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imdb-24766 | null | I quite this Anne Rice book adaption. While most of the film is filmed here in Australia it offers a great amount of scenery and a fantastic area to shoot in. Lestat (Stuart Townsend) has recently woke up from a long period time of sleep and has decided to betray his vampire oath by revealing himself to a band. When he becomes a popular movie icon his fellow vampires, understadebly, go mad and plot his death. Meanwhile Jesse (Marguerite Moreau) a orphaned member of the supernatural studies, who has an ancient vampire family tree, has become deeply obsessed with Lestat. Her boss David (Paul McGann) understands her obsession and revaeals his obsession with the vampire Marius, (Vincent Perez)who is an ancient vampire and the man who made Lestat a vampire too. Jesse is given Lestats diary and reads of his first killing and an encounter with the Queen of the Damned- Akasha (Aaliyah). When Lestat holds a concert in Death Valley he receives news that not only will angry vampires be there Akasha may come as well. Meanwhile Akasha has other plans. She goes to a vampire coven, a bar, and kills everyone in her path. With Lestat tempted with royality and loving care by Akasha the ancient vampires consisting of Marius and Jesses Aunt Maharet (Lena Olin) plot against them. Join Her Or Die?<br /><br />I thought the film was fantastic, it had great fight scenes, great music and great locations. Aaliyah sadly passed away in a plane crash shortly before the films premiere, but she looked stunning on the set and off the sets.<br /><br />I gave this film 10/10 because it was a fantastic film and I urge you to see it! |
imdb-24767 | null | In Queen of The Damned,Akasha(Aaliyah) was more sexy and had a bigger,demanding presence, she just caught your eye and attention. now the movie did have faults, like the lack of explaining Akasha's past. What i also Did not like was the that the movie didn't really explain or show more of what the relationship between Lestat and Akasha was/ or was like.Akasha's (Aaliyah's) role was sort of limited in the movie and she didn't appear until the 2nd half of the movie and then to top it off, her(Akasha's) death came 2 quickly.But i liked how Akasha fought back when the ancients tried to kill her, because in the book the last fight between Akasha and The ancients was rather boring (they killed Akasha in like 2 secs).Akasha's head got knocked off in 1 sec and Lestat turned into the biggest punk in the world.<br /><br />Aaliyah played Akasha very well and Stuart was perfect as Lestat, they could not have picked a better Akasha or Lestat. "REST IN PEACE AALIYAH" |
imdb-24768 | null | quite good, don't expect anything high culture.......the acting is bad, the storyline fails, but it is still a fairly nice movie to watch. why? because it's dark, a little bit stupid, like unpredictable and just entertaining and fun to watch. do not expect anything, like i said, just see it for yourself and you know what i mean.<br /><br />it is a movie, without a plot or memorable acting, but there are enough scenes that will make you laugh, cry or at least make you feel compelled to watch it to the end...<br /><br />this is all i wanted to say....<br /><br />7 / 10 |
imdb-24769 | null | I haven't read the Anne Rice novel that this movie was based on, but who knows, maybe reading the book is cheaper than renting QUEEN OF THE DAMNED and is probably better for your health. It isn't that this movie is necessarily bad for your health, but a book can be very relaxing and certainly exercises the active part of your brain more so than this movie. You can count the number of pages by Anne Rice that I've read on one hand, but after seeing this movie and Interview with a Vampire, I get the feeling that she writes really good novels. The plots for both movies hint at a whole sea of deep and interwoven vampire history.<br /><br />Still, Stuart Townsend's voice-over narration gets a heck of a lot more annoying than Brad Pitt's vampire narrative ever did, and you can tell that QUEEN OF THE DAMNED's limited production resources barely give enough flesh to the Anne Rice storyline. While Interview decided to go with lace and elegance, QUEEN relies on low budget special effects that try really hard to be taken seriously. One can see that the original novel had potential as a movie and that the production team focused its attention in the wrong places. The costumes and rock & roll stage could have been replaced with more blood and an eerier soundtrack.<br /><br />However, I'll give credit where credit is due. The soundtrack is excellent. Korn and Disturbed had me down with the sickness bobbing my noggin like Butthead.<br /><br />The film opens with a very cool Goth-rock zoom & splice montage, but after the first ten minutes or so, the directing degenerates quickly. It's as if the movie was so long that the director realized that there wasn't enough time and enough money to do an Anne Rice novel justice. What results are some mediocre vampire scenes and plenty of cheesy special effects. Unfortunately, QUEEN OF THE DAMNED fails to do the genre justice just as its John Carpenter counterparts fail to impress. Where are the yellow contacts? Where's the pale blue make-up? Scene after scene, I shook my head reminiscing about the days of Salem's Lot and Fright Night when low budget was done right.<br /><br />There are redeeming qualities though that save this movie from being garbage. Props to Aaliyah, and may her soul forever rest in peace. She might have become a renowned actress, had her life not been taken from us so prematurely, for she did give this movie a decent performance with plenty of nice belly dancing. Did I mention that the soundtrack was good? Let's see, what else can I say? It wasn't too long. The Anne Rice novel could have easily been a three hour movie if an ambitious director like Francis Ford Coppola got his hands on it. There are a few twists and turns here and there in the plot. But all in all it was a legitimate rock and roll addition to the slew of second-rate vampire movies out there. The director of this movie went on to direct a new Battlestar Galactica mini series if that tells you anything.<br /><br />JY<br /><br />Jimboduck-dot-com |
imdb-24770 | null | Aaliyah blows all the female cast members out of the water, including the official love interest Marguerite Moreau.<br /><br />I would have loved to see this movie play out as Akasha's power trip. Aaliyah is simply electrifying whenever she is on the screen. She does sensual, beautiful and menacing to the power of 10. Watching her take on a bar full of vampires is a sight to behold.<br /><br />Lena Olin is cast in the ungrateful role of "the older woman", which is hugely unjustified. She looks fantastic and at 46 (according to the IMDb) still looks stunning.<br /><br />The story unfortunately is very limited plot wise, we've seen it all before, etc.<br /><br />The most heart wrenching is Akasha's death scene, especially keeping in mind what happened to Aaliyah after filming.<br /><br />All in all, a remarkable vampire movie. |
imdb-24771 | null | I was looking in the TV Guide for movies that come from Germany and I found one called The Bunnyguards, so I watched it and I laughed myself silly! I wanted the DVD but its not available here (I could order it from Germany but it doesn't have subtitles) It was played again so I taped it and watch it from time to time.<br /><br />Anyway, I looked for info on it and found out its real name is Erkan & Stefan, but I know it by its Australian title: The Bunnyguards.<br /><br />Some people who I know from Germany do not like Erkan & Stefan because of their accents, but not being German myself, I didn't notice anything. The jokes are good, but some Germans might find their accents off-putting.<br /><br />I think this movie is funny and if the DVD had English subtitles on all the extras (having a 2 disk edition with only the feature having subtitles would be bad) I would buy it up in a snap!<br /><br />I recommend it to anyone looking for a laugh and a pretty good story. |
imdb-24772 | null | I enjoyed Erkan & Stefan a cool and fast story which didn't get bogged down in detail. Those two guys are great to see and are able to come up with new ideas all the time. The high quality of picture and cut support the movie a lot.<br /><br />Erkan & Stefan show that the German film industry is capable of transferring successful Hollywood concepts with local `satire' into our cinemas. |
imdb-24773 | null | Those two main characters Erkan and Stefan are a munich comedy act. I was wondering if this is one of these typical slapstick movies where the story is either not important or simply not existing. But when I saw this movie I was very happy that there is a cool story and the main characters really fit in it.<br /><br />All in all very amusing and not a common german movie. |
imdb-24774 | null | Great movie. I was laughing all time through. Why? Well, I am from Austria, I can get along with the German (Bavarian) kind of humor. So I guess this movie makes only sense watching when you are German native speaker. Stefan and Erkan both are talking in a new kind of turkish-german accent, which became really popular in our Countries (GER & AUT). But of course they are very stupid. As in every comedy your personal humor will decide, whether thumb up or down. |
imdb-24775 | null | First of all, i am from munich, where this movie takes place, and believe it or not, there are guys like Erkan and Stefan, including the silly dialect! I know their comedy show from the beginning and my main fear was, that the movie is just an assembling of their already known jokes, but it is not! The jokes are evolved through the story, and make, in their own special way, sense. But if you absolutely dislike Erkan und Stefan, hands of this movie. Everyone else - it's worth viewing! |
imdb-24776 | null | I gave 9 of 10 points. I was sitting in tears nearly the whole movie, because I had to laugh!<br /><br />The story of course wasn't excellent, but it also wasn't boring. Erkan & Stefan are assigned to become bodyguards for the beautiful Nina. While doing this job they come between the "front-lines" of BND and CIA. Of course the two are neither born bodyguards nor gentlemen, so they run from one disaster into another; and they do this in such a funny way, that when you watch some scenes you won't be able to stop the tears! As actors those two "dumbly grinning" characters do quite well, better than some so called professional.<br /><br />You think, the speech of the two heroes is curios or "pseudo-foreign"? Well, if you hear quite a lot Turkish-German people in Munich speaking exactly like them, you will remember Erkan & Stefan. And maybe, in 10 years it might have become the common speech of the youth. (God forbid!)<br /><br />So, if you like to laugh, watch this movie! |
imdb-24777 | null | These three directors are off to Good Beginnings. The three stories are remarkably well-done for independent productions and capture those traumatic feelings of "coming out" when you aren't really sure it's a good idea. I laughed at those veiled glances around the dressing room in "Pool Days"; I smiled at the notion that fans of Bette Midler, Judy Garland, and Barbra Streisand are assumed to be gay in "A Friend of Dorothy"(ie. browsing through the CD music racks); and I cringed over the "jock" in "The Disco Years" whose memory of sweet sex was now "blurred" by liquor. It all seemed so real. I look forward to more offerings from this trio of directors. |
imdb-24778 | null | The trio are a pleasant, nostalgic journey to that first hint of desire--when it was still about simple exploration of the unknown--before we "grew up" and added those complexities of HIV status, emotional baggage and gotta-run-my-pager-just-went-off into the emotional mix.<br /><br />The angst portrayed is pure adolescent angst, but it rings true in all three stories. Their sweetness and positivity make you feel good that you are gay. And those kinds of films are few and far between.<br /><br />Good news! Both Boys Life and Boys Life 2 are now readily available on DVD as of September 1999. |
imdb-24779 | null | It's quite an accomplishment that three stories filmed by three very different filmmakers could be simultaneously so insightful about gay & bi-sexual relationships, and their struggles! <br /><br />"Pool Days" is about the awkwardness of adolescence, and the mutual attraction between an older man and a younger one. A story about experience and vulnerability!<br /><br />"A Friend Of Dorothy" portrays a common dilemma many gay and bi-sexual people experience at some point in their life: the intense attraction towards someone whom is heterosexual. Sensitively examined, this story truly left me feeling moved!<br /><br />"The Disco Years" shows another version of a no-win situation: getting involved with someone who is not only confused about their sexual orientation, but is also terrified of being exposed as anything other than straight! A very empowering story for those of us who have experienced betrayal at the hands of a sexually confused and frightened person! <br /><br />While these three stories will appeal to anyone who has an iota of empathy towards others, they will psychologically empower those who consider themselves gay, bi-sexual or searching. Each story is uplifting in its own unique way! |
imdb-24780 | null | This trio of 30-minute short films on gay-related themes are all quite respectably executed. Each coming-of-age story is played out with pleasant charm and naturalness. This film deserves to be widely distributed and easily obtainable. However, it isn't. I had to order my video copy; none of the local video stores or even the libraries had it in stock. |
imdb-24781 | null | This little short absolutely fascinates me.<br /><br />The only thing I've seen thus far like it is some of the work by Sam Brakhage, the creator of Dog Star Man. However, where Brakhage is trying to unnerve by "making us learn how to see again" and provide us with an affront of head-ache inducing bright colors and flashes (which I still totally dig and embrace as high art...), this film I would characterize as very relaxing and hypnotizing. Man Ray's general use of spinning objects/camera does not create so much of a dizzy feeling but a warm flow of senses, intermingling and going along with the gravity of the moving world around us.<br /><br />An interesting conceit of this very short work is that as it goes along, objects become more and more recognizable until we end on a nude torso (of which I feel is the least feminine well-rounded breasts I've ever seen). The circles and spirals of shadow and light over the torso make it an object of surrealistic beauty, something that you could hang on your wall and delve over forever. It's because of this and other images in this film that I had to watch it again and again (eventually a total seven times) just because it utterly fascinates me.<br /><br />--PolarisDiB |
imdb-24782 | null | After 10 viewings in 20 years I too think this was the Crazy Gang's best effort on film, with more cohesion in the plot than their next best, "Alf's Button Afloat". They were indeed a crazy trio of double acts thrown together mainly on stage, sometimes in front of royalty, until Chesney Allen retired in the '40's through "ill-health". He outlived them all by years. Apparently they were just as mad outside "work", regularly playing practical jokes on one another.<br /><br />The Six Wonder Boys troupe head for I'll-Get-Her-To-Tell-Me (Alaska) to dig for the gold that was being found there. It seemed a better idea than going to Mansfield ... because they'd been there. When they get to Red Gulch they find their information was a mere 40 years out of date - they thought that the chips that were in the guilty newspaper they'd read tasted funny. But by then it doesn't matter as they've all fallen in love with Snow White and want to help her grandad find his long lost stash of gold. Baddie Bill "M" McGrew wants it himself however.<br /><br />The number of verbal and visual puns is astonishing, but most of them will probably only make sense(?) to Brits and ex-pats interested in seeing '30's British b&w comedies. Imho nearly all of the gags and routines work, including the Gold If patter between Bud & Chesney and the "Whistle While You Work" pastiche - even the "Always Getting Our Man" Mountie inserts. A marvellous little film, in a rather tired looking condition but utterly recommended. |
imdb-24783 | null | I had never read much about (or even seen stills of) the six-man British comedy group The Crazy Gang, but my positive experiences with their contemporaries Will Hay and Arthur Askey – and especially Graham Greene’s high praise of THE FROZEN LIMITS itself (“The funniest English picture yet produced…it can bear comparison with SAFETY LAST and THE GENERAL”) – made me take the plunge with the bare-bones R2 DVDs from Network of this and their subsequent film GASBAGS (1941; see below), both of which were released earlier this year with virtually no fanfare.<br /><br />A British-made Western is a rarity, but a British Western spoof is rarer still (CARRY ON COWBOY [1965] was still some 25 years away). Incidentally, going back to the Silent classics mentioned by Greene, the film seems to me to be more obviously indebted to THE GOLD RUSH (1925) and WAY OUT WEST (1937). Besides, it also plays like a variation on the “Snow White And The Seven Dwarfs” fairy-tale (which had just been immortalized on the screen via Walt Disney’s animated masterwork) and where the seventh member is played by ancient comic and frequent Will Hay foil Moore Marriott; the Gang actually call pretty heroine Eileen Bell by that name throughout, and there’s even an amusing sequence with the six of them preparing to go to bed and whistling the dwarfs’ song from the Disney film! <br /><br />Six comedians (three sets of comedy duos: Flanagan & Allen, Nervo & Knox and Naughton & Gold) may be the largest such grouping on film – though not all of their personalities emerge here: my favorites were big Bud Flanagan (looking a bit like Jim Backus), straight man Chesney Allen and moustached, squeaky-voiced Teddy Knox; however, bald Charlie Naughton often took the limelight – since he’s the one on which the others always seemed to pick on. Still, it’s Marriott who steals the film from his very first scene – where he contrives to impersonate every official in the dilapidated theater of a ghost town!; a very young Bernard Lee is also notable as the villain of the piece.<br /><br />The Ore routine between Flanagan and Allen actually anticipates Abbott and Costello’s famous “Who’s On First?” (the film, in fact, hinges on a lot of wordplay for its humor – which doesn’t necessarily travel, especially at this juncture). Nevertheless, there are several hilarious sequences throughout – a few of which even brought tears to my eyes: the opening scene where the Gang are defrocked by a band of angry creditors; their dressing up as Indians once they hit the Yukon; the Gang’s ruse to make everybody rich with the same piece of gold; they all impersonate the sleepwalking Marriott to confuse the villains (a gag which may owe its origin to the Marx Bros.’ hilarious mirror sequence in DUCK SOUP [1933]); the spot-on theater sketch which pokes fun at hoary melodramas; the surreal moment when, pursued by the villains, one of the Gang climbs a staircase that is part of the painted scenery in the theater; and especially towards the end, when a group of singing Mounted Police gallop ever so slowly to the Gang’s rescue (despite being egged on by the increasingly impatient Ranger hero).<br /><br />The thinny soundtrack and the frantic nature of the gags themselves made it hard for me to get all the jokes sometimes – subtitles would certainly have been welcome in this case. The Crazy Gang only made five films – with the first two also being well-regarded, OKAY FOR SOUND (1937) and ALF’S BUTTON AFLOAT (1938), and a much later reunion (though Allen had, by this time, bowed out due to ill-health and been replaced by Eddie Gray) called LIFE IS A CIRCUS (1960; directed by Val Guest who, incidentally, co-wrote both Gang films I purchased as well as some of the afore-mentioned Hay and Askey vehicles!). |
imdb-24784 | null | After getting thrown out of their last job and finding employment scarce in the United Kingdom, the six members of the Wonder Boys, better known as The Crazy Gang see an advertisement for employment in the gold strike town of Red Gulch in the Yukon Territory. It's from a newspaper clipping and on the back there's a story about Chamberlain saying the country better be prepared for war. Off they go to the Yukon and The Frozen Limits.<br /><br />By the way, it's case of misplaced Chamberlains. The clipping is forty years old and it refers to Joe Chamberlain and the Boer War rather than Neville in the current crisis. But that's typical of how things go for this crew. I can see Stan Laurel making the same mistake.<br /><br />Of course when they get there it's a ghost town inhabited only by young Jean Kent and her grandfather Moore Marriott. He's getting on in years and is a bit touched in the head. Marriott's got a gold mine that he's misplaced somewhere that he goes to in his sleep, that is when he's sleepwalking. The Gang better help him find that mine or otherwise pretty Ms. Kent won't marry stalwart trapper Anthony Hulme, but rather saloon owner Bernard Lee, a fate worse than death.<br /><br />This was my first exposure to the Crazy Gang and I can see both why they were so acclaimed in the UK and why they never made any impact across the pond. The jokes come fast and furious and then were a number of things that the Code in the USA just wouldn't allow. The jokes are also strictly topical British and a lot just wouldn't be gotten over here.<br /><br />The sight gags are universal, the final chase scene is worthy of anything that the Marx Brothers did in America. My suggestion is that if you watch The Frozen Limits, tape it if you have a working familiarity with British history and run it two or three times just to make sure you pick up everything. It will be worth it. |
imdb-24785 | null | The Frozen Limits is a big screen vehicle for the artists known as The Crazy Gang. They were a group of British entertainers who formed in the early 1930s. In the main the group's six men were Bud Flanagan, Chesney Allen, Jimmy Nervo, Teddy Knox, Charlie Naughton and Jimmy Gold. Hugely popular in the variety halls the group were also darlings of the then Royal Family. The plot here sees them as the Wonder Boys troupe who set off to seek their fortunes in Alaska after reading about a gold rush in the newspaper. Only problem is is that when they finally get to Red Gulch it turns out they are 40 years too late!<br /><br />I often cringe when I see the statement "it's very British" because it implies that those not of the British Isles may struggle to get it. The reason it bothers me is because in this www/internet age I have garnered a ream of non British film loving friends who have been known to split their sides at the best of Ealing, Will Hay and the imperious Terry-Thomas. So, then, is it true that something such as The Frozen Limits is unlikely to be appreciated by a non British audience? Well yes it's true, so much here is topically British, but really it has to be said that the classic movie fan is pretty well versed in history, and when all is said and done the visual mirth here is universal. With the anarchic "not" so wild west make over an absolute winner. A winner that has every chance of being more appreciated by an American audience now than it will be by a British audience. Not all the comedy works, and in truth the "big 6" are trumped big time by a film stealing Moore Marriott. But there are skits and parodies here that deserve respect and a nod of approval from more illustrious comedy acts. You are unlikely to nearly fall off your chair like I did because of an Ovaltine gag, but if you be a classic comedy film fan? I feel sure that you will at the worst acknowledge there's some very talented people at work here.<br /><br />Now then, dose the Mounties always get their man? 8/10 |
imdb-24786 | null | Britain and France declared war on Germany in 1939, but by then, almost all of Europe had fallen under the advance of the Nazi war machine. Entering the war, Britain virtually started from scratch, with scarce supplies and with an air force that was outnumbered by Germany ten to one. But the will of the Brits was firm, emboldened by their new Prime Minister Winston Churchill who declared - "We shall never go under".<br /><br />On August 8, 1940, the Battle for Britain was on. However for the first time since Hitler's declared stance to conquer the world, he hit a wall. Though massively outnumbered, the British Royal Air Force went on the offensive, and in the span of twenty eight days in September and October of 1940, German Luftwaffe casualties climbed to two thousand three hundred seventy five lost planes and crew. Hitler's rage was seething, but he had to call a momentary time out. Responding later in the year, Hitler launched a massive fire bombing of London on Christmas Day of 1940. When I say that there has never been a disaster movie to rival the real live footage of London in flames during this assault would be an understatement. Perhaps the most surreal effect of this chapter in the "Why We Fight" series would be seeing British citizens emerge from their underground shelters following the bombing raids to resume what was left of their life above ground. Even as you watch, there is no way to comprehend the living horror these people must have gone through, as the city of London was left in virtual ruin.<br /><br />Yet the Nazis were stunned and stymied as well. Everything Hitler wanted to believe about freedom and democracy was now turned on it's head. Instead of being weak willed and complacent like the French, the British were not going to give up without a fight. And fight they did, taking the air battle to Germany and responding in kind with attacks on the German homeland. It was a turning point, forcing Hitler to rethink his strategy. |
imdb-24787 | null | With all of mainland Europe under his control Hitler prepares for the last obstacle in his way before heading for North America, Great Britain. With an overwhelming edge in aircraft Goering's Luftwaffe looks unstoppable on paper. Once in the air however the RAF tenaciously disrupts the paradigm by blowing the enemy out of sky air at a seven to one rate. The Battle of Britain rages on for a over a year as the Island nation is bloodied but unbowed providing crucial time for their American allies to produce more arms for the inevitable struggle. <br /><br />Using more staged footage than the three previous documentaries in the Why We Fight series the Battle of Britain has a more propaganda like feel to it with the dramatized (some with unmistakable Warners music score ) scenes glaringly obvious to newsreel. In an ironic twist amid the devastation caused by German air attacks Beethoven's Seventh Symphony is employed to underscore the visual suffering. The story itself is one of remarkable courage by a defiant nation who refused to buckle under to the devastating attacks inflicted upon it by up until that point an invincible war machine. It is the 20th century version of the 300 Spartans.<br /><br />There have been more exhaustively researched and better looking commercial efforts done on this battle since this film but the immediacy and motivation The Battle of Britain provided then will always make it a more valuable document of England during its "Finest Hour". |
imdb-24788 | null | Two college buddies - one an uptight nerd, the other a rude slob - embark on a road trip through the country. On the way, they encounter a vicious vehicle that looks like an army tank combined with a monster truck, that tries to run their car over. They escape it, but only enrage the mysterious and dangerous driver more when one of them takes a leak in the top hatch while at a rest stop. Later on, they pick up a sexy hitchhiker who ends up getting involved in their life threatening situation. MONSTER MAN is an extremely entertaining horror-comedy that has some good suspenseful moments as well as some good gory ones. The two lead characters and their constant bickering is fun to watch all on its own and the end takes a TCM-like turn which was very well-done. Absolutely worth checking out. |
imdb-24789 | null | This is a perfect movie to watch with a loved one on a cold and snowy night. If you like a few laughs with your horror then this is the movie for you. The makings of a real cult classic. It has everything you would want to see in a horror movie. A beautiful girl, A hero, The buffoon, A MONSTER TRUCK and of course a family of mutant satanic killers. This one is full of blood,guts and gore. I strongly recommend watching this one in the wee early morning hours, and be careful of who sees you being entertained by the sounds of Monster trucks, Bad {But Funny } One liners and our Hero eating eye ball stew. Not as good as the Evil Dead but a close second. Just remember WARNING..... Do NOT EAT BEFORE VIEWING THIS FILM... |
imdb-24790 | null | I know that Chill Wills usually played lovable old sorts in Westerns. But his role in this segment is something I've remembered for a long time. Wills could be a first rate villain. Yes, Burgess Meredith's Fall was correct! That look in Hepplewhite's eye! It expressed porcine greed, ignorance, and the threat of violence all at once. Quite a performance, I think.<br /><br />The segment itself was a good one, too. Question: couldn't the little black bag cure alcoholism? I guess it did, sort of, with Fall. But the doctor would have been wise to apply the cure, if he had it, as quickly as possible to Hepplewhite.<br /><br />There is one moment that was annoying but also necessary. And it is something that appears to recur in these Night Gallery segments. It's Serling's constant need to sermonize. For that's what we got, one more time, with Dr. Fall. I don't know what was more frustrating, losing the black bag and all its miracles or not being to stop Fall from preaching about the bag's benefit for humanity, all while rubbing Hepplewhite's greedy face in the mud, and, therefore, all but begging for Hepplewhite to strike out at him. But as I say, it was necessary. At least it was for me. Otherwise, we wouldn't have been able to see Wills' performance discussed above. All done without moving a muscle or speaking a word. |
imdb-24791 | null | I can understand why others reacted rather unpleasantly towards the climax yielding a twist that really is hard to take seriously. I think, though, that the build-up to it works rather well. The music, quite menacing and spine-tingling, really provides a spooky aura matching the unforgiving sound of a constant ringing telephone that is driving struggling English actress, Joan Matlin(Jean Marsh)bonkers. She's borrowing a pal's nice apartment while attempting to jump-start her career in New York City(..the city buildings outside the window look about as realistic as David Letterman's)and is unceremoniously welcome by a noisy telephone which rings quite a bit, followed by loud slams against the wall. Searching for answers regarding the one responsible for such disregard towards her sanity, Joan discovers that no one rents that room, and that a former tenant had in fact strangled herself. Without help from the manager, Joan will decide to find out for herself who is causing her such anguish. Joan discovers the room empty and the phone with a particular female voice which will haunt her.<br /><br />The episode, I think, is a tour-de-force for Jean Marsh who is a one woman show. She's the only actress visible and we follow her through the crisis which slowly erodes her, the phone and the banging from that other room causing her much distress which grows into fear. Instead of leaving, Joan remains, so shaken by the noise and to the breaking point where she just wishes for the phone(..or whoever is ringing)to stop. The episode provides a possible answer as to who is plaguing Joan and why. A character named Beth comes into the story rather late as Joan struggles to find out whose female voice it was across the other line who knew her name on that dreaded phone she discovers in the room across from hers. The fate of Beth might just tell the viewer why Joan is being traumatized. I think this episode is an exercise in spooks instead of credibility;some didn't particularly like it, but I certainly did. I will admit that the phone, as a physical menace "crawling" towards Joan is hard to take seriously, not to mention it's attack on her, but I thought the intense opening twenty minutes before this were suitably chilling enough to make up for it. |
imdb-24792 | null | This "TFTD" episode from season one titled ironically "Answer Me" is a pretty well done and memorable episode, and it takes a shocking twist at the end. You have Jean Marsh as an over the hill and washed up actress from L.A. who's moved to New York City for an audition and she's living in an apartment provided by an old friend. Oddly every night she's kept awake by a ringing phone from the next door apartment, yet oddly enough the dwelling where the ringing phone continues to ring is unoccupied as the guests have been dead for many years. Finally she has to give in only she should have followed along and not answered the phone with no one home, as it's bad to get wrapped up in a phone with a life of it's own! Overall good episode a strange one though about a supernatural phone still it's suspenseful and it twists well at the end. |
imdb-24793 | null | My wife and I loved this film. Smart dialogue, great characters, clever plot construction. The pacing in this film is non-stop. Couldn't even get to the kitchen for some munchies. We have never seen Corey Feldman this funny. Taylor Nichols plays a good Fed...my wife loves him on that "Married Man" HBO show. The ensemble cast were all strong. The twist at the end had us cheering. That is why we give this film a "Standing O." |
imdb-24794 | null | This picture doesn't have any big explosions or expensive chase sequences. However, it does have really wonderful performances and an exceptional script that puts this at the top of my "indie-must-see list." Taylor Nichols and James Remar are terrific together. The young cast surprised me with really consistent acting. Usually, indie pictures have some weak link, but there are no weak links here. Impressive. Go get this one. |
imdb-24795 | null | This movie about a group of small town teens that decide to rob the local bank is excellent. Brian (Justin Walker) wants to get out of his small town, much like Jimmy Stewart in "It's A Wonderful Life." However, unlike George Bailey, Brian is going to rob a bank to finance his dream of attending art school, even if his father is not supportive. The offer to Brian is to act like a customer and distract the guard. It's a tempting offer that if offered to many, I question what they would do. Anyways, Brian does it. When the Sheriff (James Remar) and his force surround the bank, things go from bad to worse. It's a standoff with even the Feds moving in to kill the kids if they have a clean shot. The Sheriff must prevent this and try to end the standoff in a peaceful way. Unfortunately, tensions rise, and the teens inside turn on each other. Some are out of control. The paper cutter scene is gruesome and hard to watch. Very intense! |
imdb-24796 | null | I love this film. Tense with great characters. The kid from "Sandlot" is excellent as is Corey Feldman. When the kids storm the bank, it is pure adrenaline. Inside of the bank, it becomes a bit like a "Lord of the Flies" situation where they turn on each other. Justin Walker from "Clueless" is wonderful. I saw this on "Showtime" while channel surfing. It was a pleasant surprise. James Remar is also quite good here as the small town Sheriff. Taylor Nichols who I love from "Barcelona" does a nice job too as a Federal Agent. I recommend this film for any fan of bank robbery movies with a lot of good characters. I was shocked to discover that Roger Corman was a producer on this, since the film is not a B movie. |
imdb-24797 | null | The efficacy of this picture was best proven on the intended target audience, namely teens. My 14-year-old son became so engrossed in this film that I rate it considerably higher than its imitator "Mad City." It sparked debate in our household on issues such as peer pressure and loyalty vs. doing the right thing. For that alone, I rate this film a 10! Parents should watch it with their teens and discuss it afterwards.<br /><br />I very much liked the smart dialogue and consistent acting. I thought that James Remar was adequate in his role, but the teenage cast really carried this picture. Other IMDB users have praised Corey Feldman's performance, which truly is inspired. All in all, I give this picture my highest recommendation. Go get this one! |
imdb-24798 | null | This film was so well-paced that I don't think I actually blinked while watching. One intense situation after another kept me glued to the set. However, I would have liked to have seen Corey Feldman a lot more in this picture. He just steals every scene that he is in. This could be my favorite grown up Corey performance. The ending was clever and unlike other films which back away from severing body parts of likeable supporting characters, this film goes for it! I liked that it was not graphic blood and gore but left more to the viewer's imagination. Bravo. I literally had to wipe sweat from my forehead during this particular torture scene with a paper cutter. Ultimately, the film works because of its likeable lead character and the awesome presence of my all-time favorite bad guy, James Remar(48 Hours, remember?) I strongly recommend this film for anyone looking to break a sweat.<br /><br /> |
imdb-24799 | null | I recently rented this video after seeing "Final Ascent" by the same writer. I wasn't prepared for how intense this film would get. I found it engaging from start to finish, and was rooting for the teenagers to get away with their attempted crime. The ending was definitely disturbing with some of its implied violence, but well-done. I highly recommend this picture. |
imdb-24800 | null | This film is like "The Breakfast Club" meets "Mad City." It's got one plot twist after another with Justin Walker, Corey Feldman, and James Remar delivering really great performances. However, this movie is not for everyone. If you don't like movies that "go all the way" with regards to violence, then don't watch the last twenty minutes. My wife had to leave the room. Of course, I couldn't take my eyes off the screen. This is a really gritty, realistic teen drama. I can't believe it came from B-Movie king Roger Corman. This film is a must-see for those who are not faint of heart. Highly recommended. |
imdb-24801 | null | I just watched the DVD version of BORN BAD and found it to be tense, gritty and, near the end, too graphic for the faint of heart. Justin Walker (Clueless) and Corey Feldman turn in superior performances. For a low budget film, this picture delivers. The depth of character and clever dialogue are two things not usually seen in a Roger Corman picture. Check it out on DVD! |
imdb-24802 | null | this is a great movie for all Corey Feldman fans. This movie has a great cast of young actors. a group of teens decide to rob a bank to get some quick cash, but all goes wrong when a security gaurd gets shot and they take hostages |
imdb-24803 | null | Born Bad is a well put together crime drama about a group of teenage kids. Teens as well as young adults would find this movie well acted and entertaining. The movie is similar to The Black Circle Boys in the sense that a bunch of teenage boys go around their town making up their own rules and not caring about the consequences. |
imdb-24804 | null | As a camera operator, I couldn't help but admire the great look that this picture achieved. The performances were excellent, as was the story. Just when I thought this film was about to slow down, it didn't. Heart-pounding tension, great pacing through editing, and a score that knows when to be quiet all come together here under competent and capable direction. The camera was always in the right place. Love that. |
imdb-24805 | null | I just saw this movie on Showtime in the wee hours of the night. I was viewing the beginning with one eye open, but instead of drifting off to sleep, I became invested in this crafty, nail-bitter of a movie. It was very believable and engaging. I could have done without so much profanity(as with every David Mamet movie I see), but thoroughly enjoyed the experience. I know teenagers swear, but I don't need to listen to it. Anyways, the story had some interesting surprises which I won't reveal but if you have a chance to catch this movie on Showtime, I think you will enjoy it as much as I have. |
imdb-24806 | null | As an adult, I am grateful to have caught this movie by chance when I was a teen. During the time, I was experiencing familial problems. This particular movie managed to capture what I was seeing from a closeted world. How much peer pressure is too much? I actually had to purchase this movie because it reached me on a level unlike most films try to reach an audience. How far might an individual go for social acceptance? Who is the "bad" crowd? Teenagers do struggle trying to find out the answers to these questions, but ultimately...who is the "pack leader" if there must be one? Is it the strong? The beautiful? Perhaps the person we just all seem to like? Could it be the moral character? As far as the movie goes, the cast worked together as if it were predestined. I only hope that more directors and producers try to create a piece of work that reaches all of us like this particular movie reached me. I wish I could vote higher than ten because this particular title deserves much more. |
imdb-24807 | null | This late 50s French study of disaffected youth (in their early 20's, actually--"grown up", but not yet settled down into the adult world) probably missed the mark by a mile in terms of being an accurate depiction of 1958 French youth (don't virtually ALL youth films made by adults do this? The ones that don't--River's Edge comes to mind-- are rare indeed), but director-writer Marcel Carne, of Les Enfants du Paradis fame, is too accurate an observer of humanity to NOT provide an insightful view of the essence of these characters. In a sense, the details are not important--you could change the details and set this film today and it would work just as well--but the loneliness and insecurity and superficial passion and self-righteous anger of the characters is captured well. The young Pierre Brice and Jean-Paul Belmondo are in supporting roles, but leads Jacques Charrier, Laurent Terzieff, Pascale Petit, and Andrea Parisy play the roles with subtlety and depth. There is also a fine jazz score, which you can get on the CD JAZZ IN PARIS--JAZZ & CINEMA VOL. 2. Unlike some who have commented on the film, I don't really see director-writer Carne as sitting in judgment on these characters--he seems as though he is an objective observer to me. Of course, these middle-class characters may seem like people who are spoiled and have nothing to whine about to some working-class viewers of the film, and I think Carne is certainly aware of this. For this American viewer (I watched a dubbed, fairly literally I'd say, version of this titled THE CHEATERS), the film provides an interesting window into the France of the 1950s. It also is self-consciously poetic (the scene on the ledge, saving the cat, is but one example of this) and has intellectual aspirations in that charming way that only French films can get away with--I can imagine the heavy-handed, melodramatic, shallow way this kind of material would have been handled by an American studio production, and the sensationalistic, moralistic, suggestive way this kind of material would have been handled by American drive-in/exploitation filmmakers. I feel that Marcel Carne has captured the essence of that period between, say, high school graduation and when, by one's early 30s, people have largely settled into a routine, whatever that routine may be. Those willing to watch the film with an open mind and not fire away at the many easy targets it offers should find a serious and valuable study of people in their early twenties. And even if you don't want to do that, you can go in the other room while the film is playing and simply enjoy the fine soundtrack, with great 50s jazz and instrumental pop, including the wonderful original score by an American "Jazz at the Philharmonic" group including Coleman Hawkins, Dizzy Gillespie, Stan Getz (spelled "goetz" in the credits), Roy Eldridge, and Ray Brown. |
imdb-24808 | null | First, I rated this movie 10/10. To me, it's simply one of the best I saw since I was born (I'm 23, but I saw numerous films). The story is cruel, but reality is, too, not ? It went deep into me and stirred my bowels. I saw it about 5 or 6 years ago and it still shakes me - and I still remember it !<br /><br />Second, there is no 'national preference' (this expression is a direct translation from the French) for this movie. I mean it's not because it is a French movie that I put it so high : it has really caught me when I saw it. Furthermore, I don't know well Marcel Carne's filmography, so I don't know if it is or not his best movie, but I know it is not his most famous : Hotel du Nord, Quai des Brumes and Les Enfants du Paradis are the most famous.<br /><br />Third, the movie's in B&W, but it deals with inter-temporal problems of youth (not acne) like love, friends and studies in a modern way. It could even be remade frame-by-frame with actual young actors, a Dolby(tm) sound and special effects (a car crash), it would still be a great film !<br /><br />Problem : Maybe is it a film to be seen by young adults (from 16 to 25 years old) - and above, of course - for its message to be well understood... Did I say it was a great movie ? |
imdb-24809 | null | I blow hot and cold over Carné. He really can be a puzzle for me. I think perhaps his inspiration left him a little earlier than it did for other directors of his generation. Certainly a man who came to maturity in the Thirties with the Popular Front seems ill at ease in the France of the Fifties, with its rampant commercialism and heavy American influence. He is almost thirty years older than his young stars, and it shows. The party scenes go on much longer than they should, as if he were trying to buy time for the anemic scenario to work. Roland Lesaffre's character--he plays Pascale Petit's older brother--seems to exist only to reassure the director that his old-style ideas are still sound.<br /><br />At two hours, this picture is far too long. Still, let me praise Pascale Petit for her game performance; she was a natural who should have challenged Brigitte Bardot for sexpot supremacy, but somehow lost her way. Andrea Parisy is excellent too as the girl who gets pregnant and wants Charrier to marry her and make her baby legitimate (yes, they still thought that way in the Fifties). Laurent Terzieff is the only French actor who could play an anarchist convincingly: he is great here as he rescues a cat from death, then remarks he can't stand cats. Jacques Charrier only reminds me how mediocre he was as an actor, with that constant little grin and those blank eyes. |
imdb-24810 | null | It's generally an accepted fact that Marcel Carné's 1936-1946 movies are masterpieces and it's considered polite to say that the rest are mediocrities.This is an unfair opinion:at least ,two of the latter era are eminently watchable:"Thérèse Raquin" ,his best post-war work,and "les tricheurs" (the cheats).<br /><br />There's a strange evolution from the Prevert golden hour to "les tricheurs":in "les enfants du paradis" "quai des brumes" or "le jour se lève",true love is thwarted by the villains. In "les tricheurs" true love does not exist anymore:we deal with a bunch of young people who believe in nothing;falling in love would be incongruous for this youth.The adults are not the villains at all:Mic's brother and mother are kind people ,but she is beyond their command.Very few grown-ups appear anyway.<br /><br />During two hours,the characters do not stop playing around,dancing,listening to jazz records(a music which was not still part of the bourgeois culture),and heavily drinking .When two of them discover they care for each others ,it will be too late.<br /><br />The cast is rather good ,Laurent Terzieff as an existentialist cynic and Andréa Parisy as a rich kid are the stand-outs.On the other hand,Pascale Petit and mainly Jacques Charrier(who married Brigitte Bardot the same year as "les tricheurs")do not possess the ambiguity their parts ask for.They are all smile,too sweet and to nice to be believable.<br /><br />Oddly,"les tricheurs" was labeled "nouvelle vague"!When you know what the priests of this cinema school (the likes of Godard)thought of Carné ,it's really a good joke.But this disenchantment you feel throughout the whole movie is really disturbing. |
imdb-24811 | null | François Truffaut, Young Jerk of the "Cahiers du cinema", main bastion of the coming so-called New Wave, made a big show of hating this film and even accused it of dragging French cinema into mediocrity. Translation: Truffaut, who was terminally repressed sexually, was already jealous of the way Carné could make a huge success of a story that pushed all the right buttons of its audience and actually involved it into something important with all the trappings and seduction of sensuality. In other words, where the general public and many critics saw a perceptive sociological analysis wrapped in a beautiful film, Truffaut saw "Girls on the Loose". <br /><br />Carné, after all, had everything that would be severely lacking from the New Wave: intelligence, refinement, humour, a great talent as a storyteller, a great ear for dialogue, dazzling technical brilliance, the capacity to make his actors do what he wanted them to do, and a good dose of good taste. By comparison, Truffaut is a provincial bore with nothing to say.<br /><br />A 50's tragic remake of "Pride and Prejudice", the French answer to "Rebel Without A Cause", an updated version of "Children of Paradise", "Les Tricheurs" tells a story of disaffected Parisian youth who have lost their way in an atmosphere of existentialism, sexual liberation and disrespect for traditional and religious values. Some (young) critics perceived Carné's take on the subject as the moralizing slant of an "older person", whereas I think what happened, quite to the contrary, is that Carné being gay and knowing a thing or two about repression, felt an untold sympathy for the young iconoclasts in his story. Furthermore, this being a French film, there is no mistaking that the rebellion in question is essentially sexual, something that still had to be decoded in American films like "Rebel Without a Cause" and "The Wild One".<br /><br />Carné's young people are all supremely beautiful, graceful, elegant, spontaneous and intelligent. They are Gods and Goddesses. They drive the latest Vespas and the right cars. The cut of their suits, dresses and duffle-coats was a high point of the fashions of the last century. Their haircuts are still plastered on the wall of your local hairdresser. Their body shape, which they attained and maintained without effort, is still the modern Western ideal. They listen to the best jazz musicians. They know how to move, how to be sexy and how to make love even though the pill hasn't yet been invented. They know how to negotiate different social classes and cultures. Unfortunately, they are defined by and live by the code of the gang and their own heartless rituals that exclude sentimentality and make a sin of romantic love. The only thing wrong with them is that their elders don't talk to them and vice-versa. The incidents depicted in this film got a lot of tongues wagging for a long time in France about the amorality and nihilism of youth while still making it a huge public and critical success.<br /><br />This film is so stylish and gorgeous, I suspect the older viewers who watched it wished they could be like the people depicted in the film and quite a few young filmmakers or aspiring filmmakers like Truffaut developed a bad case of jaundice reflecting how they could never conceivably make a film as sexy or popular as this one, although they would be very good at eventually aiming for the nihilistic bits. On the other hand, given a certain clichéd aspect of the script (amorous misunderstanding leading to a medical emergency), one can only wonder at the horribly pious and puritanical mishmash Americans would have extracted from the same basic script if they had dared to tackle the subject.<br /><br />Interestingly, the movie was filmed in the same basic locations as the American musical "Funny Face" a year earlier. Where Hollywood saw the picturesque aspects of the Rive Gauche and existentialism, Carné restituted its tragic and ironic dimension. Watch this trailer on YouTube: 19ZkKeoNjPo |
imdb-24812 | null | Emilio is a successful business man, a perfect father and a good husband. Or that is what everybody think. The perfect storyline he has carefully built all along these years will start closing around him all of a sudden. Will he be able to keep up with his own lies?<br /><br />This is a very well laid out drama, with great acting and steady direction. Even though the plot is pushed up to the limit to increase the tension, the movie explores some of our worst fears... Do we really know the people we deal with? Can we be so sure?<br /><br />The story develops at an increasingly faster pace as it reaches the point where Emilio is not in control of his lies anymore. A good deal of Spanish movies have interesting stories but are far from technical proficiency. The perfect rhythm and well shot scenes make the actors so credible, we get inside Emilio, and hate him, and suffer for him, as his situation gets more and more desperate. There is no need for any Spanish folklore, nor is this an attempt to create a Hollywood style flick. This is real Spain, 2002, and regardless the obvious unlikeliness of Emilio's life existing in reality, there are good chances somebody we know is not quite like the person he claims to be. Not just a great commercial product, it will let you wondering where lies can get us to. Can we keep up?<br /><br />Well done. |
imdb-24813 | null | Of course, how could he. He obviously co-opted several aspects from that excellent movie, which was also based on the sensational French case of the self-described "doctor in the World Health Organization" who murdered his family and himself when finally unmasked as a fraud. Emilio refers to his son as "monster," he sings to the radio in his car, he hangs out on park benches, and he specializes in investment schemes to defraud his family and friends -- all of this and more directly lifted from "Time Out," which came out the year before "Nobody's Life." It's too bad because this movie is pretty good on its own, with good acting and writing. Whereas Vincent from "Time Out" is a much more subtle character who seems to have a sense of ethics even though at times it gets twisted into knots, the protagonist here seems devoid of any character at all save for his winning looks and charm. Seriously, the part where he used X-rays that show his mother-in-law's cancer to bilk more money from his father, then utilizes a subtle twist on the same scam to avoid eviction from his fancy home for failing to pay the lease on time -- it's almost too much. The guy has no shame whatsoever, In fact, he's more like the lead in "Stepfather" than some poor schmuck who gets fired and is so humiliated that he can't face the disappointment of his family and friends and feels forced to invent a shiny new life for himself, as Vincent did in "Time Out." Thus, one could feel the tension mounting in "Nobody's Life" and the violent conclusion coming. One thing "Nobody's Life" has that "Time Out" definitely lacked was a love interest apart from the protagonist's trusting wife. It's not hard to understand how the sexy babysitter was able to fascinate and ensnare Emile to the degree that he ignored the danger of her natural curiosity and allowed it to lay bare his less than carefully constructed con. Given the reservations mentioned, this is a pretty good movie that we found entertaining. If you long for something touching on similar elements that goes a might deeper and is more intellectually and spiritually satisfying, I strongly suggest "Time Out." |
imdb-24814 | null | It kept me on the edge of my seat. True, the story has a few plot holes, but the sheer tension of it, the way the director just keeps challenging the premise is simply fascinating.<br /><br />José Coronado and Adriana Ozores are two of Spain's best actors (see La vida mancha and Héctor) and here they appear as a happy upper-middle class couple. Beneath it all, the truth is that all of Coronado's life is a lie. He's not an economist, never went to college or does not work in Spain's Central Bank Reserve, as everybody else believes. We get a few insights as to how he kept up appearances or manage to do it, and while not very plausible it is still somehow believable.<br /><br />The inner-workings of the scam are shown intermittently, but it is credible because Coronado is a source of self-assurance and assertiveness. He not only believes in the scam, he also believes in the film premise, and therefore he carries it.<br /><br />Sure, it tests belief that a wife would not know the inner workings of a marriage's finances for almost 10 years, but again, since he's supposedly a brilliant economist.<br /><br />It has been said, in a nationalistic tone, that the movie is not "distinctively Spanish", as if that were a litmus test for good film. True, no castanets or odd cabbies in this one, just a taut thriller. You'll want to know how this story ends once you start watching. |
imdb-24815 | null | I just watched this movie at the Santo Domingo International Film Festival. While watching the movie I had the feeling that I have seen a movie with a similar story before...a movie with Ray Liotta but I can't remember much of it. Of course, this one is a lot more dramatic, especially at the end.<br /><br />This is the story: Emilio's life becomes a lie that he can not longer sustain. After 20 years lying about his entire life to his wife, son and all the people he knows, the truth is chasing him and there is nowhere to go.<br /><br />Watching Emilio make up lies is exiting and funny but after a while you get tired of the same thing...the affair with a young girl was supposed to ad something but it doesn't. Despite that the movie is still funny, exiting and involving. Either it makes you want to help Emilio with his lies or help everybody else catch him. I liked the analogies, photography and the good performances.<br /><br />7.5 out of 10. |
imdb-24816 | null | I suppose this movie is not your typical Spanish thriller as it is based in a real story that took place abroad. The movie is based in the real story of French man Jean-Claude Romand, and the real case is much more gory and scary than the film. In the real story of Mr. Romand the family didn't escape, after years of lies he decided to end it all by killing his wife, two children, parents and dog, and although he tried to kill himself, it seems he didn't try very hard as he survived. I watched the movie with people next to me talking about how it could never happen in real life that all these lies went undetected, I was laughing as I had read the book about Mr. Romand, and knew it did happen. I like José Coronado in this movie, he offered us a good performance, as the rest of the crew. |
imdb-24817 | null | Okay, I'll say it. This movie made me laugh so hard that it hurt. This statement may offend some of you who may think that this movie is nothing more than a waste of film. But the thing that most people don't get is that this movie was intended to be bad and cheezy. I mean, did people actually think that a movie about a killer snowman was intended to be a masterpiece? Just look at the "scary" hologram on the jacket of the movie and you'll find your answer. Instead, like the original Jack Frost (which I thought was just as funny), this movie turned out to be a side-splitting journey into the depths of corny dialogue, bad one liners and horrible special effects. And it's all made to deliver laughter to us viewers. It certainly worked for me.<br /><br />For example: Anne Tiler (to her troubled husband): What makes you frown so heavily darling?<br /><br />If that chunk of dialogue doesn't make you laugh, then you have serious issues. Who in their right mind would utter those words in real life? Of course, no one because it was meant to sound ridiculous! Just take one viewing of this movie with an open mind and low expectations, and hopefully you'll see what's so damn funny about Jack Frost 2. |
imdb-24818 | null | Worst horror film ever but funniest film ever rolled in one you have got to see this film it is so cheap it is unbeliaveble but you have to see it really!!!! P.s watch the carrot |
imdb-24819 | null | Seriously, I don´t really get why people here are bashing it. I mean,<br /><br />the idea of a killer snowman wreaking havoc on a tropical island paradise is pretty absurd. The good news is, the producers realized it and made it a comedy in the vein of Army of Darkness. <br /><br />Especially in the second half of the film, when the little killer snowballs attack, I laughed my ass off. For example, the put one of the little creeps into a blender (a la Gremlins 1) and mix it. After that, it morphs back into a snowball and squeals with a high pitched voice "That was fun!".<br /><br />Bottom line - incredible movie, rent it. |
imdb-24820 | null | This is better then the first. The movie opens up with Sheriff Sam .Then, Sam and Anne pack there bags up and head to the Tropicana while Jack tags along.<br /><br />People are shot, get glass through necks, get squished by anvils, get stabbed with icicles, eyes gouged out, head explosions, drownings, hangings, lobsters shoved into faces, slit throats, freezing to death, killed by snowballs, arms are ripped off, melted by anti-freeze, icicles down necks, hit in face with pots and pans, fingers getting' bitten off, icicles through mouths, bitten on the neck, exploding people, toasted snowballs, and shoved in blenders.<br /><br />The snowballs are hilarious, they put it into a blender and turn it on, then it says 'that was fun' they put in in a waffle thing and it gets burnt. <br /><br />This is just a great movie. Then they start thinking of other ways to kill it, and the snowball replies, 'that's not nice'<br /><br />It was worth then ten bucks spent to buy this.<br /><br />10 out of 10 stars. |
imdb-24821 | null | Where to Begin, I like the scary snow-monster named Jack Frost. The whole concept works well for me, we thought he'd be back and he was. Changing the local to a tropical resort works. Seeing old friends and meeting new characters. Scott MacDonald does a great job as Jack Frost, you can tell when an actor has fun playing a villain, you can see it or in this case hear it in the performance. Yup, Jack Frost 2 is a welcomed sequel that is better then the first. I do have one complaint, the little Jacks or the Jacklings as I call them. They looked like hand puppets. I think they could have done a better job with the Jacklings, the mouth could have opened wider, but the CGI was good and as a whole the whole movie is worth watching over and over again. If you liked JACK FROST, then you will like this sequel. No questions or debate, 9 BIG STARS. |
imdb-24822 | null | This movie has everything typical horror movies lack. Although some things are far fetched we are dealing with quality snow man engineers. The only preview i can reveal is that i cant wait for Jackzilla. Dare i say oscar winner. This is a perfect date movie. I advise all men for a nice romantic surprise see this movie with that special person. |
imdb-24823 | null | The problem with so many people watching this movie is the mindset they watch it in. People come looking for a B-Grade horror film, or a "So Bad It's Good" movie. Jack Frost 2 is neither of these.<br /><br />It is, to put it simply, a very good movie cleverly hidden inside a very bad one. To view it as anything other than a screwball comedy (easily funnier than all three absolutely meritless "Scary Movies" combined) is to misinterpret the movie on a basic level. It would be like watching Shawshank Redemption and then complaining that there were no explosions.<br /><br />The premise is simple; the characters from the first movie, haunted by memories of Jack Frost, take a vacation to a tropical island. A new, improved Jack comes after them, now with essentially the powers of Hydro-Man from Spider-Man; essentially, he can turn from water to snow easily and quickly, divide himself, multiply himself, and, worst of all, he's managed to grow an immunity to his only former weakness...AntiFreeze.<br /><br />What's sad about this movie is that the brain dead fans of the first Jack Frost (a simply HORRIBLE movie) can't appreciate the change of tone for the sequel. Just as Alien was a horror film and Aliens was all about action, Jack Frost was a weak attempt at gimmick horror and Jack Frost 2 is a cleverly written parody of the gimmick horror genre.<br /><br />Most of the entertainment comes the live action actors, who serve admirably. Particularly funny among them are Ray Tooney (playing a caricature of a retired British Colonel from the early 1900s), Christopher Allport (offering an insane, hilarious spin on his wooden performance from the first film), and David Allen Brooks (taking the once serious role of manners to new, totally bizarre heights).<br /><br />The lack of "memorable quotes" disturbs me.<br /><br />As a horror movie, Jack Frost 2: Revenge of The Mutant Killer Snowman, rates a zero. But you have to understand, IT'S NOT A HORROR MOVIE. |
imdb-24824 | null | *SPOILERS*<br /><br />I don't care what anyone says, this movie is friggin' hilarious. This is the sequel to Jack Frost, a movie about a killer snowman. The snowman is created when a convicted serial killer about to be executed is taken to the execution chamber, but the truck crashes with a truck carrying DNA manipulation chemicals that make human DNA bond with dirt, or in this case, snow. The first movie was just boring, and eventually the snowman is destroyed by pouring antifreeze on him.<br /><br />Or so they thought.<br /><br />This movie takes place about a year after the second. Some scientists resurrect Jack Frost by mixing the antifreeze with chemicals. No explanation is ever given for why they do this, they just do. Meanwhile, the sherrif who arrested Frost in the first is going to the Bahamas. Unfortunately, the snowman comes with him.<br /><br />This movie has it all. It has talking carrots that can stand up, ice cubes that explode when you stick them in your mouth, and killer snowballs. Yes, killer snowballs. They even say "Dada!" like babies. I'll have to give the makers of this credit. The snowballs are some of the cutest little things ever dreamed up. I wish that I could get one as a pet. Frost finally freezes the island, as if a killer snowman has the ability to influence major weather patterns.<br /><br />Then there's the actors. There's Manners, the FBI agent from the first movie, except here he's wearing an eyepatch. YARR MATEYS, SHIVER ME TIMBERS, I BE AN FBI AGENT! YARRR! And then there's the stereotypical British adventurer and the stereotypical black Jamaican with dreadlocks. And finally, Captain Fun. The fruitiest man on the face of the planet, bar none.<br /><br />This movie isn't scary, but is is hilarious. I laughed my butt off the whole way through, and I recommend this for anyone who likes a good "bad" movie.<br /><br />*** out **** |
imdb-24825 | null | Jack Frost 2, is probably the most cheesiest movie I have ever seen in my life. The complete title of the film, is Jack Frost 2: Revenge of the Mutant Killer Snowman. Horror movie fans that have a taste for campy story lines, will be delighted to watch this. This film was straight to video, and for good reasons. Here's why: The acting, was so atrocious, and so terrible, that it could cause one to cry. The main character had no personality, and the actor's bad acting made it all worse. The screenplay was, was also atrocious. Each character always says a cheesy line, and add the cheesy lines to the bad choreography, then you have something bad. Second, the story line isn't really all that impressive, but since this movie was straight to video, it is forgiven. The director, and writer could have turned the idea of a killer snowman, into something cool, but they didn't. They story has lots of plot holes in it. In the beginning, a cup of coffee gets knocked into the fish tank, with the melted Jack Frost. Scientists try to restore his life, but they couldn't. Once the cup of coffee fell into the tank, Jack Frost was completely restored. Now he is immune to anti-freeze. In Jack Frost part 1, the main character's DNA got mixed up with the Anti-freeze that was used to kill Jack Frost. Since the main character is allergic to bananas, Jack Frost is too. Hence, here's my point. They say that Sam's DNA combined with Jack Frost's. But, one of the scientists had some saliva on the cup, so when it fell into the tank, the scientists DNA would have been combined with Jack Frosts. Another thing, the special effects weren't very good either. Here's the good points: Jack Frost 2 has lots of blood, that looks pretty realistic. Even though this movie is flawed to hell, it is still entertaining. Overall, Jack Frost 2 is an enjoyable horror movie. The first one was better though. 7 out of 10. |
imdb-24826 | null | Some will say this movie is a guilty pleasure. I loved this flick but I don't feel guilty about it. You can tell the whole cast and crew had fun making this movie. But Jack Frost 2 won't go over well with some people. Right from the beginning you can tell this movie will be cheesy and it definitely has an amateurish look to it. Well, if you get the privilege to watch this movie, after watching it remember that Jack Frost 2: Revenge of the Mutant Killer Snowman is a pleasure, not a guilty pleasure. Now, because I can't fill up ten lines heres some great scenes: <br /><br />**SPOILERS** <br /><br />The three women on the beach had great deaths. The first one had Jack in a tree trying to drop icicles on one of them. He kept missing so he dropped an anvil on her. The next woman fell on a bed of icicles. The last one was stabbed in the eyes with tongs.<br /><br />The other great one was where two surfers stoners are hanging out near a frozen pole. One of them gets their tongue stuck on it (of course). Jack Frost pulls him back a rips his tongue off while saying "COWA-TONGUE-A DUDE!". Well, you have to see it for yourself.<br /><br />And of course, the snowball children kicked ass.<br /><br />**END SPOILERS**<br /><br />infinity stars |
imdb-24827 | null | Okay , so this wasnt what I was expecting. I rented this film just to see how it would be since I want to see the first one anyway. But , this film had B-movie all over it. But when I watched it I realized that it was very funny. For the first 30 minutes It was just how the snowman was kiiling people and one man losing his sanity. But , those first few minutes had some funny one liners in it. When He throws up the first of his little minions I knew this would be very very funny. They all act like the gremlins in the ninteen eighty four hit gremlins that it made it look like it was spoofing it and made me forget it was a B-movie. So if you like to laugh rent this one. |
imdb-24828 | null | One of the best silent dramas I've seen. As dark and shadowy as anything the German Expressionists produced, but featuring performances that were quite understated and naturalistic for the day. No camera mugging and no unintentional laughs due to wild-eyed arm-waving histrionics. Sjostrom gave a convincing performance as the drunken, mean-spirited and frightening David Holm.<br /><br />Set mostly at night in a dingy Swedish slum, the film had a very claustrophobic set-bound feel to it, aided by the low key lighting and extensive use of irising.<br /><br />There was a deep, and typically Scandinavian, sense of despair and hopelessness to the narrative: the film begins in a rather grim present, and then we're told David Holm's story in a series of flashbacks (and flashbacks within flashbacks--a pretty complex story structure for 1921), where his character is offered numerous chances at redemption, but he doesn't take them, and we know he won't take them, because we've seen him die drunk and wretched and mean as ever in the present. The penultimate scene is as dark as any I have seen in all of cinema.<br /><br />The writing and directing is tight and intelligent, even by today's standards. In several instances, Sjostrom skillfully sets the audience up to suspect one thing, and then pulls out a surprise. The ending might not be such a surprise to some viewers, but I didn't see it coming.<br /><br />This movie deserves a full restoration and DVD release. Or even a crappy budget release. It just needs to be out there so people can see and appreciate it.<br /><br />9.5/10, which rounds up to 10/10 |
imdb-24829 | null | This film is a masterpiece to put it simply. Especially the double exposure made by the cameraman Julius Jaenzon. It is skillfully made even with the standards we are used to today seventy eight years later. Viktor Sjöström, the director, also plays the main character, David Holm. On the night of new years eve he is killed in a fight, and the legend says that the first one who dies on the new year, will have to work as a soul-collector in the form of a transparent ghost. There is a new soul-collector to be appointed every year.<br /><br />The scene in which the alcoholic, David Holm, rises up from his dead body (like the soul is leaving his earthly body) in the churchyard (where the fight took place) is a real award for a filmloving eye. Also when the present soul-collector arrives with his horse and carriage is a beautiful but also a scary scene. David Holm recognizes this soul-collector as a drinkingfriend from earlier life. It is now his turn to take over. Just like Scrooge in Dickens story "A christmas tale", David is shown what his life and doings has led to for the people around him.<br /><br />The film is about the danger of abusing drugs, in this case alcohol. It is based upon a book by Nobel prize winner Selma Lagerlöf. Viktor Sjöström filmed a few more of her books, but this is the one with the best outcome, maybe because this book is the most filmic of them.<br /><br /> |
imdb-24830 | null | Much said without words.<br /><br />This is an excellent movie. It was made in color-not color as in today's films, but a special mono-color use (with shadings) that portrayed meaning, mood, sense and time. It should be seen in color, as it becomes an entirely different film. The story, by Nobel prize-winner Selma Lagerlöf, is effectively presented. One never has a clear sense of real, memory or phantom. Changes going on in Swedish society at the time are subtly layered. Most highly recommend. Try to rent it or find it on-line. I saw it in a Swedish film class and I want to add it to my film library. |
imdb-24831 | null | Victor Sjöström's "Körkarlen" plunges the viewer into life's lower depths for much of its running time, with grim scenes of alcoholic degradation, family violence and suicidal despair, but the most memorable passages involve the mythic image of Death itself. Here Death is embodied as a ghostly horse-drawn carriage, driven by a wretched sinner who was the last person to die on the previous New Year's Eve. For one year the wretch must collect the souls of the newly departed, and after twelve months of this horrible servitude the driver's own soul is finally released when the last person to die on December 31st becomes the new driver.<br /><br />The scenes involving this carriage (the film was known as "The Phantom Carriage" or "The Phantom Chariot" in English-speaking countries) are eerie and mesmerizing, utilizing double-exposure cinematography that was quite sophisticated for its time and still effective when seen today. Most strikingly, the carriage travels to the floor of the ocean to collect the soul of a person who drowned. As fascinating as these scenes are, however, the bulk of the film is concerned with the downward spiral of David Holm, played by the director himself in an understated portrayal of a man who has given up on the possibility of living a decent life. In flashbacks we see Holm enjoying a pleasant day at the beach with his wife, children and brother, and he appears to be a perfectly ordinary guy. Abruptly, without segue or explanation, we then see Holm as an alcoholic wreck, in trouble with the law and alienated from his family. Ordinarily this leap from Before to After might feel like a story-telling deficiency, but in this case the filmmakers trust us to fill in the familiar, sordid details on our own. It's suggested that Holm has been led astray by his convivial friend Georges, the drinking companion who first relates the tale of the Phantom Carriage, but whatever the cause of his downfall Holm appears to be a lost cause, a mean-spirited drunk who takes perverse pleasure in inflicting pain on his family and in refusing to reform.<br /><br />While David Holm is our central figure the story's true catalyst is a young Salvation Army nurse who takes a sympathetic interest in his case and doggedly believes in him despite his hateful behavior. When the nurse herself is dying-- indirectly due to her ministrations on Holm's behalf --she demands to see him, and thus inadvertently sets in motion a chain of events that will result in his recovery.<br /><br />At times this film resembles Dickens' tale of Scrooge in its use of ghostly visitors who inspire a deeply flawed man to take stock of his life, suffer over his misbehavior, and reform. I was also reminded of Sjöström's 1917 drama "Terje Vigen," in which a man returns from jail to find his house empty and his family gone (a sequence echoed here). The director also reiterates a standard theme of Scandinavian folklore, found earlier in his "Berg-Ejvind och hans hustru" (a.k.a. "The Outlaw and His Wife," 1918) that no man can outrun his fate. This time, however, it could be argued that David Holm actually succeeds in evading his seemingly inevitable fate, for he's given an unexpected second chance to make amends.<br /><br />Viewers expecting a plunge into the supernatural will appreciate the sequences featuring the Phantom Carriage of the title, but may not be prepared for this film's painful examination of a troubled man's alcoholic downfall. But those with a taste for intense and powerful silent drama will appreciate "Körkarlen" in its entirety. It stands with the best serious cinema of its era and is certainly one of Sjöström's most accomplished works. |
imdb-24832 | null | Victor Sjostrom's silent film masterpiece The Phantom Carriage has recently been released on DVD with a new soundtrack recorded by KTL. The duo, comprising American guitarist Stephen O'Malley and Austrian laptop artist Peter Rehberg, has conjured an extraordinary collection of sounds to accompany and accentuate the original film footage from 1921. An ominous banging sound introduces each Act and a medley of drones, guitar chords and feedback ebbs and flows as the grim drama unfolds.<br /><br />As impressive as the new soundtrack is, the film remains the real star with its timeless rendering of a dark and dystopian fairy tale. According to this tale the last person to die before the stroke of midnight on New Year's Eve is condemned to spend a year behind the reins of the eponymous phantom carriage, collecting the souls of the dead. This is the fate of the anti-hero of the film, David Holm, who is moved to painful scrutiny of his life following his untimely death and subsequent encounter with the driver of the carriage.<br /><br />This film is often referred to as a horror film and although this is a fitting label, the real horror here resides not in the supernatural elements but rather in the depiction of human suffering at the hands of others. Sjostrom gives a remarkable performance as the drunken, spiteful and menacing Holm in life, and the wretched, frightened Holm looking back from the land of the dead and shrinking from his past deeds.<br /><br />Striking imagery abounds throughout The Phantom Carriage and more than compensates for the inevitably limited dialogue. The ill-omened onset of midnight is powerfully illustrated through the image of a clock-face hovering alone in the darkening night sky like a second moon. Equally impressively, the dead are depicted through pioneering semi-transparent imagery and the scenes of the phantom carriage riding over land and sea remain chilling to watch.<br /><br />Sjostrom's film deserves its place as one of the most esteemed silent films of all time and the new soundtrack by KTL is a superb accentuation of its themes. This is a must-see. |
imdb-24833 | null | This, unfortunately, is a little-known film.....i say "unfortunately", because it ranks up there with the "classics" of the American silent screen!<br /><br />It's about a legend of a "phantom chariot" that travells all over the world, picking up the souls of those who have died. The legend says tha the last person to die on New Year's Eve is condemned to drive the chariot for the next whole year.<br /><br />It brings to mind the sequence of the "Ghost of Future Yet To Come" in Dicken's famous "Christmas Carol".<br /><br />The double-exposure effects of the ghosts (esp. when they interact with the "live" people) are EXCELLENT! <br /><br />If you love silent films, you MUST see THIS; it will "blow you away"!<br /><br />Norm Vogel<br /><br />Norm's Old Movie Heaven http://www.nvogel.com/film/film.html |
imdb-24834 | null | Sjöströms masterpiece and a movie that captures the swedish soul . It also served as a great inspiration for Bergman; the similarites between Körkarlen and Smultronstället (with Sjöström in the leading role as Isak Borg) from 1957 is not a coincidence. Don't miss it for the world! |
imdb-24835 | null | In the New Year's Eve, the tuberculous sister of the Salvation Army Edit (Astrid Holm) asks her mother and her colleague Maria (Lisa Lundholm) to call David Holm (Victor Sjöström) to visit her in her deathbed. Meanwhile, the alcoholic David is telling to two other drunkards in the cemetery the legend of the Phantom Coach and his coachman: in accordance with the legend, the last sinner to die in the turn of the New Year becomes the soul collector, gathering souls in his coach. When David denies to visit Edit, his friends have an argument with him, they fight and David dies. When the coachman arrives, he recognizes his friend Georges (Tore Svennberg), who died in the end of the last year. George revisits parts of David's obnoxious life and in flashbacks, he shows how mean and selfish David was.<br /><br />"Körkarlen" is an impressive and stylish silent movie, with magnificent special effects (for a 1921 movie). The characters are very well developed; however, the story is dated and there is a weird and unexplained situation, when Sister Edit tells that she loves David Holm. Why should a enlightened woman love such a despicable man that wasted his life corrupting other people? Despite being religiously dated in the present days, it gives a beautiful message of faith and redemption in the end. My vote is nine.<br /><br />Title (Brazil): "A Carroça Fantasma" ("The Phantom Coach") |
imdb-24836 | null | On a dark, gloomy New Year's Eve night, an ill nurse, her life slowly ebbing away, demands that David Holm be presented to her at once. We don't yet know who David Holm is, or why this nurse wishes to see him, but her only dying wish is to speak with him just one more time. On the other side of the town, nestled comfortably amongst the gravestones of the local cemetery, Holm (Victor Sjöström, who also directed) and two of his drunken associates merrily await the coming of the New Year. "Here we can tell just when to drink the New Year in," exclaims Holm, casting a finger towards the large clock tower that looms through the darkness. Little does he know, however, that he will not be alive to greet it.<br /><br />To pass the time, Holm cheerfully recites a ghost story. He'd once had a friend name George, "a merry fellow" who was "smarter than the rest of us." On one New Year's Eve several years ago, George has broken up a potentially disastrous brawl, fearing that the final man to draw his last breath before midnight would be condemned to drive the phantom chariot for the next year, doing Death's bidding and collecting the souls of the deceased. "And, gentlemen, George died last New Year's Eve!" concludes Holm happily, not bothering to contain his mocking skepticism of the man's beliefs.<br /><br />As fate has it, of course, an unexpected violent encounter results in Holm's death, just on the stroke of midnight. As the man's transparent spirit rises gingerly from his earthly body, he witnesses, to his horror, the distant approach of a phantom carriage. The driver, a frail cloaked figure - a sickle clasped tightly in his hand - steps down from the carriage and approaches. We are astonished to discover that the driver is none other than a decrepit George, preparing to pass on his ghastly duty to this year's successor.<br /><br />Considering the era in which 'Körkarlen' is made, the special effects in this film are absolutely superb. Cinematographer Julius Jaenzon used double-exposure photography to create the eerie, ghostly silhouette of the carriage and its damned driver. Even today, the end result is highly effective. A particularly impressive scene involves the phantom chariot travelling to the ocean floor to retrieve the soul of a drowned man. Another scene, eerily reminiscent of Jack Torrance (Jack Nicholson) in Stanley Kubrick's 'The Shining,' involves Holm breaking down the kitchen door with an axe in order to reach his fleeing wife and children.<br /><br />Genuinely ominous and unsettling in its execution, Victor Sjöström's 'Körkarlen' is a fine work of cinema, successfully portraying Holm's steady alcoholic decline, his inevitable day of judgment, and a final hopeful possibility of redemption. |
imdb-24837 | null | Not as well known as the English, American, German and French cinema, though cinema from Sweden from the '20's was also quite good, interesting and revolutionary.<br /><br />This is a movie that is made great by its story. The story is told in 'A Christmas Carol' kind of way, in which the death himself confronts the deceased with his past, present and what could have been. It's of course a story that concentrates on morals and it does this very well. The message comes across as very powerful and effective. This is of course also definitely due to the effective directing from the father of Swedish cinema; Victor Sjöström.<br /><br />The story is based on the novel by other Swedish author Selma Lagerlöf. The story is adapted by Victor Sjöström himself, who perhaps should had taken out a few more elements, to let the story and movie flow better. It perhaps takes a bit too long before the movie starts to take form and the story gets clear but when the movie does take form and pace it becomes a really wonderful one.<br /><br />The movie does not only have a great story, it also is a good looking one. The movie uses some early and effective effects and uses some different color filters to create the right mood and to indicate what it past, present and 'future'.<br /><br />Sjöström did not only wrote and directed this movie, he also plays the main character. Of course the acting in the movie is over-the-top at times, by todays standards but not as bad as in for instance early German movies was the case. And after all, this movie is more about its story and morals than it is about the acting, so it really doesn't matter much, or distracts.<br /><br />A really great and effective underrated silent-movie classic from Sweden.<br /><br />9/10 |
imdb-24838 | null | Körkarlen (1921), a classic film with cult status amongst the silent movies, directed by Victor Sjöstrøm, who also plays the male main role, is based on a story by Swedish novelist Selma Lagerlöf. The film tells the story of brutal drinker David Holm, who beats up his wife, neglects his children, seduces his brother to drinking and is blind for the love of nurse Edit (Astrid Holm). David sits toward the end of the year together with his boozing buddies in the city-park and tells the story of the Phantom Chariot (Körkarlen): Who dies in the New Year's Eve night as the last one before dawn, has to serve one year long as driver of Death and release the dying souls from their bodies. But David gets into a fight with his buddies, suffers a hemorrhage and sinks dead on the soil. Meanwhile, the Phantom Carriage is approaching. The driver is nobody else than David's late friend Georges who seduced him into alcohol and died one year before. Since David refuses to get on the carriage, Georges forces him. Together, they drive to the stations where people live who suffered from David. They visit the nurse Edit whose love to David he was unable to recognize and whom he infected with tuberculosis so that she is dying now. But her unconditioned love to David will save his soul. Fulfilled with her spirit, they get to David's wife and children. David is able to prevent his wife from killing herself and her children, because she does not see a way out of the misery in which David has thrown her. They also visit David's brother, who has committed a murder after having been seduced into drinking by David. David asks Georges to go back into his body, because he finally sees that his way was wrong. Since it was Georges who had seduced him once into drinking, David's wish is granted, he gets a second chance, and Georges has to be one more year the driver of the Phantom Carriage in order to pay for his own sins. This movie belongs probably to the strongest and most impressive films ever made. Deplorably, it is still not available on international DVD. |
imdb-24839 | null | Victor Sjöström was quite the master in this film, having starred in it, directed it and even wrote the screenplay! That's pretty amazing. While today few have any idea who Sjöström was, he might be familiar to Ingmar Bergman fans as the star one of Bergman's most acclaimed films, WILD STRAWBERRIES.<br /><br />As far as this film goes, it's a very mixed bag. On one hand, you have to respect it because for 1921, it's a very good film. The idea of the Grim Reaper sitting down with a dead man to discuss his wasted life is pretty imaginative. Plus, the special effect of the Phantom Carriage is pretty convincing and technically speaking this is a well-crafted film. On the other hand, it's an amazingly dated and preachy film--more like something you'd expect to be shown in Sunday School instead of in an honest to goodness theater. Plus, some of the story elements just don't make sense. Instead of coming off as dedicated or good, the dying Salvation Army worker seems like a sap--a very sad and confusing sap. Why is she "in love" with this man? Am I missing something?<br /><br />So, my recommendation is that if you are insanely in love with silents (like me), then by all means watch it. But, if you aren't a silent fan, this film might do nothing to convince you that this style film is brilliant because the story is so overly melodramatic and dated. |
imdb-24840 | null | I have just finished watching this film for the first time, and I must say that I am very impressed.<br /><br />How bleak. How full of despair. How nightmarish. Incredible.<br /><br />Visually stunning, several scenes are embedded in my mind...the first appearance of the phantom carriage...the soul of David Holm as it rises from his corpse...his spirit on his knees, pleading.<br /><br />This film takes a simple story-that of the ghostly driver of the phantom carriage, doomed to collect the souls of the dead for a year-brings it into the present setting of the film and then uses flashbacks as a means to explain how David Holm ends up in his predicament.<br /><br />I would love to see this released on DVD so that more might see it. Everyone should. |
imdb-24841 | null | This landmark film can now be seen in two different versions on the Grapevine Video release which also includes the English translation of Selma Lagerlof's novel which she based on a Swedish folktale. The first version is the Swedish edit under the title of THE PHANTOM CARRIAGE. The second version is a reconstruction of the way it was shown in the United States under the title of THE STROKE OF MIDNIGHT as released by Metro (before it was M-G- M). The actual US release has long vanished but a detailed review in The New York Times lets us know how the scenes were reordered for domestic release -- and both are fascinating to see. Each version of this film was presented at The Organ Loft in Salt Lake City with live theatre organ scores provided by artist Blaine Gale. A live recording was made of these performances and are included on the Grapevine Video DVD along with the novel and notes about the two versions. While THE PHANTOM CARRIAGE follows the order of Lagerlof's novel, THE STROKE OF MIDNIGHT is in some ways easier to follow. Seeing the two different edits is an education in how silent films could be changed effectively for release in different countries. <br /><br />Some viewers look at this film as a horror film which it certainly is not. This is a morality play with shades of the supernatural used to hit home its stark message. The directing and lead performance by the great Victor Sjostrom were way ahead of their time. It's easy to see why M-G-M brought him to Hollywood to direct such films as Lillian Gish in THE SCARLET LETTER and THE WIND as well as Lon Chaney in HE WHO GETS SLAPPED. In America he was known as Victor Seastrom. He would also star in the lead role of Ingmar Bergman's WILD STRAWBERRIES, giving a masterful performance. Bergman was greatly influenced by KORKARLEN or THE PHANTOM CARRIAGE in his earlier days. <br /><br />This is a powerful film that is well worth taking some time to discover and study. The Grapevine Video release is an excellent way to do this. |
imdb-24842 | null | The last person who dies before New Years, is cursed to drive the Phantom Carriage for a whole year, picking up the souls of the dead.<br /><br />I saw a scene from this old silent Swedish horror film on Youtube, and decided to track down the whole movie. It was well worth the work finding it, because it's an absolutely amazing movie for the time it was made. It has a wonderfully eerie atmosphere. The old time horror film makers really knew how to create the perfect atmosphere. Sadly, many of today's film makers don't seem to understand how important setting and atmosphere are, and go for the cheap jump scares. The visual effects are excellent, considering its date of production. If you can find a copy of this, I highly recommend giving it a watch. 9/10 |
imdb-24843 | null | Victor Sjostrom, who is the grandfather of Swedish cinema, directed this stark, existentialist film about atonement, betrayal, death, forgiveness, guilt, redemption, and the bleakest moments of the human condition. He stars as David Holm, a no good-nick who responds to a moment of kindness by returning to his drunken ways, only to later have to bargain for his soul with the driver of the phantom carriage: death.<br /><br />Unlike many silent films during the period, the film is nearly absent scenes with over-acting. The pacing does becomes tedious with its overly familiar Dickensian narrative. However, examining the film in retrospect and in comparison to others of its time, it's a very daring and unique film. Audiences of the time were not exposed to such subject matter, and the cinematography is tremendous, symbolic, and accompanied by double exposure effects and multi-layered flashbacks. It's a genuinely creepy and frightening film for youngsters for sure.<br /><br />Watching the film, it's easy to see the later influences this film had on Swedish master Ingmar Bergman. Most of the great Bergman themes are here on full display. Sjostrom, of course, later starred in Bergman's masterpiece on alienation and loneliness: Wild Strawberries. This would be Sjostrom's final performance as an actor. Sjostrom based the script on a novel by Swedish writer Selma Lagerlof. *** of 4 stars. |
imdb-24844 | null | Once upon a time, in Sweden, there was a poor Salvation Army sister. At death's door, she requests, "Send for David Holm!" But, Victor Sjöström (as David Holm) cannot be located, because he is spending New Year's Eve in a graveyard, with his drinking buddies. Dying Sister Astrid Holm (as Edit) wants to see if praying for Mr. Sjöström's soul, over the past year, has produced any results; arguably, it has not. In the graveyard, Sjöström tells the story of "The Phantom Carriage", which he heard from his dead friend Tore Svennberg (as Georges). According to legend, the last person to die in each year must pick up the souls of all the dead people, until being relieved next New Year's Eve...<br /><br />Director Sjöström, whose lead performance is very strong, combines with photographer Julius Jaenzon to create a visually appealing film. The great "double exposure" effect is used frequently, but never seems overdone; and, it doesn't make the film's other dramatic highlights any less memorable (for example, Sjöström's tearing of his sewn coat and axing of the door). A Selma Lagerlöf story probably wasn't one you could, or would want to, tamper with in the 1920s - which may, or may not be, why the ending of this film is a letdown. And, unlike similar spiritual stories, it's difficult to suspend your disbelief, if you think too carefully about what is really happening in "Körkarlen".<br /><br />******* Körkarlen (1/1/21) Victor Sjöström ~ Victor Sjöström, Hilda Borgström, Tore Svennberg |
imdb-24845 | null | It's a mistake to refer to any film of this era as a horror film. Most early German films with supernatural themes are not so much horror films as they are dark fantasies borrowed from the works of early German Romantics like E. T. A. Hoffman and others. In Fritz Lang's "Der Mude Tod" (also from 1921) Death personified takes a young man away from his sweetheart, but in Lang's film the characters' destiny cannot be mitigated by behavior. Neither of the young lovers deserves to die, but they are destined by circumstances to be reunited only in death.<br /><br />In Victor Seastrom's "Korkarlen," however, repentance is always an option. Destiny can be altered - and death deferred - through the characters' choices. Although scenes of the Phantom Carriage collecting souls are genuinely eerie, these horrific images of Death as the great leveler are compromised by Death's offer of redemption to the real monster of this tale, David Holm, a brutal drunk who, because of a perverse hatred of humanity, spreads tuberculosis and emotional misery to everyone he comes in contact with.<br /><br />One New Year's Eve Holm is struck down in a fight with a drinking companion. As the first person to die on the stroke of midnight Holm must become the driver of the Phantom Carriage and collect souls during the new year. The Phantom Carriage, driven by an old acquaintance who had started Holm on his road to ruin, comes for his soul and takes him on a journey of self discovery. Along the way Holm sees the horror he has inflicted on his family and the people who tried to help him.<br /><br />Perhaps my disappointment with the film's ending is a criticism of the Selma Lagerlöf novel on which the film is based. But I would have preferred to see David Holm unable to escape his destiny, and to see his repentance come too late to prevent his wife from poisoning his two children and herself, and to see Holm suffer for the consequences of his sins by being made to collect their souls. It would have been a fitting punishment and a horror more immense than witnessing the abuse he inflicted on others. In the film, however, the unalterable nature of destiny isn't the message; redemption is. The driver of the carriage allows Holm's spirit to return to his body, and he rescues his family in the nick of time. His repentance smacks of Scrooge's repentance in "A Christmas Carol." <br /><br />If the trite and sentimental ending does not offend you, there is still much to admire in the film's images. The special effects are astonishing when measured by the standards of the day, and still hold up, which is more miraculous when you consider that these double exposures were created inside a hand-cranked camera. Also, the restored film on Tartan's new DVD looks fabulous. |
imdb-24846 | null | I thought it would be more fantastic a tale. But the subject is rather down to earth compared to the story about the Death carriage I was expecting. In fact there is much more of a social drama. As usual in the "European authors' movies".<br /><br />Actors are interesting, not overacting as in the average silent movie. Images are not so good as to be stuck in your mind as in Bergman's Smultronstället.<br /><br />This is true the comparison between the two movies is the main point here. Smultronstället begins with a vision of a Death carriage wherein Sjöström's character can see his own body. There are clocks without hands. He is compelled to look back on what he has done wrong. There is a vision of his happy family in the country. In Körkarlen Sjöström's wife doesn't cheat on him before his eyes but she wants to flee with the little children because it would never get any better with him. Eventually, Edit's confession is some kind of a live judgement.<br /><br />Well I would just add that Sjöström destroying the door with an axe because his wife locked it and plans to go away with the children reminded me of The Shining. Which was much more of a fantasy tale with Death hanging around. |
imdb-24847 | null | Yeah, I guess this movie is kinda dull compared to some of Pam Grier's other films. The plot is overly familiar, the dialog stilted, and some of the acting isn't too good. But it's worth seeing for the lengthy stretch near the end of the film, where we see Ms Grier in a sexy blue wetsuit, with the zipper half unzipped. Yeah, it seems like a frivolous point when discussing an actress of Pam Grier's talent, but she also happens to be an extremely gorgeous woman, and back in the day, she had a body that wouldn't quit. It's nice to see it being showcased in a tight wetsuit. Rent the DVD, and then tell me I'm wrong. Can't, can you? That's because you know I'm right! :-) And yes, I really did give a 10 just for the wetsuit scenes! ;-) |
imdb-24848 | null | Sheba Baby, is another Pam Grier Blaxploitation film. It was one of Pam's less visceral films of this genre. Pam plays Sheba Shane, who's a Chicago gumshoe. Sheba's father is the owner of a small loan company, in Missouri. When local mobsters try to run her father of of business, Sheba goes after the bad guys.<br /><br />Pam Grier had already made her mark in Blaxploitation films, by the time Sheba Baby came along. Fans of both Coffy and Foxy Brown, know that Pam is capable of an explosive intensity as an actress. In Sheba Baby, the fiery performance that viewers had come to expect from Pam, wasn't as evident in this film. Not that Pam doesn't kick-butt in Sheba Baby. She's just not as much of a runaway-train vigilante, as she was in her previous Blaxploitation films.<br /><br />The supporting cast in this film, are a distinct disappointment. So Sheba Baby is Pam's film, through and through. And though Pam's a bit more subdued than in her other films, she still gives a compelling performance in Sheba Baby. This film is definitely worth your time, if you're an ardent Pam Grier fan. |
imdb-24849 | null | Sheba Baby is always underrated most likely because it has a pg rating instead of the usual r rating that a Grier movie gets. all that the pg means is that Pam doesn't take her top off, she takes her top off in every other movie she's been in though so. it is more exciting than Coffy, more action. it takes off slow but by the time she's on screen the thrills have started. like Dolemite d'urville martin is the heavy trying to get Sheba's father, but she ain't having that. she wages a one woman war against martin and his gang of cronies. the best scene is with a stupid pimp in his car which i'm still laughing about. i thought it would be stupid because of the pg rating but i was wrong it replaces sex with violence and in a blaxplotation film that can only be good! |
imdb-24850 | null | If anything, William Girdler was an opportunist who wanted a piece of the action in regards to whatever was popular during the time. I mean, a blaxploitation flick in Louisville, Kentucky..who would of thunk it?!?! I can just imagine the enthusiasm he must've had getting Pam Grier, quite a hot item, to star in his picture. If you are pretty familiar with the genre, Girdler's Sheba, Baby doesn't necessarily stray too far from formula. Despite a change of venue, the film still deals with a ruthless businessman nicknamed Shark who muscles in on loan companies, using stooges to threaten them in order to get their signatures. <br /><br />Grier is Sheba Shayne, a former Louisville cop working in Chicago who returns home at the request of her father's partner, Brick(Austin Stoker, Assault on Precinct 13). Sheba's father, despite Shark's bullying tactics(..his man in town is Pilot, a wannabe gangster, equipped with stooges who aren't that menacing, rather buffoonish in nature, so thin-skinned they hire hit men outside of town to shoot up the Shayne Loan building), won't give up his company, and this eventually costs him his life when a warning through the use of brute force, leads to his being killed. Sheba will get her revenge on all those responsible for his father's death. In other words, Shark's ass is grass..can you dig it? <br /><br />Seeing Grier with a magnum is enough to sell this particular film, the novelty of the setting being in Louisville is part of the package. You even get to see a speedboat chase, Grier in shootouts with gangsters(..not necessarily the most polished kind one might be accustomed to seeing in a Chicago or New York during this period in blaxploitation), lots of blood spurting from bullet-riddled bodies torn apart by gun-fire, and colorful characters(..such as a wimpy loan shark in pimp-dress named Walker and Pilot who is one of the least scary mobsters you are likely to see)who show up during the film, most having the misfortune of coming in contact with a very angry Sheba. The plot itself is nothing special, but Grier is always worth watching, and Girdler orchestrates plenty of action sequences to keep his target audience entertained. A modest success for Girdler, and one of his more accomplished films. |
imdb-24851 | null | Pistol-packing Pam Grier takes names and kicks butt as the heroine in "Asylum of Satan" director William Girdler's entertaining blaxploitation actioneer "Sheba Baby," co-starring D'Urville Martin and Austin Stoker. "Sheba Baby" is one of several tough chick flicks that Grier appeared in during the 1970s, including "Coffy," "Foxy Brown," and "Friday Foster." The short-lived Girdler co-wrote this thoroughly routine private eye potboiler with producer David Shelton in one night and it features a headstrong female shamus that refuses to rely on a man to help her take care of business. Unfortunately, "Sheba Baby" isn't nearly as good as the blaxploitation movies that Grier made under the supervision of director Jack Hill. Hill helmed the African-American North Carolina native in "Coffy," "Foxy Brown," "The Big Bird Cage," and "The Big Doll House." Anybody that analyzes images of African-American women in cinema should be familiar with these epics. The chief problem with "Sheba Baby" is that our heroine gets too many convenient breaks. Naturally, the secondary villains are trigger happy clowns that couldn't hit the side of a barn with a howitzer. As the main antagonist, Dick Merrifield qualifies as both an egotistical as well as smarmy villain with choice lines like: "Anything worth having is worth stealing." Additionally, composer Monk Huggins does provide a strong, atmospheric orchestral soundtrack, and the best song, with Barbara Mason warbling it, is "Good Man Is Gone." "Sheba Baby" casts Grier as stylist Chicago gumshoe Sheba Shayne. She leaves the Windy City to return to her hometown of Louisville, Kentucky, to help out her father. When she arrives in Louisville, Sheba learns that her father, Andy (Rudy Challenger of "Detroit 9000"), is having trouble with a local black gangster nicknamed Pilot (cigar-chomping D'Urville Martin of "Hammer") who demands that Andy sell out his loan company to Pilot or die.<br /><br />Initially, Pilot dispatches a goon squad to trash Andy's office, but our heroine's father catches them in the act. They turn Sheba's father into a punching bag. Interestingly, during the fight scene, Girdler rarely shows fists smashing flesh. Earlier, Andy's right-hand man, Brick Williams (Austin Stoker of "Horror High"), had sent Sheba a telegram requesting that she return to Louisville, but she didn't receive it immediately thanks to her lazy partner who didn't know where to find her. Brick and Sheba hook up, rekindle their romantic flames, and share a night in the sack. Brick spends most of his time urging Sheba to remain calm in the face of adversity. As a former Louisville, Kentucky, police woman, Sheba prefers to shoot first and ask questions second. After she arrives home, Sheba borrows her father's car and barely escapes being blown to bits. As she is walking out the door to get into her father's car, Andy receives another harassing call from Pilot. Previously, Andy had refused to discuss the prospect of selling his loan company to Pilot, but Andy changes his mind and agrees to talk with the hoodlum. A gratified Pilot warns Andy about the dynamite that has been attached to his ignition with a delayed action fuse. In other words, cranking up the car won't trigger the explosion; the explosion comes ten seconds later. Andy and Brick rescue Sheba before the car blows up. Earlier, Sheba had agreed to let her father handle his problems without her interference. "Dad, I know you think I'm doing a man's job, but I'm not going to sit on the sidelines just because I'm a woman," Sheba tells him. After her near-death experience, Sheba vows to learn who sabotaged her father's car. She grilles an old contact from her days as a cop and threatens the guy with her gun to extract the information. Only after Sheba has ground the guy's face into a bucket of chlorine dust does he relent and tell her about a pay-off at the town's railroad museum. Brick accompanies Sheba and shooting ensues with a flustered Pilot getting away by the skin of his chin.<br /><br />Later, Pilot sends a quintet of out-of-town contract thugs armed-to-the-teeth to trash Andy's office. These gunsels ignore their no-kill orders. Not only do they shoot the loan company office to ribbons, but they also blast Sheba's dad with a shotgun. Sheba retaliates in short order. Wielding her nickel-plated revolver, she guns down three of the four assailants Dirty Harry style. The last hit-man discards his weapon and pleads for mercy. Sheba has her finger on the trigger when Homicide Detective Phil Jackson (Charles Kissinger of "Abby") and a uniform cop arrive on the scene. At the hospital, Andy Shayne dies holding his daughter's hand. Naturally, Pilot is furious at this revelation and his fury borders on apoplexy. Afterward, Sheba tracks down a loan shark, Walker (Christopher Joy of "Cleopatra Jones"), and pries information out of him about the Pilot while she holds him at gunpoint in a car wash. This is one of the better staged scenes with lots of ominous shots of the car wash equipment whirling and humming. Walker warns Pilot about Sheba. Pilot and his henchmen confront Sheba in a parking lot and swap lead. Sheba flees on foot to a nearby carnival. While the police corner one of Pilot's men, she deals with the others. Pilot shoots one of his own accidentally and Sheba runs him down. She pins Pilot to a roller-coaster track and threatens to hold him there until the roller-coaster cuts his head off. Pilot manages to escape after he has spilled his guts to Sheba about the identity and phone number of the big man, Shark (Dick Merrifield of "The Hellcats"), whose reputation is so immaculate that Detective Jackson describes him as "the guy with all the right answers." "Sheba Baby" isn't top-notch Pam Grier. However, the idea that our heroine can handle everything by herself without help from guys makes it interesting as well as entertaining chick flick. |
imdb-24852 | null | Multiply named and strangely casted, "One Dark Night" aka "Mausoleum", is one of the better early horror video-rentals. Original and quite raw, we meet Adam West briefly in this film about telekinesis and teen-age headgames. Meg Tilly is dared into spending the night in a crypt by "The Sisters" a high-school gang of hair-hoppers in blue satin jackets. The initiation is interrupted by the recently interred body of a mass-murdering psychic wizard called "Raymar". Surprisingly awesome make-up and scare effects paints this chiller film with style and deliver a heart-pounding climax. |
imdb-24853 | null | One Dark Night has a typical teen horror film set-up with a quite a unique twist. The ultra-brooding musical score and Gothic/claustrophobic atmosphere adds greatly to this small film that delivers. Meg Tilly is excellent as "Julie," and leads us through the maze of the mausoleum, giving a sense of foreboding and loneliness. The other teens are equally effective in their roles as is Melissa Newman, the ultimate heroine of the film. The special effects are excellent, though dated. This film is highly overlooked, but that may be good so that it was never ruined by endless sequels. There is a great, dark magic flowing through this film; once tapped into, you really get it and you're in for some fun. The double-disc DVD is available, though the original negative could not be found to restore the film. Maybe someday it will be located. I guess in some ways the carbon speckles in parts do help the film by giving it an old school respectability and making it more unexpected at the end when suddenly there are plenty of effects.<br /><br />The second disc has a rough cut/alternate version with a temp score version of the film that gives more explanation of the demise of two of the girls, very Poe-ish("The Cask of Amontillado" comes to mind in a new way!) Also, great ending tension going in on the dark crypt opening. Not sure it had the punch for main stream audiences, but certainly worked for me and extremely creepy.. . also, there is a making of documentary that is interesting because it gives info on what was going on at the time with the actors, crew, director and writer; candid material, then current logos, discussions of shots and scenes, rehearsals. Very unique that this stuff exists for a small film back then. |
imdb-24854 | null | I actually first watched One Dark Night in the theater & wrote a review of the film for my high school newspaper. I loved it then & I still love it. The storyline revolves around two people. First of all one woman learns that her father has telekenisis after his death. She then has feelings herself about the strange powers of her father even in his death. The mauseleum he's buried in plays host to the other main person, a high school girl doing anything to get in with a group of girls that just want to torment her & dare her to stay in the mauseleum all night to join their group. They go back in the night to scare her & find scares for themselves. The cast is led by Meg Tilly with supporting roles by Adam West and one of my personal favorites Elizabeth Daily aka E.G. Daily. Check this one out if you love 80's movies & cheesy horror movies, you won't be disatisfied. |
imdb-24855 | null | by the way it looks at the other comments made, it seems that a lot of people did not get the point to the flick. It is not centered around zombies, as a matter of fact they are not zombies at all, they are a device regenerated by the wizard to scare the girls to death, his main focus is on Meg Tilly, who he wants to help him finish the job that he died while doing in the first place, and what you get is a great flick with an awesome ending, it is hard to find on video, but every once in a while it shows up on HBO or Cinamax, check it out, I gave it a 10 and highly recommend it. |
imdb-24856 | null | Well groomed, well behaved teen Meg Tilly must spend the night in a creepy mausoleum as an initiation into a high school club. Problem is a powerful psychic named Raymar was just buried there that day, but he isn't quite dead and he needs the life force of humans for his powers.<br /><br />Obscure horror film offers plenty of thrills and chills, an appealing and likeable cast, and most superior special effects.<br /><br />My rating: 7 out of 10.<br /><br />One Dark Night is rated R for Violence and Adult Themes. |
imdb-24857 | null | Famous and mysterious recluse Raymar, who's some kind of lethal telekinetic psychic vampire, abruptly dies under bizarre circumstances. Nice girl high school student Julie Wells (a warm and sympathetic performance by the lovely Meg Tilly) wants desperately to be accepted by the snobby clique the Sisters (played to sublimely bitchy perfection by Leslie Speights, Robin Evans and the ever-cuddly Elizabeth Daily), so she agrees to spend a night in a creepy mausoleum where Raymar's body has been interred as part of an initiation rite. Naturally, Raymar still has his extraordinary powers, so it's going to be a very long and harrowing night of pure nerve-wracking terror for poor Julie.<br /><br />Director/co-screenwriter Tom McLoughlin (who later gave us the enjoyably tongue-in-cheek "Friday the 13th Part VI: Jason Lives") eschews graphic gore in favor of creating a brooding and eerie atmosphere, but fails to pull this particular feat off because the first hour is way too slow, talky and uneventful to be remotely scary or suspenseful. However, I nonetheless still found this flawed fright flick to be oddly appealing and entertaining. The big poofy hairdos, a goofy music montage sequence, badly timed false scares (including the ubiquitous hand on the shoulder gag!), a scene at a glittery video game arcade, kids gleefully smoking pot, and the hilariously dumb teen slang ("nerdle brain"!?) give this picture a certain endearingly quaint 80's period charm. Hal Trussell's handsome, polished cinematography (I especially dug the smoothly gliding Steadicam tracking shots), Bob Summers' spooky, yet funky hum'n'shiver synthesizer score, and Tom Burman's splendidly ghoulish make-up f/x are all up to snuff. The ever-stolid Adam West of TV's "Batman" fame merely takes up space in a nothing secondary part. The mausoleum makes for an impressively vast and unsettling main location. The grand finale with a bunch of ghastly rotting corpses popping out of their coffins and floating about qualifies as a marvelously macabre shock set piece. Sure, this baby definitely ain't some unjustly unsung gem, but it still delivers plenty of pleasingly silly and diverting cheesy fun all the same. |
imdb-24858 | null | This is my favorite horror film, a close 2nd to 'Poltergeist'. I saw 'One Dark Night' when it first came out in theaters in 1983 at the theater where I worked.<br /><br />I was born in 1963, so I have a certain love for '80's horror films, despite them being a little dated and the dialog not well written. What I thought was so original about it was that the phenomenon of 'psychic vampirism' has not been addressed (at least, to my knowledge at that time) and is a very real phenomenon.<br /><br />I didn't care if Adam West was in it (nothing against him, but his supporting role was not memorable), but thought Meg Tilly was good casting. The little-known Donald Hutton (from 'Brainstorm' and 'Invaders From Mars') as an ambiguous scientist who oversaw studies on Ramar's abilities was sadly overlooked. As a gay guy, I was paying more attention to David Mason Daniels, Meg Tilly's unfortunate but gorgeous boyfriend. He's selling real estate in Texas now. <br /><br />I felt the film 'realistic' in two ways: Raymar, who was discovered to have murdered 6 girls in his surreal apartment, had a funeral that was sparse in attendance, reflecting the fact that not only was he mysterious, a hermit, but a killer. As you know, these types are buried without fanfare. Second, if corpses were going to be telekinetically mobile, they would hover, dragging their feet. The filmmakers could have gone for the schlock walking, groaning, arms out-stretched zombies, but opted for what would be believable. Kudos! The buzzing electrical discharge from Ramar's eyes at his 'throne coffin' (like he's overseeing his kingdom of dead), cast an eerie magenta light in the mausoleum that will stay with you for years! If you've ever gone to a mausoleum, even on a sunny day, you will notice that they have their own rosetta lighting caused by stained glass windows. Don't get me started on the cavernous silence. Even Ramar himself looked like someone who could pass as an eccentric, perverted old man. The score was one-of-a-kind and memorable, and I keep kicking myself for not getting it on cassette when it first came out. The track shooting was done where it was supposed to be. I especially liked the carefully-planned characteristics of each corpse: the bride, the badly decomposed child still holding its teddy bear, the grandmother, the tall thin black guy, and the half-faced World War II vet, and the green-slimed eyed elderly gent who was the first to greet the 'Sisters' clique initiators. Even corpses can be good actors, I suppose. The only thing I had to groan about was the arm that came out of one of the vaults and choke Julie's boyfriend couldn't possibly be done unless a corpse was put in laying on it's stomach and feet first, but why? It looked a little to fresh too.<br /><br />The film begins eerie, with us never seeing Ramar's face (until the last quarter of the film, which is like unwrapping a birthday present) as he is picking up teen girl runaways in his daughter's psychic flash. We then see coroners hauling his body away in his one bedroom apartment where we see he's experimented his telekinetic craft by phasing dishes into his wall. The rest does drag as the Heathers-like 'Sisters' group baits Julie into a final initiation by spending the night inside the mausoleum, but it is a well-placed build up to the unleashing horror later. The movie isn't bloody in any sense of the word. The goriest part is when Ramar's daughter uses a compact mirror to feed his power back to him, and he bubbles then melts. I've always felt that a power like Ramar's could never die and a sequel could be worth looking into. I can see it now: One Dark Night II: Turning In The Grave. But let's face it-The film stands alone. I heard the film had other titles, but the original fits.<br /><br />A remake would be pointless. But if there were to be one, I would write better dialog, and lengthen some scenes such as show the studies on Ramar's abilities done in the lab instead of hearing about it on a tape recorder. In this information age, something like that would be well documented on DVD. And more corpses! Why just raise the ones in the mausoleum when Ramar's power could spread to the graveyard too? Let's just say I'd hate to be one of the persons who had to clean up the mess at the end of the climax; something that too can be shown. I think having one of the initiating Sisters recognize one of the corpses as a relative would have added some good if disturbing character. With CG effects, some awesome scenes with Ramar animating cremated remains would be off the wall! <br /><br />Say what you will about,'One Dark Night' but it has it all. So see at least once in your life...or death! |
imdb-24859 | null | I thought that One Dark Night was great! It deserves a 10! As to a statement made by one user, the dead WERE actually zombies in this movie. A dead person brought back to life IS a zombie, regardless of the method or cause for/of being brought back to life. The "zombies" in this movie are used to frighten the girls, not to feed off of them, like traditional zombies. This movie is a definite star among horror flicks of the 80's. The score and atmosphere are quite eerie, and the audience is kept in suspense throughout the mausoleum scenes. The acting is actually convincing, with genuine expressions of horror at the sight of the undead. Although I enjoy all zombie flicks, this movie is a refreshing change from the typical "flesh-eating zombie" movie. |
imdb-24860 | null | Julie (Meg Tilly) is a "goody two shoes" type high school girl who, determined to prove something to herself, allows herself to be subjected to the rituals of "The Sisters", a small-scale clique presided over by snooty, homecoming queen type Carol (Robin Evans). The Sisters propose that for Julie's final test she will spend the night in a mausoleum, preparing to drive Julie up the wall, but not knowing that recently deceased, ill-intentioned psychic Raymar is interred there and has plans to cause havoc from beyond the grave.<br /><br />While this debut picture for Tom McLoughlin ("Friday the 13th Part VI: Jason Lives" and "Sometimes They Come Back") is limited by its obviously low budget, it's what McLoughlin and his crew are able to do with it that counts. It's genuinely creepy, unsettling fare; it might have very well scared the stuffing out of me if I were under 10 years of age, and even at my current age, it still got to me to a degree.<br /><br />Some of the effects look cheesy, but the decent looking corpses and gore are created by Tom Burman, an experienced makeup effects artist, who, while tending to be overshadowed by more famous names like Winston, Baker, and Bottin, has a good resume with other films like "Cat People" (1982) and "The Beast Within" to his credit.<br /><br />What I liked most about it was a real sense of foreboding and atmosphere, an aspect missing from some of the current trendy horror movies being shown in our multiplexes.<br /><br />Tilly is cute and appealing in her role, having recently completed her debut film work in "Tex" before joining this production. "One Dark Night" was completed some time before its release to theaters in 1983, where it actually did decent business during its first few weeks. The other actors do what they have to do well enough; familiar faces in the supporting cast include the equally appealing veteran singer / actress / voice-over artist Elizabeth (a.k.a. E.G.) Daily, Kevin Peter Hall, for once *not* playing some sort of creature character, but who unfortunately ends up with very little screen time, and none other than Adam "Batman" West. The director's wife Nancy, who would play Lizbeth in "Jason Lives", appears here as the spacey girl in front of the arcade.<br /><br />It's decent B-level horror entertainment, maybe too cheap for its ambitions, and maybe not that slick (hey, McLoughlin *was* just starting out), but definitely good for some chills.<br /><br />7/10 |
imdb-24861 | null | This is an OK early 80's horror flick in which a young girl (Meg Tilly) is wanting to shed her "goody two shoes" image and becomes part of a girl gang called The Sisters. Their initiation for her consists of spending the night in a mausoleum. Too bad the mausoleum is the "final" resting place of some psycho Russian psychic and he's not quite dead yet. Seems this guy was found in his apartment with lots of things stuck into the walls from his telekinetic target practice, plus there is a pile of young dead girls found in the closet. All proof that hitch hiking can be dangerous, so listen up girls. The daughter of this man (Reymar) is rather distraught about her father's death and is confronted by a man that said he knew Reymar and given a tape to listen too. Her hubby (Adam West, of Batman fame) is there to laugh and scoff, and not much else. But it seems that perhaps Reymar's daughter may also have some abilities that she doesn't realize. Anyway, having deposited their unfortunate pledge at the mausoleum, the rest of The Sisters take off to go get stuff (like masks, sheets, etc) to come back and scare the crap out of her, but little do they suspect what's going on and they get more than the crap scared out of them. For even in death Reymar is kind of a busy guy and he's reanimating lots of corpses for entertainment. And it would also seem that he has a thing for jail bait. Overall this is acceptable horror, nothing too intense but not terrible either. The DVD from Media Blasters also contains another version of the movie that's a rough cut, I guess, I only watched a little of it so I don't know how different it is from the theatrical release but from what I saw I guess it's a "warts and all" presentation. 7 out of 10. |
imdb-24862 | null | Thorn-BMI is out of business, before they stopped making films they made a chiller of a movie. Using E.S.P. and telekinesis as the basis of the daughter whose father mastered a terrible power. Only in the death of her father did Olivia find that her father dubbed 'Raymar' from Raymarkovitch had really murdered 6 girls and was planning two more by using the technique of Psyhic Vampirism.<br /><br />Our picture starts with 6 coroner wagons pulling in and music to match the grusome discovery of the 6 girls. Dead all with their eyes wide open in a closet. In the walls were all kinds of objects, the coroners men were pulling up an old man, when blue lightning hit the ceiling which caused a circular hole to form only made the film more bizarre!<br /><br />If you like extremely chilling scenes this for you. Unless you can see dead bodies from years ago in each level of decay, don't view it without a friendly companion. Like "The Changeling" it has some heart stopping horror in it. I gave this a rating of 7 it's in color, actress Meg Tilly debuted in this film if you can find it see it. |
imdb-24863 | null | ONE DARK NIGHT is a highly overlooked and little known film from the early 80's that deserves an audience that I fear it will never get, and that's a damn shame. I have seen this film compared to others that have gotten a bigger name over the years, most notably PHANTASM, HELL NIGHT and MAUSOLEUM. This is a much different film than those and I don't see the comparisons other than the mausoleum, which is a bit similar to the one in PHANTASM, but not enough to make any real comparisons. I'm not sure how this one slipped through without a broader acceptance. Maybe it's all in the marketing, I don't know. Perhaps a remake would breathe new life into it, unless Raymar drained all the life out of it that is. I'm not too big on all the remakes that are abundant these days, but I think they do work well with lesser known films (except for the awful GHOST SHIP remake, which other than the opening scene and Mudvayne's Not Falling blaring, was utter crap). So if a remake of ONE DARK NIGHT would happen to fall into the right hands, I think it would make a lot of people go and watch the original. I know that's what I do if there's a remake of a film I haven't seen before. So anything short of a remake, I fear, would not bring this film back to life. Unless, of course, Raymar got his eyes on it.<br /><br />Anyways, ONE DARK NIGHT is a must see for horror fans, especially 80's horror fans ('cause we all know that's when the best horror movies were made). Creepy setting. Fairly good acting. Very good story. Campy. What more could you want from an early 80's horror film? What's that... nudity and gore? Well, sorry. No nudity or gore in this film, but it's still great nonetheless! A solid 8 out of 10. Enjoy. |
imdb-24864 | null | A bunch of sorority girls make a new pledge spend the night in a creepy mausoleum. Of course the recently deceased don't stay deceased for long and all hell breaks loose."One Dark Night" is an enjoyable 80's horror with some ghastly dead bodies floating around that are being controlled by the spirit of a dead psychic Raymar.There is no gore and nudity,but the atmosphere of a mausoleum is very eerie.The acting is solid,but the script takes too much time to develop the characters until the final 20 minutes that Raymar finally breaks out of his grave.The cinematography is impressive and the the mausoleum is a great location for the climactic events.The film takes so long to get going and this is its major flaw.7 out of 10. |
imdb-24865 | null | Since Jason and his ilk took over horror films circa 1980 most every horror film has involved a group of hormonally charged teenagers being chopped to bits with the focus on the chopping and not the suspense.<br /><br />This little film is different. Made in the early 80's it does what every good horror film should do - bring your worst fears to life while you sit around just knowing that these horrors are just around the corner. Then, you make those horrors simmer, just don't turn it into a lesson on the biology of butchering.<br /><br />The story features Meg Tilly right before she had a short-lived turn with fame starting with "The Big Chill" and then slipped back into obscurity in the early 90's. Meg plays an outcast teenager who is just dying to get into the good graces of some classic mean girls. They tell her she can be part of their little group if she spends the night in a crypt. The mean girls intend to scare her and cause her to leave the crypt thus giving them a double reward - further tormenting the outcast girl and having an excuse to reject her.<br /><br />Meanwhile famed occultist Karl Rhamarevich has died a bizarre death shortly after having claimed to have discovered a way to return from the grave and upon his return command great magical powers. His daughter doesn't believe this at first, but she listens to a tape about her father's experiments which included his successful animation of small dead animals and of his plans to emerge from the grave with the power to animate bigger game and draw further power from these animations. She also learns that she may have inherited her father's power and may be the only person who can stop him should he actually rise from the dead. I think you know where this story is headed, so I'll stop here. Did I mention the magician was entombed in the same crypt in which Meg Tilly's character is spending the night?<br /><br />I will mention that the commercial DVD containing this film does look somewhat degraded compared to what you would expect from a film that was made so recently. I saw it on TV in the mid 1980's and I remember it looking better than this. The problem is that the original negative of the film was never located so the DVD had to be created from a print. This means it comes complete with dirt and scratches.<br /><br />This is worth checking out for any horror fan. It was an independently made film and an example of the kind of unusual stuff that you could commonly find on late night TV until the infomercial turned that time slot into a vast wasteland circa 1986. Only TCM Underground airs this kind of film anymore. |
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