Help me Robert Zemeckis, Star Wars was my only hope!

If you weren't old enough to have seen the original Star Wars trilogy and The Phantom Menace was your first introduction to Star Wars then many will envy your fresh eyed look at the films from 1-6.

"That face you make.
Look I so old to young eyes?"  

For the rest and the die hard, extreme countless legions of Star Wars fans you maybe disappointed with the Blu-Ray release.

I'll always remember going with my dad to the dankest cinema watching the original films back to back - it was a highlight, even coming out flee bitten it didn't seem to matter. Recreating Hoth in a kitchen bowl with snow (as it was too cold outside), getting as much play in before it melted, using paper cups to build new spaceship oh the joy of and innocence of Star Wars. The only thing that I remember about disliking the original is that the Millennium Falcon was a horrid uncool looking ship, lacking sleekness, however, overtime that seems to have dissipated. 

VHS came and went, then George Lucas began his tinkering with the record breaking classic(s). The 1997 re-released special editions had their faults, some of which the 2004 DVD tried to correct. Now you probably think I'm going to join the legions that are boycotting the Blu-Ray release, not a chance. And between you and me they'll still buy it. They're Fanboys. They wont be able to resist the power of the dark-side.

With remakes flooding the market at least Lucas controversial revisiting has saved fans from that. Contentiously regardless of tinkering much of what Lucas has done simply enhances the films. And looking back at the original, originals (no, not a typo) as ground breaking at they were I'm content with the digital corrections and replacements. In the same vain as Blade Runner corrections, lip-syncs, removal of wires and stunt doubles to names few it helps solidify the film, even igniting new interest for an new generation with the publicity that comes with it.  

Watching Robert Zemeckis' Back to the Future complete with it's original optical effects in tact; would a digital bastardised version have destroyed the story? or  make the film better? There was a missed opportunity that would have been more fitting than  Steven Spielberg's E.T from guns to walkie-talkie incident but it was Zemeckis and  Spielberg's call respectively. Should 1933's King Kong be digitally replaced? Well if Directors Merian C. Cooper and Ernest B. Schoedsack were still alive and wanted to do so, why not eh? If Spielberg replaced Bruce with a photo realistic shark I must say I'd be happy with that as he's simply now a distraction from the great performances.

If the creators are still alive and decided to undertake arguably unorthodox changes let them I say. So long as studios have their blessing.

In Star Wars case you could say the studios and George are missing a money making opportunity especially by not releasing the original trilogy unaltered but is there really a need to go as far as saying Lucas "raped my childhood" as countless bloggers have posted. There's a lot of hate there.

If you are that cut up about it go and track down the bonus DVD released in the 2 disc special edition. As Yoda put it, "Anger leads to hate. Hate leads to suffering." Meanwhile the rest of us can watch blinking Ewoks, Vader shouting 'Nooo', new monsters and an array of slight correction in peace.

It's 1985... Got a problem? Odds against you? Can Miami Vice help?

Ah nostalgia, oh the 80s. Although Miami Vice was aired in the US in 1984 as Friday night viewing here in the UK Season 1 wasn’t aired until 1985 and oddly on a Monday! The first episode Feb 4th, 1985 - 9.25pm to be exact.

Tubbsequently (see what I did there) a Tuesday thereafter. Maybe not to conflict with Crossroads or Dads Army, who knows eh. That said, being Welsh apparently we got it much later... 11pm, usually on a Thursday. Bikinis, drugs and guns were too shocking for us Welsh people see mun.

In addition to Crockett and Tubbs for a generation most associated the great Edward Woodward with Callan or the Wicker Man, for me he'll always be Robert McCall - that nice old man, carrying a gun, helping people while removing his Deirdre Barlow glasses as The Equaliser. (Incidently Stewart Copland drummer for The Police did the excellent theme tune.)

1985 was my year, He-Man, Knight Rider, The A-Team and my Star Wars figure collection were at their peak, it was just after that time when I would have a bath, watch Fraggle Rock and get ready for bed in wait for Santa. VHS, singles, Atari, ZX-, Billy Ocean, McEnroe and Paul Hogan also spring to mind. One persons great year is anothers nightmare.

Thinking about it 1985 made me, '85 was more important than my birth, for me it may very well be the centre of time, with every other date orbiting around it everything being an influence in those 80's years. Leg-warms are still a hot favioute of mine even though I never donned on a pair, er-hum. Film wise although Scorsese's After Hours is now one of my faviourate films I didn't see it at the time as with Day of the Dead, Commando, Rambo 2 and Rocky 4 to name a few. Of course I did see Teen Wolf and Back to the Future. You know, looking back it’s as if my future had something to do with it.

Don’t ask me if I saw some of the adult things mentioned or question if I was up I at 11pm, I doubt it. I’d like to think my parents protected me, shielding me from 80’s fashion, Jan Hammer and that I only watch re-runs. I must have. Lately I wish my father had sheltered from Phil Collins, the Fagin of music, yes he had hair once too. Nevertheless, the Equaliser and Miami Vice were ingrained in my mind more so than others. Slightly ahead of the openings of TV shows, Manimal, Columbo, Murder She Wrote, Street Hawk, Air Wolf and boring Cheers, Dallas and Dynasty.

I recently set out on a quest, one funnier than The Young Ones, as crazy as Todd ‘Tucker’ Carty in Krull and as cheesey as Red Sonja. I’m doing this so by the power of the internet your kids and their grand kids will get to see a glimpse of circa 1985. So I sat down and watched the first series of The Equaliser and Miami Vice or as the cool kids call it MV. Not as punishment or as an experiment but as entertainment. Painful I think not... I, think, not...

Miami Vice (1984–1990)

This classic ground breaking series followed two very different Police Department detectives working undercover in Miami.

It holds up, the characters are still as endearing as they were back then. The first season has its faults mainly the abrupt cutting between scenes (due to planned adverts) but also at times the writers or directors don't seem to know how to finish a scene before the next as with many of the shows of the time. New comers may find this a little jarring and frustrating as this has been finely tuned in modern quality TV shows.

The first season has some rough episodes but of the 22 they are the few and far between. The characters are great and the acting is decent for the most part. The meeting of the both leads is great, Ricardo Tubbs (Philip Michael Thomas), a New York street cop collides with James "Sonny" Crockett (Don Johnson) Former football star and 'Nam vet' now undercover detective. It's good to watch their friendship grow through good and bad times. The supporting cast are on fine form, notably Det. Gina Calabrese (Saundra Santiago) and Lt. Castillo (Edward James Olmos) who becomes their new boss a few episodes in.

Its fitting that the exposition isn't forced and you need to take note to what the characters are saying. Many of the cast are while not major stars are veteran bit part actors who have familiar faces. In addition, as well as the many guest stars including Bruce Willis it's surprising how many of the supporting cast are stars now, for example Ving Rhames.

Even after being viewed through 80's rose tinted glasses and overlooking some cheese - it encapsulates a fanciful nostalgia, the clothes, the cars, the boats, soundtrack and even Miami itself. The style and panache of Crockett and Tubbs sums it up, but that's not to say the locations, story lines and character are not without a dark side, prostitution, kidnapping, murder and drugs (mainly heroin) to name a few. These maybe sanitized slightly due to censorship of the time but there's enough to give it an edge especially for the time.

Restrictions and the unkindness of time aside, like the Equalizer, from its motion picture shooting style and production/wardrobe design, to the landmark music Miami Vice is as entertaining today as it was back then.

The Equalizer

(1985 - 1989)

Robert McCall, a former secret agent offers his expertise and services to people in need. He can be found through a newspaper ad that reads: "Got a problem? Odds against you? Call the Equalizer. 212 555 4200". In the process of helping desperate New Yorkers he inflicts justice upon hoodlums, murderers, kidnappers and drug dealers to name a few.

Tamely choreographed fights aside and despite a lack of blood when some one is shot The Equalizer stands the test of time. Edward Woodward is perfectly cast as the quintessential English gentleman, at times teaching the bad guys some manners. There are debatably few actors that would have pulled off the dangerous character as well. His age makes the retired character more believable and he has a look and edge that makes him a credible killer. While each episode is entertaining some fair better than others. It's always engaging whether McCall is using a his wits and some psychology or a ballistic knife, Uzi or Walther PPK. The episodes that are set in the thick of a conspiracy or that give hints of Macall's background are the more memorable. The supporting cast are more than adequate and usually feature a familiar face or an up and coming star of the time.

Its New York setting elevates the realism with its gritty look. The writing, especially for much of the first season is of feature film quality. All episodes are competently directed and capture the trends and style of the time, making it great nostalgia for some. The soundtrack usually contains the chart toppers of the time and while some of the music score has dated the Equalizer theme is still as good as it was back in the 80's.

Between 1985 and 1989 it was perfect TV entertainment. Disregarding pleasant remembrances The Equalizer is as relevant as it was then and still holds up on viewing now.

Fresh Hammer Horror Films The Resident and Wake Wood

Founded in 1934, Hammer Film Productions is probably best known for a series of Gothic "Hammer Horror" films made from the mid-1950s until the 1970s - notably a series of Dracula films that started in 1959 featuring Christopher Lee.

Although one of my favorites Hammer films is Countess Dracula (1971) many of earlier Hammer films were quiet formulaic and as well as Dracula included other iconic horror characters, The Mummy (1959) The Curse of the Werewolf (1961), The Curse of Frankenstein (1957). That said Hammer produced a variety of other sub-genre films and in later years TV series. During its most successful years Hammer dominated the horror film market, enjoying worldwide distribution and financial success.

But all good things come to an end... Due to the saturation of the horror market by competitors and the loss of some international funding it forced changes to the Hammer-formula, with varying degrees of success. The company eventually ceased production in the mid-1980s and in 2000 the studio was bought by a consortium with the company announcing plans to begin making films again, however none were produced.

In May 2007, the company was sold again and new owners announced plans to spend money on new horror films and did with a bang. Their hit success Let me In (2010) was a remake of Let the Right One In and due to the source material and the movie template already set Let me In arguably couldn’t fail.

Regardless of Hammers ups and downs their films contain a unique charm and atmosphere with iconic imagery that you can’t help retain. Here are few thoughts on Hammer’s The Resident (2010) and Wake Wood (2011 film). No doubt I’ll update this with The Woman in Black (2011) their most recent production soon.

The Resident (2010)

Dr. Juliet Devereau rents an apartment in New York, large and affordable, but the owner Max begins to want more than just rent.

Director Antti Jokinen doesn't glamorise New York showing the older side of the city and keeps things moving with plenty of cuts and naturalistic lighting. The music adds some tension to the on screen proceedings to what is essentially a stalker/ voyeur thriller.

The cast includes a seasoned and accomplished cast including Hilary Swank, Christopher Lee as the creepy building owner August and his son Max played excellently by Watchmen's (2009) Jeffrey Dean Morgan. Morgan is first rate as the deranged obsessive weirdo and the casting of Swank as Devereau avoids the teen slasher cliché. Amougnst the spy-holes, secret doors and cavity walkways of the apartment it's great to see Lee in a contemporary role albeit small.

Anyone familiar with Single White Female (1992) or Pacific Heights (1990) will have an inkling what their in for. The Resident is a small tight thriller that has few surprises, yet, it's keeps you watching due to Swank's allure, the simplistic premise and Morgan's craziness.

Overall, nothing new, but maybe disturbing for many due to themes of intrusion and privacy being violated.

As a fan of Hammer horror, with a few of their many films being a spiritual inspiration for my book Blood Hunger, Hammer sent me a brand new copy and I thought it rude not to say a few words on the iconic studios latest offering Wake Wood...

Following the unnecessary, yet excellent remake Let me in Hammer returns with Wake Wood a supernatural chiller in which a child is brought back from the dead to comfort her parents for three days. But she's not quite the angelic child she was.

Eva Birthistle plays the grieving mother Louise and Twelve Rounds (2009) bad guy Adian Gillen is exceptional as the deceased child's father. Reliable Timothy Spall and the child actress are notable and the supporting cast are solid.

There's some effective bloody gore, grizzly births, severed spines, dog attacks and killings. Some supernatural elements take place out of shot to avoid the use of CGI, which adds to the believability and saves the budget.

Wake Wood is dark, damp and dreary just as it should be. Nevertheless, it is slightly stifled by a filmed for TV look. That aside, with a small budget director David Keating keeps the blood flowing and the pace going. It benefits in plausibility and atmosphere with an on location shoot. There's plenty of shadows, eerie music, sharp editing and a grounded screen-play (by Brendan McCarthy) to keep you watching with a grin that Hammer may have a place in this century.

With elements of Don't Look Now, Case 39, Carrie, The Wicker Man and Pet Cemetery to name a few you could argue it's all be done before and better. However, Wake Wood's great ending debatably leaves you thinking sometimes less is more.

Run! Alien Invasions, we come in peace,leaving you in pieces!

I watched alien comedy Paul (2011) recently which got me thinking about E.T (1982), where my dad would make me wear his Parker, hold a torch and say "phone home" - those warm a fuzzy days eh. It got me thinking about alien films in general. There's been some turkeys recently The Fourth Kind, The Day the Earth Stood Still (2008) to name just two. I’m a sucker for alien invasion films, call me a geek (but it’s hardly surprising coming from the guy who still recall the lyrics to the 60’s Iron-Man and Captain America cartoon theme tunes,the re-runs). I must say I wasn't a fan of Independence Day (1996) or Men In Black (1997) maybe it’s that watered down/appease the masses/play it safe middle of the road stuff that entertains but doesn’t excite or entice. Whereas Tim Burton’s Mars Attacks (1996) was all out dark comedy and Invasion of the Body Snatchers tackles the subject ominously sober for me it's those films that are just more appealing.

Check out the Cellulord’s blog where he wonderfully breaks those Invaders down into five sub-genres.

Here’ a few thoughts on those mass invasion stories that you may have missed or simply avoided from various reasons.

Battle: Los Angeles (2011)

A platoon of U.S. Marines during a global alien invasion try to stay alive and take hold of Los Angeles while extracting a group of innocent civilians.

Battle: Los Angeles shares of much of the look and relentless extraterrestrial attack of Skyline (2010). However, where Skyline portrayed it from civilian point to view this is very much a story from the perspective of the Armed Forces.

Chris Bertolini's screen-play pushes heroism and all its clichés to the limit, at times the film plays as a training or recruitment U.S. Marines video with each character needing to plug the name of every type of weapon used. Although there is a consistent overuse of a shaky handy-cam effect a credit should to go to director Jonathan Liebesman as the set ups are well covered with a feeling of geography so you never feel lost in the quick pans or sharp movements. It's a serious stab at the subject matter and the effects are outstanding, mirroring the realism of Monsters (2010) and District 9 (2009) to name a few.

Both Ramón Rodríguez and Michelle Rodriguez are notable but it is Aaron Eckhart as a veteran SSgt. Michael Nantz who carries the most credence.

Reminiscent of Cloverfield (2008), Black Hawk Down (2001) and Saving Private Ryan (1998) - if there's room for another alien invasion with a war element flick this will appease but if you feel you've seen it all before it's probably because you have.

Overall, formulaic but still mildly entertaining.

"V" (2009-2011)

Before Alien Nation, before Independence Day, there was V. A race of human looking extraterrestrials arrive on earth. These 'vistors' led by alien Anna come in peace, however, behind her smile is a sinister plan to take over the world.

The latest 'reimagining' of V is a competent rework of the original 80's TV show. Despite some ropey CGI effects, the story, characters and script carry some weight, there are shades of grey, not everything is black and white... Unorthodox alliances, double crossings, morale choices and sacrifice are just some of the themes amongst a cloak and dagger alien invasion. There is action, drama and of course it's played possibly as realistic as you can get considering it a show about lizard aliens.

Jane Badler the original female protagonist appears in season 2 as 'Diana' which is a nice nod for fans of the predecessor albeit as a different character with the same name. And also Marc Singer gives a cameo. Notable are actors Scott Wolf and Laura Vandervoort. Worth mentioning is Anna's right hand man played by Morena Baccarin and tough guy Kyle Hobbes played by Charles Mesure.

Evil executives at ABC have cancelled the series after season/series 2 which is a crying shame as there were plenty of places V could have been taken with the right story writers and good characters already established such as FBI agent Erica Evans, played by Elizabeth Mitchell and Joel Gretsch as Father Jack Landry.

It's said that it ends on a cliff hanger but that depends on who's side your on, there is one winner, if no more are made... Worth seeing, I'll now finish this sentence as abruptly as ABC's cancellation.

Monsters (2010)

For six years large aliens have been on earth and inhabit the 'infected zone' between the US and Mexico border. After a monster destroys a hotel the daughter of an executive is injured and under instruction from his boss a photographer must ensure she gets back to the US. However, after a series of events it becomes more difficult than expected and they both must journey through the infected zone.

Début leads Whitney Able and Scoot McNairy are impeccably first-rate and would put any A-lister to shame. Any lesser casting could have ruined the film but the realistic portrayal they deliver, packed with emotion is easy to relate to, it's surprising how they command the screen and keep you enthralled. The rest of the uncredited cast are exceptional and everything is played for realism. Note worthy is the ticket selling desk clerk.

The dreamlike score is fantastic, Jon Hopkins' beats and hums capture and heighten the moments - it's very memorable, reminiscent of John Murphy's 28 weeks later subtler moments.

Credit must go to director/writer Gareth Edwards for the fantastic subtle script, great locations and fantastically executed effects. Whether intentional or not there's plenty of social commentary, political values and society reflective parallels going on but those aside Monsters is a journey of two people finding themselves.

At first I was expecting another War of the Worlds rehash, District 9, a grounded version of ID4, or even a better version of Skyline but what I got was a journey story with aliens as the back drop. If only Jurassic Park could have been filmed in this style. Monsters took me by surprise, I didn't expect it to be such a wonderful film.

Gareth Edwards is certainly a multi-talented individual and not one to watch - as he's already there. Immersible cinema.

Skyline (2010)

Stop me if you heard this before. Aliens invade earth and a handful of survivors try to escape their impending deaths. It's another War of the Worlds-esque invasion flick and what's nice about this is that it's played straight with no comedic one-liners and there's not a teenager in sight.

Directors Colin Strause and Greg Strause are no strangers to special effects after bringing to life the Predators and Aliens in AVPR (2007) and the rest of the team behind Skyline's extraterrestrials are clearly talented making the best out of a budget. It's visually wonderful, the special effects are fantastic. Nevertheless, Aliens (1986) designers and suit wearers Alec Gillis and Tom Woodruff Jr. creature designs appear to be an unoriginal mix of The Fly, Independence Day, Cloverfield and The Matrix.

The acting is above average and the leads including Eric Balour and Brittany Daniel carry the emotion well. David Zayas is notable but his screen time is limited. That said, the script lacks enough meaty dialogue to keep you enthralled and you find yourself waiting for more glimpses and shenanigans of the alien invaders.

Overall, it looks great but it fails to connect and grip you. The Brothers Strause will hit gold but Skyline just isn't it.

They Live (1988)

Humanlike, skeleton looking, extraterrestrial's have taken over the Earth and walk among us, but are cloaked by a transmitter that makes 'them' appear like us. A drifter discovers a pair of sunglasses that allows him to see what is being hidden.

Halloween's (1978) horror legend writer/director John Carpenter does his best with a limited budget. The film for the most part has an urban realistic look, due to the on location shots, however, at times it appears very cheap and lacks the production values of The Thing (1982) or The Fog (1980). In true Carpenter tradition there's a heart pumping and relentless score.

Amongst all the 80's cheese there is a fantastic story based on Ray Nelson's short story. They Live themes reflects consumerism, class and corruption to name a few. Underneath, Carpenter's bland screenplay lay a fear that we are not in control and our society is led by 'them', echoing Invasion of the Body Snatchers and 'V'. To join them would be to give I and we would benefit but we'll pay a greater price. They Live is high concept sci-fi with great ideas, the sunglasses touch is genius, that's original and allows some great visuals and interesting moments. There's also the intriguing secret society aspect and space travel.

Suffering from the 80's macho testerone Roddy Piper is entertaining as the lead but he's no great actor, lucky there's the likes of Meg Foster and Keith David to gives the film some weight and there are some good performances from the supporting cast.

Carpenter though a simple story immerses the viewer in the conspiracy and connects us with the heroes search for the truth which has a fantastic, un-Hollywood brave and downbeat ending. In addition, the effects are of the time but are still effective, there are some stand out set-ups, the supermarket, the underground segment and the discovery of the sunglasses. I'm hesitant to use the word, but They Live is cool.

With so many remakes in recent years They Live would benefit from a serious and heavier version. That said, taken at face value it's a great fun ride, with one-liners, action and aliens.

The Invasion (2007)

An alien lifeform crashes to Earth, spreading tainted debris this in turn infects people bringing them under the invaders control.

Remake of remakes and based on Jack Finney novel, thankfully The Invasion borrows more from Invasion of the Body Snatchers (1978) and as a plus doesn't try to recreate its daring chilling ending, coming up with its own penultimate finish.

The supporting cast are great and include '78's Veronica Cartwright. It is a fine cast ensemble that reunites Jeffrey Wright and Daniel Craig in two effective roles as they help Carol Bennell played by Nicole Kidman find her son and stop a virus that is turning humans into 'perfect' emotionless shells of themselves.

Already off to a head start, based on such excellent source material director Oliver Hirschbiegel brings David Kajganich interesting screenplay to life. It's subtle at times but injects plenty of foot and car chases. The on location shooting sells the tension as you see the city's people change. Make up effect are fantastic and not too overboard. The good use of lighting, camera angels backed up with a nail biting score helps to heightening the paranoia as everyone Bennell knows becomes one of 'them.'

Kidman's endless supply of unnecessary fitted clothing and botox aside, she gives a good performance and despite some surprisingly already dated effects shots of microscopic virus the film is well crafted.

Overall, if not compared to its predecessors, The Invasion ticks all the boxes as a retelling of a character driven, sharp, thrilling sci-fi.

The Thing (1982)

After being freed from its ancient crash site an extraterrestrial life form infiltrates an Antarctic research station, imitating taking the appearance of the researchers that it kills.

An atmospheric understated sci-fi at it best. I'll never understand how Carpenter lost the lustre in some of the other film he made, nevertheless, his Thing is one of his best movies and also once of the best sci-fi movies ever. Despite being based on the same source material (before remakes were popular) the thing has a look and feel of it's own and is very different from its 50's counterpart.

The isolated setting, the astounding cinematography and scenery creates intrigue; drawing you in from the very beginning. It's a perfect horror/sci-fi cocktail of Ennio Morricone's haunting foreboding score, Rob Bottin and Stan Winston's benchmark practical effects (which are to-date arguably unsurpassed) Carpenters claustrophobic set ups and Bill Lancaster screenplay.

It's rare that every single actor is exceptional and supplied with effective dialogue. All the cast from Kurt Russell to Wilford Brimley as Blair are all captivating, great casting by Anita Dann. The characters have their own issues and as the paranoia sets in relationships are forged and other broken, building to a bold and satisfying conclusion.

This is more than just a cult film with a 'monster' hiding in warm places surrounded by snow, it's a finely tuned science fiction horror masterpiece.