Horror and Sci-Fi films old and new, weirdo trash, arthouse, forgotten gems, well loved classics, and I'm watching the original Dr Who from the beginning.
During it’s heyday in the 70s and 80s, Italian exploitation cinema tapped into the success of any number of successful films and genres, such as zombies, maverick cops and Mad Max style post-apocalyptic worlds. Atlantis Interceptors adds a new twist to the latter by splicing it with the well-known but untapped mythology of the lost undersea kingdom of Atlantis. When radioactive material leaks from a Russian nuclear submarine sunk in the Caribbean, it causes the legendary city of Atlantis to rise from the sea. A group of scientists led by Dr. Cathy Rollins (Gioia Scola) team up with two mercenaries, Mike Ross (Christopher Connolly) and his sidekick Mohammed (Tony King), in a battle for survival after descendants of the original Atlanteans decide to reclaim the world for themselves by destroying everything and everyone already here. The script is a jaw dropping mix of fairly well constructed action and adventure, and baffling lapses in anything approaching logic. Well constructed in as much as it takes time to introduce Ross and his mercenaries in a way that pays off when needed, and also drops in twists and turns, and ups the stakes and the threat at the right time. Illogical as in where the hell did the Mad Max band of bikers come from, and why are they smashing up Miami, leaving a trail of bloody corpses and burnt out buildings in their wake? Unless I blacked out during a vital scene, no explanation is ever given as to how or why they suddenly appear. Director Ruggero Deodato is perhaps best known for notorious pseudo snuff video nasty Cannibal Holocaust but this is a million miles away from the grim depressing feel of that. The model work and special effects are about what you would expect for something made cheaply and quickly, the action scenes are competently handled and the production design of a burnt out looted city is well executed. The human star of the show is definitely Christopher Connolly, who became a regular in the Italian film industry. Here he throws himself into the role with obvious relish and is great fun to watch. Like any of these sort of films, please don't think about it too much, just enjoy the action, gore, cheesy dialogue and brain hurting plot twists. Oh and the disco theme tune.
A mix of mad villain sci-fi film and urban cop thriller, Light Blast is a gloriously cheesy slice of entertainment.
Dr Yuri Sobada, a crazed scientist, has created a laser weapon that can melt people on contact (especially sexy teens getting naked in a disused railway carriage) when fired at large digital clocks, and is now holding the city of San Francisco to ransom, for the sum of $10 million dollars. Inspector Ron Warren, played by no less than Erik Estrada, is the maverick cop sent to stop him, using his own renegade methods to get results, with firing guns and chasing take precedence over questioning suspects and filling in paperwork.
Like so many Italian genre and exploitation films of the 70s and 80s, Light Blast feels like a producer had a good idea, then maybe he (or another producer) had another, then another, until finally the poor scriptwriter is tasked with sewing the disparate elements into a screenplay. With a story revolving around a cop hunting a madman terrorising San Francisco, the main influence is obviously Dirty Harry. Like Inspector Callahan, Warren has a penchant for shooting first and asking questions later, if there’s anything left of the suspect to question, as well as his own unique technique of ending hostage situations. Callahan likes to drive a squad car through a shop window, while Warren employs a plate of chicken, a tight fitting pair of underpants and a surprisingly concealed firearm. The mad scientist is a movie staple but it’s interesting to see it matched with the cop thriller. The producer must have also had a soft spot for Raiders of the Lost Ark, or at least the melting face special effects of the climax (Temple of Doom had been released the previous year, so perhaps it was fresh in their minds), as a similar, albeit cheaper attempt crops up here.
Like so many of his contemporaries in the Italian film industry, Enzo G. Castellari helmed a dizzying number of films from all genres. Here he handles the different elements perfectly competently, especially the car chases, shot with a street level, in-your-face feel. It’s a low budget film, and it’s hard to imagine them having the cash to get permission to shut down the highways in a busy city, so I wonder if there was some guerrilla filmmaking going on.
Castellari also knows not to over stay his welcome, and wraps the whole thing up in a tight 90 minutes. There aren’t many lulls, and when they do crop up, they are the perfect opportunity to run to the fridge and get another beer, the perfect accompaniment to this goofy, highly entertaining piece of fun.
Steeped in the sexual and violent films coming out of Italy in the 1970s, collectively known as Giallo, Berberian Sound Studio is a confused and frustrating mess, which sees writer/director Peter Strickland on one hand seem to want to celebrate the genre, while on the other, want to look down at it.
Toby Jones plays a character called Gilderoy, an English Sound Effects artist who flies out to Italy to work on the audio track of a fictional Giallo film, The Equestrian Vortex. Initially, uncertain about working on something so violent and disturbing, his mind starts to unravel as he gets sucked into the oppressive world of the studio, and the images and noises facing him every day; can he keep his sanity and make it back home in one piece?
A good chunk of Berberian Sound Studio is based around Gilderoy and his interactions with the film crew. The contrast between the outgoing, garrulous and tactile Italians and the shy, repressed and awkward Englishman are played for laughs, with polyester shirts, big moustaches and testosterone on one side, and meekness, hesitancy, and cardigans on the other. The differences are there to provide tension, via the dramatic staple of the fish out of water and this starts to build from awkward comedy into more sinister mind games, with Gilderoy trapped and penniless, forced to stay and finish the film. Frustratingly, these are never properly resolved, as the film breaks down into David Lynch style weirdness before fizzling out, as if Strickland had simply run out of ideas. A shame, as Toby Jones delivers a great performance, giving the dorky and awkward Gilderoy, a likeable vulnerability.
Aside from Jones, there are some things to enjoy, at least for genre fans and audiophiles. For the former, a host of in-jokes, from the opening credits of the fake film, The Equestrian Vortex, a perfect and believable parody with its lurid animated credits and prog-rock soundtrack, to the studio projectionist, who remains unseen apart from his black gloves, and the end credits which list Suzy Kendall as "special guest screamer".
For the latter, the other big star, apart from Jones, is the sound itself. Screams, gongs, squashed fruit and vegetables, and, eerie singing are recorded and then manipulated and distorted into a disorienting cacophony. Very cleverly, the origins of the sound are obscured or played around with, blurring the line between the soundtrack of the fake film, the soundtrack of the film that we are watching, and soundtrack going on in the head of Gilderoy.
Unfortunately, Berberian Sound Studio does not give us anything other than clever, and disappointingly, considering the genre the film is set in, we also get no real horror, of either the psychological or cheap shock kind. Instead, we get a lot of, at times, fascinating, disturbing and baffling sounds and images, that ultimately add up to nothing.
Ultimately, Strickland seems to want to have it both ways, celebrating the outre elements of the Giallo genre, but then suddenly seeming to remember that by contrast, Berberian Sound Studio is also a "proper" film, and that we are supposed to be tut-tutting at this trash for what it is doing to Gilderoy and his morality and mental state. By the way if you are not sure what it is doing, the repeated close ups of the rotting vegetables used as sound effects for the violent on-screen deaths MIGHT GIVE YOU A VERY SUBTLE CLUE.
