of Bond, which sets up all the elements that would make the series so popular for the next handful of decades and greatly achieves some of the most iconic moments in the rich Bond history. Sean Connery does a tremendous job in portraying the super secret agent as a charismatic ladies man who takes danger head on, while Ursula Andress and Joseph Wiseman set the standard for their individual roles in the Bond universe.

With the lavish location of Jamaica and the inventive set designs for Dr. No's lair, Dr. No is a highly enjoyable ride that showcases all of the things I love about the James Bond films. Definitely highly recommended to anyone that loves espionage with a side of adventure and a full serving of fun.

5 out of 5 stars          An Iconic Bond Introduction!