Sector 7 is the very worst kind of movie with which to be confronted. OK, maybe not. Maybe What Happens in Vegas is the very worst kind of movie with which to be confronted, but since that’s not the sort of movie I seek out, and Sector 7 is, then the wounds I suffer at the hands of Sector 7 leaves a much deeper scar than any injuries I may have suffered while confined to a seat in a bus where they were playing What Happens in Vegas. Sector 7 is the person who should be your friend, but when you are dangling over the precipice and it is holding on to you, it suddenly flashes an evil grin and lets go, allowing you to fall to your death puzzled by this betrayal. Also, you are falling into lava. Sector 7, you were a flashy, big budget monster movie set on an oil rig and fronted by a wickedly cute actress with decent biceps. How could you do this too me? How could you be so very bad on pretty much every single level?
If you’re in a deploring mood, there is much to deplore in the sexual politics of 1960s men’s magazines. But, putting aside the rather ungainly issue of the representation of women, can it truly be said that our newsstands’ depiction of men has improved all that much in the ensuing years? To my eye, the typical men’s magazine of today features a heavily photoshopped Ashton Kucher on the cover and, inside, an even more photoshopped spread of some skeletal romcom starlet in her underwear, along with a bunch of “fake it til you make it” columns on how to appear like less of an uncultured dick than you really are and some snarky article about how to nail the new temp in your office.
In 1982, cult film fave Tobe Hooper got his shot at the big time. He was already an infamous character and major figure in the horror film world thanks to his first film, The Texas Chainsaw Massacre. He enjoyed some mainstream success as the director of the original made for television Salem’s Lot, a movie that made a whole generation of children afraid to look out a second story bedroom window. A year after Salem’s Lot, Hooper got a plum job directing a big-budget horror film to be produced by Steven Spielberg. Fans were excited to see what the king of survival horror could do with a Spielberg size budget. Unfortunately, whatever it was he was going to do never came to be.
At the time of this writing, we’re at a point where a good deal of film fans are suffering from an affliction that has become known as “zombie fatigue.” Thanks in no small part to video games, zombies began to shamble their way out of the niche horror market and into the mainstream. And then, just like the movies always told us would happen, the zombie outbreak spread swiftly and without mercy, consuming the entire country in a year or so. Zombies were everywhere, and one of the most obvious results of this sudden explosion of pop culture adoration for the walking dead was a glut of terrible, boring, no-budget zombie films. Sure, there were a few good ones scattered throughout the wasteland — Undead, Hide and Creep, even the Day of the Dead remake wasn’t nightmarishly terrible — but for the most part, it was an onslaught of shoddy shot-on-DV stinkers. Worse still, George Romero himself was responsible for many of the stinkers. Land of the Dead was underwhelming, Diary of the Dead was unwatchably rotten, and Survival of the Dead was…well, it wasn’t as bad as Diary of the Dead.
What is it about a sexy woman in a skull mask? Is it that her nubile body makes one pine for his lost youth while her death’s head visage mockingly reminds him of his encroaching mortality? Probably.
Neraka Lembah Tengkorak is based on a series of popular Indonesian novels credited to author Bastian Tito, all of which focus on the exploits of Wiro Sablang, a sort of wuxia-style wandering hero gifted with a wide variety of supernatural powers. Seven films in all were based on the series, all starring actor Tonny Hidayat as Wiro, and the popularity of the books would later also translate into a successful TV series, albeit one with a different actor in the lead.
With it being October and all, I was in the mood for a decent horror video game that fulfills my basic requirements for a game — that it be old enough so everyone else has lost interest in it, thus driving the price down to an affordable ten bucks or so. Of the many recommendations I got, I decided to go with F.E.A.R.: First Encounter Assault Recon, because I thought the blend of supernatural horror with a SWAT type first person shooter would be interesting. Plus, I’d been told the game was genuinely scary in many places. Seemed like the perfect late-night indulgence. And for portions of the game, it was. It’s a fast paced shooter that does indeed boast some incredibly effective spooky material. But it’s also too repetitive, and the horror often gets forgotten in favor of room after room of shooting it out with basically identical opponents gussied up in the same sort of assault team gear your own character is wearing.
I learned two important things from this psychotronic adaptation of Edgar Wallace’s novel, Die Blaue Hand. First, you can’t casually watch one of these Edgar Wallace movies from Danish film studio Rialto. Turn away for five seconds, and when you turn back to the television, you will be completely lost. They are so fast moving, and so insanely convoluted, that you have to concentrate on them with an intensity usually reserved for deriving the Unified Field Theory. The second thing I learned is that while quantity doesn’t equate to quality, featuring double the Klaus Kinski in your film is a sure thing. He shows up here as twin brothers, and unfortunately, that lead to the aforementioned distraction as I started daydreaming about what Crawlspace would have been like if Klaus Kinski was slinking around, peeping on…Klaus Kinski!
If any actor in the world was born to play Ichabod Crane, it would be Jeff Goldblum. So thank God someone thought to cast him in just that role. 1980′s Legend of Sleepy Hollow is, along with Dark Night of the Scarecrow, a made-for-television movie I seem to remember watching just about every single Halloween when I was a wee sprout. In actuality, I probably only watched it a couple times, and even though I begin every description of Dark Night of the Scarecrow off with, “Man, I watched that like a thousand times when I was a kid,” I’m pretty sure I actually only watched that one once. All I remember from it is some guy I could swear was M. Emmet Walsh drowning in a silo full of corn. All I remember from Legend of Sleepy Hollow is a scene where Brom Bones puts on a hood to disguise himself as the Headless Horseman. Heck, I didn’t even remember Jeff Goldblum was Ichabod Crane, and I could have sworn that Brom was played by Stacey Keach.
Regular readers to this site may have noticed my curious affection for the DTV martial arts flick. Thus it would be churlish of me to ignore Bloodmoon, a 1997 example of the genre, seeing as it features not one but TWO of my fellow Brits. A handful of Britkickers have made names for themselves as nasty roundeye bad guy types in Hong Kong martial arts films; the likes of Mark Haughton, Sophia Crawford and Jude Poyer have all spent time getting beaten on by Asian stars du jour. Probably the most successful of these is one Gary Daniels, a remarkable martial artist who has a Judge Dredd-style square jaw, the physique of Schwarzenegger and amazing kung fu/karate/kickboxing skills, coupled with the acting ability of a wooden badger. Daniels has appeared in some 30-odd films, but is still best known as the imposing ‘Pony tail fighter’ in Wong Jing’s lame Jackie Chan vehicle City Hunter.
Yes, it’s yet another review where I talk about a British movie company that isn’t Hammer wherein I mention Hammer every other word. Sorry about that, I’ll try and get it out of my system early on. Hammer Hammer Hammer. The problem is, most writing on the lower tier of British film companies in the 50s and 60s was on H*****, since they were the most successful both commercially and artistically. Other companies that made genre films, such as Amicus, have garnered critical interest by association through shared casts and crews. Part of this is because Hammer (and Amicus too on some occasions) could take a B-movie budget and create something that looked like an A-movie, um, movie. But beneath Hammer there were a whole strata of other companies that made real B-movies, the ones that were only ever destined to be second features or, with a bit of luck, entries in cheap TV anthology shows. It’s only recently that these films have gained any sort of academic and collector interest.