When Teleport City reviewed the French science fiction animated feature Gandahar, we delved into the history of French sci-fi in animated and comic form, including the birth of Metal Hurlant, the comic magazine that, when it was licensed for publication in America, became Heavy Metal. Tackling Luc “The Destroyer of French Cinema” Besson’s whimsical fantasy-adventure…
Gandahar makes the cardinal mistake of being a movie about people struggling to escape the iron grip of a merciless, mechanical, totalitarian regime, then it went and got itself animated in North Korea
This German-French-Soviet film is very much like an episode of Star Trek — with all the well-meaning ham-handedness that implies — only with more grime, blood, and full frontal male nudity.
No matter how much I run Zombie Lake into the dirt, I can’t deny the enjoyment I got out of watching it. Its combination of schmaltzy sentimentality, surprisingly forthright sleaze, and apathetic horror movie pastiche really does add up to something fairly unique.
What with my recent cinematic diet consisting mostly of overheated Bollywood masala movies and plagiarism-filled Thai man-in-suit monster sagas, I’ve gotten well past the point where it’s time to mix things up a bit. And what better respite than to watch some attractive French people screwing and languorously declaiming about the futility of it all?…
Grapes of Death may not be exactly what people expect from a zombie film, and even if it is Rollin’s most accessible and straightforward narrative, that doesn’t mean that it doesn’t rely heavily on weirdness and surrealism.
Ultimately, the film’s aspirations slightly outreach its ability to deliver, but we’re left, if nothing else, at least with a film that had aspirations and looks damn good while trying to attain them. Bardot is stunning, the cinematography is divine, and the story may not be perfect, but it’s still a satisfying film.