Streaming VOD Movies, TV shows and Youtube Videos of Week 2 of 2020! SHUDDER Edition!

 

 

 

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These 4 films, which I have watched since starting my SHUDDER subscription (something like $2.49 for the month, for the next 3 months) are all FANTASTIC, films, in very different ways. But all of them have soared to the top of my MUST BUY List!

MANDY I raved about in a previous post is just a brilliant primary color tinged nightmare of a dream quest/revenge story committed to film.

THE HEAD HUNTER, is a claustrophobic, incredibly tense, incredibly rousing,  actioner/creature feature mash-up.

THE WAX MASK is one of the most sumptuously filmed and strangest Italian Giallo’s, being both a period piece and a Hammer studios homage, a stunning directorial debut.

And then we come to Lucio Fulci’s CITY OF THE LIVING DEAD. I am not a champion of the nonsensical, gore filled films that most remember Fulci for, like THE BEYOND and THE HOUSE BY THE CEMETERY and this one, CITY OF THE LIVING DEAD. I think all of these are the films he made when the audiences  neglected his true masterpieces, to some extent when he stopped caring about making great films, and just decided to pander to the lowest common denominator horror crowds. When Fulci cared, he was one of the most imaginative, talented and stylish filmmakers of his time. He made some of the best Giallos, some of the best westerns, one of the best Hitchcock homages, and one that was his stab at a serious film/period piece. It was that film’s failure that soured him on film and audiences, and made him a gun for hire, and by reports misanthropic to his cast, his crew and the audience, and a churner out of his gore films. That said while I do see these films as Fulci no longer being that filmmaker whose westerns would inspire John Woo’s Blood Ballets and dove motif, despite these films being set-pieces of gore… loosely supported by a story, they are despite all that… still very, very compelling and entertaining. He builds moments of tension and dread and horror, as well as a good smattering of WTF!. Just the audacity of these films, particularly CITY OF THE LIVING DEAD, is impressive. So while not a champion of this film like I am of his earlier films, even lesser Fulci… is jaw dropping. This movie has story structure issues, it doesn’t hold together as a cogent film, it is haphazard and at times silly, but all that aside it is always visually arresting and cinematically audacious. And once seen, you want to own the BluRay to see the making of features and here the interviews and commentary because you definitely want to know what the cast thought of him, after making them do some of the things he had them do in this film.

I’ll be doing an upcoming piece on Fulci, but I guess it says everything about Fulci, is that even what I consider his ‘slapped together/whatever’ film phase, consists of many films, such as CITY OF THE LIVING DEAD, that are must watch films. Even his films of derision, are dripping with imaginative talent.

 

2019 End of the Year Director Overview – Henri-Georges Clouzot

2019 End of the Year Director Overview – Henri-Georges Clouzot

The best available films of and about the great Suspense Director Henri-Georges Clouzot

Product Description

In a squalid South American oil town, four desperate men sign on for a suicide mission to drive trucks loaded with nitroglycerin over a treacherous mountain route. As they ferry their expensive cargo to a faraway oil fire, each bump and jolt tests their courage, their friendship, and their nerves. The Wages of Fear (Le salaire de la peur) is one of the greatest thrillers ever committed to celluloid, a white-knuckle ride from France s legendary master of suspense Henri Georges-Clouzot.

BLU-RAY SPECIAL EDITION FEATURES:
Restored high-definition digital transfer with uncompressed monaural soundtrack
Video interviews with assistant director Michel Romanoff and Henri-Georges Clouzot biographer Marc Godin
Interview with Yves Montand from 1988
Henri-Georges Clouzot: The Enlightened Tyrant, a 2004 documentary on the director s career
Censored, an analysis of cuts made to the film for its 1955 U.S. release
PLUS: An booklet featuring an essay by novelist Dennis Lehane

Review

A big, masterly movie…it joyfully scares the living hell out of you as it reveals something about the human condition. –Vincent Canby, The New York Times

https://amzn.to/2SOgfn3

 

Before Psycho, Peeping Tom, and Repulsion, there was Diabolique. This thriller from Henri‑Georges Clouzot (Le corbeau, The Wages of Fear), which shocked audiences in Europe and the U.S., is the story of two women—the fragile wife and the willful mistress of a sadistic school headmaster—who hatch a daring revenge plot. With its unprecedented narrative twists and unforgettably scary images, Diabolique is a heart-grabbing benchmark in horror filmmaking, featuring outstanding performances by Simone Signoret (Casque d’or, Army of Shadows), Vera Clouzot (The Wages of Fear), and Paul Meurisse (Le deuxième souffle, Army of Shadows).


Special features

New digital restoration, with uncompressed monaural soundtrack on the Blu-ray editionSelected-scene commentary by French-film scholar Kelley Conway

New video interview with Serge Bromberg, codirector of Henri-Georges Clouzot’s, Inferno

New video interview with horror film expert Kim Newman

New and improved English subtitle translation

PLUS: A booklet featuring a new essay by film critic Terrence Rafferty

https://amzn.to/2SF4rTM

 

This masterful adaptation of Prévost s 1731 novel Manon Lescaut marks quite a departure for Henri-Georges Clouzot, the French director lauded for his acclaimed thrillers The Wages of Fear and Les Diaboliques.

A classical tragic romance transposed to a World War II setting, Clouzot s film follows the travails of Manon (Cécile Aubry), a village girl accused of collaborating with the Nazis who is rescued from imminent execution by a former French Resistance fighter (Michel Auclair). The couple move to Paris, but their relationship turns stormy as they struggle to survive, resorting to profiteering, prostitution and even murder. Eventually escaping to Palestine, the pair attempt a treacherous desert crossing in search of the happiness which seems to forever elude them…

Clouzot s astute portrayal of doomed young lovers caught in the disarray of post-war France wowed the jury of the 1949 Venice Film Festival, where it won the Golden Lion award. Unjustly overshadowed ever since by the director s suspense films, Manon now returns to screens in glorious High Definition with a selection of elucidating extras.

SPECIAL EDITION CONTENTS

 

  • High Definition Blu-ray (1080p) presentation

 

  • Original 1.0 mono audio

 

  • Optional English subtitles

 

  • Bibliothèque de poche: H.G. Clouzot, an archival documentary from 1970 in which Clouzot talks of his love of literature and the relationship between the page and the screen

 

  • Woman in the Dunes, a newly filmed video appreciation by film critic Geoff Andrew

 

  • Image gallery

 

  • Reversible sleeve featuring two artwork options

https://amzn.to/2ZGgT7f

In 1964, Henri-Georges Clouzot, the acclaimed director of thriller masterpieces Les Diaboliques and Wages of Fear, began work on his most ambitious film yet.

Set in a beautiful lake side resort in the Auvergne region of France, L’Enfer (Inferno) was to be a sun scorched elucidation on the dark depths of jealousy starring Romy Schneider as the harassed wife of a controlling hotel manager (Serge Reggiani). However, despite huge expectations, major studio backing and an unlimited budget, after three weeks the production collapsed under the weight of arguments, technical complications and illness.

In this compelling, award-winning documentary Serge Bromberg and Ruxandra Medrea present Inferno’s incredible expressionistic original rushes, screen tests, and on-location footage, whilst also reconstructing Clouzot’s original vision, and shedding light on the ill-fated endeavor through interviews, dramatizations of unfilmed scenes, and Clouzot’s own notes.

SPECIAL EDITION CONTENTS

 

  • High Definition Blu-ray (1080p) presentation
  • Original 5.1 DTS-HD Master Audio
  • Optional English subtitles
  • Lucy Mazdon on Henri-Georges Clouzot, the French cinema expert and academic talks at length about the films of Clouzot and the troubled production of Inferno
  • They Saw Inferno, a featurette including unseen material, providing further insight into the production of Inferno
  • Filmed Introduction by Serge Bromberg
  • Interview with Serge Bromberg
  • Stills gallery
  • Original trailer
  • Reversible sleeve featuring original and newly commissioned artwork by Twins of Evil
  • FIRST PRESSING ONLY: Illustrated collector’s booklet featuring new writing on the film by Ginette Vincendeau

https://amzn.to/37u1B8z

 

 

 

La Prisonnière: Woman in Chains (Blu-ray)

The final film of Henri-Georges Clouzot’s (Diabolique, The Wages of Fear) brilliant career, La Prisonnière (1968) is a sensuously colorful film of voyeuristic sexual obsession. It maps a love triangle between abstract sculptor Gilbert (Bernard Fresson), his TV editor girlfriend Josée (Elisabeth Wiener), and art gallery owner Stanislas (Laurent Terzieff). At an art opening, Gilbert ditches Josée, so she ends up going home with Stanislas, who shows her a photograph of a woman in bondage. The image is shocking and alluring, and Josée asks to attend his next erotic photo shoot, her first step in unlocking the depths of her desires. Making full use of the psychedelic optical effects that Clouzot developed for the unfinished L’Enfer, La Prisonnière is a visionary swansong for this legendary cinema artist.

Special Features: Audio commentary by film historian Kat Ellinger • Booklet essay by film critic Elena Lazic The Rebellious Elisabeth Wiener (25 minutes) • Trailer

 

10/10

A disturbing masterpiece

slabihoud2 May 2019

Since there is little talk about “La Prisonnière” when ever there is some kind of documentary or article about Henri-Georges Clouzot , It hasn’t been shown on TV for a very long time and so I thought it must be a weak film, probably done with a small budget and only half-heartedly because of bad health. Boy, was I wrong! After Clouzot’s collapse at the filming of “L’Enfer” he had to refrain from filming for some time. He already had a breakdown earlier in his career and his reputation for being excessively obsessed with perfection was very likely the reason for it. He filmed only every few years because he planned his films methodically. After the disaster of “L’Enfer” it looked as if he had to retire because of his health problems. But he recovered and was able to finish one more film.

When you have seen the documentary “L’Enfer de Henri-Georges Clouzot” then you know that all the tests he had made for it have not been in vain. “La Prisonnière” looks very much like another try on “L’Enfer” from a different point of view. The strange lightning tests he made with Romy Schneider, Dany Carrel and Serge Reggiani and the experiments with shapes and optical illusions, that all and much more went into “Le Prisonnière”. And here it makes more sense than in “L’Enfer” since the male character is an art collector and gallery owner who exhibits modern designs. From all we can see of the fragments of “L’Enfer” through “L’Enfer de Henri-Georges Clouzot” it would have been a great film. And since so many good ideas could not be used there, he gave them all to “La Prisonnière” – and it is a great film! There are pure cinematic moments in this film too, and I had a feeling that Clouzot realized this would be his last film and he wanted to use everything that he had not tried yet and to finish with a bang.

 

https://amzn.to/39ucnNJ

 

Horror Movie of the Day : John Frankenheimer’s THE PROPHESY (1979)

Prophecy (1979)

PROPHESY (1979)- It took me three attempts, three attempts, to finish this film. And the only reason I even started it was because the legendary John Frankenheimer’s name is listed as director. But this is a Frankenheimer removed from his 1960s heyday of ‘A list’ stars and ‘A list’ movies.

There is no BIRDMAN OF ALCATRAZ, THE MANCHURIAN CANDIDATE, THE TRAIN, or SECONDS here. This is Frankenheimer in solid B movie mode, needing to work where he could get it. But even here, Frankenheimer wants didactic films, films that say something, if only obliquely, about real life issues. So we have one of the earliest environmental, EPA tinged horror films. And oddly enough that part works fine. Also Frankenheimer always an actor’s director, gets the most out of his solid cast.

What hampers the film is shown clear in the lackluster poster. The creature does not look great. Even allowing for this being a 40 year old movie, the creature… not good. Add to that the “unbelieving clueless” husband, and the “I have to keep this very important fact, secret from my husband” wife, and that dynamic feels a bit old and stupid. The movie gets a little frustrating around the hour mark, and around there is where I end up bailing on the movie.

However, I stuck with it on the third go around, and around the 1 hour 15 mark you see why John Frankenheimer is a celebrated director. Through pure direction he sells how terrifying this creature is; and the scene where they are driven and trapped underground, one of the most masterfully filmed, and tensest scenes, I have seen in any movie in a long time. Simply brilliant sequence. How he shoots it, how it is framed, how it i s performed. Simply a phenomenal scene. From there to the end of the film, I am officially onboard.

Now moments of, ‘uhh why are you just sitting there being stupid’ still popup, but overall that ending is simply great. Ludicrous, but great. So yeah, it took a few tries to actually finish this film, but having finished it, I have to say… I really enjoyed it, and see myself coming back to it for a repeat viewing.  Grade: B-.

 

View it with VOD courtesy of Amazon Prime.

Thanks for checking and come back for more, next installment!

 

Disquieting Horror : The Sinister Filipino Cinema of Yam Laranis or Films to be on the lookout for on Netflix, Tubi, Amazon!

International Poster for SigawTHE ECHO/SIGAW (2004)– Great cinematography, strong acting and script, and a very subtle horror.-IMDB

This one is available to Amazon Prime members.

 

ECHO(2008) – The Director remakes his 2004 film for US Audiences. Generally regarded as a good remake.

This one is streaming if you have SHUDDER. Or just pick up the DVD for a few dollars.

 

The Road (2011)THE ROAD(2011) – The trailer for this film was my introduction to the films of Yam Laranis. The trailer was then, and remains now one of the most genuinely creepy trailers I have seen. The movie unfortunately fails to live up to the trailer, is overlong and meanders to a conclusion, but that trailer. WoW!

Arguably his most well known film, this one is not available on streaming. But there is a DVD available here!

 

ABOMINATION (2018) – Which I, and seemingly very few people have seen, is getting good reviews from the few out there. an eerie mystery thriller that i’m looking forward to checking out.

This one is available to view for AMAZON PRIME members.

 

Anne Curtis in Aurora (2018)AURORA (2018) – Laranis’  2nd film of 2018, is in my least favorite genre, the zombie flick, but from the trailer… does it with a unique eeriness more akin to THE ATTACK OF THE MUSHROOM PEOPLE. Another one on my watch list.

This one is available on NETFLIX.

 

With each film Yam Laranis becomes an ever more effective storyteller, with a new film in production for a 2020 release.

Yam Concepcion in Nightshift (2019)

 

Have you tried a Yam Laranis film? If so leave your recommendations in the comments, and don’t forget to like and subscribe! 

Movie of the Day and Performance of the Day : THE BEAST

Rabbit Days (2016)

I LOVE, LOVE, LOVE a film that is an experience, that you do not know from the first frame, where the last frame will bring us. Blockbusters are by necessity a predictable commodity. They have to some extent give the audience what it is expecting. It has to inherently be predictable, so it can appeal to the largest possible audience, and bring the highest possible return.

There is nothing wrong with that, I love blockbusters as much as the next person. But there is something to be said for a film that does not live with our expectations, or perhaps even our world. Especially when it is done superbly well, when it is clear from the first frame you are, wherever the road takes you, in the hands of a visionary, a master filmmaker.

https://i1.wp.com/filmthreat.com/app/uploads/2019/03/REV-TheBeast-1.jpg

That is the case with the LeBoeuf Brothers’, Ryan & Cody, THE BEAST. But any script hinges on a central performance, and Clarence Gilyard’s unhinged performance is nothing short of jaw dropping. At once so unhinged, and so good, and the other actors as various forms of straight men to him, also do a great job. Add in the atmosphere, and you are left with a nightmare landscape of a film, that eschewing sense, is brilliant.

The ending perhaps feels truncated, but perhaps is also just right. Depends on your patience for the surreal and absurd. But for fans of the films of Lynch and Bunuel, you will feel in THE BEAST… rewarded.

Grade: I loved it. Your Mileage may Vary. 🙂

Another home-run of a discovery courtesy of AMAZON PRIME. And hopefully we can expect a DVD or BLuray version, complete with Directors/Actors commentary. Streaming is great, but as a film fan, I love to own the films I love… in a less ephemeral and transient format than streaming.

Read the following after you view the movie. No real spoilers, I just feel going into this movie completely unprepared is the right way to go, to get the most impact out of it….Ok you’ve watched the movie! Great! now you can read the rest. 🙂

First, I am glad they changed the name of the movie, as the original one was too on the noise, and would have worked against the air of mystery they were building. This movie for me, has nothing to do with that original title (until possibly the very end), which made the appearance of carrots all the more bonkers and inexplicable and intriguing. I was picturing, something un-picturable as the menace throughout. And that worked to the movie’s benefit. BEAST therefore working much better as a title.

And regarding the lead, I knew he seemed/sounded familiar,  something about his voice, and his manner, but it wasn’t until after the movie that I placed him. Clarence Gilyard Jr, starred for years on WALKER TEXAS RANGER. He is almost unrecognizable, but  what really comes across is how fantastic of an actor he is here, and while always great on WALKER, you do get the feeling he was definitely underused on that show. His performance in THE BEAST shows an actor who should have been acting on the big screen for decades, rather than underused in a procedural. Though what we fans lost, the educational system gained with Gilyard being a lauded professor. And he has been keeping his hand in on the theater circuit.

Case in point, it is great to hear that he and other WALKER costar Sheree J. Wilson recently reunited to do a theatrical run of DRIVING MISS DAISY (what? these young-uns?!).  More on that here: https://www.thespectrum.com/story/entertainment/2018/04/03/tinseltown-talks-walkers-sheree-j-wilson-clarence-gilyard-jr-together-again/482336002/

Clarence Gilyard Jr as James Trivette and Sheree J.

Looking forward to more from these directors, and these actors.

And finally for more on THE BEAST, check out this podcast : https://www.piecingpod.com/2018/10/22/special-episode-the-beast-ryan-cody-leboeuf-interview/

Great Television Analyzed : Boris Karloff’s THRILLER (1960-1962)

THRILLER is a tv series hosted by the late, great Boris Karloff, that even for fans and students of cinema and television, is more rumored of than actually seen. So imagine my happy surprise to come home from a hard day of work and find the first season of this perennially hard to find show, available on the Roku Streaming Channel for free.

Very much an attempt to ride the popularity of Rod Serling’s TWILIGHT ZONE (1959-1964), THRILLER ran only two seasons, starting out as a crime/thriller series before drifting into pure horror. The show never truly finding its footing or audience, but is remembered fondly by fans of classic television.

After watching the first episode “Twisted Image” I can see why. WoW! As someone watching this episode for the first time, 59 years after it was first aired, I was absolutely riveted. Everything here, works, the cinematography, the direction, the performances, the writing, the undercurrent of sex, dread and desperation… I mean we have seen variations on this theme, in the decades since, and yet this episode  still manages to own every single minute of its 48 minute run-time.

I can only imagine how powerful this episode must have seem in 1960. To a generation just coming off of shows like LEAVE IT TO BEAVER it must have felt nearly X-rated. And yet 60 years removed from that relatively simpler America, the show somehow magically still has power, and is still oddly relevant to our world now. A world of desperate people, doing desperate things, in an attempt to find someone to hold them through the night.

Directed by the esteemed Arthur Hiller, from a teleplay by James Cavanagh, from a novel by William O’Farrell, this is as good a 48 minutes of television as you will find.

And a quick aside about Arthur Hiller, while his cinematic filmography is impressive (see some of his movies below) it is filled mostly with comedies.

It is his little seen early television work that is imbued with this seedy, nightmarish intensity.

Tobruk (1967)The Out of Towners (1970)Miracle of the White Stallions (1963)Man of La Mancha (1972)

Al Pacino, Dyan Cannon, Tuesday Weld, Bob Dishy, and Alan King in Author! Author! (1982)

Liam Nielsen, long before becoming known to a younger generation as a comedic lead, cut his teeth doing serious, often mirthless roles. And this episode of THRILLER is one such role.  He is great here, as is the rest of the cast, but the real draw for me is actress Natalie Trundy, her beauty and fragile madness is the spark, that burns the whole world down.

Just a phenomenal episode. I would buy the boxset of THRILLER on Dvd/BLU-RAY  just to own this episode. It is that good. I put it right up there with the first episode of the original ALFRED HITCHCOCK PRESENTS. Now as I mentioned not every episode is a hit. Every great episode seems to be followed up with two mediocre ones, but the series is worth having for the great ones. Try it for free courtesy of Roku, and if as impressed as I, use the link below to get the box-set, while you can.

 

https://amzn.to/2IjIrsF