A Stuntman and Rock-n-Roll Magicians Have EVIL Under Control! “Stuck Rock” reviewed! (Umbrella Entertainment / Blu-ray)

Posted by Steven Lewis on January 26, 2022

The MUST OWN version of “Stunt Rock” Now on Blu-ray at Amazon.com!

Grant Page is a world-famous veteran stunt man from Australia and his new big project, a high octane, thrilling action move feature packed with car chases, fire sequences, and death-defying falls set in Hollywood, California. When he arrives, his cousin Curtis picks up from the airport and shows him around, ending up at the recording studio where Curtis’s band Sorcery is lays down tracks for their upcoming album. Between Grant’s thrilling high flying, quick burning stuntman work and the band’s theatrical heavy rock and magic trick performances, a showcase of entertainment energizes the soul as well as entertains it. Before long, a column journalist Lois Willis aims to get Grant’s story on occupational health and lifestyles. They’re joined by Grant’s costar of the film, leading lady Monique van de Ven, and together they rock out and enjoy the daredevil antics like one big life party.

Unique in format and content, “Stunt Rock” reflects upon the ostentatious career of director Brian Trenchard-Smith. Before immersing himself in straight-to-video sequels of “The Omega Code,” “Night of the Demons,” and “Leprechaun,” Trenchard-Smith had a talent for being unabashed and taking risks in making something different. Thus, an 86-minute one-part showcasing demo reel, one-part fictional story, and one-part heavy rock music video was born from a slew of Trenchard-Smith shot achieve footage highlighting the impressive physicality resume of the one and only Grant Page. In 1978, “Stunt Rock’s” short theatrical run assumed the picture too radical for the general public with a motley crew of characters and a get-to-know Grant Page storyline that interjected the heavy rock, or borderline glam rock, of Sorcery, a five-piece band accompanied by two magicians whose illusions and pyrotechnics were performed live on stage as the musicians rocked out. Only recently has “Stunt Rock” re-emerged onto home video due in part to the advocating acolytes of the now defunct by not forgotten band and has become a wonderous and enriching blast from the past of reliving decades old history, contrasting artistry cooperating under one umbrella, and a deluge of rock and master class stunts. Also known as “Crash” or “Sorcery,” Martin Fink produces the quasi-action docu-musical with Trenchard filming under his own banner, Trenchard Films.

Grant Page, a man you may never recognize in name or face but probably have seen his broad list of service work at least a dozen times or more. “Mad Dog Morgan.” Yup, Page did the stunts. “No Escape.” Yup, that too. “Mad Max.” That as well! Between performing the stunts and a stunt coordinator, Grant Page has achieved over 100 credits to his name, but not until receiving the lead role in “Stunt Rock” is where he actually got to be himself…literally. Trenchard-Smith’s goal was to put Grant Page on a platform having worked with the stuntman on previous films, such as “Deathcheaters” and “The Man from Hong Kong,” putting his career, and life, on the line numerous times. Page is charming and collected under his rugged facial hair and glasses atop a muscular physique as he’s paired to cohabitate with the latter half of two-word title. Grant Page is stunt whereas Sorcery is rock. Consisting of, at the time, members of the Americna rock group were front man Greg Magie, bass Ritchie King, guitarist Smokey Huff, drummer Perry Morris, and Keyboardist Doug Loch who always wore a glitzy or colorful stocking mask with had his vocals adjusted to a higher pitch. There were also two highly skillful stage performing magicians in Paul Haynes as the bearded King of all Wizards, Merlin, and Curtis James Hyde as Haynes on stage villainous counterpart, the Prince of Darkness aka Satan. In between the two rip-and-roaring personas is a reporter working on a column piece and Grant becomes her angled subject. Brian Trenchard-Smith’s wife of 40+ years is Margaret Gerard in the role of Lois Wills, a love interest who doesn’t quite understand Grant’s obsession with intentional self-destruction as a profession but quickly falls for the big hunk despite any real tangible flirtation. Across the aisle at the other end of female perspective is Monique van de Ven playing as herself. The Netherlands actress, who mastered the art being in a catch-22 love triangle between her longtime husband and her adventurous and new female lover in “A Woman Like Eve,” is positioned in “Stunt Rock” as certifier of the fake movie Grant is there to stunt for being the leading actress eager to do what Grant does, the stunt work, at the chagrin of her asset protecting agent.

“Stunt Rock” may not be our bread-and-butter material for review, containing a severe lack of ghastly horror, creature horror, sleazy exploitation, gore and shock, phantasmagoria schlock, etc. Instead, what “Stunt Rock” is is a pure, 100%, grade A cult classic title that goes beyond the baseline criteria for critique, as if the film even needed our insignificant stamp of world cinema approval. Absolutely not, as “Stunt Rock” speaks for itself, literally so in the very title, delivering essentially what the film is selling, documenting, exhibiting, and entertaining along with the caveat to be a career booster and an endearing tribute for director Trenchard-Smith’s much adored and highly respected Grant Page. The way Trenchard-Smith fashions his own shot stock footage of Page’s exhilarating and adrenaline junky spectacles into flashbacks, split screens, and just a reel of collected examples whenever Page goes into specific memories of stunts, a montage of similar acts, or even how he feels before or during the performance never bogs down into arrogant gray area on the part of feature’s star. Only the director behind the one-two punch “Day of the Panther” and “Strike of the Panther” could pull of “Stunt Rock’s” insanity on celluloid, rock on reel, and a cloud nine high on a combination of both.

“Stunt Rock” is more than just assemblage of electrifying stunts as it also brings down, as well as breaks down, stunt work as not this grandiloquent behavior but more about precision, planning, and self-care with some mild levels of egomania to do things bigger, better, and more dangerous. All of this great content is now on coming at you on a Blu-ray home video from Umbrella Entertainment as the 8th spine on their Ozploitation Classics label. Presented in a widescreen 2.35:1 in full high definition, 1080p, the region free Australian release is a fury of packed goodness, in all sense of the term. Rated PG, “Stunt Rock” is about as wholesome as a PG film came come that even comes with an opening disclaimer about not trying these stunts at home, so parents open your children’s eyes to “Stunt Rock!” As far as image quality is concerned, Umbrella’s release perfects the natural-looking colorization by adding a pop of robust color, unintrusive grain, and baring miniscule blemishes. Most of the film is shot in 35mm, but some of the older footage Trenchard-Smith shot on Grant Page is in 16mm and the varying levels of difference in the details can play tricks on the mind with the stark contrast. The English language DTS-HD Master Audio 2.0 is a solid track. Dubbing can tilt an audio imbalance in the depth around certain dialogued moments, but for the most part, no compression issues leave a clean and clear outcome with even an array of well-recording Sorcery tracks and capturing all the fine details in their pyrotechnic and smoke and mirror shows in front of a live high school audience. This Blu-ray is packed with special features beginning with an exclusive virtual interview with Brian Trenchard-Smith and his wife/leading lady Margaret Gerard at their home in Oregon going over every facet in the genesis and aftermath of “Stunt Rock,” plus 2008 interviews with Grant Page and the director from Not Quite Hollywood segment, 2008 audio commentary from Page and Trenchard-Smith, 2009 audio commentary from the director, producer Marty Fink, and actor Richard Blackburn, a 2009 introduction to the film, extended interviews with Sorcery guitarist Smokey Huff and Marty Fink, 2009 audio interview with the band’s drummer Perry Morris, Brian Trenchard-Smith’s Alamo Drafthouse Appearance, Cannes Promo Reel, a HD theatrical trailer, an exclusive new Trenchard-Smith approved trailer reel, and more audio commentary from the director in Trailers from Hell. And that’s not all! Beyond the colorfully retro-esque slipcover and snapper cast with reversible cover art with the film’s posters on the inside is a 14-page collectible comic book with the abridged illustrated version of the film. “Stunt Rock” is an amazing, one-of-a-kind film with now a one-of-a-kind Blu-ray release from Umbrella Entertainment sure to be a must-own for any fans of Brian Trenchard-Smith, Grant Page, or Sorcery!

The MUST OWN version of “Stunt Rock” Now on Blu-ray at Amazon.com!

A Double Dose of Jason Blade Breaking Bad Guys’ EVIL Jaws in “Day of the Panther” and “Strike of the Panther” reviewed!

Posted by Steven Lewis on August 16, 2019

A secret strike force known as the Panthers enlist the best of the best when considering agents and those who pass the Panther’s rigorous training will become part of the fight for good organization. The Hong Kong Panther branch graduates two Westerners, Jason Blade and Linda Anderson, who become a perfect undercover team. When the pair uncover a Triad drug ring, the investigation sends Linda ahead to Perth in West Australia to initially track down Jim Baxter, a lethal enforcer in the drug dealing business. Anticipating losing the tail on Baxter and disregarding Jason’s wishes to wait for his arrival, Linda surveils and sneaks into the Baxter’s hideaway only to be falling into a trap that ends in her demise. Jason vows vengeance and infiltrates Baxter’s organization for leads and information, using his martial arts expertise to gain him complete trust and access to the kingpin.

“Day of the Panther” is part one of this two part film series which has been released onto Blu-ray courteously by Umbrella Entertainment and, perhaps, even showcases Australia’s most famous martial arts superstar! Released in 1988, “Day of the Panther” combines fisticuffs, roundhouse kicks, and an arsenal of quips into a panache of action hailing from the land down under. Hard to phantom that Brian Trenchard-Smith, man behind “Dead End Drive-In” and then later went on to direct demonic anarchy in “Night of the Demons 2” and a couple of those pint sized “Leprechaun” sequels, one including space, was at the helm, steering eight glorified and unstoppable fight sequences complete with “Street Fighter II” punch and kick sound effects. “Dangerous Game” stunt coordinator and writer, Peter West, pens the script that leads Jason Blade down a road of vengeance for a slain colleague in a formulaic and cliché trope driven plot, but this Ozploitation is more entertaining than uninteresting for a younger audience.

In “Strike of the Panther,” the break a politician’s drug addicted daughter out of a brothel and inclusive crime fighting Panther, Jason Blade, returns when Jim Baxter holds hostage’s his girlfriend, Gemma Anderson, after a deadly prison escape. Fortified in a ready to detonate vacant Perth power plant, Blade and his crime task force attempt to beat the information out from Baxter henchmen before sieging a rescue. Baxter declares his own brand of revenge toward Blade that not only includes high yield explosives that could wipe Perth from off the map, but the brute also summons every malign martial arts fighter he can muster to cloak themselves in amongst the power plant rafters, lying in wait for Blade and the police to storm their holdup. Blade must go for Baxter alone to not only save his girlfriend, but save Perth as well.

What is essentially Jason Blade part deux, “Strike of the Panther” retreads over old footsteps in this 1989 release with Brian Trenchard-Smith and Peter West filling in once against as director and writer. The obvious back-to-back shoots suggests that not much has diverted from the original tone of the film and with that truth, Jason Blade continues his trend of human punching bags without so much of breaking a sweat. The sequel, much like the first film, is good, clean action without much blood, without much cursing, and without much perversion. “Strike” might be edgier with a few more side boob scenes. That’s about it.

Martial arts expert Edward John Stazak is quintessentially the Chuck Norris of Australian cinema, but whereas Norris has a prolonged career in the film industry, with credits out the wazoo, Stazak’s success in the biz never took a jump kick flight. Not even with Jason Blade, a character who sounds like a fighter straight out of a Mortal Kombat installment, could boost a lustrous vocation. Stazak’s likeability is only shorn by his lack of expressive versatility as he’s virtually one dimensional, showing no range of emotion when the scene calls for it or even when in the rare instance of being bested at a fight, but the handsome, muscular Aussie can sell a hand-to-hand skirmish with one or ten opponents without wondering too far into cheesy coordinated territory, which Stazak co-assisted in the fight sequences alongside screenwriter and stunt man Peter West. The lack of a good and powerful antagonist also spikes “Day” and “Strike’s” well-rounded action status. Jim Richards as the tough Jim Baxter wasn’t a formidable adversary for Jason Blade. Baxter never challenges Blade’s weaknesses because Blade doesn’t have any weakness so it seems. Even with Gemma Anderson is kidnapped, Baxter never really leverages the opportunity. Jim Richards also looked out of shape in comparison to Stazak, who routinely went sleeves and, more frequently, shirtless to show off his physique, but Richards is also a well-known self-defense instructor who has worked with military personnel. In short, Stazark looked better for the camera. If you’re not an actual fighter, you’re an actual actor, such is the case with John Stanton and Michael Carman who brought a little thespianism to the “Panther” films. Stanton presented a fatherly figure, playing a Panther named Wes Anderson at the tail end of his tenure with the organization, to Stazak’s Blade. Andersen’s barely copes to the loss of his daughter, Linda, but that’ the Panther way or so it’s assumed as he puts it, “life goes on.” That such detached reality can be said about Zukor, the drug kingpin of Perth, played by Michael Carman (“The Devil’s Playground” and “Quigley Down Under”). Carman provides the aggressive affluent with has thugs to do his dirty work. Unfortunately, Carman does not continue with his Zukor role in “Strike of the Panther,” but Zukor and Wes are the fire and ice that motivate the marionettes into action at least in “Day of the Panther” while Wes pivots on a strange character tangent with supernatural abilities that’ll be explored later. As far as Love interests go, Paris Jefferson fills that void as Gemma Anderson. The “Xena: Warrior Princess” star becomes the niece to Wes Andersen, taking care of her uncle while she takes care of Jason Blade’s needs – wink wink. Jefferson’s stout feminine performance perfectly outcasts any kind of frail attributes typical of a damsel in distress that’s is trope-laden in action films; think Mary Elizabeth Winstead in “Live Free, Die Hard.”

Overall, as action films, “Day” and “Strike of the Panther” are fairly conventional martial art films for the 1980’s with a few eye brow raising quirks. For instance, Jason Blade is infallible. Perhaps, too foolproof as he single handily breaks down drug structures with a one-two punch simplicity, as if the level setting was on easy mode. Another what? moment stems from the character Wes Anderson in the sequel film when he suddenly obtains empathic powers after being grazed by a fleeing car and he’s able to reach Jason Blade on a subconscious level as he enters the power plant’s maze and takes on ninja-cladded warriors. Lastly, for back-to-back shot films where the release dates are stack closely upon each other, the need for an in-depth recap was terribly excessive that perhaps only required a tiny bit of exposition to fill in the gaps. “The Evil Dead” series is an ideal candidate for comparison of prologue recaps. Ashley Williams explains, with accompanying depiction variants, in “Evil Dead II” and “Army of Darkness” his misadventure to a cabin in the woods and his poor Linda becomes a Candarian demon plaything, but the Sam Raimi directed cult horrors are also at least five years separated. Brian Trenchard-Smith concentrates his direction of “Strike of the Panther” to detail almost every plot point through a Wes Anderson voiceover and rehashed footage. There are also awkward workout and dance scenes reused for the sequel that are not a nod back to the first film, but are used as current storyline. Talk about your deja vu!

Umbrella Entertainment release “Day of the Panther” and “Strike of the Panther” onto a double bill Blu-ray, a first for the Ozploitation gems. The two-films on a single BD50, region B disc is presented remastered in a high definition 1080p widescreen, 1.85:1 aspect ratio, from the original 35mm interpositive negatives, scanned and restored in 4k. Despite some minor strip issues (i.e. some cigarette burns and a few translucent scratches), the picture has tremendous stability in color and in natural grain. However, the framing seems a bit off as if the cropped, but that could also be very much intentional by cinematographer Simon Akkerman. The English language 2.0 DTS-HD Master Audio track has full-flavor robustness and balanced across the board. Remember those Street Fighter II sound effects? Dialogue has good distinction with solid range and depth with the soundtrack and ambience. No subtitles are available on this release. Unfortunately, there are no bonus features on this release either. The Brian Trenchard-Smith back-to-back films, bustling with endless wrangle, hail from Australia for the first time on Blu-ray and while might seem excessively obsolete in contrast to today’s action film, “Day of the Panther” and “Strike of the Panther” are ravishing relics that are extremely priceless to martial art cinema collectors.