US

Lupita Nyong'o

US (2019). Writer/director: Jordan Peele. NOTE: This review gives away important plot points of the movie.

When she's a child Adelaide (Lupita Nyong'o) is temporarily lost in a fun house and has an unnerving experience. Many years later she is married with children and returns to the same vacation spot that has the carnival and the fun house -- and strange things begin to happen. When they return to their home, her husband, Gabe (Winston Duke), looks out the door and sees four strangers standing stock still in their driveway. When he confronts them, he realizes that they look just like us ... 

Demon duplicates? 

Now what's going on here, you may wonder. Impoverished, angry duplicates of this nice middle-class black family are threatening Adelaide, her husband and two children. Do these strangers represent the black inner city underclass who are jealous of blacks who are upwardly mobile and have gotten their piece of the American Dream? The haves vs the have-nots?  But then the white family next door (who are depicted as vapid, stupid, and not nearly as nice as Adelaide's family) are also targeted by murderous duplicates. Then a whole host of  disenfranchised people living underground come up from below to terrorize the city, killing their own duplicates and others. The revenge of the poor and homeless? 

Boo!

Perhaps Jordan Peele should have just let the audience take the movie as an allegory of some sort and not tried to come up with an explanation, some nonsense about a scientific experiment that is abandoned, leaving the people  -- known as "The Tethered" -- in their underground habitats (which are surprisingly clean and sterile after all these years) to go insane. This only insures that the audience will have far more questions than answers as they walk out of the movie theater in a confused semi-stupor. In spite of this, far too many people have seen Us as being profound, when it's more along the lines of gobbledygook, and even Peele himself probably knows it. The movie is not nearly as original as some people claim. 

So what we're left with are some striking images and good performances, especially from Nyong'o. The movie temporarily becomes tense and interesting about the time the duplicates show up at the front door, but the tension is not sustained (anymore than it was in Peele's previous film, Get Out) and flippant remarks and dumb jokes from a family undergoing an incredible nightmare only make things worse. Ultimately Us winds up as tedious and pretentious twaddle that could have been a major film but instead is a major misfire. You can also see the twist ending from a mile away, but this only makes the plot even more ludicrous. 

Verdict: By no means "the greatest horror movie ever made." **. 

ATLANTIS THE LOST CONTINENT

Joyce Taylor and Sal Ponti (Anthony Hall) 

ATLANTIS THE LOST CONTINENT (1961). Produced and directed by George Pal. 

Greek fisherman Demetrios (Sal Ponti, here billed as "Anthony Hall") finds a woman floating in the sea and discovers she is supposedly Princess Antillia (Joyce Taylor) of Atlantis. Demetrios and his father, Petros (Wolfe Barzell), think she must be out of her head, but she eventually importunes Demetrios to set sail beyond the Pillars of Hercules and on to Atlantis. There Demetrios thinks he will be showered with riches and marry Antillia, but instead -- unbeknownst to the princess -- he winds up a slave, as do all foreigners. Demetrios can win his freedom if he survives the Ordeal of Fire and Water, but even if he does he will have to contend with evil Zaren (John Dall), the true power behind the throne, who wants to wage war on other countries with his laser canon. Then there's that pesky volcano that keeps trembling in the background ... 

Atlantis sinks!

I first saw Atlantis the Lost Continent when I was a kid, loved it, have seen it several times since, and still get a kick out of it every time I watch it. The film has been utterly excoriated in many circles as the worst film George Pal ever made, which I personally find ridiculous. The film is fun, colorful, entertaining, well-acted by the leads (neither Taylor or Ponti may ever have been tapped to do Shakespeare, but they are perfect for this picture) and most of the supporting cast, the FX work is quite good for the time, and there's a bang-up finish involving the volcano and that runaway laser cannon. Not to mention the exciting Ordeal of Fire and Water in which Demetrios must face a bull of a man in a pit in an arena which is first full of fire and then flooded with water. 

 John Dall and Frank DeKova

John Dall (in his last film, only appearing on Perry Mason thereafter) practically steals the movie as Zaran, with the man's smiles being even more lethal than his sneers, his every utterance a treacherous double entendre. Berry (sic) Kroeger is nastiness personified as the surgeon who turns men into animal-human hybrids, and Jay Novello [Soldiers of Fortune] once again exhibits his amazing versatility as the Greek slave, Xandros, who is slowly metamorphosing into a bull. However, Frank DeKova, who plays Sonoy, the astrologer, sounds about as "Atlantean" as Fanny Brice! Edward Platt is given the thankless role of the pious priest, Azor, another in a long line of characters who point out the evils of Paganism while never acknowledging that Christianity has its own set of  negative aspects. William Smith plays the Captain of the Guard but isn't given enough time or close-ups to really register. Paul Frees not only does the narration but dubbed three of the actors. 

Berry Kroeger sizes up Sal Ponti

MGM didn't give George Pal a huge budget, so there's some stock footage and short cuts in the movie, but that's not exactly an unusual avenue to take. I love the beast men attacking Berry Kroeger, the priest taking care of Zaren, the disintegrater beam that atomizes some people and merely skeletonizes others, the metal submarine that sneaks up on the couple in their boat, the impressive destruction of Atlantis, Demetrios flinging mud at the princess, and the princess telling off Zaren, who has stolen power from her father: "You would think you wore his crown!" Say what you will, for me this is a neat picture.

Verdict: A hoot! ***. 

FIRE MAIDENS OF OUTER SPACE

The "fire maidens" try to dance 

FIRE MAIDENS OF OUTER SPACE (1956). Written and directed by Cy Roth. 

A British-American team of astronauts head for the 13th moon of Jupiter, which they feel has an atmosphere similar to Earth's and may even hold  human life. It sure does! An old man and a bevy of beauties occupy a domicile inside an enclosure, outside of which a tall, hideous monster lurks trying to get in. Luther Blair (Anthony Dexter), who heads the expedition, and Captain Larson (Paul Carpenter) manage to meet up with the elderly Prasus (Owen Berry), who claims all of the young ladies are his daughters and that they somehow managed to make it all the way from the lost continent of Atlantis on Earth to the 13th moon of Jupiter! There is no talk of spaceships, the ladies' mothers, exactly what happened to Atlantis, who or what the dark humanoid creature roaming outside may be, or much of anything aside from the fact that Prasus wants "New Atlantis" to be repopulated. 

the crew prepare to land

Fire Maidens of Outer Space operates on the level of a child's comic book from years ago with its severe lapses in both continuity and logic. Oddly, it also has the quality of a fairy tale, and the monster is fairly creepy in long shot. Harry Fowler and Sidney Tafler are the other members of the crew -- who register absolutely no surprise or even much interest when they hear a man's voice calling them from Jupiter's moon (!) -- and the friendly daughter, Hestia, is played by Susan Shaw, while her bitchy older sister, Duessa, is played by Jacqueline Curtis. Shaw had quite a few credits but Curtis not too many. Richard Walter was given the thankless role of "the creature." 

the creepy creature

The "fire maidens" in the movie are given to dancing ballet -- or what passes for ballet in movies like this -- at the drop of a hat. Generally they dance to music from Borodin's "Prince Igor," popularized as "Stranger in Paradise" in Kismet. No one on Broadway or in the world of real ballet had anything to fear from these gals. Aside from this film and one TV episode, Cy Roth only directed two poorly-received war films. With some time and effort, a bigger budget, and a little actual thought, the picture might have amounted to something -- although I'm not certain what. Still, it's honestly not utterly awful. Anthony Dexter made a very good Valentino in that biopic of the silent film star. 

Verdict: Don't say you weren't warned. **1/4.

THEY WERE SO YOUNG

Johanna Matz and Scott Brady

THEY WERE SO YOUNG (aka Mannequins fur rio/1954). Written and directed by Kurt Neumann. 

In a prologue, a young woman's body is found washed up on the beach. Then we meet Eve Ullmann (Johanna Matz), who has emigrated from Germany to South America, and winds up working for a fashion house in Rio. It isn't long, however, before she realizes that she and the other women will have to do "favors" for male clients, and that they won't be able to leave their employ no matter what. After an initial disagreement with mining engineer Richard Lanning (Scott Brady), Eve comes to him in desperation for help. Richard takes Eve to the estate of Jaime Coltos (Raymond Burr of Bride of the Gorilla), for whom he works, for safekeeping, but later Lanning discovers that he may have tossed Eve out of the frying pan and into the fire ... 

Raymond Burr and Scott Brady

They Were So Young downplays the prostitution angle but makes it pretty clear that the bad guys in this are running a white slavery racket. The lead actress Johanna Matz, was Viennese and made virtually all of her movies in Germany, including Otto Preminger's German-language version of The Moon is Blue, in which she played Maggie McNamara's role. Matz is cute and charming in this, and plays well with Scott Brady, who offers one of his most winning and charismatic performances. Unfortunately, although the film has a modicum of suspense, the promised climax never quite materializes, and the story is wrapped up quickly and without much excitement. Burr was saved from movies like this by being signed to star in Perry Mason, but he plays Coltos with just the right amount of restrained menace. The premiere of this film did not lead to Matz having any kind of American career, but as the film was released by bargain basement Lippert Pictures, it probably was never intended to. Gert Frobe plays a henchman in this but I didn't spot him, probably because his signature title role in Goldfinger was ten years later. 

Verdict: Low-budget film noir of sorts has an interesting cast but never really catches fire. **1/4. 

DEATH CAR ON THE FREEWAY

Shelley Hack

DEATH CAR ON THE FREEWAY (1979 telefilm). Director|: Hal Needham. 

Jan (Shelley Hack) is a newswoman who learns of two incidents where women were targeted and nearly killed by a man in a dark van on the freeway. Jan is convinced the two incidents are related, but has trouble convincing her boss (Frank Gorshin of Hot Rod Girl) until there are more incidents, resulting in the deaths of several woman. Jan's husband, Ray (George Hamilton), who wants her back even though he treats her like a child and she insists she needs her independence, is scared that the creep on the freeway will now target her. Although Lt. Haller (Peter Graves) wants Jan to back off, she decides to initiate her own investigation, which she may come to regret.

Peter Graves: Where;s my team? 

Death Car on the Freeway certainly has an interesting cast, in addition to Hamilton, Gorshin and Graves. Dinah Shore is cast as a tennis pro who is nearly forced off the road by the psycho, Harriet Nelson of Ozzie and Harriet fame is a landlady, and Barbara Rush is an older colleague of Jan's. As for Shelley Hack, she's cute, but one gets the sense that she was told how to say each and every line before she stepped in front of a camera. Former stunt man and crash coordinator Hal Needham directed the film with his usual lack of panache, and he also plays a guy who teaches Jan about defensive driving. The movie is modestly entertaining, but although there are a few suspects as to whom the psycho driver is, you wait for a twist that never comes. The feminist sub-text is interesting and very typical of the period. 

Verdict: Watch Duel instead. **1/2. 

GAMBLING DAUGHTERS

Cecelia Parker and Gale Storm

GAMBLING DAUGHTERS (1941). Director: Max Nosseck. 

Katherine (Janet Shaw), Diana (Cecelia Parker), and Lillian (Gale Storm) are students in an exclusive girls' school. One night they follow their French professor (Sig Arno) to an establishment called the Angel's Roost. This place, which has a casino in the basement, is managed by a creep named -- wouldn't you know it? -- Chance (Roger Pryor), and owned by an unseen, mysterious figure called "the Boss." Lillian begins dropping tons of money at the casino and before long is in serious debt. She is told to pay up or else. So she resorts to stealing the family jewels while her parents are out of the country.

Robert Baldwin

Then there's the comedy relief insurance investigator Jimmy Parker (Robert Baldwin), who pretends to be a gym instructor at the school and makes a mess of it. Jimmy and Diana, whose father turns out to be broke, are drawn to one another, while Lillian's situation gets more and more desperate. Chance blackmails her with some letters that she wrote to him, so her friends concoct a scheme to get them from a confederate. One thing I'll say for Gambling Daughters -- it has a fast pace. Gale Storm is typically exuberant, but she still manages to be effective when she's facing disaster. Aside from Storm, there are no real cast stand-outs but the players are all professional. Sidney Sheldon wrote the story treatment for this flick but did not do the screenplay. Cecelia Parker is best-known for playing Mickey Rooney's older sister in the Andy Hardy films. Baldwin had only a few credits and this was his last featured role in a motion picture. 

Verdict: Fun if distinctly minor pic from PRC (Producers Releasing Corporation), which is one step below Monogram. **1/2. 

URANIUM BOOM

Wm Talman, Dennis Morgan, Philip Van Zandt

URANIUM BOOM (1956). Director: William Castle. 

During a uranium boom in Colorado where everyone hopes to strike it rich, Brad Collins (Dennis Morgan) and Grady Mathews (William Talman) come to blows over a hotel room, but then decide to strike out together to make a killing. The two men find what they're looking for with the help of Navajo Charlie (Philip Van Zandt), and Brad goes back to town to stake their claim. In town Brad meets up and falls in love with Jean Williams (Patricia Medina), not realizing that Jean is the very woman Grady is hoping to spend his life with ... 

Ladies Meet: Tina Carver, Patricia Medina

Uranium Boom is a low-budget version of the rags-to-riches, two-rivals-fighting-over-the-same business-and-woman movies that in former years would have starred the likes of Clark Gable or Spencer Tracy. Morgan, best-known as a song and dance man, is perfectly adept, however, and Talman, best-known as the prosecutor on Perry Mason, is also very good. Van Zandt is mildly amusing as the inscrutable Indian, and Medina adds some class as the woman that both men love. Tina Carver, a TV actress most famous for her role in From Hell It Came, is not quite as sexy as everyone seems to think, but she's okay as another woman who tries to throw a monkey wrench in Collins' plans. William Henry and S. John Launer, who frequently played a judge on Perry Mason, have smaller roles and are effective.  Talman and Morgan have a lively fight scene, but the two ladies never come to blows, alas. 

Verdict: Strangely entertaining. **1/4. 

WHEN A STRANGER CALLS BACK

Carol Kane 

WHEN A STRANGER CALLS BACK (made-for-cable telefilm/1993). Co-writer/director: Fred Walton. 

A babysitter named Julia (Jill Schoelen) is watching her two charges when a man comes to the door and tells her his car has broken down. Julia is smart enough not to let him inside, but when she offers to phone for assistance, she discovers the phone is out of order. Afraid to tell him this, she lies and says she's made the call. Then things get much worse. The suspenseful prologue of this film possibly out-creeps the prologue in the first film, When a Stranger Calls. 

Jill Schoelen

As in the first movie, the scene then shifts five years into the future, when Julia fears she is being stalked by that man outside the house, who disappeared along with the children. Two people who believe her story and come to her aid are Jill Johnson (Carol Kane,) who has her own babysitting horror story to tell, and private eye John Clifford (Charles Durning), who came to Jill's assistance in When a Stranger Calls. Jill is convinced that every weird thing that's happened to Julia is real, but John is a little more skeptical. Both agree, however, that the man or men who terrorized her five years before have to be tracked down. But is this mysterious figure tracking them down as well?

Gene Lythgow

When a Stranger Calls Back is arguably better than, and certainly just as good, as the original. Walton doesn't just replay the prologue of the first film, but comes up with some new twists, and the storyline that follows is also different from the original movie. The sequel is a bit slow at times, but it is atmospheric and never shakes its sense of dread. One scene in a hospital is especially creepy, and the exciting climax is also noteworthy. The performances are good -- this includes Gene Lythgow in an important role --  but as in the first film, I wish the characters had been better developed. Although Kane had a husband and children in the first film, they are not even referred to in passing in the sequel -- she even uses her maiden name -- and we never learn all that much about Julia or her stalker. There are also some annoying loose ends. However, the film is still entertaining and suspenseful, and the eeriness is abetted by the photography of David Geddes and the score by Dana Kaproff.

Verdict: Worthwhile sequel is creepy and disquieting. ***. 

FOUR OF A KIND

Louise Siverson

FOUR OF A KIND (2008). Director: Fiona Cochran. 

In Melbourne Detective Gina Sturrick (Leverne McDonnell) interviews Anne (Louise Siverson), when her husband's supposed mistress is found stabbed to death in a park. Gina then goes to see her therapist, Glenda (Gail Watson), and she confesses something quite startling to her shrink. Meanwhile the shrink goes to see her best friend Susan (Nina Landis), and discovers that she, too, is holding back a terrible secret. In the final segment, Gina is back in a police interview room after there's another murder. Just who is guilty of what? 

Leverne McDonnell

I won't say much more about the plot of Four of a Kind, as it's the type of movie that should reveal its secrets to the viewer as the film goes along, but I will say that its main strength is the superb performances from a talented ensemble cast.  The screenplay by Helen Collins (I'd be surprised if this wasn't originally written for the stage) intelligently examines and dissects these four interesting women, making this a fascinating character study. Each segment is broken up by a brief performance by the rock-jazz group Joe Camilleri and the Black Sorrows, which is less distracting than you might imagine (their music is catchy, for one thing). Four of a Kind reminds me of one of Woody Allen's better pictures with its incisive characterization and its intermingling of what may seem like separate story lines. Although some may be put off by the somewhat ambiguous if insinuating ending, this is a worthwhile and unusual movie made in Australia. 

Verdict: If you're in the mood for something different, you may find this absorbing. ***. 

THE PRODIGY

Jackson Robert Scott

THE PRODIGY (2019). Director: Nicholas McCarthy.

Sarah (Taylor Schilling) and John Blume (Peter Mooney) are raising a young boy, Miles (Jackson Robert Scott), who seems extremely smart and a bit different from his schoolmates. None of that is especially disturbing, until Miles starts committing decidedly anti-social acts, playing a cruel trick on a babysitter and killing the family dog. Under the influence of a man named Arthur Jacobson (Colm Feore), Sarah becomes convinced that her son is the reincarnation of a notorious serial killer, Edward Skarka (Paul Fauteux), who died the day that Miles was born, and worse, that the killer is slowly taking over Miles' consciousness. Sarah figures that Skarka has come back because he wants to finally kill Margaret St. James (Brittany Allen), the only one of his victims to get away from him. But how far will Sarah go to protect her child? 

Taylor Schilling

It's a bit surprising that The Prodigy deals with reincarnation, as it is a concept that was much more popular many years ago, with such movies as The Search for Bridey Murphy (based on a true if discredited case), Audrey Rose, and The Reincarnation of Peter Proud. I wish that the movie had, perhaps, added a few twists to the formula, but on its own terms it is well-acted, suspenseful, and well-made. Young Jackson Robert Scott gives an outstanding performance as the affected child. You don't have to believe in reincarnation to enjoy the movie. 

Verdict: Absorbing and ultimately quite depressing horror-thriller. ***. 

THE CATMAN OF PARIS

Who is the Catman?

THE CATMAN OF PARIS (1946). Director: Lesley Selander. 

Charles Regnier (Carl Esmond) is a well-regarded French writer who has come out with a controversial novel based on a famous murder case, a book that has the authorities nervous. Therefore, he is not that surprised when he becomes the suspect in a series of strangulations where the victims are clawed as if by a cat. Inspector Severen (Gerald Mohr) is convinced the murders are the work of a man and not an animal. Charles' friend Henry (Douglass Dumbrille) suggests that Charles should get out of Paris and take his lady love, Marie (Lenore Aubert) with him. Then the Catman strikes again. 

Fritz Feld and Gerald Mohr

The Catman of Paris is a low-budget horror flick from Republic studios, and it does boast some period atmosphere and interesting settings. Carl Esmond, in a rare starring role, is okay as the author, but the picture is stolen by Dumbrille. Fritz Feld plays a dramatic part for a change as the Prefect of Police, and is as good as ever. Aubert and Adele Mara as Charles' cast-off fiancee are perfectly decorative and adept and even Mohr makes his mark as a French policeman (!). Charles shows little concern over the victims in the story. The Catman's make up is well-done, but the movie itself is completely unexceptional. Once you find out who the Catman really is, a sequence concerning a murder in a coach is utterly impossible the way it's played. 

Verdict: Fair to middling Republic horror. **1/4. 

CHRISTINE

Keith Gordon in his Plymouth

CHRISTINE (1983). Director: John Carpenter. 

Dennis (John Stockwell) is best friends with the somewhat nerdy Arnie (Keith Gordon), who comes across an almost dilapidated old Plymouth and falls in love with her. Working on the car day and night, the car -- Christine, by name -- is not only transformed, but so is Arnie, becoming "cool" in his dress and manner like something out of the 1950's. Then the kids and others who taunted him become subjects of the wrath of Christine. But Christine, who can magically transform herself when she needs to, will not be easy to destroy. 

Robert Prosky

Based on a novel by Stephen King, Christine was not an improvement on an earlier and much better "killer car" movie entitled The Car. The Plymouth is beautiful, and some of the attack sequences are well-handled, although the alleged climax to the film is comparatively slow and dull. Stockwell and Gordon give good performances, although Alexandra Paul as Arnie's girlfriend isn't much of an actor; considering her 100 credits she must have gotten better. The movie is stolen by Robert Prosky, who makes the most of his scenes as Will Darnell, the grizzled, often dyspeptic owner of a body shop where Arnie works on the Plymouth. William Ostrander is notable as Arnie's main nemesis, Buddy. The film is at least twenty minutes too long and has no real tension or suspense. The director's mediocre score doesn't help at all. 

Verdict: Yet another schlocky John Carpenter movie. **1/4. 

CALLING PHILO VANCE

James Stephenson as Philo Vance

CALLING PHILO VANCE (1940). Director: William Clemens. 

Philo Vance (James Stephenson) is sent on assignment to Vienna to investigate an airplane manufacturer named Archer Coe (Richard Kipling), who may be selling important designs to the axis powers. Before Philo can get anywhere he is arrested -- as if anyone could believe Stephenson was an American newspaperman -- and sent back to New York, where he continues his investigation at Coe's townhouse when the man is found murdered. The suspects include the victim's niece, Hilda (Margot Stevenson), who hated her uncle; her boyfriend, Tyler (Ralph Forbes); Coe's associate, Philip (Donald Douglas), who is in love with Hilda; a neighbor named Doris (Sheila Bromley) who is covering for someone; the maid Ling Toy (Bo Ling), who acts suspiciously; and even the butler, Gamble (Martin Kosleck).  Helping or hindering Philo in his investigation are the dyspeptic cop Ryan (Edward Brophy), Chief Inspector Markham (Henry O'Neill), and Philo's Scotch terrier, MacTavish. Then Coe's brother, Brisbane (Wedgwood Nowell), also turns up dead.

Calling Philo Vance is a remake of The Kennel Murder Case, which starred William Powell as Philo Vance. Stephenson could be a fine actor -- he was terrific in The Letter with Bette Davis -- but he has trouble making an impression in the wake of Powell. There are some mildly clever aspects to the murder plot, but the movie has little atmosphere or suspense. Philo Vance was also played by Alan Curtis in two films. William Hopper of Perry Mason and George Reeves of Superman have very small parts in this. 

Verdict: Not Philo's best. **. 

COWBOYS, CREATURES AND CLASSICS: THE STORY OF REPUBLIC PICTURES

COWBOYS, CREATURES, AND CLASSICS: THE STORY OF REPUBLIC PICTURES. Chris Enss and Howard Kazanjian. Lyons Press/Rowman and Littlefield/2018.         

This big coffee table book looking into the history of Republic Pictures and its output, stars, genres, leading ladies, cowboys, serials, stunt men, and so on, is not without flaws, but it does provide a flavorful overview of the famous studio and is packed with lots of photos. Republic did not just do low-budget programmers but also came out with movies such as John Ford's The Quiet Man and the Joan Crawford western Johnny Guitar, among others. The book looks at how Republic Pictures played a significant role in John Wayne's career (and vice versa) and also looks at the studio's relationships with such as Gene Autrey and Roy Rogers. Studio founder Herbert J. Yates took a shine to skating star Vera Hruba Ralston, whom he later married, and nearly bankrupted the studio by trying to make a major star out of her. The emergence of television didn't help matters much, either, although Republic rented out sound stages to TV shows and also produced their own programs. This is a good, attractive-looking volume, although there are odd omissions. The appendix of films is not complete, especially when it comes to the serials -- no mention anywhere of the four Republic Dick Tracy serials, for instance.               

Verdict: Interesting and often informative look behind-the-scenes at Republic Pictures. ***                                                 

AQUAMAN

Jason Momoa and Amber Heard

AQUAMAN (2018). Director: James Wan. 

Arthur Curry (James Momoa) is the son of a human father (Temeura Morrison) and an Atlantean mother (Nicole Kidman). Having heard that his mother was executed because of her relationship with his father, Arthur wants little to do with Atlantis. But when his half-brother Orm (Patrick Wilson), also known as the Ocean Master, declares war on the surface world, Princess Mera (Amber Heard) importunes Arthur to fight to take the throne away from Orm. In the meantime Arthur, aka Aquaman, also has his hands full with a pirate who calls himself Black Manta (Yahya Abdul-Mateen II).

the city of Atlantis

Aquaman is based on a DC Comics character who has been around for decades. In the comic stories Orm was not a full-blooded Atlantean, but also a hybrid like Arthur -- they had the same father, not the same mother. The film uses the edgier, long-haired, full-bearded version of Aquaman, although I believe the character in the comics has gone back to his original appearance. (For more on Aquaman see The Silver Age of Comics and The Bronze Age of Comics Volume One.) Another change from comic to film is that Mera was not Atlantean but came from another dimension, although her ability to control water has not been altered. 

Patrick Wilson

There are a lot of things one could quibble about with Aquaman -- do we really need to see him sniffing his armpits when Mera suggests he smells bad? --  but the first thing one must say about it is that it is very visually compelling thanks to cinematographer Don Burgess and a host of special effects people. Atlantis is a striking kaleidoscope of color and energy. The fight sequences aboard a submarine in the prologue, a battle between Aquaman and Black Manta in Italy, and a struggle against nasty fanged and clawed monsters who emerge from an undersea trench to attack a boat, are all exciting and well-handled. The search for a trident that will help Aquaman in his battle against Orm takes place, oddly, not in the ocean, but in the Sahara, and his quest eventually takes him to an inner-earth prehistoric world that is borrowed from Edgar Rice Burrouighs' concept for Pellucidar. There are other interesting visual tidbits in the movie, such as Atlanteans who ride on trained sharks, and an octopus that uses its tentacles to beat on several drums at once. Charming!

Black Manta 

Jason Momoa makes an effective enough hero, although the guy should really work on his diction. Amber Heard is very pretty and competent as Mera. Dolph Lundgren and Willem Dafoe score as Atlanteans, Morrison makes a convincing Tom Curry, and Mateen and Michael Beach are fine as Manta and his father. (Manta blames Aquaman for his father's death in the prologue and will seek further revenge in the sequel.) But the show stopper in this is Patrick Wilson as Orm, who offers a fascinating portrait of a man who has understandable feelings of  jealousy and resentment, and the strength to carry out his negative schemes. Wilson makes more of an impression than the gargantuan sea serpent Karathan that shows up in all its glory at the climax. 

NOTE; Yes, I know this is not exactly a "B" movie, having cost about a zillion dollars to make, but this blog will also look at genre films of all kinds, decades, and budgets. 

Verdict: No masterpiece by any means, but good to look at, very colorful, and more entertaining than a lot of DC's movies. ***. 

DICK TRACY VS. CRIME INC.

Ralph Byrd and Ralph Morgan

DICK TRACY VS. CRIME INC. (15 chapter Republic serial/1941). Directed by William Witney and John English.

"New York must be evacuated at once. Proceed in an orderly manner."

Some years before the story begins, a special "secret council" was able to get the goods on a crook named "Rackets" Reagan, who received the death penalty. It develops that one of the members of the council (who was apparently unable to stop the others from convicting Reagan) is, unbeknownst to them, Rackets' brother, and now he's out for revenge. In his masked identity of the Ghost, he sets out to kill off the other members of the council, as well as to begin a wave of robbery and terror as the head of Crime Inc. His first dastardly deed is to try to destroy New York City with a deluge.

The Ghost prepares to give orders

The Ghost has two main underlings: a nasty gunsel named Corey (Anthony Warde); and a scientist named Lucifer (John Davidson), who has developed a machine that the Ghost can use to turn invisible. Sometimes the machine kicks out at inopportune moments, meaning that the Ghost has almost as many close calls as Dick Tracy has. Tracy is assisted by his associate, Billy Carr (Michael Owen), and his secretary, June Chandler (a colorless Jan Wiley), who just happens to be an "expert in sound research," which comes in handy when they need to trace the sound generated by the invisibility machine and even negate its effects. The council members are played by Ralph Morgan, John Dilson and Hooper Atchley, among others.

Tracy and Billy rush into action

Dick Tracy vs. Crime Inc is one of the very best Republic serials, with a pace that never flags, furious fisticuffs, cliffhangers both within each chapter as well as at the end of each, excellent photography (Reggie Lanning), slick editing, and an exciting musical score by Cy Feuer. In addition to the suspense worked up over the true identity of the Ghost, there are lots of memorable moments: Tracy and Billy racing across a field as a plane lobs bombs at them below; Tracy falling unconscious on a conveyor belt that rushes him toward an inferno where he'll be cremated; Billy chained to the roof of a train with explosives aboard; June and Tracy trapped in a raging conflagration. In one great scene Tracy gets out of a boat speeding towards destruction by grabbing the rung of Billy's low-flying plane and soaring off to safety! The fight scenes in this are numerous and beautifully-handled: Tracy battling a supposed butler in a manor house; a rooftop battle between Tracy and the Ghost in which the latter manages to throw Tracy to his apparent doom. Unlike most Republic serials, this one doesn't have a "catch-up" chapter where previous scenes are replayed.

Verdict: Tremendous fun and flair in this lightning-fast classic cliffhanger. ***1/2. 

THE CURSE OF NOSTRADAMUS

German Robles as Nostradamus

THE CURSE OF NOSTRADAMUS (1961). Director: Federico Curiel. 

The Curse of Nostradamus was originally a 12 episode serial that played in theaters in Mexico and other Spanish-speaking countries. An enterprising producer decided to have the serial dubbed into English, divide it into four films (consisting of three chapters each) and sell it to American television. If you remember this film that's where you first saw it. This movie has Professor Duran (Domingo Soler) telling party guests that there are no such things as vampires and that he is forming an organization to debunk the supernatural. Unfortunately that very evening a man calling himself Erikssen (German Robles) shows up in Duran's parlor and announces that he is the 400-year-old son of the infamous seer Nostradamus. 

Julio Aleman 

Nostradamus -- for that is his true name -- is also a vampire who can control men's minds and transform into a large bat (although in this installment at least, he never drinks blood and only bares his fangs once). Nostradamus wants Duran to acknowledge who he is to the world so that he can recreate his father's cult. Until Duran agrees to do so, he will murder his colleagues. One poor man is hypnotized by Nostradamus into a death-like state and winds up buried alive. With the help of his handsome young associate, Antonio (Julio Aleman), the professor tries to save Nostradamus' future victims. Nostradamus finally resorts to kidnapping Duran's daughter, Anita (Aurora Alvarado), and the two men must affect a rescue.

The Curse of Nostradamus is a little slow-paced and decidedly low-budget, but also atmospheric and well-acted. German Robles, who has real presence, makes an effective vampire. This was followed by the oddly-titled Monsters Demolisher. Between the three of them, Robles, Soler and Aleman amassed literally hundreds of credits in Spanish-language films and television productions. 

Verdict: Minor but nevertheless intriguing horror flick. **1/2. 

THE DAY THE SKY EXPLODED

Paul Hubschmid

THE DAY THE SKY EXPLODED (aka La morte viene dallo spazio/1958.) Director: Paolo Heusch. 

An international team has been gathered together to put a man into space, and an American named John McLaren (Paul Hubschmid) is chosen for the first mission. Unfortunately, something goes wrong, and while McLaren makes it back to earth he is unable to jettison an atomic engine, which ultimately creates a magnetic attraction that causes several meteors or asteroids to come together into a single gigantic mass. Worse, this mass is now heading towards Earth. Scientists hope that the mass will break apart as it approaches the moon ... 

missiles head for the deadly space mass

The Day the Sky Exploded is an early, Italian version of a premise later used in several movies, including Meteor, Asteroid, Deep Impact, and Armageddon. Only a few years after this was made, the British came out with the far superior doomsday picture, The Day the Earth Caught Fire. This film is not without interest, however, and moves quickly. As the meteors rush towards the earth there are animal migrations out of season, bizarre mirages of spheres surrounded by halos, balls of light -- and then lots of stock footage of floods and fires. The FX in this very low-budget production are pretty dismal, but there are some nifty missiles employed to destroy the meteor mass, although it takes the scientists in this forever to come up with the solution of using missiles, and even then it's an astronaut who finally hits upon the idea. 

Will the earth be saved? 

The lead actor, Paul Hubschmid, is better known as "Paul Christian," when he starred in the classic monster movie The Beast from 20,000 Fathoms earlier in the decade. He was Swiss, went to Germany where he made films during the Nazi regime, had a brief Hollywood career under his new name, then went back to Germany where he made a great many films under his real name. His best-known later film was Funeral in Berlin with Michael Caine. His excellent voice is dubbed in The Day the Sky Exploded, although it's a very professional dubbing job. Carlo Rustichelli contributed an evocative musical score, and Mario Bava, later a horror director, was the director of photography. 

Verdict: Fairly absorbing minor sci fi. **1/2. 

A WOMAN POSSESSED

Ian Fleming, Margaretta Scott, Francis Matthews

A WOMAN POSSESSED (1958). Director: Max Varnel. 

Widow Katherine (Margaretta Scott) has not seen her son John (Francis Matthews), who has studied to become a doctor, for two years. When he returns home, she is startled to discover that he has brought with him his hitherto unsuspected fiancee, Ann (Kay Callard). What follows is a modestly intriguing and suspenseful character study as we shift sympathies from Ann to Katherine and back again. Is Ann over-reacting to her future mother-in-law, not recognizing that she is afraid of losing John? Or is Katherine a potential monster-in-law? Katherine tries to mend fences with Ann, or is that just an act? She admits she resents Ann's presence, as does the long-time housekeeper, Emma (Alison Leggatt). Then there's an incident with a dog ... 

A Woman Possessed moves fast -- it is just over an hour long -- and holds the attention, although some viewers may see the ending coming from a mile away. In any case, the actors are solid all around, including Ian Fleming (not be confused with the creator of James Bond) as John's sympathetic and practical Uncle Walter. 

Verdict: The actors help keep you absorbed in this somewhat satisfactory suspense story, a typical low-budget Britain "B." **1/2. 

THE BERMUDA DEPTHS

monster from the depths

THE BERMUDA DEPTHS (1978 telefilm). Director: Tom Kotani. 

Now here's an odd one. As a boy Magnus Dens (Leigh McCloskey) lost his father when their house and laboratory in Bermuda was destroyed by something unseen. Years later, the still befuddled young man returns to Bermuda and encounters an old playmate, a woman named Jenny (Connie Sellecca). He also reunites with his pal, Eric (Carl Weathers) and Prof. Paulus (Burl Ives), who worked with Magnus' father. Eric and Paulus are on the hunt for a creature that may be responsible for the disappearance of ships in the Bermuda Triangle. But Paulus tells Magnus that the woman named Jenny is not real -- she is either a figment of his imagination or the ghost of a woman who died at sea many years before. She apparently lives forever because she sold her soul to a sea god in the hopes he would spare her. And what is her connection with the huge marine animal that pops up sporadically? Is it the sea god? 

Intense: Leigh McCloskey

The Bermuda Depths can't make up its mind if it's a monster movie, a ghost story, or an outre romance, and it doesn't quite work as any of them. It would be easy to just dismiss this as an awful mess, but it's also strangely absorbing and one could argue that at least it's something different. The monster is a big prop and it has a decided connection to Gammera as well as with a pet that Magnus had as a boy. As for the actors, they all play with conviction, with McCloskey etching a portrait of a man with decided emotional issues who is quick to anger. Julie Woodson is given some very effective moments as Eric's wife, Doshan, and Ruth Attaway is fun as the peculiar old cook, Delia. You might wonder how Burl Ives wound up in this but he's fine. 

Big Daddy: Burl Ives

According to Paulus, Magnus' father was trying to come up with the cause of mutations that create gigantism in sea life. Huh? Would anybody actually do that in real life? Apparently his research into gigantism created a monstrous organism that is now romping off the coast of Bermuda. Unfortunately we don't see nearly enough of this creature, although it does figure in an exciting climax. The film takes advantage of beautiful Bermuda locations. Apparently this rather silly if engaging movie has a lot of fans, and a film entitled Back from the Bermuda Depths is in development! 

Verdict: Too weird for its own good. **1/2.