Peter coerces his begrudging wife, Marcia, to forgo the luxurious hotels and chauffeured holidays for a long weekend of camping on a remote beach in Australia. An enthusiastic Peter packs the jeep with thousands of dollars worth of outdoor gear, including a surf board, a spear gun, and a hunting rifle. Marcia loathes the outdoors, can’t stomach the very thought, and she lets Peter know her distaste of his plan every other second while on holiday. Yet, this trip for them isn’t just a routine getaway, but, instead, a trip to get away from the swinging friction of close and very intimate friends, to rekindle their relationship, and save what little is left at a frayed string. The already awkward and complaint-riddle holiday turns from bad to worse when nature looms a foreboding shadow over the estranged couple, unleashing one ill-fated omen to the next that checks their nonchalant attitude toward nature with eco-radical discipline.
“Long Weekend” is an eco-horror film by “Innocent Prey” director Colin Eggleston. Alfred Hitchcock, perhaps, birthed the horror subgenre with his 1963 film “The Birds” that led to such films as “Day of the Animals” and “Grizzly.” Nearly 15-years later, Eggleston hones in on his inner Hitchcock by expanding the background on why nature turns cold and unsettlingly supernatural like. Working off a powerfully detailed and haunting script by “Razorback’s” Everett De Roche that circles around two characters like a hungry vultures, Eggleston vitalizes De Roche’s script with a paper to screen bleak, unsettling imagery on a monumentally minimalistic scale. “Long Weekend” could be considered a Hitchcockian film, and most likely is, but can stand firmly by itself as an extension on how mother nature can be a bitch when push comes to shove.
Two characters and the wilderness. That’s all “Long Weekend” boils down to on brass tacks, leaving two actors on the line to act off each other and off of the ominous presence that has fully engulfed them on an isolated stretch of beach and shoreside forestry. “The One Angry Shot’s” John Hargreaves tackles the conceited Peter with a full-bodied combination of heedless gusto and desperation that Hargreaves can seamlessly become lost in Peter’s self-worth. The Sydney born actor is paired with an English actress by way of Briony Behets from the 1980 film “Stage Fright,” a film also co-written by Colin Eggleston. Behets’ Marcia epitomizes the stereotypical enigma that men all think is the inner workings of a woman’s brain; Marcia is hot and cold with fleeting moments of passion for Peter, yet ready to kill him in the next scene. Behets converts the baffling intertwinement of Marica’s energy and channels it well into the dynamic that is their failing marriage.
What’s really special about Eggleston and De Roche’s film is the overloading symbolism. From subtle to simple, “Long Weekend” has the money betted on working on an underlying moment-to-moment, scene-to-scene in each act; a method tirelessly schlepped through with many modern features of today. Using non-threatening animals, such as a small possum and a sea cow or dugong, to be part of a menacing force driving the ominous presence across the narrative just sets the feng shui mindset of an unadulterated evil genius. Instead relying heavily on a physical entity, Eggleston heavily coincides creature imagery with the use of audible creature cues, whether a baby-like wail in the distance or the overpowering cacophony of animal growls and sneers, to invoke panic, fear, and paranoia to divide the already fragile pair into an atomic disaster of their undoing. “Long Weekend” will overshoot some viewers as piecing the puzzle together can be a slow and long process, but one aspect is certain, the off-camera animalistic stare has a powerful affect.
Second Sight delivers the ozploitation classic, “Long Weekend,” onto Blu-ray home video for the first time in the UK this November. Unfortunately, a review DVD-R disc was provided for this critique and audio and visuals components will not be covered. Bonus material was included on the review disc with audio commentary with executive product Richard Brennan and Cinematographer Vincent Monton, an Umbrella Entertainment produced panel discussion with film historians Lee Gambin, Alexandra Heller-Nicholas, Emma Westwood, and Sally Christie, Uncut “Not Quite Hollywood” interviews with Briony Behets, Vincent Monton, and Everett De Rocha, an extensive still gallery with an John Hargreaves audio interview, and original theatrical trailer. “Long weekend” is man versus nature at it’s best with sheer, unrivaled terror in a quaint eco-horror thriller package with a powerful message that nature will seek extreme judgement against Mother Earth criminals.
On a dark and stormy night after a school football game, a teacher and three students take shelter at a cottage adjacent to a cemetery. If the cottage wasn’t creepy enough, the sole occupant owner surpassed the bar. She calls herself Miss Leslie, a middle aged woman with an ill-fated story of her friend and mother’s fiery demise from long past and a quirky penchant for making life-size female dolls that set inside an illuminating shrine. Though they feel uneasy about the creepy surroundings, the visitors stay and get cozy, especially with each other, but Miss Leslie has ulterior, deranged motives. Her dolls are not just lifelike, they once were vibrant lives of women Miss Leslie sorely wanted to inhabit their feminine confines of youth and beauty from over the years, but now they are an undecomposable shells, encase in Miss Leslie’s special doll making brew to timelessly capture their lovely physiques. They are also beautiful, yet painful reminders of her failed attempts to transfer her essence into their adolescent bodies.
Every so often you come across a film with a gigantically absurd hard shell cover with the gooey insides of eye-rolling cheesiness and you just have to ask yourself, how in the world did something like this ever come to fruition!? Yet, somehow, someway, these productions of an oddball variety always have an intense allure about them and end up being just one of the coolest rarities to grace the glazed-over irises. Joseph Prieto’s “Miss Leslie’s Dolls” is the epitome of this very phenomena. “Miss Leslie’s Dolls” is an exploitation, nearly softcore porn, horror with a deranged killers with severe mental issues that range from communication with dead to, what can be now construed as antiquated, complications of gender identity. One of the last directed films from Prieto, who also helmed “Shanty Tramp” and “Savages from Hell,” also penned the screenplay alongside longtime collaborator and producer Ralph Remy Jr. The script reads like an insatiable bedside thriller novel, an object of complete obsession through the entirety and well long after being completed; “Miss Leslie’s Dolls’” has a rich gothic lining, a strong sexual appetite, and a timely LGTB subject that involves debate on mental illness or inherited gender orientation.
Not many actors performed in drag. Sure, there was Jack Lemmon and Tony Curtis in “Some Like It Hot” and there was even Anthony Perkins from “Psycho,” who some might go as far as saying that “Miss Leslie’s Dolls” might draw inspiration from with the whole mother fixation, but only a small faction of fans, especially in the genre, might know Salvador Ugarte. The Cuban born Ugarte has great poise as a woman imprisoned in a man’s body. Miss Leslie just isn’t a deranged killer in drag; the character has deep rooted issues stemming out of not only being a woman embodied incorrectly, but also seeded by an engulfing obsession with capturing beauty to obtain it for herself, an addition from a result of a permanent scarring left behind by Miss Leslie’s homicidal rampage in the character’s history. Ugarte has the mannerisms and the gait down so unerringly that’s the performance is downright creepy, but there was one aspect of womanhood that Ugarte’s masculinity couldn’t mask: his voice. The actor is horrendously dubbed, adding charm to the bizarre concept. Ugarte’s joined by “Little Laura and Big John’s” Terri Juston, Marchelle Bichette (“The Gruesome Twosome”), Kitty Lewis, and Charles Pitts of “Supervixens.”
Contrary to the above, “Miss Leslie’s Dolls” has some drawback. Though the characters might be entertaining and interesting, especially with the Bourbon obsessed and hot for teacher Roy and his terrible gangster accent or the fact that Ms. Alma Frost is a smoking hot, twenty-something year old prude teacher to her pupils who are practically the same age as her, they’re washed over with an aloof mentality, consequently looking past or just blatantly oblivious to Miss Leslie’s obvious male features, her inauspicious ramblings, and the fact she has a shrine of creepy and realistic dolls of women that fill the room with the smell like rot and death. Perhaps too busy running through the cemetery at night in skimpy bedroom garments. Yes, this does happen. On top of that, Miss Leslie harness of occult powers goes relatively unexplored, yet very much utilized as an important portion of the film near the last act. Despite being passively mentioned and rather undercut from more than most of the film, Miss Leslie’s occult mischief is plucked right from left field to further the enigmatic aurora of Prieto’s mystical exploitation.
Network proudly presents “Miss Leslie’s Dolls” on an UK 1080p Hi-Definition, region free Blu-ray home video, remastered from the original film elements once thought to be have been forever lost. The newly scanned transfer came from a surviving print and presented in the film’s original theatrical aspect ratio of 1.85:1. The restoration included detailed grain management, the automated and manual removal of dirt and damage, and the correction of major color instability, warp, and density fluctuations. (In full disclosure, Network sent me a DVD-R screener and that is what the following critique is based off of) Though in some frames there flares up some instability, from my perspective, the first act and half really came out well with the vivid, yet natural, coloring. However, once inside Miss Leslie’s basement, woozy blotchy moments of Leslie fiddling around makes the particular scene a bit off putting. The stereo mono track is fair for the 1973 film that has it’s share of distortions and editing pop faux pas, but the dialogue is fiercely prominent, despite the inherent awfully laid dub track, and equally well balanced with ambient tracks. There were no bonus material on the release. Transvestitism horror is quite a rare experience that always has a lasting impression, cerebrally popping visuals of grim visions commingling with the blood, the viscera, and the other supplementary violence. “Miss Leslie’s Dolls” deserved this Blu-ray release and Network did right by Prieto’s obscure grindhouse feature that will sear into your skull.
In the year 2024, the world’s superpowers are on the edge of nuclear warfare as Earth’s resources are dwindling at a rapid pace. A halt in knife edge conflict and the construction of temporary peace, known as the RAND Treaty, allowed nations to build underground, sustainable bunkers for a restarter population. Plethura 04, one of these bunkers, is being monitored, maintained, and prepped by Roy, an labeled “undertaker” scientist, whose setting the stage for a group of survivors known as Priority One, but when the sudden fallout alarm blares, Plethura is locked down early, trapping Roy alone in a cavernous and cold bunker alone with the exception of an A.I. program that Roy named Arthur. As time passes, Roy sanity comes into question; so much so, that Roy believes that Plethura might just be a drill simulation. Also, is there really something in the bunker with him? Is Arthur trying to confuse him? Questions, isolation, and terror seep into Roy’s mind, perhaps, or perhaps not, manifesting a lurking presence.
“Its Alive,” also known as “Twenty Twenty-Four” is the intense psychological thriller from the United Kingdom. Written and directed by first timer Richard Mundy, “It Lives” is helmed in the same vein as “Buried” with a solo performer in an isolation crisis. Produced by Ripsaw Pictures and Entity Film Company, the feature has some production power behind it that makes the indie film seem to have a fluffier value than its actual worth and garnishes a cherished and chilling atmospheric cinematography by Nick Barker. A real sense of a cold cleanroom can be just as frightening as a filthy slaughterhouse and the Mundy-Barker team hone in on that very concept, performing a bariatric surgery on the heaviness and the plentiful of the up top, outside world and reducing it to a few corridors, a couple of living chambers, and beast-like belly of a generator room. The filmmakers fabricate isolation and the perception of isolation well with a tremendous set up of the scenario: the preparation and the sudden, unexpected calamity of a nuclear fallout.
Actor Andrew Kinsler has the toughest job in the world, acting without feeding off the energy and the lines of other fellow actors. Kinsler goes at the role alone as Roy, a scientist prepping Plethura 04 for the arrival of Priority One survivors and knowing that he will die when he trades spaces with the group as he has to go topside. That’s notion, of having to sacrifice yourself for strangers, is a deep concept. Its easier to sacrifice oneself for the sake of those you love and care for, but complete strangers is pure mental mayhem, especially when all the work of getting the bunker ready was done by Roy. Kinsler keeps up the part of coping with his mortality, accepting it, and then being crushed by it when the world ends at the blink of an eye. Questioning everything as he immerses deeper into isolation, Kinsler relies more on the artificial intelligence to be a companion, despite seemingly being annoyed by the very lack its thirst for human complexities.
Many popcorn viewers don’t care for an open book ending films where the personal interpretation opens up a vast range of theories. “It Lives” is one of those films. Most certainly a disturbing psychological thriller, the story perpetually has Roy second guessing every anomaly that spooks him, even to the extend of thinking a computer program has infiltrated his subconscious with trickery and confusion tactics. Then, the ending smacks you right in the face and then smacks you again with a three finale questions: Was it a dream? Was it madness? Or was it all real? Christopher Nolan similarly put the fate of “Inception’s” Cobb into the hands of audiences when he spins a toy top to see if he was still in inception or if he was in reality. If continuously in motion, that would signify Cobb’s in a fantasy world, but Cobb’s spin is cut short with a cut to black, begging the answer of whether his happy ending was true or a inceptive pipe dream. Roy’s scenario is a lot darker and, if not, deeper that’s challenged by an internal struggle of self-preservation. Has Roy become a fixture of the cleanroom aspect? Has he become a cold figment of accepting his fate and has suppressed his emotion about it to the boiling point that his subconscious is fighting for his own survival? “It Lives” is an exceptionally juicy psychological film worth exploring.
Second Sight presents “It Lives” onto DVD home video this July 30th! Since the screener was a DVD-R, a full assessment of the audio and video aspects will not be covered. There were also no bonus material on the disc. What I can say is that Harry Kirby’s score is the utmost jarring; reminds me of Mark Korven’s unsettling and unique unmelodious score in “The Witch.” As part sci-fi and part horror, the surface level narrative is sheer terror and fear. Below surface, the wicked and frightful stir an embattling vortex of arguments in the grossest of grotesque forms, aka a complete mind destabilization. “It Lives” has indie roots that spread wide and fierce, shredding through temporal lobes like soft butter and delivering one hell of a terrifying psychological horror.
Times are tough. Loads are scarce. For John Canyon, being an independent owner operator space trucker in the year 2196, without the influential assistance of conglomerate sponsors and big corporations, is the last freedom in the last great frontier, but even Canyon needs to earn a living and when a questionable load becomes his only way out of a jam with the authorities, Canyon and his new and young partner, Mike Pucci, snatch the haul bound for Earth. Manifested as carrying sex dolls, Canyon and Pucci become suspicious of their cargo that’s loaded with a fatal self-defense mechanism, but when encountered by space pirates, lead by former company man named Macanudo, the space truckers learn their hauling thousands of virtually unstoppable killer cyborgs programmed to conquer Earth.
In today’s age, a nationwide driver shortage threatens to slow down crucial logistics worldwide. Director Stuart Gordon (“Re-Animator,” “Dagon”) with co-writer Ted Mann had the inverse premonition that trucker cargo would be at a premium in the space; the point A to point B in a timely fashion has not and neither have the negotiations of rate costs and demurrage time in this world-saving adventure entitled “Space Truckers.” In the same science fiction-comedy vein as the similarly colorful Luc Besson’s “The Fifth Element,” “Space Truckers” has that unrefined inviting quality about it, categorized as blue collared heroes, that complete the dynamic character arcs, but what’s more interesting about “Space Truckers,” which was released a year earlier than Bruce Willis film, was that it was constructed on a third of the budget, making the film one of Stuart Gordon’s most expensive and ambitious projects chocked with square pigs in cages, a self-built cyborg with a ripcord sexual organ, and an army of ass-kicking fembots with disintegrated lasers…”Space Truckers” is out of this world fun!
In the realm of Sci-fi comedy or fantasy, one legendary actor has nailed his performance in every flop that’s too big for commercial audiences. From “Waterworld” to the movie adaptation of popular and beloved video game, “Super Mario Bros.,” Dennis Hopper ruled the 1990’s with memorable, fascinating, and engaging overweening characters, especially villains, but Hopper snags John Canyon, a long in the tooth trucker who prefers to work alone. Hopper’s in his element, in control, and in the lead role despite not being top bill; instead, a young Stephen Dorff would be eyed as the one to provide fresh protagonist momentum into the mid-nineties. Dorff’s rather low-key to Hopper’s giant persona and that’s inherit to the character’s written traits, by always complimenting and complying with and whatever John Canyon says, but the soon-to-be “Blade’s” Decon Frost actor has a sturdy performance that’s portly as any trucker can be portrayed and has great repertoire with Debi Mazar as a trucking hub waitress who needs a hitch a ride to Earth. Mazar’s all-natural New York City accent compliments her guido-type character attire and she downplays her beauty with instilling innocents and ramping up the wit when the scene calls for it. “Game of Thrones'” Charles Dance makes an appearance as the space pirate captain Macanudo and Dance has always has a steel complexion, but in “Space Truckers,” he lets his hair down as far as becoming subjected to hours worth of cyberpunk makeup and prosthetics that’s comically outlandish and utterly fleshy. Certainly not a role one would consider the actor who comes complete with a rich British accent and an urbane quality about him to then sport a sparkling fishbowl cranium and a battleship gray half a buttocks. The remaining cast includes George Wendt (“King of the Ants”) and Shane Rimmer (“The Hunger”).
CGI was relatively in the early stages of infancy; yet “Space Truckers” had an astonishingly working blend of computer generated imagery and palpable miniature models that were supported with an integrated futuristic edifice style of production design by Simon Murton, whose speciality is high concept science fiction with illustrative art department experience that includes “Demolition Man,” “Tank Girl,” “Judge Dredd,” and “Stargate.” Murton’s style incorporated with the bright colored visuals of neon flicker marquees, illuminating body parts, and red hot poker red infrareds hues are the very antagonistic views of a cold and dark space, yet Gordon and his crew envisioned characters who sought out color, who wanted nothing to do with the darkness, and that’s what made them colorful and maybe a bit off-kilter.
Stuart Gordon’s stellar “Space Truckers” rockets to a region B, 1080p Blu-ray courtesy of UK distributor Second Sight that delivers with a widescreen presentation, 2.35:1 aspect ratio, that has out of this world image quality vividly displaying the massive color palette through a 2K restoration from the 35mm negative. Running at nearly 24 fps, Second Sight’s edition is superior in detail, cleanliness, and balance amongst the coloring and despite being able to see the special effect wires, “Space Truckers” has one of the best restorations I’ve seen lately under the black Blu-ray box laced with new artwork by graphic designer Rich Davies. The English 2.0 LPCM uncompressed stereo track, with optional subtitles, has immense range across the board. From cheesy John Canyon dialogue to the vary of space-kindred ambience, not one track felt short to being muddled or murky. Colin Towns bigrig score is big country cadence that’s emits a well-rounded six pack from the dual channel sound. The robot’s disintegrations amplify a high pitch note that can be a thorn in one’s ear, but adds to the chaotic charm when all hell breaks loose in space. Bonus features include a new interview with Stuart Gordon delving into the film’s beginnings and his recollections with the stars, and a new interview with composer Colin Towns (“Rawhead Rex”), a new interview with Art Director Simon Lamont (“Event Horizon”). “Space Truckers” is 96 minutes of mudflappin’ mayhem strapped with slender models in killer robot suits and Charles Dance’s exhibiting his tin-can half-nakedness in a bizarro world of high concept meets tongue-and-cheek performances of a film that ultimately pits the epitome of the blue collar workforce as the unsung heros of space.