LET’S GET PHYSICAL: SHIN GODZILLA (2016) ** ½

FORMAT:  BLU-RAY

ORIGINAL REVIEW:

(As posted on October 17th, 2016)

You know it’s been sixteen years since we last had an honest to God(zilla) Japanese Godzilla movie in theaters? That of course, was the fun Godzilla 2000. Before that, the last Japanese-made Godzilla flick was fifteen years prior, Godzilla 1985. That’s a bit of a sad trend. Even though this new flick, Shin Godzilla has its share of problems, I have to say one thing to the people at Toho: Please do not wait another decade and a half to give us another Godzilla feature in theaters. I’ll be in my mid-‘50s by then.

Now that I’ve got that off my chest, I have to say, I like how this was released. It was only in theaters for a few days in a limited amount of screens. This release was for fans like me who love Godzilla and know that the only proper way to see him is projected thirty feet high on the big screen. I’m glad too because I think if I saw it at home on the small screen, I might have been a tad underwhelmed. I hope more fringe release titles are able to see the light of day in this manner. (Rob Zombie’s 31 also had a similar release.)

Shin Godzilla isn’t necessarily a bad Godzilla movie, but it’s definitely a third-tier sequel. It’s set in the “Reboot” mode where Godzilla is a new phenomenon that has never stomped on Tokyo before. That is fine. As a Godzilla fan, we expect to get one of these every couple of years. Sadly, most of the films that are set in this mold (which include the original film and the previously mentioned Godzilla 1985) are interchangeable in both content and entertainment value.

For me, the “VS” movies are usually better. They may be a bit uneven in terms of quality, but at least the plot can focus on multiple monsters, which gives us less time on the dispensable human characters. Heck, even the “Friend to Children” films at least have their WTF moments. Maybe that’s why I liked the 2014 Godzilla so much. It managed to take the best parts of Godzilla’s Reboot, VS, and Friend to Children subgenres and blended them all together in a satisfying way.

Sadly, this is a straight Reboot tale, but one that has its fair share of rewards.

Speaking of tails (see what I did there?), the political infrastructure of Japan is worried when a giant tail is seen off the coast of Tokyo splashing around and smashing tunnels. Eventually, the bug-eyed beast emerges and runs around the streets of Tokyo knocking down buildings and causing the politicians all kinds of headaches. Once the monster returns to the sea, the politicians begin to rebuild, but it doesn’t take long for the monster to grow to enormous size and become the Godzilla we all know and love.

Actually, he’s not quite the Godzilla we’ve seen before. This time out, he has red stripes that glow in the dark and pulsate whenever he’s about to shoot his fire breath. Some may not like this change, but I dug it. It’s like Godzilla went to the body shop and got a lot of Fast and Furious type of modifications. Among the modifications this incarnation has: A mandible mouth a la Predator that gives his fire breath and nuclear rays an even larger stream. He also has a bunch of blowholes down his spine that gives him the ability to shoot his rays out of his back so that he looks like a one-man disco ball dance party. Also, his tail is equipped with the same ability, so now he can not only level buildings with his tail; he can shoot them down with lasers too.

The opening scenes of the tail in the water are a lot like the appearance the shark fin in Jaws. It’s a great way to tease Godzilla’s presence without showing him, allowing for the big payoff reveal later on. Once he finds land, the baby Godzilla looks ridiculous, but in a good way. He resembles a giant rooster and even walks like one too. Like Mothra, Godzilla has a life cycle in this one and every time you see him, he looks a bit different and/or shows off some brand new ability that the government isn’t prepared for.

Most of the human-based drama deals with the government officials as they decide what to do with Godzilla. What’s surprising is that the first act, which shows all the various channels and red tape-cutting the officials must go through in order to do something about the monster is fast-paced and involving. Had the filmmakers used the same rapid-cut style for the other human sequences throughout the film, the whole thing would’ve flowed better. I mean the flick clocks in at nearly two hours, which is really about thirty minutes longer than a Godzilla flick really has to be.

Let’s face it; we go into a Godzilla movie expecting things to slow down whenever you cut away to the humans. Yes, when Godzilla is on screen, it’s fun, and that’s what really matters. However, at one point, Godzilla literally stops dead in his tracks, and when he does, so does the film.

A lot of my criticisms won’t mean much to die-hard fans. At the end of the day, we got another Japanese Godzilla movie on the big screen, and that alone is victory enough. I just wish it was a bit better.

AKA: Godzilla: Resurgence. AKA: God Godzilla. AKA: New Godzilla. AKA: True Godzilla.

DR. SATAN (1966) **

The evil Dr. Satan (Joaquin Cordero) has perfected a serum that not only resurrects the dead but turns them into mind-controlled zombies.  Of course, you don’t come up with a fancy formula in your swanky lab without a little help.  Turns out the doc has financial backing from an international crime syndicate who occasionally ask him to run errands for them, like aid them in their counterfeiting ring.  Naturally, Interpol is on his case, and the good (bad) doctor has to think fast to stay ahead of their crafty agents. 

This oddity from South of the Border has some nice black and white atmospheric touches, but it feels like it can’t decide if it wants to be a crime thriller or a straight-up Mexican horror movie.  You can probably already guess the stuff with the secret agents and shit are the weakest parts.  It also doesn’t help that Dr. Satan himself is more of a suave antihero than a typical horror villain.  That might not have been a bad thing if he had been a memorable character.  As it turns out, he’s mostly a dullard.  It doesn’t help that Cordero’s performance is somewhat lacking.  Add to that the fact José Galvez, who plays the agent on the case, has even less screen presence, and you soon find yourself with no one to root for.  At least Gina (Santo vs. Frankenstein’s Daughter) Romand provides some fireworks as Dr. Satan’s saucy moll. 

The coolest scene is when Dr. Satan consorts with the real Satan in a foggy graveyard.  That begs the question, why would he have to spend so much time working for the criminal underworld when he already has the backing of the actual king of the underworld?  The devil himself is far and away the coolest thing the movie has going for it, but unfortunately his appearances are fleeting.  And while the idea of having mindless zombies at your disposal is cool, they wind up being less effective than your average hired goon or henchman. 

The sequel, Dr. Satan and Black Magic, was a slight improvement. 

LET’S GET PHYSICAL: ROBOT MONSTER (1953) ***

FORMAT:  BLU-RAY

ORIGINAL REVIEW:

(As posted on August 17th, 2007)

ROBOT MONSTER  (1953)  ** 

This so-called “classic” B-Movie has little to recommend besides featuring one of the all-time worst monsters in film history. If watching a man wearing a gorilla suit and a diving helmet on his head for an hour is your idea of a good time, then look no further.

Said Robot Monster comes to Earth with his Calthinator Death Ray and wipes out the entire population except for six survivors. The Monster, named Ro-Man communicates to his superior using a mirror. He also has a Million Bubble Blowing Machine too. He tries to kill the “Hu-Mans”, but gets a thing for the main scientist’s daughter. “Star” George (The Million Eyes of Su-Muru) Nader spends most of the movie in a ripped shirt, so I’m sure the ladies will like it. Even though Ro-Man’s costume is ridiculous, scenes of him strangling innocent children are a bit much. There’s also scenes of stock footage lizards and stop motion dinosaurs too. Of course, in the end it was all a dream!

The incredibly juvenile music is by none other than Oscar winner Elmer Bernstein! This was one of the first 3-D films of the '50s. The Rhino VHS cassette preserves the 3-D effect and comes with glasses, but it’s so poorly done, it’s headache inducing. The only good 3-D effect is the bubbles, so if you only catch the 2-D version, you ain’t missing much.

2024 CRITICAL REAPPRAISAL/3-D REVIEW:

ROBOT MONSTER  (1953)  ***

The previous review of Robot Monster was for the 3-D version from Rhino on VHS, which featured piss-poor effects.  Thank God for this new restoration by the 3-D Archive.  It’s truly a thing of beauty.  They have painstakingly restored the picture (every dimension of it) and have even included a short, Stardust in Your Eyes, that originally preceded the movie. 

Stardust is nothing more than a comedian named Slick Slaven coming out to warm up the audience before the show.  He sings a song, does a bunch of celebrity impressions, and… uh… that’s it.  There’s not much here to recommend, but I’m glad it’s been included.  If only for posterity’s sake. 

THE 3-D EFFECTS INCLUDE:

• 3-D Hand

• 3-D Hand

• 3-D tissue

From the very first frame of Robot Monster, you can see the work the 3-D Archive has put into this release as the comic books on the title screen leap out at your eyeballs.  I’ve seen this movie dozens of times (mostly on Mystery Science Theater 3000), including a handful of 3-D viewings on VHS, but it’s safe to say this is the definitive presentation.  It’s like watching it again for the first time. 

I can’t overstate how good this looks.  Even the familiar Bronson Canyon locations are a thing of beauty thanks to the rich depth-of-field effects.  Of course, “The Automatic Billion Bubble Machine” (as it’s listed in the credits) makes up the lion’s share of the 3-D effects, but even things you never would’ve dreamt were in 3-D (like Ro-Man’s viewscreen) jut out at the audience.  While there isn’t much variety in what comes popping out of the screen, there is no shortage of 3D imagery.  (See below for a complete list.)

With his gorilla suit and diving helmet, Ro-Man remains one of the most memorably goofy monsters in B-Movie history.  He’s never looked better either.  Also, since he spends a lot of the film in front of a video screen talking to his superiors on his home planet, I think it’s safe to say Ro-Man invented the Zoom call. 

The Elmer Bernstein (yes, Elmer Bernstein) score swings from juvenile nursery rhyme instrumentations to bombastic apocalyptic intonations.  Just like the movie itself, it’s all out of whack.  However, since the whole thing is revealed to be a (Spoiler) dream of a little boy, it makes sense that it doesn’t… uh… make sense. 

Sure, Robot Monster is still no masterpiece, but thanks to the work of the 3-D Archive, there’s honestly no reason to watch it in 2D ever again. 

THE 3-D EFFECTS INCLUDE:

• 3-D Comic Books

• 3-D Titles

• 3-D Bubbles

• 3-D Bubbles 

• 3-D Viewscreen

• 3-D Wand

• 3-D Ro-Man Hand

• 3-D Antenna 

• 3-D Bubbles

• 3-D View Screen

• 3-D Ro-Man Hand

• 3-D Viewscreen

• 3-D Wand

• 3-D Antenna 

• 3-D Bubbles

• 3-D Viewscreen

• 3-D Ro-Man Hand

• 3-D Bubbles

• 3-D Viewscreen 

• 3-D Intermission

• 3-D Bubbles 

• 3-D Viewscreen

• 3-D Antenna 

• 3-D Bubbles 

• 3-D Ro-Man

• 3-D Viewscreen

• 3-D Wand

• 3-D Bubbles

• 3-D Viewscreen

• 3-D Wand

• 3-D Antenna

• 3-D Bubbles

• 3-D Viewscreen

• 3-D Antenna

• 3-D Bubbles

• 3-D Ro-Man Hand

• 3-D Electricity 

• 3-D Ro-Man Hand

• 3-D Electricity 

• 3-D Repeating Ro-Man

LET’S GET PHYSICAL: DR. CALIGARI (1989) * ½

FORMAT:  BLU-RAY

ORIGINAL REVIEW:

(As posted on April 14th, 2013)

Stephen Saydian (AKA: Rinse Dream) tried to bring his trademark weirdness to the mainstream with this pretty terrible in-name-only remake of The Cabinet of Dr. Caligari. Imagine trying to watch one of Saydian’s hardcore movies without the hardcore footage and that should give you an idea of what to expect; which sadly isn’t much.

Laura Albert stars as Mrs. Van Houten. She gets sent to an insane asylum ran by Dr. Caligari (Madeleine Reynal, from Space Mutiny) to “rediscover her passion”. Caligari determines she has a “disease of the libido” and uses a series of unorthodox treatments to turn her into a sex maniac.

Since Albert plays a character named “Mrs. Van Houten” it’s safe to assume that Saydian was more interested in making a “legitimate” remake of Nightdreams rather than doing a new version of The Cabinet of Dr. Caligari. The flick is filled with all the trademark scenes of women spouting pseudo-hipster gibberish directly to the camera (Sample dialogue: “I want his boy-thing! I’ll twist it like a rubber band until it snaps!”), bizarre imagery (in one scene Albert fellates a giant tongue), and random weirdness (a chick sports a pair of freaky droopy boobs) you’d expect from Saydian. But without the hardcore sex scenes tying everything together, Dr. Caligari is pretty much a chore to sit through.

A lot of the movie tried my patience. I found much of it to be a bunch of weirdness for weirdness’ sake (like the scarecrow scene). That doesn’t mean the flick didn’t have its moments. For one, I dug the fact that Caligari’s office looked like Lucy’s five cent shrink stand from Peanuts. There was also a visually impressive scene where Albert spread her legs and masturbated in front of a TV playing a flicking tongue. Too bad most of the scenes are downright irritating (like the electrocution scenes) and the sets look something out of a high school play.

THE HORRIBLE SEXY VAMPIRE (1971) **

You won’t fucking believe the opening scene of The Horrible Sexy Vampire.  A dude gets strangled in the shower by the Invisible Man, without the benefit of special effects, mind you.  Imagine a tubby middle-aged dude reenacting the shower scene in Psycho all by himself, and that’s what we’re talking about.  It’s fucking hilarious.  Alas, it’s all downhill from there, unfortunately. 

Oh, and turns out the Invisible Man is actually the vampire of the title, but It’s hard to tell how horrible or sexy he is when he’s fucking invisible. 

In fact, I think this is the first movie I’ve seen where a vampire is invisible.  I have a suspicion they only gave him that power because the actor didn’t show up to the set that day.  Since the filmmakers still had to film the scene, they fucking made his character invisible just so they could get some film in the can.  I’d like to think that at least.   Oh, and (SPOILER ALERT):  When the vampire finally shows up in the flesh, he’s neither horrible nor sexy.  (He looks like someone’s grandpa.) 

Oh, and remember when I mentioned Psycho before?  Well, like that classic, the main character gets killed off early on and then the movie has to start over with a new set of characters.  I don’t mean to tell tales out of school, but Hitchcock did it better. 

Anyway, the new character is the latest descendant of the vampire who comes to stay at his ancestral mansion.  Intrigued by the skeletons in his family’s closet (along with the literal ones in the basement), not to mention the recent murders at the residence, he enlists the help of the new detective on the case to get to the bottom of the mystery. 

Oh, and did I mention the vampire is called Count Winniger?  But because he’s German it’s pronounced “Count Vinegar”!  No wonder the whole movie leaves a sour taste in your mouth.  At least the gratuitous scenes of random women disrobing give the whole thing a reason to exist. 

During his investigation a policeman says, “Explaining is stupid.  Why should I bother?”  I have a feeling the screenwriters asked themselves the same thing. 

AKA:  The Vampire of the Highway.

LET’S GET PHYSICAL: DEMONS 2 (1986) *** ½

FORMAT:  4K UHD (REWATCH)

ORIGINAL REVIEW:

(As posted on December 19th, 2007)

Director Lamberto (Macabre) Bava and producer Dario (Suspiria) Argento collaborate once again for this highly entertaining sequel to their cult hit Demons. Basically, if you’ve seen the first movie, you’ve seen this one. The only difference is that instead of demons coming out of a movie screen and killing a bunch of people in a theater, this time demons come out of a television set and kill a bunch of people in an apartment complex. The rules are still the same: Whenever the demons scratch or bite someone they become a possessed demon too. During the course of the movie the demons crash a birthday party, attack some muscle-bound chuckleheads at the gym, and chase the hero up an elevator shaft. In the end, a couple of uninfected people band together in the parking garage and the movie turns into a human demolition derby.

Bava fills the film with a lot of atmospheric moments, namely the scenes when the infected humans/demons are running down the hallway with lights shooting out of their eyes. Other scenes that will give you the heebie-jeebies include the scene where the demon is resurrected with blood and the part when a demon slowly forces his way out of the television set.

Bava also piles on the carnage with panache. There’s some groin grabbing, umbrella impaling, extreme manicuring, an Alien inspired chest bursting scene and of course, plenty of the requisite fingernail slashings we’ve come to expect in a Demons movie. Bava also gives us a couple twists on the demon lore by throwing in a freaky demon dog and a ferocious demon kid (obviously a midget in a suit, but who gives a flip) too.

As with the first movie, Demons 2 sometimes stumbles whenever it shifts its sights away from epicenter of the bloodletting and focuses on a couple meaningless peripheral characters who are OUTSIDE of the building. Whenever Bava does this, he loses a lot of momentum and whatever claustrophobic tension he’s created dissipates. Luckily, it doesn’t take him long to get the suspense crackling once again. There’s also an inexplicable subplot involving a rubbery looking pint-sized demon who looks like a fugitive from a Ghoulies sequel that attacks a pregnant woman. I don’t know who thought this was a good idea, but it doesn’t jibe with the usual Demons mythos and the monster is about as scary as one of the creatures from Troll.

Despite its faults, Demons 2 is still a lot of fun and a worthy successor to the first film. A very young Asia Argento (daughter of Dario) has a small role as a little girl who gets to watch her parents become demonized.

A dumb bimbo in the film-within-a-film gets the movie’s best line: “I want to immortalize this moment!”

QUICK THOUGHTS:

Pound for pound, this is one of the strongest horror sequels of the ‘80s.  It gives the audience what they want from a sequel to Demons while only tweaking things slightly.  The apartment setting was an inspired choice of scenery as it allows the carnage to play out on a broader scale than the original.  (Even if I do miss the intimacy of the movie theater from the first one.)  After all these years, the shot of the demon face coming out of the TV remains one of the most iconic of the ‘80s. 

4K UHD NOTES:

This is another great transfer by the folks at Synapse.  The darks run deep, and the brighter colors pop, especially during the blue-hued birthday massacre scene.  The slimy green faces of the demons look awesome in 4K too, as does the scene where the demons, eyes glowing in the darkness, descend a winding staircase.  In fact, the transfer is so good that you can clearly see the marionette stings holding up the little demon puppet during the scene where it attacks the pregnant chick now! 

LET’S GET PHYSICAL: DEMONS (1985) ****

FORMAT:  4K UHD

(Note:  Demons is one of my favorite Italian horror movies of all time.  I’m actually a little stunned to learn I haven’t reviewed it before.  Because of that, I will dispense with the usual “Quick Thoughts” portion of the Let’s Get Physical reviews that I normally do and just review it straight up. I’ll still include the typical “4K UHD Notes” at the end of the review though.)

Lamberto Bava got his start assisting his old man Mario Bava, the king of Italian horror.  If you’ve got to learn from someone, learn from the best.  He made his bones directing solid horror flicks like Macabre and A Blade in the Dark, but he really took things to the next level with Demons.  Working alongside producer and co-writer Dario Argento (whose influence is definitely felt, although this is mostly a Bava jam), Bava was clearly influenced from American horror films like Evil Dead, but he still managed to up the ante considerably.  The result is not only one of the best Italian horror flicks of the ‘80s, but of all time. 

College student Cheryl (Natasha Hovey) is invited to a movie premiere by a creepy dude in a metal mask (future director Michele Soavi).  She and a bunch of other folk head on over to an old movie house to see the film, which turns out to be a horror movie.  Before long, the terror spills off the screen and into the audience as patrons turn into razor-toothed demons.  It’s then up to Cheryl and a dude named George (Urbano Barberini from Outlaw) to survive the night. 

The ooey gooey special effects are a lot of fun.  The demon transformations are essentially a cross between traditional zombies and the Deadites in the Evil Dead.  The rubbery special effects are a hoot too and the air bladder induced bile spewing infected bite marks are a real thing of beauty.  The gore is equally great, and includes throat ripping, eye gouging, and scalping.  

Bava does such a good job at ratcheting up the tension and springing the monsters loose on the audience that it always felt disheartening when he switches gears mid-movie to a bunch of punks outside the theater who are driving around town and listening to Billy idol.  This threatens to take the wind out of the movie’s sails and diminishes the suspense and feeling of claustrophobia he’s built up.  (I did like that they snort coke from out of a Coke can though.)  That in no way ruins the overall fun of the film, but it does interrupt its flow a little bit. 

Luckily, once the punks sneak into the theater, the carnage is truly inspired.  The absolutely apocalyptic ending is really something too and I dug Barberini’s transformation from clueless dolt to motorcycle-riding, samurai sword-wielding, grappling gun-shooting hero.  (You’ve heard of Chekov’s gun?  This movie has Bava’s motorcycle!  Any motorcycle introduced in the first act must be driven around a movie theater and used to kill demons in the third.)  Also, the iconic score by Claudio Simonetti from Goblin is truly one of his best and gives Goblin’s score from Suspiria a run for its money. 

4K UHD NOTES:

The 4K restoration by Synapse is a nice blend of preserving the way it looked in the ‘80s while making the resolution and picture quality sharper than ever.  The colors are nice and rich, and the nighttime and darker scenes look great.  The special effects look particularly icky and the various transformation scenes look a bit rubberier now thanks to the high resolution.  That in no way takes away from their awesomeness.  The money shot where the demons, eyes all aglow, emerge from the theater pit, looks especially top notch in 4K.  The disc also includes three versions of the film, the original Italian, an international English version, and the American theatrical cut.  The commentaries (especially the one by Kat Ellinger and Heather Drain) are worth checking out as well.