Robocop (2014) - part remake, part action... All entertainment

While robots keep the peace in other countries America has yet to convert. After an officer is left for dead, what is left of him is engineered into a robotic design and he goes about to arrest his killers but finds his investigation is putting himself in jeopardy.

Forget Paul Verhoeven's excellent 1987 original, many characters and story emphasis have been changed but for fans OCP is mentioned briefly and there's some dialogue nods to the original to name a few. Director Jose Padilha's incarnation is pleasantly different enough to avoid comparison and he certainly puts his own stamp on the subject material although there are unavoidably elements reminiscent of The Vindicator (1986) and The Wraith (1986).

The action is frantic, and gritty with plenty of graphic scenes and violence, for example Robocop's innards out on display, lungs, brain and oesophagus also there's an intense shoot out even though on occasion Padilha's uses thermal imagery to possibly avoid censorship. But a film shouldn't be about a rating, Padilha's offering is about heart with it ending on a high and a hark back to the original Robocop design.

All in all the special effects are impressive, the shooting style is what you'd expect from a modern action. This version is more a cop story than robotics. What's on display delves into corporate corruption (less 'Wall Street' than the 1987 version) and (saldy) skims the street crime underbelly.

Samuel L. Jackson is Pat Novak, his segments (a show with theme tune of the original film's theme music) replaces and updates the commercial satire adverts and news reels, he's more of a political presenter /analyst, needless to say Jackson is on his usual top form.

Both Gary Oldman as Doctor Norton with a heart and Michael Keaton as OmniCorp's head Sellars are outstanding and are what you'd expect for their caliber. Joel Kinnaman is a fitting Robocop/Alex Murphy and carries the emotion, as here it's about his relationship with his wife (Abbie Cornish) making it more focal, which was only touched on in Robocop and part 2. The supporting cast are all high calibre including the likes of Jackie Earle, Aimee Garcia, Jay Baruchel and Jennifer Ehle.

Like its predecessor's social commentary another appreciation for the 2014 version, which may be overlooked, is its own subtle societal commentary, including but not limited to- non-domestic overseas manufacturing, i.e. Robocop is made in the east, countries marketing and distributing its products/ideals/morals without adopting them themselves and so on.

It will be interesting to see where a sequel will take Alex Murphy - part remake, part cop story, all new Robocop, surprisingly recommend.

Insidious: Chapter 2 (2013)

After being trapped in the afterlife a father must return to save his family from a serial killing entity or be lost forever.

Opening with an exposition flashback and picking up where part one left off director James Wan delivers another afterlife visual treat. This sequel has its share of shrouded corpses, ghostly figures, an abandoned hospital and dilapidated houses to name a few.

Thankfully this is not some cheap cash-in. What's engaging is that the original cast return including the solid Patrick Wilson and Rose Byrne along with Elise Rainier and Barbara Hershey in their supporting roles. Worthy of note is The House of the Devil's (2009) Jocelin Donahue as Hershey's Lorraine younger self. To the casting directors credit the supporting actors who play the younger characters are successfully integrated. Of course for a bit of relief and grounding Tucker (Angus Sampson)and Leigh Whannell's Specs also return.

It's stylised make-up of the ghostly faces and cross layering between and afterlife, flashbacks, spiritual time paradoxes are finely executed. While it has its fair share of creepy moments, notably a scene involving a tin can make shift telephone it's debatably not as tension filled as the first instalment. That said, with a few twists and interesting exposition it keeps you on your toes from start to finish.

What makes Chapter 2 shine is that writer Leigh Whannell expands the story building on his and Wan's original concept without changing it too much, it really is a satisfying sequel and incorporates even some of the original's scenes. Both cinematographer John R. Leonetti (Sleepy Hollow) and composer Joseph Bishara also return which again is in keeping with the first, retaining its atmosphere and look.

Granted it's packed with horror clichés but Wan's execution and style give this an edge over many similar type of horrors. Overall, while not reinventing the wheel a satisfying follow-up.

Insidious: Chapter 2 on IMDB

The Oldboy remake...

While robots keep the peace in other countries America has yet to convert. After an officer is left for dead, what is left of him is engineered into a robotic design and he goes about to arrest his killers but finds his investigation is putting himself in jeopardy.

Forget Paul Verhoeven's excellent 1987 original, many characters and story emphasis have been changed but for fans OCP is mentioned briefly and there's some dialogue nods to the original to name a few. Director Jose Padilha's incarnation is pleasantly different enough to avoid comparison and he certainly puts his own stamp on the subject material although there are unavoidably elements reminiscent of The Vindicator (1986) and The Wraith (1986).

All in all the special effects are impressive, the shooting style is what you'd expect from a modern action. This version is more a cop story than robotics. What's on display delves into corporate corruption (less 'Wall Street' than the 1987 version) and (saldy) skims the street crime underbelly.

Samuel L. Jackson is Pat Novak, his segments (a show with theme tune of the original film's theme music) replaces and updates the commercial satire adverts and news reels, he's more of a political presenter /analyst, needless to say Jackson is on his usual top form.

Both Gary Oldman as Doctor Norton with a heart and Michael Keaton as OmniCorp's head Sellars are outstanding and are what you'd expect for their caliber. Joel Kinnaman is a fitting Robocop/Alex Murphy and carries the emotion, as here it's about his relationship with his wife (Abbie Cornish) making it more focal, which was only touched on in Robocop and part 2. The supporting cast are all high calibre including the likes of Jackie Earle, Aimee Garcia, Jay Baruchel and Jennifer Ehle.

The action is frantic, and gritty with plenty of graphic scenes and violence, for example Robocop's innards out on display and the shoot outs even though on occasion use thermal imagery to possibly avoid censorship. But a film shouldn't be about a rating, Padilha's offering is about heart with it ending on a high and a hark back to the original Robocop design.

It will be interesting to see where a sequel will take Alex Murphy - part remake, part cop story, all new Robocop, surprisingly recommend.


Oldboy on IMDB

Aftershock more than a disaster flick

On their last night out a group of travellers find themselves fighting for survival when an earthquake devastates South America.

Probably due to an abundance of sub-par modern style horrors debatably 2012's Aftershock is sorely underrated and overlooked. Reminiscent of the character build up that came with Eli Roth's own Hostel director Nicolás López delivers a hard hitting freely traditionally shot (no found footage here) well executed, gritty disaster film which successfully shocks with its unnerving set ups and exceptional special effects.

The cast are on fine form Natasha Yarovenko as Irina,Lorenza Izzo (Kylie) and Nicolás Martínez and Pollock re notable with with Roth himself putting in a good innings as a nameless dad referred to as Gringo. While it is gratuitous it's fitting to the story and tone as with the aforementioned as the leads try to survive the earthquakes aftershocks falling buildings, collapsing tunnels and the social unrest which ensues by escapee prisoners before a tsunami hits Chile.

Even with the 35 minute character rounding it's well paced with fine cinematography by Antonio Quercia and music Manuel Riviero helps it capture some of the original magic which Roth's first outing did. Even though the ending scene may come as no surprise there are a few twists to peak interest. 

While not a horror in the traditional sense with graphic amputations, rape, drugs, a human torch, shooting and murders to name a few, granted it will make the regular viewer wince but it's well written and sharply directed by López - forget the endless copycat films of the same sub-genre if you rated Hostel and part 2 this is one to watch.

Aftershock on imdb

Blood Glacier a.k.a The Station Blutgletscher (original title)

A team investigating climate change discovers a mysterious organic substance that has the ability to transform both animals and humans into terrifying mutations.

This is an entertaining well made eco-horror film in the vein of the Thing (1982). Director Marvin Kren as with zombie flick Rammbock delivers a satisfying and interesting entry into a saturated horror genre with surprisingly effective at times well realized gory effects. There's some jump moments, old and new school special effects and It benefits from an un-Hollywood quality cast including Gerhard Liebmann as Janek and Edita Malovcic as Tanja but the real star of the show breathtaking Alps setting and H. G Wells-like impressionable provoking ending.

While not as tense or physiologically claustrophobic as The Thing (1982) this German language science fiction is adult orientated for those tired of glossy, poorly directed, teen beef and pork dripping tripe.

The Last Days on Mars - Life after all?

A group of astronauts on their last days on Mars discover the answer to age old question "is their Life on Mars?" with terrifying consequences.

Although based on Sydney J. Bounds short story writer Clive Dawson debatably borrows the most interesting parts of Red Planet (2000), The Thing (1982), Prometheus (2012) and Mission to Mars (2000). Director Ruairi Robinson offers realistic and impressive visuals, this isn't your low budget Stranded (2013) or Apollo 18 (2011).

Robinson's sci-fi chiller is unavoidably reminiscent of Alien (1979) as the crew are picked off one by one, and Prometheus with it's infection aspect and 28 Days Later (2002) 'rage' thrown if for good measure. However it's so well executed it has it's own identity, whereas the likes of some of the aforementioned and for example Sunshine (2007), Event Horizon (1997) or Pandorum (2009) to name a few had good ideas they arguably never managed to fully satisfy in every act. Here The Last Days on Mars doesn't pretend to be anything its not - delivering mainly due to it's simplistic yet interesting survival story, packed with horror visuals and silhouettes coming out from the shadows of the space compounds, through martian dust storms and chases from A to B.

The small cast ensemble including the excellent Liev Schreiber and Elias Koteas are on form, notable is Olivia Williams as the competitive science officer and Romola Garai gives much of the emotion. Both Goran Kostic as Marko and Tom Cullen are particularly memorable.

With great costumes and set design the makeup and special effects are first rate, the martian location, space vehicles and compounds are wonderfully realized. It's bloody and gory in places, the virus zombie like infection is unnerving. Robinson creates some real suspense, tension and atmosphere in amongst the frantic horror set ups.

To its credit both Dawson and Robinson are not afraid to give a bleak and ambiguous closing and while many of the elements have been seen before The Last Days on Mars refines them into a film that does what it says on the tin and delivers some serious dark space horror entertainment. Recommended.

The Last Days on Mars on IMDb

The walking Dead Pulse undead free!

Put a note in your diary of the dead!

Blood Hunger topped the kindle horror charts last month now the zombie Dead Pulse is totally free this Halloween and Day of the Dead season. Grab yourself the ultimate walking dead bargain!*

When being dead no longer means the end...

With a staple on George A. Romero's dead mythos while paying homage to his 'rules',  Dead Pulse gives an insight into the zombies food pecking order, their thought process and how they actually function.

Dead Pulse also explores what it truly means to survive a zombie apocalypse through the harshest seasons on the land, sea and air over an intense 12 months. Of course there's all the zombie action you'd expect from the genre and more. 

*update 03/11/2013 Dead Pulse made the top 40 horror ebook chart #39. Thanks to all.

Death does not discriminate...

Remember Dead Pulse is totally free this Halloween and Day of the Dead season, but if you can wait its out now from a variety of online stores, including Amazon US and Amazon UK you can also order it from your local store. Also if you get your undead hands on the paperback edition the Kindle comes free.

Check out Dead Pulse's "calm before the storm" trailer:

Pictures with kind permision juliland.com and A. M.Esmonde

Juan of the Dead - more zombie subtext than you can shake a stick at.

During a zombie apocalypse Juan, a hustling Cuban, sets up a business with a couple of unlikelies and charges Havana's local residents for cleaning up their undead problem which clashes with winning his daughter's respect.

Director Alejandro Brugués delivers a comedy injected zombie affair, which subtexts the political and social issues of Cuba and highlights the irony of the zombie mythos, including a stab, fast and slow walking dead films. It reminiscent in part of [Rec] (2007), Shaun of the Dead (2004) in tone and The Dead (for distinctive atmosphere).

Alexis Díaz de Villegas is not your stereotype looking hero and plays the everyman Juan perfectly. Jorge Molina is Lazaro his overweight sidekick who steals some of the scenes. Notable is Andros Perugorría as the hero type who is also the love interest of Juan's zombie kicking daughter Camila (Andrea Duro).

There are some homages thrown in to other virus flicks. The special make-up effects are excellent but the digital ones are a mixed bag, that said, the collapsing tower block and the helicopter crash are worthy of note.

It captures the unscrupulous, non-sequential social issues - especially murders, this may turn some viewers off as the characters can be quite unsavory at times. Nevertheless Juan de los Muertos is a Spanish language film (and writer Alejandro Brugués even manages to jibe at the language differences in an amusing underground car park segment)which has it's own identity and atmosphere due to real locations captured wonderfully by cinematography Carles Gusi which gives it its own feel.

Those looking for social commentary in the vein of Romero's dead films will be overloaded. If you're looking for plenty of in your face blood, decapitations, head bashings and zombie comedy action this also ticks all the boxes.

As a side note keep watching for the comic credits that finish off the narrative. Overall, Juan of the Dead will have you thinking about Cuba long after the credits roll.

Escape from Tomorrow (2013) When Disney goes bad.

On a family trip to a Florida theme park a father finds something is not quite right with the vacation.

Director/writer Randy Moore perhaps has broke the mold for turning something so loved and established on it's head. If it wasn't for the fact it is in black and white it could almost be described as a trippy, psychedelic horror ride.

Opening with a ride on 'Thunder Mountain' (many famous rides are featured throughout) it quickly turns into a paranoia 'Invasion of the Body Snatchers' type vibe, reminiscent of elements of with 'Jacobs Ladder' and 'Twin Peaks' as a father begins to see the happy faces of visitors, staff and characters around the theme park turn into gnarled faces, evil faces and others with empty black eyes sockets.

Roy Abramsohn plays Jim; every day Dad, perfectly however, either there's something not quite right with Jim or the park is off. There's some irony thrown in is as the queues are endless for the rides and the pressure of taking the family on any holiday. Both child actors Katelynn Rodriguez as Sara and Jack Dalton as Elliott are notable.

For the first hour Moore creates an uneasy anxiousness throughout as Jim spends his time following two young French girls around the park in midlife crisis fashion straining his relationship with his wife Emily played by excellently by Elena Schuber. You have a grown man who has lost his job, at the end of his tether, blacking out and leaving his kids unattended (horror enough), while encountering strange characters including a cougar like drunk, a whaling nurse, naked women and a kooky scientist to name a few.

While the story isn't linear, it's a strange trippy ride especially in the latter half where Jim finds himself under The Epcot Centre in a '2001 Space Oddity' and 'Future World' looking environment. In addition, the final act and closing has Hitchcockian/'Twilight Zone' qualities.

For a low budget affair what is commendable is that director Moore manages to put a David Lynch style chiller together turning something so ingrained as joyous and familiar into something so unnerving and surreal, while still respecting the real life park and big W (it's not a Disney bashing film persay). Clearly filmed at Disney World and Disneyland it's surprising how well put together and edited the film is and it has some nice effects and blood thrown in for good measure. Abel Korzeniowski's music score emulates and captures both the park's environment and paranoia perfectly.

Overall it's not a conventional or mainstream horror but its not experimental film either. Recommended for those who want to see something truly uneasy without being too graphic. Disney will never seem the same again.

Escape from Tomorrow on IMDb

The Best of Buck (Rogers in the 25th Century!)

"Bidi-bidi-bidi", too much horror makes me numb, anyone who's been following my blog will know it's not just about my films and novels. It's my love of a wide variety of quality and shlock entertainment.

I'll be frank nostalgia is a dangerous thing. It can ruin your adulthood or re-enforce that something really was great, revisiting Buck Rogers in the 25th Century was, well, hey what can I say, there's much to enjoy even if father time has not been too kind.

Not only did it have a space load of guest stars, Dorothy Stratten, Richard Lynch, Roddy McDowall and Jack Palance to name a few. There's some notable episodes, one with Jamie Lee Curtis being chased by a Terminator-like Cyborg, one with Jerry Orbach (Space Rockers) and a Tron-esque band called "Andromeda", there's  Cosmic Wiz Kid with Different Strokes Gary Coleman. Also Tarzan's Buster Crabbe, (who played Buck Rogers and Flash Gordon in the original serials turns up.

So here's a roundup of my favourite episodes (in running order) from the first series, you know the one before Hawkman, where they were still based on earth, where Mel Blanc did the voice of Twiki for the whole season and Dr. Huer, Dr. Theopolis, Princess Ardala and Kane all appeared.

Buck Rogers in the 25th Century: Space Vampire (12) (1980)

A space craft crashes into the space station where Twiki is getting repairs and Buck and co. try to figure out what happened to the ship's crew.

Directed by Larry Stewart and written by Kathleen Barnes and David Wise- Space Vampire is a homage of sorts to Nosferatu, Dracula and a possible nod to Romero's zombie films. The concept was debatably borrowed later by Lifeforce (1985).

This is one of the most eerie and the only horror toned episode of the first series. Should the makeup design of Nicholas Hormann as the spine-chilling Vorvon had been better designed this could have been the most rounded of all the episodes. Drained bodies, the morgue like environments, a ghost ship, the victims coming back to life it's all good tawdry horror sci-fi stuff.

Wilma Deering gets more to do in this episode as she begins to see things and is subjected to entranced states. Here Erin Grey gets to show some range and not just her infamous tight outfits.

Highlights also include Buck and Twiki watching a recordings of the invisible (to the camera) assailant killing its victim. Buck's investigation and him taking on the tranced hordes is also a blast. Notable is Christopher Stone as a doubting Space Station Commander, Royko who would later appear in the Howling (1981).

One of the stronger and more memorable episodes.

Space Vampire on IMDb

Buck Rogers in the 25th Century: Ardala Returns (15) (1980)

Accompanied by Twiki Buck Rogers finds himself in a cloning lab where android copies of him called a Zygots are being made.

This is debatably one of the most entertaining of the first season, notable for its multiple Buck Zygots, Gil Gerard gets a lot of fun and is able to show a little range while Pamela Hensley as Princess Ardala is entertaining especially when showing her disappointment with the Buck duplicates. Highlights include Erin Gray as Colonel Wilma Deering (sporting her blue jumpsuit) and company almost getting duped by a Buck imposter and Buck out smarting Ardala with a glitch guise and then a showdown with Buck taking on himself in a dogfight.

More Buck equals more fun and Hensley fans won't be disappointed.

Ardala Returns on IMDb

Buck Rogers in the 25th Century: A Dream of Jennifer (18) (1980)

Buck goes in search of his girlfriend who inexplicably shows up in the 25th Century 500 years after he last saw her.

The title possibly plays on 'I dream of Jeannie'. Opening as mystery episode with plenty of locations it's notable for giving some background into Bucks past prior to Ranger 3's ill- fated mission, complete with a flashback/dream scene with Buck in his 80s Formica and Velo pad.

Col. Deering's (Erin Gray) hair is initially particularly dark then changes tint throughout. In addition Wilma sports a the less fitting white jacket/belt skirt then later the blue jump suit. Sadly she isn't given much to do in this episode aside from bark orders.

Beneath the surface it's an emotional episode for Buck with Gil Gerard giving full commitment especially during a death scene.

The carnival aside and despite its colourful costumes, makeup and masks this is one of the more serious toned episodes. That said, Jaws (1975) is mentioned topped off with Twiki cracking a joke about an associated tag-line in the closing.

One of the more poignant episodes.

A Dream of Jennifer on IMDb

Buck Rogers in the 25th Century: Flight of the War Witch (21) (1980)

A mysterious large sphere lands outside New Chicago where a golden orb emerges and is brought back to the laboratory for an examination. This leads Buck to discover and impending danger from the War Witch.

Opening with an extended title sequence more money appears to have been injected into the seasons penultimate and finale episode. The special effects are better and more frequent, the sets are grander. There's brief on location external shots.

William 'Buck' Rogers (Gil Gerard) smooches his way through the first half like a sci-fi James Bond joined by Theo and Twiki who go along on the adventure. Dr. Elias Huer gets some weighty scenes and is further fleshed out actor Tim O'Connor brings more gravity and emotion here giving this episode an unknown edge. Col. Wilma Deering gives a defining speech adding to the uneasiness of the episode as Buck sets off into a vortex to search for life in an uncharted universe and you really do feel at this point that Buck may actually not return (it is the last of the series after all).

Julie Newmar as Zarina commands ever scene and is a partially good female antagonist reminiscent of a live action Disney Witch. Zarina is accompanied by her right hand man Spirot played by Sig Hague who get limited screen time. Series regulars Draconian Princess Ardala (Pamela Hensley) sporting some fetching outfits and Kane appear as red herrings in the scope of the episode. Twiki (Felix Silla (cousin IT) and voiced by the legendary Mel Blanc) gets his usual one-liners and there's a some fun moments where he interacts with another robot. Although Twiki's circular robot companion Dr. 'Theo' Theopolis (voiced by Eric Server) doesn't really get much to say in this outing.

Taking some visual cues from 2001 Space Odyssey and StarTrek albeit cheaper looking this episode is one of the better scripted and constructed both aesthetically and in terms of plot.

The second half includes a Star Was-like escape with Buck assisting the perfect spoilt Princess Ardala and Deering wonderfully played by the (continually underutilised) stunning Ering Gray helping Kane. Earth's Starfighters team up with the Draconians to help the Pendarians against Zarina's army in a dogfight space showdown.

There's plenty of great music with some nice stings and sound effects to accompany the many well dressed setups.

Debabtly more fun and faster paced than the feature length 'Awakening', The two parter Flight of the War Witch closes with a rendition of Kipp Lennon's 'Suspension' song that opened the series pilot/film which fittingly bookends the the first series (arguably perfectly if series/season two hadn't had been made).

Spaceships, laser shootouts, robots, warring aliens, forcefields, voice computers to name a few, overall with some underlining theology, smidgens of action its one of the slicker produced and better looking episodes.

Flight of the War Witch on IMDb

So there it is, what are your thoughts on Buck 80s series one?