Killed think facts

Reviewed by Dennis Schwartz

It’s a Hammer production, so you know what to expect (or you should!).
Despite the title, it has nothing to do with Dracula or precious little
to do with vampirism. This is the second feature of the Hungarian-born
director, Peter Sasdy (”Taste the Blood of Dracula (69)“), and this
feature follows in the elegantly styled and flamboyantly romantic tone
of his first film. It’s lusciously photographed in Technicolor, but its
production values suffer because of the overall leaden acting and cheap
sets and weak direction.

Sasdy tells in a visually intensive manner the 16th-century historical
story of the pernicious Hungarian widow, Countess Elisabeth Bathory –
who used to bathe in the blood of slain virgins in an attempt to become
young again. It was never said that she met with success, but that won’t
stop Hammer from embellishing its tale.

The film opens as the will to Countess Elisabeth Nadasdy’s (Ingrid
Pitt) late husband is read. The Count leaves his library to the castle
scholar, Fabio (Denham). The Count leaves his uniforms and arms to Captain
Dobi (Nigel Green), whom he knew was his wife’s lover. The Count leaves
his loyal servant, Julie (Patience Collier), permanent lodging in his house
and a large sum of money. The Count leaves to the young hussar, Imre Toth
(Sandor Elès), the son of the late general who saved his life and
was his best friend, a house on his property and his stable and all his
50 or more horses. To his wife and daughter Ilona (Lesley-Anne Down), he
divides the estate in half.

The nasty Countess yells at the chambermaid (Brodrick) for making
her bath too hot and when she drops the peelings of a fruit on the floor,
she slaps her and the maid cuts her face as the knife is pushed against
it. This causes a splatter of blood to cover the Countess’s cheek, but
she notices she looks younger on that spot.

The Countess conspires with Julie to be taken to the maid’s room
where she kills the maid offscreen, as Julie decides to go along with her
boss’ mad scheme out of a twisted sense of loyalty. Surprisingly, the Countess
finds that her youth is restored when she washes herself in her victim’s
blood. This leads her to masquerade as her daughter Ilona. The Countess’s
late hubby’s major domo, Dobi, the one who loves her no matter what, gets
thugs to kidnap Ilona on the horse carriage she’s taken to the castle,
and they then hold her captive in a hideout. The Countess then gets the
lovesick Dobi to agree to go along with her posing as Ilona, as she’s obsessed
with becoming young and snaring the handsome Imre. The hussar, thinking
she’s Ilona, falls in love with her youthful beauty and courts her, and
soon a marriage is arranged. But the Countess finds she needs a constant
supply of virgin girls, as her youthful look doesn’t last long. When her
youth fades, the Countess looks like an ugly old hag with hideous marks
over her face. Dobi’s third sacrificial offering to the Evil One is the
local whore, but soaking herself in her blood doesn’t work. She was someone
Dobi set the dumb Imre up with to show the Countess he can’t be trusted.
This comes after their second success with a gypsy fortune teller (Arrighi),
who had the bad fortune of having a hairpin stuck into her neck by the
Countess.

The wormy scholar Fabio is spotted snooping around the castle, but
he’s more interested in his books than the victims. To save himself from
Dobi, he tells the Countess about the secret book in the library — which
says only the blood of virgins will do. Fabio’s rewarded with money for
his help and for his continued silence, but before he can betray her Dobi
hangs him and makes it look like a suicide. But the police captain, Balogh
(Peter Jeffrey), believes it was murder and makes all the servants leave
the castle. The peasants were treated like peasants at all times, while
the nobility seemingly gets away with murdering several of the worthless
peasants. In one such revolting incident, the Countess runs over a peasant
in her cart and doesn’t even stop to look at the dead body.

Meanwhile, Imre finds out the truth about his bride; Ilona escapes;
and, the cunning Dobi justifies his helping the Countess to get married
to someone else because it will only benefit him in the long run — it’s
inevitable that she’ll run out of virgins and have to go back to him because
no young man would want her looking so old. Dobi is willing to accept her
as she is, though he would have liked sleeping with her once when she was
young and glowing.

Warning: spoiler to follow in the next paragraph.

Imre feels he has no choice but to go through with the wedding because
he’s being blackmailed and realizes that Dobi will kill him if he tries
to bow out. But he gets Julie to help the child she raised from birth,
Ilona, escape and wait for him by the stables. At the wedding ceremony
the Countess reverts back to her old and ugly self at the altar and when
she spots her daughter there, who is too stupid to follow orders and not
attend the wedding, the Countess tries to knife her and rejuvenate herself
with her virgin blood. But Imre intervenes and he gets knifed to death,
instead of her. The last scene has the withered Countess looking out from
behind bars in a dark dungeon, as the film ends with her discontented look
frozen in time.

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The film was noteworthy for showing how corrupt those times were.
Also, Ingrid Pitt gave a pretty fair performance as both a lustful young
sexpot and as an obsessed woman worried about her age, who is prepared
to kill anyone so she can get what she wants. These minor plusses do not
override how stagnant the film still felt and how bloody awful were the
other co-stars — Sandor Elès and Lesley-Anne Down. He was stiffer
than a corpse. She couldn’t have been more bland, it was as if she was
a robot trying to talk.

A collection of disaffected babyish adults recover themselves confounded by the elements of their world: rotating sexual partners, drugs, consumerism, and even an unenlightened belief in psychic powers. Eventually the tension of outstanding a life in such tedium becomes crushing and brute erupts. The third installment in Araki’s ‘Teen Apocalypse’ trilogy, following ‘Totally F***ed Up’ and ‘The Doom Days.’

Previously filmed by Anthony Asquith in 1948, Terence Rattigan’s manoeuvre - about the trials and tribulations of an topmost middle order Edwardian forefathers determined to clear the rating of a young son expelled from Naval Academy for stealing a postal order - isn’t the kind of material you’d expect David Mamet to adapt and usher. That said, it’s an with it, engrossing film and surprisingly fastidious. It could, of course, be seen as fair another attire drama, but Mamet’s decision not to unstinting it wide of the mark - it on the verge of all takes employment within the confines of the Winslow household - is wise. Kept offscreen, the unquestioning adherence to the status quo of the naval and political establishments is as frustratingly imprecise and intractable as it is for the folks, just as the media fuss about their predicament is seen letter for letter to hem it in. Mamet never tips the balance. Minor Ronnie’s innocence remains open to doubt, his father’s fight is as much a matter of stubborn smugness as a implore for equity, and the pecuniary and human cost of his quest is all too manifest. As ever with such films, much rests on the performances, and Northam (as barrister Sir Robert Morton), Jones (Grace Winslow), and Rebecca and Matthew Pidgeon (as the suffragette daughter and feckless elder son) do the play proud. Again, however, Nigel Hawthorne steals the laurels, his understatement investing the driven patriarch with complexity and emotional perspicacity.

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Don’t mistake this release of King Of The Ants with Stuart Gordon’s film of the same name! Gordon’s movie is a tense, disturbing and oft times frightening crime movie. Michael Arabian and Tedd Taskey’s King Of The Ants is a romantic drama about a college football player. They have nothing in common and probably couldn’t be more different if they tried.

With that out of the way…

Michael (played by co-director Tedd Taskey of Alien Fury – Countdown To Invasion!) is a young man trying to find himself while going through all the growing pains one normally associates with the college years. Ever since he was a young boy he’s wanted to be a football player. He watched every game he could, whether it was on television or down at the local school. He’d even go down to watch the local college team go through their training and practice sessions. It’s safe to say he’s a football nut and since making the team at his own college, you’d think his lifelong dream would now be coming true.

Sadly for Michael, things aren’t quite working out the way that he’d hoped that they would. He’s bottom of the barrel material and the coach really isn’t giving him much time on the field, instead relegating him to the bench seemingly as often as possible. His family is pressuring him to get his game back and make something of himself but things just are not working out for the poor guy.

Soon, while down in the dumps about his life and his football career, Michael meets a pretty young girl named Brenda (Theresa Sherrer Donovan). The couple soon fall head over heels in love with each other and with Brenda’s love and support, Michael soon develops enough of a backbone to tell his family how he really feels about their so called expectations in a blow out with his father. This allows him to look past the yard lines and see that there really is more to life than football and Michael soon learns that Brenda is what he’d been looking for all along.

I don’t usually go for either sports films or romantic dramas. I dig on exploitation and horror and action and gratuitous nudity. Those are my hot spots and I’m not ashamed to love the trash. So I really went into King Of The Ants expecting it to be absolutely awful and came away surprised that it wasn’t. I can’t say I’ll be going back to it over and over again as it really wasn’t a film geared towards an unromantic anti-jock like me but the movie, as a romantic sports drama, is effective. You care about the characters, the acting isn’t bad, and the director captures some of the angst that not fitting in the way you want to in the world of post secondary education can bring down on a young man.

The story isn’t groundbreaking or really even revelatory in any way whatsoever but if you are a fan of romantic dramas, this one plays better than your average TV movie of the week material and it’s probably worth your time.

Arrogantly Arnie straps on the fetishistic military hardware for a rumble in the jungle with a unforgiving, camouflaged alien (Hall). A routine operation to let go free a cabinet man captured by South American guerrillas turns into a fight to the obliteration when Arnie’s crack team is picked below par one by everyone by an unseeable adversary, which then makes itself detectable, removes its defensive helmet, and challenges him to a fair (!) fight. With its pompous dialogue and hammy acting, the film has the look of an expensive movie but the feel of a B large screen, delivering the sort of undemanding fiend mayhem Arnie’s fans have come to expect.

Reviewed by Dennis Schwartz

David Ross Lederman (”McKenna of the Mounted”/”The Range Feud”/”The
Riding Tornado”) helms this routine B Western from the early days of talkies.
Randall Faye adapts it from his own story. It’s a watchable Western programmer,
with good action scenes.

Cuthbert Chauncey Dale (Buck Jones) and his sidekick “Swede” (John
Oscar) are riding to the ranch Chauncy just inherited when they witness
a stagecoach hold-up, but the lone gunman escapes stealing only a watch
but leaving the loot behind. Chauncey and “Swede” are accused of the crime
and get arrested, but escape. Starrett (Wallace MacDonald) was the actual
hold-up man, and he befriends Chauncey and gets hired to work on the rundown
ranch. The neighboring fancy big spread Preston ranch is run by the young
headstrong Lou Preston (Ethel Kenyon). She gets into a tussle with Chauncey
over land rights and gets kicked off his spread. Her jealous foreman Joe
Moore (Al Smith), who has romantic designs on Lou, mistakes the feud for
a lover’s spat. Chauncey mortgages the ranch to buy cattle, but the crooked
Moore arranges for him to buy stolen cattle from the Preston ranch from
his henchman Bill Saunders (Robert Kortman). Lou mistakes her new neighbor
for being a rustler and gives him 24 hours to leave. Moore is not satisfied
with that and instigates a lynching party for Chauncey and Olaf. Lou gets
the sheriff, and Starrett fights with Chauncey. In the end, everything
gets straightened out as a witness to the stagecoach robbery points out
the real robber and Lou embraces Chauncey.

Charles de Poulignac (Rupert Everett) is the Parisian jet set’s party masterful. You pine for fizz, pizza, glitter, glamour and perchance a small Shakira? Call Charles. But a jealous antagonist conspires to sort him an DP, snubbed by the snobs. Eager for to penetrate c be into clandestinely into the feign, Charles flies to pill-popping, club hopping, non-pull over Ibiza, get-together capital of the world, where his destiny lies in the hands of John John (Jose Garcia), king (or maybe queen) of the Ibiza gloaming picture.

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Dan Dunne (Ryan Gosling) teaches in a insignificant State school where his singular approach engages the pupils. But missing of credo, frustration fuels his drug habit. One night troubled student Drey (Shareeka Epps) chances upon him while he?s grand, and a tie is forged.
Verdict

Just wonderful with its offbeat but wholly credible storyline, down-to-earth style and exceptionally fine performances.

Reviewer: Angie Errigo

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Harry Potter and the Lawfulness of the Phoenix



R E V I E W   B Y   R I C H   C L I N E


dir

David Yates

scr

Michael Goldenberg

with

Daniel Radcliffe, Rupert Grint, Emma Watson, Imelda Staunton,
Michael Gambon, Gary Oldman, Ralph Fiennes, Evanna Lynch,
Matthew Lewis, Katie Leung, Alan Rickman, Maggie Smith,
Julie Walters, Mark Williams, Brendan Gleeson, Jason Isaacs,
Helena Bonham Carter, Emma Thompson, Robbie Coltrane, Fiona Shaw

rescuing

US 11.Jul.07, UK 12.Jul.07

07/UK Warner 2h18

Secret high society:

Grint, Radcliffe and Watson

Harry continues to thicken up in this darker and more action-oriented fifth flick. The adventures is told with bracing efficiency and clever facetiousness, and features solid acting from the expanding designate.

It's year five at Hogwarts, and Harry (Radcliffe) is the subject of a smear campaign claiming that he's lying about the return of Lord Voldemort (Fiennes). His friends Ron and Hermoine (Grint and Watson) believe him, as do a group of students who gather in secret to practice defending themselves against evil attacks, since the meddling new Dark Arts teacher (Staunton) is only teaching theory. Meanwhile, the secretive Order of the Phoenix continues to fight Voldemort's evil gang of Death Eaters. And the ensuing battle looks likely to seriously upset the school year.

This episode of the story is firmly set in modern-day Britain, with the backdrop of high-rise London and the growing threat of terror, which will build right through the final two films in the series. As Harry matures, so do the films, and this story focuses on ethics and personal responsibility, loyal friendships and developing the ability to discern between true good and evil, regardless of the faces they show. Pretty serious stuff for what's considered a kids' movie.

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The central trio of actors is increasingly solid, with newcomer Lynch (as the quirky Luna) adding an intriguing wrinkle to the group. As the adult cast grows, their roles are limited to key scenes, but each gets a chance in the spotlight. The exception is Staunton, whose character takes over the school and walks off with the film. Her smiling, pink-clad, kitten-loving villainess will surely become a cinematic icon, and her performance is awards-worthy.

Without the bracing artistry of Alfonso Cuarón's

Prisoner of Azkaban

or the raucous energy of Mike Newell's

Goblet of Fire,

this more straightforward thriller focuses on inner emotions and disturbing revelations. The effects work is superb, although some animated characters are a little iffy. But the script is loaded with witty asides and sharp observations, as well as encounters that are genuinely thrilling and surprisingly touching. The final sequence in the Ministry of Magic is simply jaw-dropping, and bodes extremely well for Yates' continuing work on part six.

themes, bestiality
19.Jun.07

R E A D E R   R E V I E W S




michelle, Newbury Reservation, London:


"I have knowledge of you can't fit the total that's in a book into a film but the subtleties of the story were missed. I have to roughly I was downcast. It was a shame that the maturity of characters only got snatches of sort out time. That said, Luna was a welcome addition and Umbridge was excellent in her malevolence. I did feel that the enlivening of Grawp was particularly paltry. Harry's angst was felt throughout the steam and you could definitely endure the story structure up getting ready fit the approaching darker stories but the unalterable moment of truth scenes were fairly anticlimatic. Still, it was enjoyable to be careful of but not as good as the hype or the book - shame." (2.Aug.07)