Science Fiction & Fantasy Reviews (Page 4)

An elven huntress has been left orphaned by an attack on her people by Orcs. What she doesn’t know is that it was in retaliation for an unprovoked raid on Orc peoples searching for food. Now she has become a dangerous bounty hunter, but when she kills an Orc shaman, his parting curse is to leave her with the mark of the Shadow. The Shadow is an evil cult uprising dedicated to the return of the gods, and in particular the ritualistic summoning of the demon god of death. Now it’s a matter of controlling her will as the darkness seeks to overcome her. An uneasy alliance forms between a holy soldier, an Orc seeking to regain control of his hoard, and the elf, as they attempt to capture the vessel required for the ceremony. If they fail it could mean the end of everything...

My expectations for this one were quite low. A sword and sorcery fantasy following in the wake of The Hobbit. However, right from the off I found myself compelled to watch with interest. The female elf very much looked the part, her pointed ears, blonde hair and startlingly blue eyes somehow enhancing both her beauty and danger. One of the hurdles at which to stumble might have been the sword fights and battle scenes, but I have to say that they are very professionally choreographed and the most convincing I have seen in some time. Likewise, the make-up is phenomenal for the Orcs and other creatures. The effects are low-key and kept to a minimum, and the movie is all the better for it –  although there are a few impressive surprises. Even the sky in the scenic establishing scenes, which glows yellow at one time of the day and pink at another, is done with just enough intensity to remind you this is an alien landscape and accepted boundaries don’t apply.

Okay, so it’s not The Lord of the Rings, but why does it have to be? I recently visited a plush cinema in central London to see Pacific Rim, because I am a huge fan of Del Toro’s work. It is the biggest load of tosh I have seen in quite some time. Yes, a fortune has obviously been spent on special effects, but the dialogue is cliched and the characters are Joe Soap nobodies. In short, it has no heart. Rise of a Shadow Warrior is different. The characters are diverse and well-defined. They have depth and quirks and mannerisms of their own. These are people you care about. The female elf is selfish, vengeful, but essentially good, which she proves when fighting the darkness within. The human cleric soldier is no-nonsense, and follows the wishes of his goddess without question, until he learns to feel for his purpose and the people around him. The Orc travelling with them has a dark sense of humour and, arguably, has the most likeable traits. Even the nasty cyberpunk dwarf with his invented projectile weapons is a fascinating and well-rounded extra.

The plot is pretty straightforward, but sometimes that simplifies matters enough to allow the players to come to the fore and shine. I found this film a breath of fresh air. The battle scenes are superb, the quest thrilling, the central trio of goodies utterly convincing. I found myself saddened it was all over. But where are the extras? I would have lapped them up.

(Review originally written by Ty Power for sci-fi-online 2013)

Sam Phillips is playing with his son outside the family cottage when night sets in abruptly and a blinding bright light appears, accompanied by high winds. Suddenly, Sam is gone. His wife Rachel assumes he walked out and left them. Three years later she has a live-in lover. Tony, the young boy is not interested in bonding with his ‘new father’ and sticks to his story that dad was taken by a bright light and that he will return. A strange and dangerous creature from another world arrives in the area and impregnates a woman living on her own with her dog. In a process which inevitably kills her, she gives birth to a full-size and fully-formed Sam. He returns to his old house where it is as if nothing has changed with his son. The boyfriend wants the newcomer gone, but Rachel grows to love him again as his memories return. What she doesn’t know is that Sam is now different, and has also passed-on surreal mental abilities to his son...

Xtro is a home-grown horror set in and around London. It just survived on the edge of the countless banned ‘Video Nasties’ of the 1980s, and deservedly so because it isn’t simply gore for gore’s sake. It’s a long time since I’ve seen this film; it gained a certain notoriety, like Inseminoid. In actuality it’s much better than I remember. Part of the reason has to do with the quality of the picture, which is quite staggeringly crisp and sharp. This is one of those examples similar to the Hammer Blu-ray releases that make you believe you are watching a new film with a period setting. This set has been assembled with real care, displaying a definite love for the project. This film certainly carries its own unique identity. The genres cross between science fiction, horror, 1970s to 1980s panache (wherein everyone’s a photographer, model or artistic painter), and Twin Peaks-style surrealism.

You may have to pay more than you would for a standard Blu-ray, but this box set incorporates a  veritable plethora of special features. Take a deep breath: Choice of Theatrical or Video Cover Artwork; a New Restoration with Optional Original and Alternative Endings; the UK Original Video version, and New 2018 Director’s Version; Xploring Xtro – a New 57 Minute Documentary with cast and crew; The World of Xtro – a New Featurette; Beyond Xtro – Looking Ahead to the New Reboot Xtro – The Big One with director Harry Bromley-Davenport; Xtro Xposed; Loving the Alien: Tribute to Philip Sayer featuring Exclusive Brian May Music Tribute; Original Soundtrack CD; and Soft Cover Book with informative text and stills… And breathe.

The best of these extras for me is The World of Xtro. Director Harry (the name of the ‘female’ snake in the film) Bromley-Davenport is generally self-deprecating. He calls this their ‘little movie’ and calls it ‘an awful mess’ or words to that effect. We hear from Xtro’s number one fan. While the director tells us they didn’t have the time or money to film linking scenes, here we are told the weirdness of the film benefits from their absence. The fan proves convincingly that scenes were carefully planned. The boy, Tony, has a toy black panther in a cage; the moment he causes the clown to make an appearance the panther is seen to be free of the cage – a  foreshadowing of what is to come. There are many examples like this if you pay close attention. What makes the craziness work is the entire story is grounded in the emotion of the family; all affected in different ways by events. The acting in this respect is very good by all concerned.

This film deserves more attention than it will probably get. One of the better shock-horror films of the 1980s. Give it a try. The amount of extras earns it an extra point.

(Review originally written by Ty Power for sci-fi-online 2018)

A couple, along with their elder daughter and son, and younger autistic son, embark on a camping holiday at Brown Mountain in North Carolina. After camping at their first stop point, the kids see spherical lights in the night sky. The boy captures them on a camcorder which he always has with him. The next day, they drive to the next site, but the satellite navigation takes them down an endless winding road. They are almost out of fuel when they reach a tunnel, blocked with long-abandoned cars. The father and boys go looking for help, but are accosted by not-quite-seen creatures. The father is taken, and the boys are forced to run away to warn the others. Suddenly, they are on the run in the woods from beings which can only be aliens. A lone man living in the hills could mean their salvation or their end...

This is another one of those supposed fictional/true-life events; camcorder footage found by the government, and all that… Yawn! But I have to say, like some kind of guilty pleasure, that I actually enjoyed this film. It’s no classic, but it’s certainly the best running-round-with-a-camera one I’ve seen.

Firstly, there is a strong, valid reason for everything being filmed – it’s not a coincidence that sudden occurrences are caught: the younger boy is autistic; he films practically everything. It’s something he needs to do, a sort of self-help therapy. Secondly, unlike most of these cheaply-made a lot-about-nothings, there is not only a final frame reveal, but the  viewer is rewarded with a number of visual set-pieces. Depending on what you are used to seeing, they are potentially shocking moments, filmed very maturely and with a great deal of thought as to how to get the most out of what they have.

The aliens are well-realised, and wisely shown in quick cuts or in shadow/silhouette, etc. Less is definitely more here. There is very good use of lighting, too, to accentuate the fear factor. Sound is utilised too much and too cheaply in horror films these days, with slamming doors and echoing sounds in corridors, etc. – however, here it is used in conjunction with the lighting to phenomenal effect. The scene where our characters are hiding in the barn is actually a suitably anxious moment.

So, there’s plenty to enjoy here. It gives new life to this tired sub-genre. Oh, and watch past the end credits, as there is a short  additional scene worth seeing. 

(Review originally written by Ty Power for sci-fi-online 2014)

In a dystopian future an on-going war is raging between mankind and the machines. Thomasz is a war deserter who has seen many of his compatriots wiped-out with little effort. Instead, he finds a remote abandoned house and sets up a forcefield around it, amidst nightmares of the past. When the barrier is compromised he fears it is by the machines; however, it is a young woman who wants to access the plans and electronics in the house. Initially untrusting of him, she renders Thomasz unconscious and bound, but Lilja is the survivor of a resistance group and drags him into her fight. To speak is to invite destruction, though it can also prove to be a useful diversion. Thomasz discovers a way in which he can make a difference in this war. But is it enough...?

This Reel 2 Reel Films DVD movie is the directorial debut of Daniel Raboldt. It employs elements of A Quiet Place, in that no one can speak without fear of death, as the machines appear to be attuned to the reception of speech and blast the area where it has been detected without hesitation. Of course, this aids a fledgling film, because there's next to no speech – and so no dialogue scripting and coaching, only movement direction. It is not really explained how the world came to this moment. There is a shot lasting mere moments which shows the recording of a news presentation featuring a newly created machine, so in this respect it borrows from Terminator and a little from Robocop and Transformers, too.

For some reason the film seems overly long; certainly the premise is a simple one and it takes its time showing us any meat on the bone, so to speak. There is a lot of wandering around with a gun, ducking under overhangs and behind trees, and walking great distances. The budget is plainly spent on the special effects of flying or walking machines of destruction – and very nice it looks –  but the acting and machines seem clumsily separate, like a child playing soldiers in the playground and imagining an enemy monster. The setting is good. It was filmed beyond the arctic circle in Finland, and this aids the climax. However, the machine war is described as a worldwide disaster, so the conclusion of the film must only solve a local problem. Nevertheless, it’s of light interest and far from being the worst director debut I’ve seen. No Extras.

(Review originally written by Ty Power for sci-fi-online 2021)

The scientist colloquially known as Doctor Cyclops is on the brink of a big discovery. However, one thing is getting in the way, and his eyesight is deteriorating rapidly. He invites three renowned experts in their field to aid in his work. They make the long journey by donkeys to his remote location. As soon as one of them identifies his mistake Cyclops loses interest in the three, summarily dismissing them. Indignant at their treatment they refuse to leave. Cyclops appears to mellow, offering to show them his experiments which are powered by mined uranium ore. But he traps them in a radiation chamber and reduces them to a fraction of their normal size. He attempts to use them as controlled experiments, but they escape vowing to expose him. When you’re tiny though where is there to run to? 

The back story to this movie is at least as interesting as the feature itself. Many people will not have heard the name Ernest Schoedsack, but when I remind them that he also directed the all-time classic King Kong (1933), it will instantly be elevated to somewhere near the status he deserves.

Doctor Cyclops is a 1950s B-Movie style production, except it is extremely well made and years ahead of its time in concept and execution. Bearing in mind this was 1940, not only is it in Technicolor (unlike many of the aforementioned 1950s films) but it was Oscar nominated for the excellent effects which Schoedsack made certain looked as realistic as possible. And talking of colour, it’s not only bright but vibrant to the point of creating more movement to the piece.

Cyclops was played by Albert Dekker. Much as in retrospect he seems to  be the ideal candidate for the part, he was blacklisted in Hollywood for some years as a result of criticising anti-communist speaker Senator McCarthy. Dekker was found dead in 1968 in a compromising and somewhat ritualistic setting.

It’s easy to dismiss Doctor Cyclops as just another giant and small people mash-up; however, we need to remember that this came years before The Incredible Shrinking Man, Land of the Giants, The Borrowers, and all those others we have come to accept. It’s an enjoyable little piece with only two scripted moments bringing wry smiles of ridicule. To be hustled into the radiation room (with even the man looking after the donkeys invited in) they are proved to be naïve beyond belief. Even the most ‘green’ would recognise the danger of being locked in. The other situation is the raising and lowering of the drill in the grounds. The disappearance of Cyclops to periodically make a minor adjustment is merely a writing plot device for our pint-size heroes to instigate their escape and fight back.

All in all, this movie – based on a short story by Henry Kuttner – is a well-crafted pleasure. I welcome its first release on DVD. 

(Review originally written by Ty Power for sci-fi-online 2017)

Four boys, Henry, Beaver, Jonesy and Pete, save a mentally challenged boy from being taunted and beaten by older boys. Douglas Cavell, soon known as Duddits because of his hands raised exclamation of "I duddits" instead of "done it", now sees the boys as close friends. Duddits is discovered to be more than he seems when he imparts certain abilities on them, including telepathy and uncanny seeing skills, which help them find a missing girl. Years later, and now adults, the four are enjoying their annual reunion when a sick man staggers from out of the woods. Inside him gestates a worm-like parasitic creature, which leads to an early confrontation with a large alien to become known as Mr Gray. All the natural creatures inhabiting the mountainous areas flee and are quickly superseded by the army, led by Colonel Abraham Curtis. Curtis quarantines the region and incarcerates all those who carry the rust-like infection of the aliens. An attack on a crashed spacecraft triggers its self-destruction, but the menace is far from over. Curtis plans on sterilising the entire area, but the four friends have other ideas. When Jonesy is possessed by Mr Gray his subconscious retreats to the Memory Warehouse, the only part of his mind that the invader can't penetrate. Henry realises that Duddits' extraordinary abilities means he knew this would happen from the time they were boys, and that he was always the focus of their group. But Duddits is older now and is sick with leukaemia...

In previous reviews I have revealed that I am not a fan of Stephen King on the printed page. A wealth of original ideas are often tainted by the need to describe the floral wallpaper and regency furniture, information most readers simply don't want to know. Film adaptations are another matter, however. Although there have been some derisory attempts to convert King's fertile imagination to celluloid form, a handful of films based on his books have succeeded spectacularly: The Dead Zone, Misery, The Shawshank Redemption, and The Green Mile, to name but a handful. Whilst Dreamcatcher is not as emotionally compelling as these, it is gripping all the same. You get the impression that all the stops have been pulled out to produce the best film possible from the book. Acting, special effects and scenery combine in a not often seen synergy.

Question: How do you show alien parasitic creatures gestating inside human or animal hosts without seeming to emulate the science fiction classic Alien? Answer: you make the connection obvious by having the military nickname them "The Ripleys". Much as this description may make you think otherwise, appearance and motives are not even close to the Alien movies, and even Mr Gray turns out to be a shape-changing creature which uses the standard alien look, albeit on a much larger scale, for its own nefarious motives. The scene with the worm parasite in the toilet is both hilarious and chilling, and was said to have been used as a location in the book by King because he felt it was the only room left in a house which people don't want to see beyond in a movie.

The Dreamcatcher of the title is mainly a metaphor for the prophetic bonding of the four friends. As a child Duddits creates an image in the air of a Red Indian dreamcatcher (which is said to have had the ability to prevent bad dreams from taking form, or allowing evil spirits through) in the air. The four friends later create the real thing; four circles with another in the centre representing Duddits. It hangs in the cabin where they meet yearly. Donnie Wahlberg, as one of seven headlining names in the film, will no doubt receive plaudits for his portrayal of the adult Duddits, when clearly Andrew Robb as the young version is so much better. He is a little aloof, somewhat strange and yet very friendly, and all of this comes across extremely well.

The mass exodus of animals from the forest looks Jumanji-like, when this kind of CGI was in its infancy, but as we witness the movements from a distance the shortfalls are not so evident. There is so much to appreciate here. The spiral architecture of the Memory Warehouse, packed-out from floor to high ceiling with dusty boxes, and labelled with subject information, is impressive, as is the way we see Jonesy inside the room protected from Mr Gray, even though he is possessed by the creature.

The picture and sound quality on this widescreen version is superb. Extras include five alternate or extended scenes, an interview with writer Stephen King (in which he comes across friendly and enthusiastic), a behind the scenes feature, a visual effects feature, a film trailer and DVD ROM stuff. Coupled with the film running time of 134 minutes, all on one disc, this makes for an impressive and cost effective package.

(Review originally written by Ty Power for sci-fi-online 2003)

Dorothy is a young woman who is finally reunited with her mother, only to find her dead. A huge twister is tearing-up Kansas City, and she finds herself caught up in it and transported to a strange land ruled by magic. She reluctantly teams-up with a warrior she names Lucas, who has lost his memory, and a German Shepherd police dog who was brought from Kansas in the storm. In order to return home, and for Lucas to regain his memory they travel to the City of Oz for council with the all-wise Wizard. However, when they are tortured on the way by a powerful witch, Dorothy manages to trick the witch into shooting herself, and from that moment on, she is a target. Not only does the Wizard want her, but so too do the sister witches. But there is unrest in Emerald City. A past disaster is prophesied to return, and a neighbouring kingdom has declared war on Oz. The wizard has outcast magic in favour of science, but he may need the help of magic to save his city from The Beast Forever. Furthermore, Dorothy could prove critical in his salvation. But can he be trusted... 

Let me say from the outset that V For Vendetta is a genuine classic. Like synergy, all the planets are in alignment for this one. This is a movie that can never be experienced again for the first time. As obvious as this sounds, I mean it can never have as profound an effect on the viewer on subsequent revisits. That doesn’t mean you won’t want to re-run the movie. Believe me, you will! This is a film which has everything. There is mystery, action, intrigue, love, politics, deception and truth. This is essentially about people, belief and being true to ourselves. It teaches us that we are the  future – not governments, societies, establishments and symbols of power. More definitively, the film has ‘heart’. It’s ultimately a feelgood concept, too; the age-old fight against oppression, but told in an exciting and refreshing way.

Emerald City first aired in 2017, but it’s conception was three years earlier. The pilot script was written by Matthew Arnold, and promptly commissioned for a ten-episode season. Although Josh Friedman (Terminator: The Sarah Connor Chronicles) was brought on as the showrunner, he quickly fell-out with the studio, causing the series to be cancelled. David Schulner was employed to replace Friedman, with Tarsem Singh directing all ten episodes. The series was cancelled after the first season. But was that decision justified? It is intriguing, and you don’t feel as if you’ve wasted your life watching it. However, it fails to reel you in and grip to the point that you can’t wait to see the next installment. It’s partly down to the concept. It’s the correct decision to abandon the admittedly brilliant but very fluffy 1939 film version in favour of something closer to L. Frank Baum’s harder-edged children’s Oz books. If anything, this isn’t gritty enough. There are a few shocks. But you don’t sympathise enough with the lead characters.

Adria Arjona is kind of okay as Dorothy, but doesn’t have enough charisma to carry the show as the lead protagonist. Again, Vincent D’Onofrio is fine as The Wizard, although he’s not compelling enough to be the ambiguous hero/villain of the piece. The strong roles are Oliver Jackson-Cohen as Lucas the swordsman, who portrays confident or lost with equal aplomb; Gerran Howell as Jack the part-human part-clockwork boy, who you believe and feel for in every relevant scene; and Rebeka Rea as the little girl witch Sylvie. A wonderful performance considering her age. There are radically different versions of The Scarecrow, who is Lucas (partly because of his loss of memory, and a greater connection near the end of the season), The Tinman who is Jack (he has metal parts and occasionally requires oiling), and The Lion, played by Mido Hamada, a less than cowardly  soul. Quite the opposite, in fact. The whole has a kind of Gulliver’s Travels-like feel to it, rather than The Game of Thrones look it promises. However, I did enjoy the Victorian Cyberpunk aspect to parts of the show – particularly the repairs made to Jack, and the  multiple masks of the queen he befriends.

It’s not fantastic but it is well worth checking out. Fans of The Wizard of Oz will be intrigued as to how the concept has been updated for the new age. We also get to see a brief backstory for The Wizard. It would be interesting to know what was planned for Season Two. We do know that it involves more prominently The Beast Forever. The epilogue scene for this season is slightly corny; perhaps it was tagged onto the end when the show was cancelled. Extras include: Deleted Scenes, and Oz Reimagined: The Making of Emerald City.

(Review originally written by Ty Power for sci-fi-online 2021)

The female presenter (played by Emily Booth of the Horror Channel) of a tacky UFO investigation TV show is sent by her boss to an island off North Wales to investigate the reports of a young woman being attacked and impregnated by an alien lifeform. Along with her cameraman and sound man, she takes along two talentless actors (a tall, effeminate man, frightened of his own skin, and a Barbie-like model who is the girlfriend of her boss) to re-enact what supposedly happened at an ancient stone circle. Here they meet an uber-geek, the founder of a UFO society, who is also at the stones looking for proof of a visitation. No one really believes the pregnant girl’s story until a UFO lands on the stones and they learn just how violent the occupants can be. The girl’s three scary brothers seem able enough, but this turns out to be a larger scale problem than they could ever envisage...

Now, how would I describe Evil Aliens? I suppose a dark comedy, science fiction, horror gore-fest would be most succinct. This is another example of a writer/director project, this time at the hands of Jake West. The film had a strange effect on me, although admittedly I wasn’t expecting too much in the first instance, because most fag packet writer/directors are doomed to failure and are forced to commit to one or the other. Not everyone can be John Carpenter or Guillermo del Toro. My first impression was that it was a little silly, rather than funny, and the dialogue somewhat ‘talky’ and annoying – even if it was realistic in the circumstances. However, once the real action got going I found myself increasingly warming to the characters and situations. Certain aspects of the film reminded me of Inbred, another home-grown dark comedy which grew on me, and another example of classic Britishness in style.

I  was impressed by the way the characters became very natural, individual and distinct as the tension was cranked-up. Some of them are forced to adapt and change to survive, and the leaders who emerge are not always the ones you would expect. Having sympathy for the characters is not something you expect to do in this type of film. It is, after all, extremely gory, and could be seen to be in bad taste if not for the fact the plot and situations have their tongues very firmly in cheek throughout. However, the two best characters in evidence are the strangest and most violent of the island’s three brothers, and the Barbie-like model/actress who walks into the farmhouse in pink and high heels but later turns into a  gun-toting action heroine. The two become a  sort of unlikely  partnership.

The make-up and prosthetics work is very good, and the visual effects on the whole well worth the year it took to realise them for the screen. There are a couple of areas where it doesn’t quite work: one being the flying debris from an explosion, the other being fire (which, to be fair, special effects have never been able to make look entirely real, no matter how much money is thrown at them). The action sequences are what make this movie work so well. There are a number of darkly comical sequences when I was caught between pulling a face and laughing out loud. Straight music is used to good effect in some of these. When the three brothers first arm themselves and go out into the night to confront some of the aliens, it is to the background sound of a Spaghetti Western. The best sequence though – and guaranteed to make anyone laugh with  appreciation – is when the TV presenter’s camera man drives a combine harvester across a corn field scattering and shredding scores of  aliens before him, to the tune of The Wurzels’ ‘I’ve Got a Brand New  Combine Harvester!’

Just a word about Norman Lovett (comedian and TV’s original Holly in Red Dwarf); he is woefully underused here, having only one scene but one in which his talent and charisma shines through. There are some nice extras on the disc, which include: Interviews with cast and crew; Extended, Deleted, and Unused Scenes; Bloopers & Outtakes; and A Guided Tour of Life Creations (the make-up, model and prosthetics company). This is a home-grown gem which, once through the clichéd first fifteen minutes, any fan of horror, science fiction and comedy is sure to enjoy.

(Review originally written by Ty Power for sci-fi-online 2015)

An engineering scientist called Thomas Jacobs invents a device which records and places you into your own memories. The purpose is to help people with psychological problems, and to separate real from false memories. He is approached by a backer representing the Justice Department, which wishes to invest. In return for making him and his family very wealthy, he is persuaded to adapt his device to place someone mentally into the memories of another person. The test subject is a dangerous criminal convicted of brutally killing his girlfriend. Thomas agrees to demonstrate the machine himself, and spends time watching the man’s memories from within. However, when the time comes to leave, Tom finds he is trapped inside the man’s head. For four years, he is obliged to repeatedly witness past events from the point of view of the convict. But then a slight malfunction in the system allows the convict to notice his presence. The desperate man is convinced he is innocent of the charge of murder, and so forces Tom to uncover the truth or stay imprisoned within his head forever...

This is another one of those films which surprises you with its originality and inventiveness. This is no big budget blockbuster, and works all the better for it. It is well crafted and tightly edited so that it hits the ground running and is constantly evolving and picking up pace. The plot is intriguing, but the background gives it just as much substance. I like the fact that, within the scene of a given memory there are points of detail which have been forgotten. These are filled-in by the programme, and Tom has to carefully trigger the clarity of these details. Whilst initially taking for granted what he is told about the situation, Tom becomes guardedly sympathetic to the convict’s plight as more information is uncovered and doubt overcomes him.

In retrospect, the storyline of Extraction allows for many of the memory scenes to be repeated with only minor alterations, without ever seeming like the movie is scrimping and saving on its costs. This consequence may have also reduced the filming schedule. Nevertheless, it’s well worth a look for those who enjoy technological science fiction or murder mystery thrillers, as it straddles both genres. 

(Review originally written by Ty Power for sci-fi-online 2013)

Lyra Silvertongue is a girl who leaves her home in the Oxford of her world in search of her father, Azrael, who is studying the  properties of something called Dust. As Season 2 begins, she discovers an abandoned city which exists separate to everything else. Here she meets Will Parry, a boy from our world, and learns that their destinies are inextricably linked. There are more immediate matters to attend to, however. Will is the new bearer of the Subtle Knife, which can cut through realities. Lyra agrees to help Will find his father but, unbeknown to her, Lyra is the subject of a prophecy to bring harmony and unite all worlds. But this places her in great danger, least not from her devious and scheming mother, who has connections with the Magisterium, an evil religious order. Then they discover that Dust is the same as Dark Matter in our world, and it has a conscience. In fact, a great many consciences. But who or what is the Authority...?

Every so often a quality drama comes along which is not only extremely well-made in every respect, but which unites the adult and child demographic. This is very much a family viewing experience, with neither age group being spoken down to. This story is based on Philip Pullman’s fantasy/intrigue trilogy spanning alternate worlds. It seems that each series follows the plot of each book in turn. So, the first series was Northern Lights, this second series is The Subtle Knife, and series 3 will be The Amber Spyglass. There is also The Book of Dust (a  prequel) to consider. Pullman’s story is very well realised here. The characters with demons (a sort of witch’s familiar animal; they are the same essence) have their companions speak and move realistically – unlike those hugely annoying talking animals in TV advertisements. Everyone has their own agenda, which is as it would be, and this adds a suspense and almost thriller aspect to the whole. It is also represented in a manner which keeps you coming back for more. This is not as easy as it sounds in a modern, inpatient society wherein everyone is so fickle.

The series stars Dafne Keen (Logan), Ruth Wilson (Luthor), Lin-Manuel Miranda (Hamilton), Andrew Scott (Sherlock), Ariyon Bakare (Good  Omens), Simone Kirby (Jimmy’s Hall), and James McAvoy. I have to say that the acting is uniformly very good, and the animal demons have just as much character – which must be very difficult to achieve. I found my favourite character to be the aeronaut Lee Scoresby, played by Lin-Manuel Miranda, who is a single-minded adventurer, and through his clothing and actions adds a Steampunk and Western aspect. All of the demons are remarkably well-matched to their human counterparts. Scoresby has a large female hare.

This BBC Studios Season Two Boxset is very nicely put together, being in a solid slipcase the insert of which opens out horizontally to reveal a lovely picture representing the major characters, and three separately mounted discs incorporating three episodes each on discs one and two and episode seven and the extras on disc three. The set also includes four double-sided art cards. There is a very enjoyable and informative behind-the-scenes documentary covering the first series. Of particular interest in this are the excellent animal puppets and their operators who created realistic movements and a point of contact for the actors to work to, before the CGI was added. The Subtle Knife is listed right underneath on the special features, so I expected  another in-depth documentary. However, this lasted only a matter of minutes. There is an interview with Lyra’s Dafne Keen, and a feature on The Powerful Mrs Coulter.

If you somehow missed the series, or want to revisit these colourful characters, there’s no better way than to add this to your collection and wait with baited breath for series three.  

(Review originally written by Ty Power for sci-fi-online 2020)

Warner Bros. Home Entertainment releases the  outstanding New Line Cinema and Metro Goldwyn-Mayer movies The Hobbit: An Unexpected Journey, The Hobbit: The Desolation of Smaug, and The Hobbit: The Battle of the Five Armies – in a Trilogy Boxset. They are mastered in stunning 4K Ultra HD resolution with High Dynamic Range, which showcases a wider colour spectrum (brighter, deeper and more lifelike) for a much improved viewing experience. The remastering was overseen by original director Peter Jackson...

Peter  Jackson, of course, famously adapted J. R. R. Tolkien’s timeless The Lord of the Rings trilogy of books into the films The Fellowship of the Ring, The Two Towers, and The Return of the King. So ground-breaking and successful were they that the studios wanted Jackson to move directly on to The Hobbit – a prequel of sorts. However, he had worked tirelessly for five years on three films back-to-back and was desperate to do something else. It was reported that the studio executives threatened to give The Hobbit film to someone else, but he was determined to have a break. It was well that they waited for him, because Jackson essentially made three long but very fine movies based on only a single book – and a relatively short book, come to that. One of the writers for the film was Guillermo del Toro, a director I have a great deal of respect for (Pan’s Labyrinth, Hellboy, etc.). In the films, Bilbo Baggins is politely goaded by the wizard Gandalf into accompanying a band of warrior dwarves in an epic journey to take back their home in Erebor from the fearsome dragon, Smaug. They are obliged to tackle Orcs, Goblins, Mountain Giants, and a host of other hazards. The cast includes Ian McKellan, Martin Freeman,  James Nesbitt, Sylvester McCoy, Kate Blanchett, Ian Holm, Christopher Lee, Hugo Weaving, Andy Serkis, Benedict Cumberbatch, and many, many more.

I mention the word ‘stunning’ in the first paragraph, and I don’t use  it lightly. Many 4K releases fail to impress, as they are simply up-scaled or poorly mastered offerings. Some truly stand out. V For Vendetta, The Dark Knight Trilogy, and the John Carpenter films Escape From New York and The Fog are good examples of how they should be. Even Carpenter’s The Thing was released as a Blu-ray but with 4K remastering of the original negatives, and it’s so good that I spent much of the viewing time appreciating scenery I had not seen in detail before. I would certainly place The Hobbit Trilogy in this top class group of releases. There appears to be more depth to the experience, and the colours are vibrant without being cartoonish. Everything seems more real and gritty; which is certainly what is required in a fantasy – albeit a Dark Fantasy from a classic book. I possess the original DVD releases of these films, and noticed no difference at the time because you come to accept the new technology as standard. But the difference between the DVD and 4K viewing pleasure is tantamount to the distance between The Shire and Erebor.

The Lord of the Rings Trilogy is also available in the same format: both have the Theatrical Version and the Extended version of each film (6 discs in each set). These contain only the films, no extras. Both trilogies are also out in Steelbook format. It should be pointed out that in the Summer of 2021 a 4K UHD “Middle Earth”  Ultimate Collectors’ Edition featuring the Theatrical and Extended Versions of all six films, with new Bonus Content and Blu-ray versions of the films also included, is released. You might feel this is a bit of a con, but some people only want to see the films, and are not interested in the special features. Therefore, if you are a Peter  Jackson or Middle Earth keen enthusiast I would suggest waiting and saving your pennies for the Summer Ultimate set. My opinion is that these should have emerged at the same time. But as for this trilogy set, it’s practically faultless. 

(Review originally written by Ty Power for sci-fi-online 2020)

Fabulous Films releases The Incredible Hulk: The Complete Collection – a 26 DVD boxset incorporating all 80 episodes from the five TV seasons which ran between 1977 and 1982, the two original feature-length TV films, and for the first time together with the episodes we get the three later TV Movies: The Incredible Hulk Returns (1988), The Trial of the Incredible Hulk (1989), and The Death of the Incredible Hulk (1990)  – which were originally packaged in a separate boxset. This much-loved and fondly remembered series starred Bill Bixby as David ‘Bruce’ Banner and Mr Universe body builder Lou Ferrigno as the Hulk...

I reviewed the Blu-ray release of the series back in 2016, and the TV Movie DVD Trilogy boxset in 2018. For much more detailed reviews please read those. All the extras appear to be the same; the only difference is this set contains all DVDs, whereas my review for the series was Blu-rays. This brings me on to the quality which some people have reported as poor. Certainly, I remember the Blu-rays as being slightly higher quality, but the restored DVDs are fine. They bear close scrutiny and, ironically, it is the distance shots which are occasionally grainy. Nevertheless, this was a great series, and I challenge anyone not to be drawn into this at times tense and emotional world which is not out of place in a comic book setting.

(Review originally written by Ty Power for sci-fi-online 2021)

Teenager Sarah is a dedicated gamer; obsessed, her dad might call her. She suddenly finds herself inexplicably transported into a platform adventure, becoming a male crewmember on a spaceship commanded by the talented but self-important Captain Max Cloud. She discovers she cannot direct the character’s actions, so it proves timely when a gaming associate arrives at her empty house looking for her. After his initial shock has abated, he learns that he can communicate with Sarah through the console’s headset. Obliged to play the game of life or death to its conclusion, Sarah and her companions find that their ship has crashed and there is a gaping hole in its side. Furthermore they are continuously attacked by humanoid fighters sent by the evil manipulator, Revengor who, it seems has a history with Cloud...

The Intergalactic Adventures of Max Cloud – to give it its full name – is a science fiction comedy. However, unlike the excellent Galaxy Quest, this film has a problem with its balance. It’s a nice idea to have a modern movie made about a retro 1980s/1990s computer game, and it’s equally bold to set it in that time period. Surely such a notion is doomed to failure? I believe the format may have worked a little better if the flick was set in contemporary times but still revolved around a retro game. There would have remained a clash of culture, even though the game is futuristic. Another problem is that most of the characters are dull, and made more forgettable by the misappropriated humour which misses its mark so many times that it leaves behind a residue of bad puns and pantomime set pieces.

Isabelle Allen is pretty good as Sarah, but wasted by spending half of the film as a disembodied voice. Scott Adkins plays Max Cloud as reckless and annoying. I realise that is how it’s written by director and co-writer Martin Owen, but he proves to be far too irritating and tiresome for the title character. Even the happenstance friend Cowboy (Franz Drameh) is a little slapstick in places. The injection of the lone gunman Brock Donnelly (Tommy Flanagan) only works to a certain extent to inadvertently bring Cloud down from his high horse. By far the best character is the main villain Revengor. John Hannah (perhaps best known for Four Weddings and a Funeral, and McCallum) plays the role like a dramatic thespian, and in doing so adds some much-needed quirkiness. It’s fitting that his sidekick, the warrior witch-like Shee (Lashana Lynch) is nastier than he is.

I wouldn’t like to suggest no one will like the movie. Perhaps I just require more substance, and don’t suffer fools gladly – whether they be fictional or real. It is certainly true that you will need to leave your IQ at the door. Just accept it for what it is, and it will pass an evening with a bowl of popcorn. 101 Films has released this on Blu-ray, DVD, and Digital formats. There are no extra features, almost unheard of in this day and   age. 

(Review originally written by Ty Power for sci-fi-online 2021)

“In the worlds before Monkey, primal chaos reigned. Heaven sought order. But the phoenix can fly only when its feathers are grown. The four worlds formed again and yet again, as endless eons wheeled and passed. Time and the pure essences of heaven, the moisture of the earth, the powers of the sun and the moon worked upon a certain rock, old as creation. And it became magically fertile. That first egg was  named ‘thought’. Tathagata Buddha, the Father Buddha said, ‘With our thoughts we make the world.’ Elemental forces caused the egg to hatch. From it then came a stone monkey. The nature of Monkey was irrepressible…”

Confused? I’m not surprised. The pilot episode crams so much back story into the proceedings that it’s enough to turn anyone off before the series even begins. Try this synopsis instead: For his arrogance and troublesome nature, Monkey is given a lower position in heaven in order to teach him responsibility. However, when he eats the protected peaches of strength and immortality, and attempts to take over a position of power – even disrespecting the Buddha – he is expelled from heaven and trapped under a mountain for 500 years. The Buddha has written new scriptures and tasked a young priest, renamed Tripitaka, to journey to India to recover them. But the quest will be a dangerous one, so the priest is accompanied by the released Monkey who is controlled via a mentally-controlled headband which gives monkey pain when he becomes wayward. Also, along on the journey are two other expulsions from heaven, Pigsy (a humanoid pig monster creature of gluttony and lust) and Sandy (a humanoid sea monster and ex-cannibal).

By the end of the second episode the format is in place, the journey has begun, and Monkey has even fought and outwitted a thief demon. A water dragon makes the mistake of eating Tripitaka’s horse, and so is obliged to take the shape of a white horse and carry the priest for the entirety of the journey. It even talks to the others when it feels like doing so. All this sounds completely crazy, doesn’t it? But it’s great fun and in turns both ridiculous and extremely amusing. For anyone old enough to remember, the 1970s incorporated Kung-Fu mania in the form of Bruce Lee, the hugely popular series Kung-Fu (starring David Carradine), and even Kung Fu disco and pop songs! Monkey emerged in 1979, around the same time as the excellent The Water Margin. If the latter was the more serious and adult of the two, the former was aimed at a family audience and particularly kids - which is curious considering the backgrounds of Pigsy and Sandy. The whole thing is so quirky, the trio of guides/protectors bounce off of each other and are almost constantly in conflict with each other, even though they fight as a unit.

Fabulous Films have released a Blu-ray set of the complete series for the first time anywhere worldwide. There is also a complete DVD set (which is what I am reviewing). Monkey, a Japanese drama based on a Chinese tale from the 16th Century about a Buddhist priest from the 7th Century, was reworked for a British audience by scriptwriter David Weir, who had previously adapted The Water Margin. Monkey was screened on BBC2 in 1979 to much acclaim. They showed 39 of 52 episodes. David Collins who voiced the title character sadly passed away earlier this year. He has appeared in Doctor Who, Sapphire and Steel, and Gerry Anderson’s UFO.  Peter Woodthorpe who voiced Pigsy has also passed on. They have certainly left behind a legacy here. You may be interested to know that Miriam Margoyles voiced many of the female characters on the show, and Andrew Sachs voiced Tripitaka’s horse who is really a Water Dragon. The ‘lost’ 13 episodes were dubbed by Fabulous Films in 2004 using the original cast, and were narrated by Bert Kwouk (Cato in The Pink Panther films).

Although Restored, these episodes do not appear to have been remastered from the original negatives. In other words, they really should look brighter and crisper. But don’t let this spoil your enjoyment of a fondly remembered series. I didn’t notice any existing damage to the picture or sound, and it’s eminently viewable. It really is great to have some of these old shows returned to us from an age when we believed that if you missed it you’d missed it forever. Extras include a Documentary about the dubbing of the lost 13 episodes, and PDF Scans of original dubbing scripts.

(Review originally written by Ty Power for sci-fi-online 2020)

A group of scientists and paranormal researchers arrive at the Skinwalker Ranch in Utah, to investigate a series of reported phenomena surrounding UFO sightings and cattle mutilations. This was the site where a young boy called Cody Miller went missing in 2010. His father saw him disappear in a bright flash of light, but other people in the region are divided over whether he was responsible. The father is as determined as ever to recover his boy, but the new arrivals at his ranch seem significantly more interested in the shocking and, frankly, frightening events which begin almost the moment they arrive. What appears to be the boy runs through the kitchen and vanishes again, large bright lights and smaller orbs are seen, dead bats crash into the roof, and a very large and ferocious animal attacks them. Then the group discovers that the organisation which funded this research was also at the ranch in the late sixties. A video tape is discovered, which reveals that a missing girl was found, but that she was something else when she returned. All bar one of the group are desperate to leave, but will whatever is there allow them to leave...?

I wanted to get this review out of the way first from the current batch, as I was fully expecting another Paranormal Activity-type movie where someone runs around with a camera for ninety minutes, doing nothing very interesting, and then the film ends suddenly, making you rue that hour and a half you’ll never get back. Although this one does end suddenly, there’s a very valid reason for it. As well as POV hand-held camerawork, there is also a certain amount of traditional  filming. I must say that this is the sort of movie where you expect very little and so are pleasantly surprised when you get so much more. I’m not a fan of films which tie-up everything in a neat little package, as if you might not understand what has been rammed down your throat from the start, but in this case it would have been nice to get even a little hint of what this was all about, in terms of the reason why the events were taking place and what significance the ranch has in the visitations.

So, you can see I’m rather torn on this one. The plot, although  apparently partly based on a true story, doesn’t really go anywhere. The characters are a little stereotypical, to the extent of being bland, all except for the boy’s father, who acts exactly the way you would expect him to, given the situation. The saving grace here is that shocking events come relatively thick and fast, and crank up the viewer interest (if not the tension) with increasingly bizarre happenings.

For all its faults, I found myself enjoying Skinwalkers, proved by the fact that the 86 minutes running time seemed to fly by. I  just can’t find myself forgiving the non-conclusive and sudden ending. The Blair Witch Project has a lot  to answer for.  

(Review originally written by Ty Power for sci-fi-online 2014)

It’s the year 2035. Only one percent of the Earth’s population has survived following a catastrophic disaster. They live underground while the animals and insects claim the old cities. ‘Volunteers’ are picked to suit-up and risk the uninhabitable surface. One such person is ex-violent criminal Cole (Bruce Willis). After a successful excursion, he is put before scientists and chosen to be sent to the past. He thinks it is 1996 – the time that the Twelve Monkeys phenomenon first appeared – but he is really in 1990. His sometimes violent attempts to warn people of what is about to happen land him in a insane asylum. Only Dr Kathryn Railly (Madeline Stowe) listens to his ravings. She has the distinct feeling she has seen him before. Armed with only two clues, together they must solve the puzzle of the Twelve Monkeys before humanity is made completely extinct...

Receiving this Limited Edition DVD version of Twelve Monkeys for review throws me back to when I had the original video release of the film. That is an irony in itself considering the nature of the plot. My first impression back then was that the story was left open and the film consequently not properly finished. However, a satisfactory conclusion isn’t always the most important part of a movie’s structure. So, a number of years and thousands of viewed films later I find myself with a different opinion. I’m not keen on films which are tied-up in neat little packages and are obliged to explain themselves. The way I look at this now is Cause and Effect. Time will not be compromised; any attempt to change it will throw you into a time loop.

Twelve Monkeys was inspired by Chris Marker’s 1962 short film La Jetee. This film wears the cloak of a science fiction, but breaking it down to its bare bones it’s something like The Butterfly Effect mixed with Groundhog Day or Happy Death Day. Then, thrown into the stew is Environmentalists, Political Activists and Insanity. It’s certainly a good romp, but it’s not the revelation it is claimed to be by some – although I’ll admit it’s arguably more relevant than it ever has been since the initial cinematic release.

Bruce Willis and Madeline Stowe are good together as the two key characters. Both reportedly took a pay cut in order to work with Terry Gilliam, who saw this as a premise similar to his previous film, Brazil.  Willis was given acting cliches to avoid by Gilliam, including the steely-eyed stare. The revelation here is the performance by newcomer Brad Pitt. Terry Gilliam was uncertain whether Pitt could play the required crazy/eccentric part, and so sent him to a voice coach. Subsequently, he discovered he need only have taken away the man’s cigarettes! Between the end of filming and the release of the film Brad Pitt’s star was in the ascendancy, having appeared in Interview With a Vampire, Legends of the Fall, and Seven.

Extra features include: a Feature Length Documentary The Hamster Factor and Other Tales of Twelve Monkeys; and the Strictly Limited Edition contains a Twelve Monkeys Pandemic Mask.  

(Review originally written by Ty Power for sci-fi-online 2020)

Against a backdrop of a future totalitarian Britain, a young woman called Evey has her whole interpretation of society changed when she is rescued from thugs by a charismatic vigilante wearing a stylish Guy Fawkes mask. Known only as “V” the figure is viewed by the establishment as a terrorist, but V is a freedom fighter skilled in the art of combat and deception, who detonates London landmarks and takes over the government-controlled airwaves. As Evey learns more about herself she also discovers there are multi-facets to her new companion...

Let me say from the outset that V For Vendetta is a genuine classic. Like synergy, all the planets are in alignment for this one. This is a movie that can never be experienced again for the first time. As obvious as this sounds, I mean it can never have as profound an effect on the viewer on subsequent revisits. That doesn’t mean you won’t want to re-run the movie. Believe me, you will! This is a film which has everything. There is mystery, action, intrigue, love, politics, deception and truth. This is essentially about people, belief and being true to ourselves. It teaches us that we are the  future – not governments, societies, establishments and symbols of power. More definitively, the film has ‘heart’. It’s ultimately a feelgood concept, too; the age-old fight against oppression, but told in an exciting and refreshing way.

There hasn’t been too many stories – either documentary or dramatic in content – depicting Guy Fawkes. The film opens with a scene depicting his capture and public hanging at the time of the infamous Gunpowder Plot to blow-up the Houses of Parliament. Although the film proper is set in a fictitious future Britain, our anti-hero utilises a costume and very striking mask to portray the essence of Fawkes, representing a fight against corruption. It is not giving too much away to reveal that the face behind the mask is never unveiled, though there are clues as to what he may have looked like many years before. This is very clever, as we all accept that the unknown is far more frightening or intriguing. Once something or somebody is seen and understood, it loses much of its power. V himself is articulate and literate, quoting not only the ‘Remember, Remember the 5th of November’ rhyme, but relevant Shakespeare and the odd bit of French (for some reason).

There is a veritable plethora of notable British actors on show here. Aside from the peerless John Hurt, there is Natalie Portman, Tim Pigott-Smith, Stephen Fry, Hugo Weaving, Stephen Rea, and many others spotted in cameo roles. It is good to see Roger Allam (Endeavour’s Inspector Thursday) and Ben Miles from the excellent sitcom Coupling, too. V For Vendetta is based on the outstanding graphic novel written by Alan Moore, illustrated by David Lloyd and published by Vertigo/DC Comics. The film was written and produced by the Wachowskis, who made The Matrix trilogy, and directed by James McTeigue.

This set contains a 4K Ultra HD and High Dynamic Range version of the film for the first time. Being that a new scan has been produced using the original film negatives, the picture looks fantastic – crystal clear and sharp, with a wider colour spectrum allowing deeper shades to be clearer. For those who have the appropriate speaker systems, the disc features a Dolby Atmos soundtrack. This doesn’t mean you can’t enjoy the soundtrack without that equipment, but you will need a 4K TV and a 4K player – essential, I think, for the seasoned film buff. New special features on this disc include V For Vendetta Unmasked (a Behind-the-Scenes making-of featurette), James McTeigue & Lana Wachowski in Conversation, and Natalie Portman’s Audition.

There is also an HD Blu-ray included in this set, the previously released extras of which are made available again here. They include: Freedom! Forever! – Making V For Vendetta featurette; Designing the Near Future featurette; Remember, Remember – Guy Fawkes and the Gunpowder Plot; England Prevails – V For Vendetta and the New Wave in Comics; Cat Power (good surname!) Montage – the song played against images from the film; and an Easter Egg Hidden Bonus of a Saturday Night Live Short. Additionally, there is a Digital Download copy of the movie.

An excellent film, brilliantly presented, and in three formats… How could you go wrong? Take my word for it: Add this to your collection. You won’t be sorry. 

(Review originally written by Ty Power for sci-fi-online 2020)

Sam Phillips is playing with his son outside the family cottage when night sets in abruptly and a blinding bright light appears, accompanied by high winds. Suddenly, Sam is gone. His wife Rachel assumes he walked out and left them. Three years later she has a live-in lover. Tony, the young boy is not interested in bonding with his ‘new father’ and sticks to his story that dad was taken by a bright light and that he will return. A strange and dangerous creature from another world arrives in the area and impregnates a woman living on her own with her dog. In a process which inevitably kills her, she gives birth to a full-size and fully-formed Sam. He returns to his old house where it is as if nothing has changed with his son. The boyfriend wants the newcomer gone, but Rachel grows to love him again as his memories return. What she doesn’t know is that Sam is now different, and has also passed-on surreal mental abilities to his son...

Xtro is a home-grown horror set in and around London. It just survived on the edge of the countless banned ‘Video Nasties’ of the 1980s, and deservedly so because it isn’t simply gore for gore’s sake. It’s a long time since I’ve seen this film; it gained a certain notoriety, like Inseminoid. In actuality it’s much better than I remember. Part of the reason has to do with the quality of the picture, which is quite staggeringly crisp and sharp. This is one of those examples similar to the Hammer Blu-ray releases that make you believe you are watching a new film with a period setting. This set has been assembled with real care, displaying a definite love for the project. This film certainly carries its own unique identity. The genres cross between science fiction, horror, 1970s to 1980s panache (wherein everyone’s a photographer, model or artistic painter), and Twin Peaks-style surrealism.

You may have to pay more than you would for a standard Blu-ray, but this box set incorporates a  veritable plethora of special features. Take a deep breath: Choice of Theatrical or Video Cover Artwork; a New Restoration with Optional Original and Alternative Endings; the UK Original Video version, and New 2018 Director’s Version; Xploring Xtro – a New 57 Minute Documentary with cast and crew; The World of Xtro – a New Featurette; Beyond Xtro – Looking Ahead to the New Reboot Xtro – The Big One with director Harry Bromley-Davenport; Xtro Xposed; Loving the Alien: Tribute to Philip Sayer featuring Exclusive Brian May Music Tribute; Original Soundtrack CD; and Soft Cover Book with informative text and stills… And breathe.

The best of these extras for me is The World of Xtro. Director Harry (the name of the ‘female’ snake in the film) Bromley-Davenport is generally self-deprecating. He calls this their ‘little movie’ and calls it ‘an awful mess’ or words to that effect. We hear from Xtro’s number one fan. While the director tells us they didn’t have the time or money to film linking scenes, here we are told the weirdness of the film benefits from their absence. The fan proves convincingly that scenes were carefully planned. The boy, Tony, has a toy black panther in a cage; the moment he causes the clown to make an appearance the panther is seen to be free of the cage – a  foreshadowing of what is to come. There are many examples like this if you pay close attention. What makes the craziness work is the entire story is grounded in the emotion of the family; all affected in different ways by events. The acting in this respect is very good by all concerned.

This film deserves more attention than it will probably get. One of the better shock-horror films of the 1980s. Give it a try. The amount of extras earns it an extra point.

(Review originally written by Ty Power for sci-fi-online 2018)