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!

Evil Is Only Skin Deep. “The Wax Mask” review!


Set in Rome of 1912, a newly constructed wax museum, under a mysterious alchemy artist known as Boris Volkoff, stirs controversy with the showcasing of the world’s most grisly and notorious murder scenes. Two brothel customers’ debate result in the one challenging the other to spend the night at the curated museum of horror without having an ounce of fleeting fear. The next morning, the man has been found, apparently keeling over in fright, and the police are baffled, but something more sinister is afoot when Sonia, a young costume designer with a horrific past as the sole witness in the gruesome death of her mother and father in Paris 1900, becomes employed at the museum to costume the wax figures and faints when the scene of her parents’ brutal death is recreated as the museum’s new showpiece. Sonia and a reporter closely examine the museum when more people begin disappearing off the street, people who have ties with the beautiful costume designer, and learn the waxed creations are much more underneath their plastic-lifelike skin.

Before his untimely death, the Godfather of (Italian) Gore, Lucio Fulci, had been cooperating on a semi-quasi remake of Vincent Price’s 1953 thriller “House of Wax,” based on the Gaston Leroux’s novel, alongside fellow iconic Italian horror director Dario Argento (“Suspiria”) in a comeback collaboration for Fulci, but the entitled “The Wax Mask” film was evidently delayed partly in because of Fulci’s death. “The Wax Mask” was handed over by Argento, who was producing, to special effects guru Sergio Stivaletti (“Cemetery Man,” “The Church”) and months after Fulci’s death, a finished product shared very similar traits to the Godfather of Gore’s style craftily blended with more modern approaches to filmmaking was released to the public. Though tailored more toward the interests of gory special effects, Stivaletti’s 1997 film is dedicated to Fulci with the implementation of many of the director’s popular trademarks, including closeups on various eye expressions and zoom-ins on gore and the weapons before their fateful strikes, while also basking in strong bright colors in the midst of shadowy cinematography that’s typical of the giallo genre.

In such a crimson world, an elegant performance by Romina Mondello, who stars as the orphaned Sonia, has the Rome born actress bring beauty, innocence, and charm to the macabre that harbors contrasting arguments against undermining marred antagonists and she provides a breath of aesthetic liveliness amongst a narrative that surrounds itself in capturing beauty in inanimate wax figures. “Cemetery Without Crosses'” Robert Hossein embraces the enigmatic museum curator, Boris Volkoff, with struggling internal black aspirations that involve his recently acquired employee, Sonia, and Houssein is able to turn off and on that switch of longing and menacing, playing the hand of the character superbly to keep audiences guessing his true intent. Volkoff’s faithful assistant and exhibit creator, Alex, embodies creepy and morbid attributes wonderfully contributed by a relatively unknown Umberto Balli. The trifecta cast sells the ghastly science fiction that slowly builds toward the transformation of “The Wax Mask” from classic giallo to sensational mad science Gothicism with a boost of euro trashiness that’s more relative to the work of Jesús Franco or Joe D’Amato. Riccardo Serventi Longhi (“Symphony in Blood Red”), Valery Valmond, Gabriella Giorgelli (“The Grim Reaper”), and Gianni Franco (Dario Argento’s “The Phantom of the Opera”) round out the cast.

Stivaletti’s toolbox of special effects celebrate in the practicality that escalates when the cloaked killer’s metal claw literally rips terror through the hearts and souls of characters, but the glossy composite imagery thwarts realism and cheapens the already cheesy Euro horror with a laughable fire set ablaze and a slew of lampoon electricity while half naked women are strapped to a barbaric mechanized chair. The cut-rate composite won’t ruin a guilty pleasure viewing and won’t blast apart an arguably respectable adaptation of Gaston Leroux’s novel, but the script, co-written between Argento, Fulci, and “The House of Clocks'” penning collaborator Daniele Stroppa, does pull from other, interestingly enough, inspirations that one wouldn’t think would be genre compatible. The action-packed finale of James Cameron’s 1984 pre-apocalyptic, time-traveling cyborg blockbuster, “The Terminator,” makes an unexpected appearance with an endoskeleton villain donning some familiar and memorable moments from one of the greatest sci-fi films of all time.

“The Wax Mask” greatly resembles Italian horror cinema from the 1970s and 1980s spawned in the late 90s, a superb feat for a director more aligned in vocational special effects, but the jaded historical background accompanying the film places a stain on whether Lucio Fulci had much to do with the project at all. Much is speculated that Argento and Stroppa re-wrote Fulci’s original script after his death, removing much of Fulci’s atmospheric flair and adding more gore, but in the end, “The Wax Mask” instabilities are overshadowed by great practical effects, an engaging storyline, and a roster of flavorful characters. The One 7 Movies and CAV Distributing Blu-ray release is presented in 1080p. The widescreen 1.78:1 aspect ratio is the not the original 1.85:1 aspect ratio, but doesn’t constrain the image. The MPEG-4 AVC codec emits a bit of shakiness under the compression, suggesting a lower bitrate, but the One 7 Movies’ release is the best, sharpest looking transfer of the original source material with natural coloring on skin tones, vibrant shades of various colors, and shadows being exquisitely black. Four audio options are available from the English and Italian Surround 5.1 tracks to the English and Italian Stereo tracks with no accessible English or Italian subtitles in the static setup menu. Extras are slim with a handheld camera behind-the-scenes that’s solely in Italian. “The Wax MasK” is an ambitious Gothic hybrid horror that cements the memory of Lucio Fulci, pleases the gore of Dario Argento, and showcases the talents of debut director Sergio Stivaletti.

Purchasing One 7 Movies’ “The Wax Mask” at Amazon!