This year sees the 40th anniversary of Ridley Scott’s Alien, and to mark the occasion 20th Century Fox is releasing a 4K Ultra HD + Blu-ray package that will be available in the UK from April 1st, 2019. Don’t miss the chance of seeing the alien, bursting out of John Hurt’s chest in glorious HD! Alien is one of the most discussed, dissected and academically analysed movies in modern cinema. Considering so much has been said about it, the film seems to be simplicity itself: a tense, linear storyline, an innovatively envisioned setting, sparse dialogue – simple, but close to perfect.
I don’t do New Year’s resolutions. However, I decided I’d take the opportunity to look back at some movies that didn’t particularly float my boat and see if I can find some good points in them. With the best intentions in mind, I picked the 2010 remake of A Nightmare on Elm Street as the first movie to give a second watch. I was aghast when I heard this movie was being made. But, I like to have an opinion about things so, I gave it a watch. On that first go I was just as disappointed as I expected to be. Let’s face it, the original film is a genre defining classic…
“Welcome to your new nightmare.”
Lionsgate UK are pleased to announce three more cult classics joining their Vestron Collector’s Series. Originally released by Vestron Video, these classic horror and sci-fi titles are restored and remastered on Blu-ray, and packed with hours of special features. Lionsgate UK presents Class of 1999, Parents, and The Unholy on Blu-ray, 25th February.
“It’s the last lesson you’ll ever learn!”
Helmed by the iconic and groundbreaking director Lo Wei, Jackie Chan was at his martial art peak by the time he took on the leading man role in Dragon Fist (1979). To Kill with Intrigue (1977), however, is undoubtedly one of the martial arts legend’s finest moments! Only 88 Films could have brought a 2K restoration of Dragon Fist and To Kill with Intrigue to UK Blu-ray as part of their ever-expanding and acclaimed Asian cinema collection!
“A new era in kung-fu films!”
Having bought the rights to The Texas Chainsaw Massacre slasher franchise from The Cannon Group, New Line Cinema, “the house that Freddy built”, began production on a new sequel with the intention of “going back to hard-core horror”. Leatherface: Texas Chainsaw Massacre III attempts to bring back the franchise to its unhinged roots, where the saw is family and dire situations lead to viscera. If only scriptwriter David J. Schow and director Jeff Burr’s vision had remained intact. “Some tales are told, then soon forgotten… but a legend is forever!”
“The saw is family.”
The Mountain of the Cannibal God was originally released in United Kingdom under the name Prisoner of the Cannibal God, and added to the Director of Public Prosecutions (DPP) list of “video nasties” shortly after its home video release. Although The Mountain of the Cannibal God was one of the 33 “video nasties” not prosecuted under the Obscene Publications Act, it remained unavailable on home video until 2001.
“Why is everybody so scared of the Puka?”
Arrow Video are quickly becoming heroes to horror fans that cut their teeth on the genre in the 80s. Regularly releasing the type of titles that you would be fascinated with in your local independent video shop, it gives those of us who excitedly gorged on the type of low budget horror these shops stocked a chance to re-watch them with modern eyes, and those too young to rent them a chance to finally get their hands on them.
“They ooze. They slime. They kill.”
When you think back to the 80s, the true golden age of horror, there are certain films that define their sub-genre. I’m thinking of Fright Night and The Lost Boys defining the Vampire sub-genre. And the ones that (for me at least) defined Werewolf films are the likes of An American Werewolf in London and The Howling! One of the downsides from making a genre defining film though, is that there will invariably be a sequel (or sequels) that just can’t live up to the original’s quality. This has happened with Howling II …Your Sister Is a Werewolf.
“It’s not over yet.”
After sleazily making his way to the London Underground from the sex district, James Manfred, OBE, some big shit… shot, at the Ministry of Defense, or something, confronts a woman waiting on the platform at Russell Square tube station. “How much?” he asks. “Look darling, god knows if you are worth it… but fortunately I can afford to find out.” Her response? A swift knee to his gonads before running away! As Manfred winces in pain, something catches his eye emerging from the underground tunnel…
“Mind the doors!”
This late 90s vampire tale is an essential watch for any fan of low budget indie gore and Hammer classics. Lilith Silver is the ‘girl power’ embodiment of modern vampires. In skin tight PVC, Silver is an ass-kicking, sexually confident vampiric hit woman, using her undead attributes to carry out the most daring executions. But life is never simple and her choice of career brings her to the attention of occult group The Illuminati who are hell bent on preserving their own existence against whoever is hiring her to eliminate them. Armed with their skills in dark magic and with Mason-like influence in the police and government, The Illuminati set out to take down Lilith ‘The Angel of Death’ Silver, in a gory, sexual game of cat and mouse.
“Part Seductress. Part Assassin. All Vampire.”
Remember the days when films were captured on, well, film? You don’t? Whippersnapper. Respectable and reserved editor Eddie Swenson does. So when he’s transferred from his quiet, restrained art house section, to the brash, blood soaked vistas of the splatter and gore department, he realises why watching hours and hours of video violence may cause one to lose their head. You see, his predecessor went out with an, errrm…bang, after chowing down on a hand grenade. So Ed’s boss Samuel Campbell ‘promotes’ him to a domain that produces the ‘Loose Limbs’ series.
“It’s a no brainer.”
Let’s get one thing straight from the start: I love Rob Zombie. From his early days in White Zombie, his carnival-like album covers, concerts and music videos, right up until his 1st feature film in 2003, House Of 1000 Corpses. This was further enhanced by the excellent and gritty The Devil’s Rejects. Then came 2012’s The Lords of Salem a refined, mature mixture of his previous attempts that has not only made me change my opinion on where Zombie was headed, but also on what I now expect from cinema itself every time I sit down to watch a film with a low-to-modest budget.