The Space Children (1958)

The rating for The Space Children on IMDb is as puzzling to me as any I've run across, 19 April 2007

I've seen a lot of weird things on IMDb, but the rating for The Space Children is as puzzling to me as any I've run across. 2.1?!?! I couldn't disagree any more. 2.1 is getting close to Manos territory. The Space Children may not be the best movie I've ever seen, but it doesn't deserve a 2.1. Why the low rating? I blame MST3K. I enjoy the show, but as I've argued any number of times, some of the movies that they lampooned didn't deserve it. Take a look at the reviews on IMDb. You can split them into two wildly divergent groups – those users who appear to only know The Space Children because of MST3K and those who have seen it on its own. The comments from the MST3K crowd always seem to mention Uncle Fester (Jackie Coogan) in a bathing suit as if it's one of the most important moments in the film. In contrast, many of the comments from non-MST3K viewers reminisce about seeing The Space Children during their childhood. Maybe it's not just an MST3K thing but an overall generational thing as well. Whatever, I tend to side with those who enjoy the movie for what it is.

And what is it? The Space Children is a nice little cautionary 50s sci-fi film that speaks to the dangers of nuclear proliferation. Jack Arnold, one of the best genre directors of the 50s, does his usual workmanlike job with the movie. It's not flashy, but it certainly looks good. The Space Children obviously was made on a limited budget. As a result, the special effects are also limited and Arnold focuses more on the people. A lot of what happens is implied. But that's not necessarily a weakness. Too often, low-budget sci-fi films from this period look ridiculous because of the desire for elaborate special effects (i.e. monster and aliens) that outstripped the funding it would require. The acting, while not outstanding, is solid. Even the kids, who can be annoying at times in this kind of movie, come off looking pretty good. The cast will be familiar to many who grew up watching television in the 60s. Overall I've got no big complaints with The Space Children. Not a bad way to spend just over an hour.

7/10

Northville Cemetery Massacre (1976)

Low-budget film-making at its best, 18 April 2007

Wherever they go, the members of the motorcycle club known as The Scorpions seem to wind up the target of local law enforcement. They can't even drive their motorcycles down the road without drawing unwanted (and unneeded) attention of the local "pigs". But things escalate during a Scorpions wedding in the middle of the field. A girl is raped in a nearby barn and the police and the girl's parents blame the bikers. A few of the local yahoos, including the real rapist and the girl's father, decide to take matters into their own hands. Regardless of the Scorpions' guilt or innocence, the stage is set for a final showdown.

Northville Cemetery Massacre proves that you don't need a big budget to be effective. On a budget of about $1.58, Northville Cemetery Massacre is able to be an entertaining, thought provoking, and unique experience. This is low-budget film-making at its best. Northville Cemetery Massacre's got more atmosphere than a movie with 100 times the budget (actually, I think the movie's low budget helped to contribute to this). I usually reserve the word "atmosphere" to describe horror movies, but it is more than appropriate here. The movie comes off as gritty, dirty, and very realistic. Most of the cast is made up of the members of a real biker gang from Detroit. These aren't actors. And while it does show negatively in some scenes, overall, the real bikers add a sense of realism you couldn't get from a bunch of Hollywood actors. They dress, talk, look, and act like bikers. The final showdown is very nicely done with action, gunplay, and blood galore. And I thought the special effects looked great. I wouldn't doubt that most all of that $1.58 budget I mentioned went into the final scenes. Finally, another highlight is the score by Mike Nesmith (yeah, that Mike Nesmith). Most similarly budgeted films do not have music this good.

If you're into low-budget 70s exploitation, Northville Cemetery Massacre is one you shouldn't miss.

7/10

Stray Cat Rock: Sex Hunter (1970)

- Nora-neko rokku: Sekkusu hanta
Meiko Kaji impresses again, 17 April 2007

When one of the local girls starts dating a "half-breed", the local guy gang (The Eagles) doesn't think much of it. The Eagles start of campaign of terror directed at mixed race couples and individuals they deem to be not of "pure" Japanese heritage. It's up to the leader of the local girl gang and a "half breed" named Kazuma to stand up to The Eagles – even if they have to die for what's right.

While Stray Cat Rock: Sex Hunter is a decent enough movie, it's not the movie I was hoping for. I'm relatively new to the Japanese exploit movies of the 70s having only recently watched three of the Female Prisoner #701 movies. Since Meiko Kaji stars in both and Yasuharu Hasebe directs in both, I was hoping Stray Cat Rock: Sex Hunter would be similar in tone to Female Prisoner #701. And while it has its moments (a couple of fight scenes, the rape party, and the jeep chase for example), the movie is far too serious in its focus to be as much fun as I hoped. More girl gang action and less racial tension would have gone a long way to making this one a real winner.

The highlight of the movie for me has to be Meiko Kaji. I've now seen her in five different movies (this one, the three Female Prisoner #701 movies, and Lady Snowblood) and she never fails to impress me. She's an actress I hope to see more of in the future.

6/10

Tony Rome (1967)

"We can't claim to be the town virgins and can't afford to be the town tramps.", 16 April 2007

Frank Sinatra does his best to bring the tough talking, hard drinking, womanizing detectives of the 1940s into the 1960s. Sinatra plays detective Tony Rome much like I would image Bogart would have had he been alive. Sinatra doesn't do much of anything that Bogart wasn't doing when he played either Philip Marlowe or Sam Spade. In fact, beyond the characters, there are other similarities. Much as Bogart had his falcon, Rome has his diamond stickpin. And just as Bogart was forever carrying Carmen Sternwood home after one too many, Rome seems to be always at hand to make sure the Kosterman daughter gets home safely. In a way, it's this familiarity that makes me enjoy Tony Rome more than I probably should. Realistically, I've probably overrated the movie. You're not going to find anything award worthy here and Sinatra is doing little more than playing Sinatra. But it is fun and I always have a good time watching it. The mystery surrounding the stickpin keeps my attention even after having seen the movie three times. And what more can you really ask of a movie. Other highlights for me beyond the plot include some really cool scenes of Miami in the 60s and Jill St. John in a bikini.

7/10

Grindhouse (2007)

"I want to eat your brains... and gain your knowledge.", 16 April 2007

My initial reaction – err...it was alright, but I was hoping for better than this. I actually feel like I'm being generous giving Grindhouse a 7/10. My rating is based on my overall impression of not just the two movies, but with the total experience. Grindhouse gets off to a great start. I don't know how long it's been since I've had more fun with a movie than Planet Terror. Yeah, it's pretty far-fetched and there are plot holes big enough to drive a truck through, but its so much fun I couldn't have cared less. Rose McGowan with a gun for a leg – how cool is that! But, unfortunately, Tarantino's Death Proof is another story altogether. 90% of the film's runtime consists of some of the lamest, unfunny, poorest written dialogue Tarantino has ever penned. Has he ever even heard two females having a conversation? God, the girls in this movie couldn't die fast enough! And I'm so tired of seeing Tarantino rip every older movie he's seen so his legions of fanboys can rave about how creative and original he is. Please, just stop it! And all the stuff in Grindhouse designed to add to the experience like the aged film, the splices, the jump-cuts, and the missing reels got old after about 10 minutes. It came off as terribly gimmicky to me.

7/10

Pépé le Moko (1937)

"Blame it on the Casbah.", 16 April 2007

Pepe le Moko (Jean Gabin) is something of a celebrity in the Algerian Casbah he calls home. The locals do what they can to protect Pepe and keep the police off his trail in hopes of winning his favor. But how long can Pepe remain hidden in the maze-like Casbah? The French police have a plan to use one of his best friends to lure Pepe out of the Casbah and place him under arrest. Complicating matters is a Parisian woman visiting Algiers that Pepe finds himself smitten with. She's different from what he's come to know in Algeria. She makes him dream and long for days of freedom outside the Casbah walls.

To begin with, to anyone who recommended Pepe le Moko – a big fat thanks. It's a great movie that I probably would have never even heard of had it not been for some of the good people at IMDb. As a budding fan of film noir, I was hooked from the minute the movie began. The plot kept my interest throughout. Never did it seem slow. I've only seen Jean Gabin in one other movie (Touchez pas au grisbi), but I'm quickly discovering what a talented actor he was. His Pepe is a very believable character. He plays Pepe with style, feeling, and, when called for, viciousness. Director Julien Duvivier uses the twisted roads and alleyways of the Casbah to create a one of kind setting for his film. I've actually been in a place like this during a visit to Tangiers, and the Casbah in Pepe le Moko gave me that same feeling of a place you would easily get lost in.

In many ways, Pepe le Moko is ahead of its time. First, I honestly had no idea that something so seemingly American as film noir could be traced to 1930s French cinema. Many of the American films of the next two decades can surely be traced to Pepe le Moko. Second, much of the subject matter in the film is certainly something an American movie of the 30s would never touch or discuss so openly. Themes of sex and adultery wouldn't be commonplace in American cinema for years to come. And finally, some of the film techniques used by Duvivier give the film the look of something made years later. The camera has a fluidity and style I don't associate with the 30s when so much of what was being made still relied on the old "plant and shoot" technique of the silent era.

8/10

Rose Red (2002) (TV)

"How beautiful you are, Rose Red.", 16 April 2007

Prof. Joyce Reardon teaches psychology and has a particular interest in the psychology of the occult. For her next research project, she intends to take a group of psychics to a local haunted house, Rose Red. The house is known as "dead cell" as it's been years since any reported supernatural activity occurred in Rose Red. It's Prof. Reardon's goal to use her team of psychics to bring the house back to life and gather physical data supporting her theories on the supernatural. But Rose Red is no ordinary haunted house. It's the granddaddy of haunted houses. Over the years, it's been responsible for the deaths or disappearances of dozens of people. What will happen if Prof. Reardon's team is successful in their mission? And will anyone be left to tell their story?

Even for a writer as gifted and talented as Stephen King, coming up with original ideas for a haunted house film is difficult. It seems that every haunted house movie made since 1963 follows the pattern set out by The Haunting. Rose Red is no different – a notorious house with a deadly history, a scientist looking to uncover its mysteries, a group of psychics, etc. So Rose Red gets no bonus points for an original story idea. But its execution is very nicely done. Because Rose Red was originally conceived as a miniseries, there's time to get to know a little something about the characters. It gives a little more substance to the danger they face. This extra time also allows for atmosphere – something that I've argued is missing from a lot of modern horror. The special effects are also quite good. I was especially impressed with some of the lighting, miniature, and matte effects. And the acting is better than I would have expected. Julian Sands has always been a favorite of mine and he does not disappoint here.

The only negative aspects of the film that immediately come to mind are the movie's finale and some ill-placed comedy. The ending of the movie is extremely muddled. I've seen Rose Red three times now and still have trouble deciding just what is behind the haunting (vampire, ghost, or something else). And the comedy featuring Prof. Reardon's colleague Prof. Carl Miller is really out of place given the tone of most of the rest of the movie.

Overall, if you're a fan of haunted house films like The Haunting or The Legend of Hell House, don't let Rose Red's 240 minute runtime put you off. It's about the best "traditional" haunted house movie I can think of from the last 20 years.

7/10