Ironmaster (1983) Review

 

Set at the dawn of history, a tribe's discovery of iron weapons sparks a struggle for survival and control over this newfound power.

Director Umberto Lenzi crafts a raw, prehistoric adventure that tries to cash-in on Quest for Fire (1981) with its sparse landscapes and gritty tone.It leans more toward Thor the Conqueror (1983), Sword of the Barbarians (1982) (with Peter McCoy AKA Pietro Torrisi) and Conquest (1983) rather than Conan the Barbarian (1982).

The Invincible Barbarian (1982) and Throne of Fire (1983) star Torrisi secretly body doubles for lead Sam Pasco. George Eastman commands the screen with his intense presence. The score, partly recycled from Slave of the Cannibal God (1978), adds to its exploitation charm.

Lenzi's resourceful direction gives the film a grander feel than expected, with clever use of matte paintings, puppetry, and forced perspective.

Overall, of course the poster art is cooler than the movie, still, it's a solid mix of survival drama and tribal power plays, Ironmaster is a primal treat for fans of Lenzi and the genre.

Subservience (2024) Review

 

An artificially intelligent gynoid gains sentience and becomes hostile, putting a family at risk.

Director S. K. Dale delivers a solid sci-fi thriller. Daniel Lindholm's dark, atmospheric cinematography complements the stunts and special effects.

Unlike Westworld, Cherry 2000, The Machine, Automata, or I, Robot to name a few, Subservience unfolds in a contemporary, grounded setting rather than an all-out futuristic world, echoing M3GAN (2022).

Although writers Will Honley and April Maguire's Subservience is occasionally plodding, there's a few twists to keep it engaging. Megan Fox's Terminator-X-like screen presence is notable. Fox is perfectly cast as the menacing Alice, and while Madeline Zima's screen time as Maggie is limited, she delivers a weighty performance.

Overall, though Dale's film doesn't really break new ground in the "malfunctioning robot" subgenre, it's nevertheless a welcomed addition to it.

The Substance (2024) Review

 

An aging celebrity uses a mysterious black-market a cell-replicating substance that creates a younger, enhanced version of herself with dire consequences.

Director Coralie Fargeat's socially aware body horror gives David Cronenberg and Brian Yuzna a run for their money. With echoes of Seconds (1966) by John Frankenheimer, the film is audaciously gross, clever, and memorable. Excellent performances, Kubrick-like visuals, and on-location shooting ground the film's brilliant graphic special effects.

Benjamin Kracun's cinematography, paired with Fargeat's stylish production and direction, delivers an intriguing and unforgettable film. Raffertie's pulse-pounding, stirring music amplifies the on screen shenanigans and horror. There's aerobics segments that echo Perfect (1985) Benny Benassi and Eric Prydz music videos in contrast to the chilling scenes.

Although the script is thin on dialogue Margaret Qualley is mesmerising as Sue. Demi Moore plays on her own stardom image with a vulnerable, vanity-free performance as Elisabeth Sparkle in a riotous, dreamlike Picture of Dorian Gray-style horror-thriller that builds to a crescendo of blood and gore. There's an array of quirky support ing characters that wouldn't be out of place in a David Lynch offering.

Overall, Fargeat delivers a gross wild ride, it's worth watching for Moore's and Qualley's Dr. Jekyll and Mr. Hyde performances alone.

Willow (2022-2023) Review

 

An unlikely group of heroes sets off on a dangerous quest to a place where they must confront their inner demons and come together to save their world.

The Willow TV series brings back some beloved characters, including Warwick Davis reprising his role as Willow and Joanne Whalley returning as Queen Sorsha. There are nods to the original movie, and the on-location scenes look fantastic. However, for the most part, it looks and feels similar to many other Disney streaming productions, with a padded storyline stretched thin that might have worked better as a high-budget film.

Joonas Suotamo as the Scourge and Ralph Ineson as Commander Ballantine, Jade's adoptive father and loyal servant of Queen Sorsha, are notable cast members. Dempsey Bryk is well cast, while Erin Kellyman, Ruby Cruz, and Ellie Bamber do their best with the material. Christian Slater aside, many characters and relationships feel shoehorned in, distracting from the plot. These forced subplots detract from the genuinely story-driven relationships and plot twists.

The show includes some impressive practical effects and interesting fantasy elements, but despite moments of fantasy charm, fun, and swashbuckling adventure, its execution feels uneven and ultimately misses the mark.

Overall, the blend of nostalgia with some fresh storytelling just isn't enough.

Land of the Dead (2005) Revisited (Review)

The living dead have taken over the world, and the last humans live in a walled city as they come to grips with the situation. But how long will it remain a safe haven? 

At the time unjustifiably panned by many George A. Romero fans and critics, horror filmmaking legend Romero’s grander-scale zombie instalment initially had a rough reception. It may lack the indie-feel roughness of his previous zombie outbreaks, especially the gritty tone and product of its time ‘78’s Dawn of the Dead. That said, it avoids Diary’s shaky cam; the late great Romero couldn’t win—every time he pandered to fans’ whims, he seemingly shot himself in the foot. 

Nevertheless, hindsight is 20/20 Romero and clearly works best when he's left to just make his movies. What Land delivers is an ominous tone, a strong story, and great performances, notably from Simon Baker, John Leguizamo, and the double-crossing Dennis Hopper, who delivers some memorable one-liners. Both Asia Argento (Dario Argento’s daughter) as "Slack" and Robert Joy as Charlie are notable. Joanne Boland's "Pretty Boy" deserves a mention along with Sasha Roiz and Krista Bridges. 

Reinhold Heil and Johnny Klimek’s excellent haunting music score is fitting. Aside from some iffy CGI blood, there some fantastic practical and visual effects. Romero ticks all the zombie boxes with this movie. There’s action, gore, jump scares on a large scale. Although some of the themes, like “putting out the trash,” could have been explored further, there are some visually striking set pieces, great zombie ideas, and more. Romero offers an abundance of memorable undead characters including Eugene Clark as Big Daddy, Boyd Banks' Butcher,  Jennifer Baxter as blonde messed up face Zombie Number 9 and Jasmin Geljo as Tambourine zombie to name a few. 

Simon Pegg, Edgar Wright and Tom Savini cameo,  Romero throws in plenty of horror nods,  including An American Werewolf in London’s Gerald Bringsley subway man (Michael Carter) lookalike. With Romero’s staple social commentary, here he offers a strong racial context and subtext relating to the debate about immigration reform, land ownership, and development. 

Overall, Land is worth watching and gets better with age —it’s dead good.

Abigail (2024) Review

 A group of kidnappers captures the daughter of a powerful underworld figure and demands $50 million for her release, unaware that something sinister is at play.

Directors Matt Bettinelli-Olpin and Tyler Gillett successfully blend horror and comedy with a novel story by Stephen Shields and Guy Busick. Tonally it gives off vibes reminiscent of From Dusk Till Dawn and echoes elements from Interview with the Vampire.

With moments of dark humour, Shields and Busick's script maintains a brisk pace, constantly keeping you on edge while allowing just enough lightness to make Bettinelli-Olpin and Gillett's visuals all the more unsettling. The backstory is a little ambiguous, which adds to the mystique and hints at possible sequel or prequel setups.

The film's eerie, atmospheric tone is set early on. Dan Stevens' nonchalant character is notable, and Melissa Barrera's feisty, sharp lead leaves a strong impression. However, the star of the show is the mysterious Abigail, played brilliantly by Alisha Weir.

The horror tension is broken by moments of well-timed levity, with much of the comic relief coming from Kathryn Newton, alongside the likeable performances of Will Catlett and a bulked-up, memorable Kevin Durand.

Although some of the action sequences are overlong, (less is sometimes more) the standout elements are the great special effects, abundance of blood, unexpected twists, and sinister reveals.

Overall, it's an atmospheric, fun, gory ride with standout performances-certainly worth checking out.

Slumber Party Massacre (1982) and Slumber Party Massacre II (1987) Review

 

Slumber Party Massacre (1982) 

When Trish throws a slumber party, an escaped killer with a power drill terrorises her friends and neighbours.

Slumber Party Massacre (1982), directed by Amy Holden Jones, offers a fresh perspective to the genre for its time.

(Not to be confused with Sorority House Massacre (1986)-Its Halloween-like atmosphere is apparent, but the decision to show the killer, Russ Thorn (played by Michael Villella), throughout takes away some tension and mystery, even if he is reminiscent of Don Calfa. While this is an interesting approach, it removes the usual whodunit suspense typical of slashers.

The editing is a bit clunky at times, and the slow-motion effects feel dated. However, the film compensates with the flow of deaths and creative driller kills, making good use of its low-budget limitations.

The female characters, particularly Michelle Michaels as Trish and the late Robin Stille as Valerie, avoid (for the most part) typical slasher tropes, thanks to writers Rita Mae Brown and Jones forward thinking. Notable is Jennifer Meyers as Courtney Bates (whose character appears in the sequel played by Crystal Bernard). Despite their limited screen time both Jean Vargas as the Telephone Repairwoman and Pamela Roylance as Coach Jana are memorable.

Overall, despite some technical flaws, Slumber Party Massacre remains a solid entry in the genre.

Slumber Party Massacre II (1987)

Courtney, still traumatised by her sister's past, faces a new horror when a guitar-wielding killer invades her weekend getaway.

Slumber Party Massacre II (1987), directed and written by Deborah Brock, takes a sharp turn from the grounded simplicity of the original, leaning into surreal, outlandish horror.

Crystal Bernard replaces Jennifer Meyers 1982's character Courtney, the younger sister of Valerie from the first film, adding a sense of continuity, but the sequel lacks the tension that made the original effective.

Accompanied by music from Richard Cox the bizarre, dream-like elements, especially rockabilly killer wielding a guitar-drill, feel like an attempt to cash in on the success of A Nightmare on Elm Street, but without the same impact. While Atanas Ilitch is entertaining as The Driller Killer his scenes are visually quirky, these surreal moments lean more into camp than fear.

Despite its shortcomings, the film is entertaining for fans of cheesy 80s horror. Bernard and Playboy's Kimberly McArthur deliver solid performances, but the experimental direction by Brock lacks the tight pacing of Amy Holden Jones' original.

Overall, it's fun but doesn't match the effectiveness of its predecessor.

Star Trek: The Motion Picture (1979) Review

 

Admiral Kirk retakes command of the USS Enterprise to confront a mysterious alien cloud that threatens Earth.

Director Robert Wise's Star Trek: The Motion Picture (1979) often falls under the radar compared to other entries in the franchise, but it offers qualities that deserve recognition, especially considering its ongoing impact.

The new cast members, Stephen Collins as Decker and Persis Khambatta as Ilia, add fresh dynamics to the story, while supporting roles from series regulars, including Grace Lee Whitney's Janice Rand, and Majel Barrett as Christine Chapel provide a sense of continuity.

Despite its sluggish pace, one of Wise's most overlooked strengths is how he reunites the original crew, giving characters like Scotty, Spock, and Bones a fitting return. Scotty's emotional attachment to the newly refitted Enterprise is palpable as he proudly shows Kirk the ship's upgrades. Spock's internal struggle between logic and emotion is on full display. Bones remains as skeptical and sharp-witted as ever. Uhura, Chekov, and Sulu are also given moments that remind us of the crew's enduring chemistry. Overlooked, Shanter, Nimoy and DeForest Kelley really offer unreserved screen presence.

Perhaps most groundbreaking is how Wise visually showcases the Enterprise. This was the first time audiences could see the ship up close, with slow, detailed shots emphasising its design and the personnel aboard. These moments help build the sense that the Enterprise is more than just a set piece-it reveals a functioning ship with hundreds of crew members at work, something the original series never fully achieved. The practical effects, while dated, retain a certain charm.

Jerry Goldsmith's score is another highlight, particularly the now-iconic theme that would go on to define Star Trek: The Next Generation. The music adds a sense of grandeur and scale to the film.

Overall, while the movie may be slower-paced, echoing 2001: A Space Odyssey rather than Star Wars, it is groundbreaking in its vision, combining thought-provoking science fiction with a respect for the characters and the world-building of the franchise.

Demons 2 (1986) Review​

 

Demons 2 (1986) brings the chaos of the demon invasion into a new, confined setting, trading the movie theatre from the first film for a hi-tech high-rise apartment block. Directed again by Lamberto Bava and produced by Dario Argento, the film follows demons breaking through into the real world via a television broadcast. 

Like many 80s sequels, it doesn't follow a strict narrative continuation of the first film. It starts with several teens who trespass into a city that was deserted and walled off due to the demon outbreak from the first film, but in reality, it's a film within a film being viewed. The result is a night of terror for the building's residents, who become bloodthirsty monsters as the demonic infection spreads.

The cast, including David Knight, Nancy Brilli, Virginia Bryant, Antonio Cantafora and a young Asia Argento in her debut film. The film includes two familiar faces from the original. Bobby Rhodes, who played Tony the pimp in the first movie, returns as Hank, a completely different character, while Lino Salemme reappears as a security guard. Coralina Cataldi-Tassoni plays Sally Day, a nod to the original, as the actress Sally Day portrayed the character of Liz in Demons (1985).

Borrowing heavily from Shivers (1975) in its apartment block setting, with visual echoes of Videodrome (1983) Bava ramps up the gore, stunts, and monster effects, with action sequences that are bigger and bloodier. However, it lacks the simplicity and raw effectiveness of its predecessor. While the first film's heavy metal soundtrack gave it a relentless edge, Simon Boswell's choice of 80s pop-rock and new wave bands provides a different atmosphere-less aggressive but more moody and frenetic. Despite these changes, the film still delivers a solid dose of 80s horror fun.

Overall, while it lacks the simplicity and effectiveness of the first (and isn't a linear sequel), Bava's offering oozes atmosphere, featuring gruesome practical effects and a sense of relentless dread that still make it an entertaining ride.

Furiosa: A Mad Max Saga (2024) Review

 

When Furiosa is kidnapped, she must survive the wasteland and its inhabitants while planning her escape and revenge.

While the trilogy retains its timeless charm, George Miller's Furiosa: A Mad Max Saga is every bit as good as Mad Max: Fury Road, delivering a visually stunning, action-packed prequel. Miller oils up the fan service with a few nods and callbacks. Both Nick Lathouris and Miller's story meets expectations while avoiding tropes (especially in the third act) and lays down some new road.

The supporting and main cast are fantastic. Anya Taylor-Joy is mesmerizing as Furiosa, bringing depth to the character and expanding her backstory. The return of familiar faces like Immortan Joe ties the film seamlessly to the Mad Max universe. Chris Hemsworth is in fine form, flexing his acting abilities with a big-screen transformation as Dementus. Notable is Tom Burke as Jack, who delivers a vibe reminiscent of both Hardy's and Gibson's portrayals of Max.

Miller's direction brings the post-apocalyptic world to life with stunning visuals, high production values, sound design, and imaginative action sequences, though there's more obvious CGI used here than in Fury Road. Nevertheless, Tom Holkenborg's powerful score heightens the tension and excitement, pulling you deeper into the chaotic world.

Overall, with its thrilling action, captivating performances, and immersive world-building, Miller delivers a powerful new chapter in the saga.