Surrounded by Aquatic EVIL, No One Can Escape “The Island of the Fishmen!” reviewed! (Full Moon / Blu-ray)

Check out the scantily-cladded woman encroached upon on “The Island of the Fishmen” Blu-ray!

A French prisoner ship sinks to the bottom of the Caribbean leaving only a handful of prisoners and the Left Lieutenant Claude de Ross, the ship’s doctor, stranded on a lifeboat for weeks until they a mysterious force drives them through the fog and crash them on the rocks of a seemingly deserted volcanic island. Only a few prisoners and the doctor manage to survive the wreckage, stumbling upon a ritualistic area of empty graves and abandoned artifacts of an island society. This is where the haggard and hungry men meet the beautiful Amanda Marvin on horseback and follow her through the island jungle to a clearing where the edifice of Edmond Rackham sits imposing on them. Having left his home country, Rackham settled upon this uncharted island, garnering local Caribbean inhabitants as servants, and being a greedy treasure hunter who might have just discovered the lost city of Atlantis. There’s only one problem, the city is surrounded by aggressive fishmen kept at bay by Amanda’s famed disgraced biologist father who has fallen severely ill, charting a course for the good doctor, Lt. Claude de Ross, to be unharmed in order to care for perhaps the only person who knows how to manage the wrath of the fishmen.

A swimmingly aquatic creature feature with an all-around gratifying men in costume pastiche, familiar to the style of “The Creature from the Black Lagoon,” in Sergio Martino action-adventure horror “The Island of the Fishman.” Also know under the revamped shots of “Screamers” aka “Something Waits in the Dark,” here we have the original film in all it’s natural glory from the director of “Your Vice Is a Locked Room and Only I Have the Key” and “Torso” director Martino from a script by Martino, Sergio Donati (“Orca”), “Slave of the Cannibal God’s” Cesare Frugoni who workshopped with Sergio Martino’s older brother, Luciano Martino, (“So Sweet… So Perverse”) on the original story. Some would also say that “The Island of the Fishmen” is also a crossbreed between H.G. Wells’ “The Island of Dr. Moreau,” H.P. Lovecraft’s “The Shadow Over Innsmouth,” and, aforementioned, “The Creature from the Black Lagoon.” The 1979 Italian production stars an international cast shooting along various locations in Italy and is produced by Luciano Martino under Dania Films and Medusa Distribution.

American, United Kingdom, and, of course, Italian come together to form “The Island of the Fishmen” cast that doesn’t stray too far away from their individual innate dialects. The most pompous is he Essex-born Richard Johnson’s sadistic and fortune hungry Edmond Rackham with a caricature of a voice that isn’t like anything in his performance in Lucio Fulci’s “Zombie.” As Rackham, the inflections reminisce of a British Humphrey Bogart mixed with a one Dick Dasterdly and so Johnson comes off a bit cartoony and overly dramatic compared to the film’s panache malnourished yet earnest hero in Italian actor Claudio Cassinelli (“Murder Rock,” “The Scorpion With Two Tails”) as Left Lieutenant Claude de Ross, a ship’s doctor who suddenly becomes the medical caretaker and leading guard over a lifeboat full of hardened prisoners, some who have blood on their hands. Franco Javarone and Roberto Posse play a pair of surviving convicts, especially two at odds on how they should treat their next in rank penal officer. Though being thrust into the oversight position, the Lieutenant doesn’t have to worry about his prisoners for too long as the island’s baleful environment with jungle death traps, poisonous water, voodoo priestess, a sadistic lord of estate, and mutant fish people swimming in circles around the island’s parameter and through the cut through waterways sees to their wellbeing. “Island of the Fishmen” does have a few predominant male figures of different caliber but there are also a pair of women inhabiting the island who, too, have counteracting roles. Bond girl Barabara Bach (“The Spy Who Loved Me”) became plagued by the ocean’s frightening fishmen only two years later as the captive dame of Edmond Rackham who holds her hostage as he pushes her father (Joseph Cotton, “The Survivor”) to continue with his mind control potion over the fishmen. Then, there’s Shakira. No, not the Brazilian singer-song writer with the hypnotizing booty shaker. This Shakira is a voodoo priestess, played by Jamaican actress Beryl Cunningham (“Dorian Gray”), who works for Rackham but ultimately envisions foreboding doom on the volcanic island. Giuseppe Castellano and Franco Mazzieri round out the cast.

A whole lot is going on in this film that from the surface seems, surfacing meaning the home video covers and posters, to focus chiefly on the hostile half-fish half-man creatures that bubble to surface, check out top side for any unwanted visitors, and quickly dispatch them before disappearing under the glassy waters of the Caribbean. I adore the design of the rather stiff but crudely convincing creature suits with buggy fisheyes, razor piranha like teeth, and cladded entirely green and scaley in a design by Massimo Antonello Geleng who by vocation was more a production designer with credits including this film along with “Cannibal Holocaust,” “City of the Living Dead,” “The Church,” and “Dellamorte Dellamore” to name a few. Yet, the fishmen were not a sole source of danger on an island that had a deadly schemer in Edmond Rackham, the motif of voodoo and jungle trap throughout, a volcano ready to erupt and engulf the island with lava, and the lost city of Atlantis as the grand epic finale that pivots this story on an acute elbow left that shows a mighty ambitious story on an Italian slim budget. To put it frank, Sergio Martino was able to put all the elements together into a cohesive, coherent plot with action, horror, exploitation, and mad science fiction albeit the story’s wild and diverging concepts.

Though many U.S. audiences know this film as Roger Corman’s highly altered, New World Pictures presented cut retitled as “Screamers,” Full Moon features releases the original oeuvre of Sergio Martino with a remastered Blu-ray release from the original 35mm negative. The 99-minute film is presented in a widescreen 2.35:1 aspect ratio that captures in perfect matte composition and frame the locational miniatures, such as the manor house or the underwater Atlantis temples, in a compression that doesn’t make the structures obvious fakes. Slightly tinged yellow, the overall color palette is renders out well enough to suit the release with a pristine transfer seeing no signs of real significant damage. The English language tracks come in two formats – a PCM 2.0 and a Dolby Digital 5.1 surround sound. The English-speaking actors have their original tracks intact while the Italian cast have their original dialogue re-dubbed in English for posterity on new releases such as this one. Dialogue, nor any of the corresponding audio tracks, show any signs of fidelity issues or damage, but do feel muffled, even on the 5.1 as if the sound was boost stifled and left with some of the channels lacking vigor. Aside from Full Moon trailers, the R-rated film rides solo on this hi-def release. “Island of the Fishmen” is a small film fighting hard to swim upstream and really does a number on many different levels regarding where the audiences should focus their attention on, but I can see why Roger Corman wanted to give Martino’s film a second run after a commercial flop with a new, gory scenes edited right into the heart of “Island of the Fishmen’s” flexible, cartilaginous bones. Despite Corman’s efforts, Sergio Martino’s unmolested, original reeling reel is the one and only catch of the day for this purist.

Check out the scantily-cladded woman encroached upon on “The Island of the Fishmen” Blu-ray!

Can’t Spell Devil Without Evil. “The Devil Lives Here” review!

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Every nine months, the vengeful spirit of an atrocity dealing plantation slave owner, known as the Honey Baron, seeps from a cursed slumber to reclaim his once profitable Brazilian manor home. Also, every nine months, caretakers of the manor home resurrect Bento, the once voodoo practicing slave to the malicious Honey Baron, to fortify the longstanding damnation. Until four friends gather to invoke the myth in jest, lightly treading over the forsaken manor home, and getting themselves unwittingly involved in the releasing of Hell on Earth. Caught in the middle between the Honey Baron and Bento, there’s nowhere to escape, nowhere to hide, and noway to distant themselves from an ancient wickedness.
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Directors Dante Vescio and Rodrigo Gasparini’s “The Devil Lives Here” is sorely what the horror community needs and desires, an original vision of spine-tingling Brazilian folklore horror. It’s a damn good story that’s engrossingly rich with captivating characters, virtuous and villainous, simultaneously breeding a delectable devil in São Paulo actor Ivo Müller. From the opening scenes of Müller’s sadist applications upon a humble whimpering slave to the highly climactic and unforgettable shocking end, Vescio and Gasparini details every inch of reel with patience, organization, realism, and a sense of admiration for one of a kind antecedent horror films and concocts a molotov cocktail spiced with numerous Brazilian folklore.
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Folklore envelopes “The Devil Lives Here.” Ivo Müller portrays a blend of two distinctive mythological beings, the Anhangüera and an Encantado. Anhangüera, basically, is a version of the devil while Encantado paints a more vivid image of the Honey Baron as a man, whose so ruthlessly evil, that he becomes ensnared in limbo by voodoo, in this case the voodoo of African slaves during the colonial era, and lives a vain life for his atrocities. On the other end of the spectrum, Bento, once a young slave boy, seeks to endure the curse, reestablishing it’s constraints around the Honey Baron’s Anhangüera ways. Bento resembles more closely to the story of Negrinho, a slave boy fatally punished for his loose bindings on responsibilities to his master. Negrinho died on an anthill, in which ants later feasted on his flesh, and returns to help others. In the 2015 film, ants and bees are clear motif before Bento’s horrible demise and Bento also returns from the grave like an original African or Caribbean dirty working zombie, the kind of mindless zombie before George A. Romero took the undead head to new flesh eating heights. “The Devil Lives Here” embellishes upon each lore to up the ante and deliver a shock to the system.
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Alongside Ivo Müller is a young, but a formidable cast. Pedro Carvalho, Mariana Cortines, Diego Goullart, and Clara Verdier have performance that are simply enjoyable to absorb and are just wonderful being the unexpected catalyst. With a slight twist in one of the four’s well-kept motivations, the brilliancy of Rafael Baliú’s script, based off the story by co-writers Guilherme Aranha and M.M. Izidoro, comes to a head by not following the conventional tropes of hapless pranksters unwittingly hitting the bees nest. Instead, the characters are grossly flawed by one of their own; however, I did hope there was a little more exposition toward Mariana Cortines’ Alexandra clairvoyant ability between the world of the living and the spirit realm as I thought the relevancy was too important to leave open. Pedro Caetano and Felipe Frazão master their roles of being caretaker descendants to Bento. Caetano and Frazão tackle multiple personas with a well armed cache of emotional ranges that split their dutiful commonality and define their positions amongst the story. The cast couldn’t have worked well enough any better making “The Devil Lives Here” a film adorned with God-mode proportions.
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Artsploitation Films has become a prominent label in providing provocative and outstanding domestic and global cinema and “The Devil Lives Here” only solidifies their true power amongst other home entertainment distributors. The film is presented in a widescreen 1.85:1 aspect ratio with slight blotchiness in darker tones, but the image is still very sharp with a filter blanket of a warm yellowish glaze. The stereo 2.0 audio with optional English and English SDH subtitles is fine coming through the dual channels. The subtitles are a bit quick, but so is the portuguese language. The DVD cover art is nightmarishly inviting, just like the film itself. “The Devil Lives Here” will completely suck you into the original narrative and curse you with screen glued eyeballs to deliver an inspired and indigenous film that shouldn’t be missed by any horror fan.
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“The Devil Lives Here” is at Amazon! Click here to buy!