Saturday, July 5, 2025

Al's Birthday Review: Daughter of Horror

Hey, everyone - Bob here, for the annual test of my friendship with Al. 

This year, he's given me an odd little film: Daughter of Horror.


Daughter of Horror, by my understanding, is a re-release of the 1955 film Dementia, which was originally going to be released in 1953 but was banned by the New York State Film Board. 

Al will probably kill me if I don't also mention that this film was also featured in the 1958 film The Blob (Crisis averted then).

It was also purchased, re-edited, and re-released with added narration. 

Notably, the narration - per Wikipedia, anyway - was done by Ed McMahon. Yes, that Ed McMahon, Johnny Carson's buddy on The Tonight Show. The re-release date is unclear - the actual film's page claims it was re-released in 1957, but Ed McMahon's page claims 1970.

No offense to Ed McMahon, who does a stellar job with the actual voiceover work for the narration, but the addition of narration was, in general, a really bad idea that takes a weird but intriguing film and basically spells out what's happening to make sure you don't miss details that were perfectly well presented to begin with. 

Now, if they'd wanted to add narration to Hard to Be a God, that I would've liked!

Literal first thing you see. This...felt like a bad sign.

However, this is kind of a dreamlike, experimental film, so despite the above, there's some parts you can still interpret multiple ways.

The film is also mostly a silent film, with no dialogue whatsoever except for the narration added to this version, and only a few bits of other vocalizations - wordless laughter and crying. Other than that, you're just in the company of the soundtrack for the rest of the film. This, obviously, contributes to the dreamlike atmosphere and opens events to interpretation, as for the most part you have to judge what's happening purely based on visuals. 

To be clear, I don't mean "silent film" as in "there is dialogue but it appears as text on screen." I mean that there's no dialogue whatsoever in any form.


In any case, in brief, here's the concept: The movie follows one night in the life of a woman who appears to be insane, suffering from hallucinations and unsettling behaviors. It is less a straight plot than a look at madness, and it is unclear how much or how little of the film actually happens. 

Some scenes are blatantly dreams or hallucinations (especially when the narrator just outright says so like we can't figure it out), while others may have happened, or may be her imaginings.


I'll briefly summarize what appears to occur. Obviously, spoiler warning...such as it is. Seriously, though - if anything that I said above sounded interesting, and you're willing to deal with a short-but-slow film with some too-blatant narration to see what it's about, you may wish to watch the film before reading anything below as it probably plays better going in with less knowledge.

Otherwise, carry on.

Oh no, I'm totally in the same shot as this wave! Please ignore how you can see it through my head!

The woman has a dream about drowning, then wakes, takes a switchblade, and goes out on the town. She encounters various people, is attacked by a drunk and rescued by a cop who beats the drunk to death, and is accosted by a man who gets her to come with him to a rich man he appears to work for. 

She goes out for a night on the town with the rich man, flashes back to when she killed her drunk and abusive father for killing her mother (an adulteress), then is largely ignored by the rich man at home until he comes over to try to kiss her (apparently treating her like a prostitute), at which point she stabs him. He grabs her necklace and plummets out the window, and she flees, seen by multiple people, and tries to get it back from his corpse, but it's holding on too tightly so she uses her switchblade to cut his hand off and takes both, then hides them in a flower seller's basket. 

Then, she flees from the pursuing police into a nightclub (which we are blatantly told is a hallucination), until she is caught and hallucinates everyone knowing what she did, including her victim laughing at her. Then she wakes up in bed...but sees the hand and pendant in her dresser.


You'll notice that that's not really a ton of plot. Indeed, this is a fairly short film, just shy of an hour long. I'd argue it could've been even shorter, as there's a lot of scenes or shots that just drag on for a very long time - some for stylistic reasons, but still. I think you could cut this down by a good twenty minutes and not lose much of anything. 

It just takes far too long to get to things sometimes, especially when it is obvious what's going to happen - for instance, it's about twenty minutes of the runtime between her meeting the rich man and her killing the rich man, and it's pretty obvious from the first second of their time together that that's where this is going. They just drag it out over several scenes of them in the car, attending a restaurant, attending a club, and spending time at his (very fancy) apartment. It just keeps going. 

We even watch the rich guy eating chicken wings for two thirds of eternity.

I'm just as bored by this as you are, lady.

That said...it's still quite an interesting film. The acting is all terrifically strange in just the right way for this. The lead, Adrienne Barrett, does a particularly tremendous job of acting just a bit off - her reactions to people feel just slightly unsettling, she smiles at weird times and in strange manner, she holds her gaze on things for just a few seconds too long, that sort of thing. 

Her late-film freakouts are also terrific. She's really very good in the role and holds the viewer's attention well, which is a good thing since she's in the vast majority of shots in the film and has to communicate a great deal through just expression and movement. 

She's a major contributor in the film setting its mood and atmosphere extremely well.


The cinematography is also worthy of praise - there's a lot of great shots in this film that set a dark and twisted atmosphere and make things feel just a bit wrong, a bit confused and unreal. It makes excellent use of light and shadow, and of set design, to communicate that the world is not quite being seen truthfully and to add a touch of intimidation and danger to just about every moment. 

No shot feels like it's taking place in true safety - it either feels actively frightening, at least unsettling, or just confused and wrong, but all clearly intentionally so.

The film also makes use of a lot of visual symbolism - for instance, the police detective who keeps showing up throughout the film in various places, sometimes in direct pursuit of the lead and sometimes just seemingly in the same place, is the same actor who plays the lead's alcoholic and abusive father that she killed in her past - a literal representation of her past haunting her constantly. (It would be perhaps more impactful if that fact wasn't lampshaded so blatantly by the narration midway through, which outright states: "...behind you, the policeman with the face of your father, the face of your first victim, pursuing you relentlessly in your haunted brain...")



Seriously, the narration really screws with this film. Sorry, Ed. It isn't as bad as Scared to Death, but it just feels like it was added because people didn't feel like the original film was interpretable, in which case...maybe just don't re-release it? 

The whole point of this film is to be weird and make you second-guess what you are seeing and figure out what it means - adding something that just tells you what it means kind of invalidates the movie as a whole.



I also really loved how they presented the flashback to the death of her parents - it's a little on the nose, but a really fun and artistic presentation. Rather than flashing back to her childhood home, the film flashes to a graveyard, where a tall man in a suit with a mask on shows her visions of her parents and their deaths...which are done very stage style by just adding home props and furniture to the graveyard itself. 

Slender Man version 0.12a?

The mother even falls dead right in front of the tombstone reading "Mother," which is admittedly kind of direct but does get the point across. Credit to them for the overall sequence, which was a visually interesting and unusual way of presenting the concept.

Really, that's the way of things with this film - it has a lot of visually interesting, creative presentation, marred by a longer-than-necessary runtime (even for its short length), overly blatant narration, and a few outright silly bits that could perhaps be excused as representations of the lead's madness, but really are probably artifacts of the time or just some poor filmmaking creeping in. Most notable for that is the bit involving her trying to get her pendant back from the rich man's corpse: When we first see it held in his hand, it's held very loosely, but when she goes to take it, it is gripping the pendant tight, so she has to cut the hand off. With a switchblade. Which seems difficult, and likely to leave even more evidence on the area and your person than just leaving the pendant. 

By the way, maybe don't cut off the whole hand but just a finger or two to get the pendant? Not that I've thought about this sort of thing.



Then, she has an entire chase sequence through town, keeping the hand on her person the whole time, and somehow has no blood whatsoever on her. 

Again, you could argue that it's a hallucination thing, but...really, I think it might be more an artifact of this being a 1950s film and not wanting / being allowed to show much gore. There is a bit of blood on the mother's hand in her death scene, but not much beyond that. 

It doesn't matter much to the plot anyway since some or all of that may not even be happening, but still.

Cool artistic "followed by spotlight" shots, though.

Otherwise, the only remaining major criticism I have to present is the soundtrack, which is just aggressively dreamlike and ethereal in a way that starts out interesting and quickly becomes annoying, largely because the same sequence of notes repeats over and over and over and over in the film with very little variation for most of its runtime. It sounds like the theme they'd use for strange and fascinating parts of alien planets in the original Star Trek - high, airy female singer singing wordlessly, ascending and descending note runs, that sort of thing. 

It's good! 

Until you hear it for nearly an hour straight, broken only by a big band number late film. It's the voice version of the soundtracks to Rollergator or Mesa of the Lost Women.

Bruno VeSota, whose performance here strangely reminded me of Orson Welles' in The Trial.

Honestly, there's more I could say, but I kind of want to leave it there. This is not a bad film, though I suspect the original version might have been superior - I'm not sure what other than the narration (which was a bad choice) was adjusted in this one, so it's possible this improved it in some ways and hurt it in others, or that is was just hurt and not improved at all. 

Still, it's an interesting concept, just presented in a way that's lengthier than it needs to be and with some awkwardness and confusion that can't always be excused as just the film portraying madness. It's a strong attempt at its concept and even in its current state, leaves some things just open to interpretation enough to be an intriguing watch - just be ready for a slow pace and some poor presentation choices along the way.

I think overall I'm glad I watched it. This doesn't nail its concept, and there's definitely room for notable improvement...but it's a successfully weird and compelling film all the same.

Happy Birthday, Al.

Fun note: Angelo Rossitto, pictured here, would go on to play Master of "Master Blaster" fame in Mad Max: Beyond Thunderdome.


Friday, July 4, 2025

Holiday Flix- Top Gun- Maverick (2022)

 A Film that has the need- the need for speed.  That's why it took 4 years to finally come out in Theaters after they shot it.

This is Top Gun- Maverick, the Film that 'saved' Theaters.  That was the hype, wasn't it?

Thanks to my Illinois Family for getting me a free Digital Copy of this one- and the Original too.

Tom Cruise is back in the role of Maverick after (roughly) 30 years and he's here to teach the next Generation how to do it.  That's what Flight School is for, but.... shut up.

In all seriousness, the Plot involves a super-dangerous mission and they want him to prepare them for it.  Can he stop being a, well, maverick and learn to teach?

To find out how this Legacy Sequel turned out, read on...

In 2018 (when this one was actually shot), Maverick is testing a new plane, but the Military wants to put the money into drones.

Thanks, Obama!
He is told that they will only extend the program if they can get it to go Mach-10.

He does it- as the General arrives to shut things down- and then goes to 10.1 and the plane explodes.
Of course he's fine- why would you ask?
See you never again, Ed Harris.

The mostly-offscreen Iceman (Val Kilmer) keeps Maverick in the Navy, as he apparently is the Commander of the Atlantic Fleet.

He gets him a new job- as a Trainer for Top Gun (which is still NOT a real thing).
He's got to teach a whole group of Navy Pilots, including a bunch of future MCU Stars.  The first meeting of Sentry, Mr. Fantastic and new Falcon- neat!

The key person is Rooster, aka the son of his Wingman Goose.

Assuming that the timeline is 1-to-1 here, he's pushing 40 (as we see him as a 4–7-year-old kid in the Flashback) here.
Also, his Mom died between Films, since we couldn't bring back Leading Ladies from Top Gun.
The Mission is next to Impossible (see what I did there?) and he trains them for it. 
 
He also makes them simulate dog fights against him, in spite of the fact that the whole point of the mission is to get out BEFORE the enemy planes arrive.

Oh, well- an excuse for 'the old dog' to teach the young ones some new tricks.
Maverick does have a support system, including his old buddy Sundown (recast from Clarence Gilyard, since he mostly-retired from Acting in 2002).

However, hee keeps butting heads with another authority figure in the form of John Hamm.

He's never happy, until he's proven wrong by Maverick (naturally).
Back in his old stomping grounds, Maverick reunites with Charlotte to.... oh right, she aged differently than Cruise, so she's out.

Instead, he reunites with Penny, who he totally has a long-term relationship with.  Honest!
The whole thing builds up to the mission, which is to keep some Country from getting nukes.  What country, you ask?

Anyhow, it all comes down to Cruise leading the Pilots to save the day.

Can they do it?
To find out, stream it now.
A pretty enjoyable Film that really excels when you see them fly.

Did I care all that much about whether Maverick would get to keep flying?
What about Rooster and his drama?
Whether Maverick will end up with Penny?

Not that much.

They spent lots of time and money really making the interior shots of them in the jets look great.  No question- it is amazing work.

My issue is that this Legacy Sequel never quite wants to admit that the new, younger Characters can be his equals.  We get a line about them 'all being great, but this mission is difficult' to explain why he needs to lead the mission.

Wouldn't it be better if they could do it on their own and he helped them out somehow?  For all its many faults, that last Jurassic World did that right.
See also that last Indiana Jones Film.

For pure spectacle, this is great.  I saw it on 36 inch TV, so I can imagine what a Theater one was like.  I just wish that it led its newer Stars shine more.

A Film that looks amazing on so many levels and is genuinely thrilling.  As far as Legacy Sequels go, however, it is a bit noncommital.

Thursday, July 3, 2025

Tubi Thursday: Ape vs. Mecha-Ape- New World Order (2024)

 Nothing can unite Disney and Warner Bros like The Asylum!

This is the final part (please!) of the Ape Trilogy, which was marketed to piggyback off of the planned release of the most recent Captain America Film (which was then delayed into 2025).

It's...something.

The Film opens with a Flashback/Retcon to the Film called Ape vs. Monster.

While the ship with the Ape (which was a Chimpanzee in that Film) is coming back, it crashes into a monster...somehow.
In the last Film, the US Government made a Mecha-Ape, because reasons.

After that one was hijacked and destroyed, the Japanese Government- led by the Prime Minister- funded a new one...because reasons.

They say it is for Search and Rescue, which is definitely what a 30 foot Robot Ape is for!
Elsewhere, a Cruise Ship is attacked by the same strange creature from the Intro.

This is a Plot Point and it only gets sillier as the Film goes on.
The Ape is now on his own island- see the first Monsterverse Kong Film- and upset about something our 2 Scientist friends can't decipher.

As it turns out, he knows that the Monster is coming and they have a quick fight, ending in the Ape being wounded.
The B-Plot involves the Government people- like 3 of them- trying to handle the chaos.

The C-Plot involves this Reporter- whose parents were on the cruise- spending way too much time obsessing over Port Security.
No, really.

This eventually pays off...in a great case of Tell, Don't Show.
The Mecha-Ape flies over to fight the strange creature, in spite of the protests of the Japanese PM- and grabs it to fly it into the upper Atmosphere.

The Film really cheaps out, giving you one shot of them and then just showing the lady in the Control Room instead.

Lame.
The Film promises you a battle between a giant Ape, a giant Ape Robot and, well, Cthulhu.

If you come to the Film for it, just know how much you get...
The End.
A Film I wanted to like.  Honest!

I've said this before, but I will repeat it- I want to watch a Film and like it.
Does that need repeating?

The Film tries to be a big Budget Film without having said big Budget.  It was a mistake to do something that you couldn't do.

To the Film's credit, they try to make this into the final part of a Trilogy.  It is kind of silly how they do so, but kudos for the effort.

On the flip side, they use SO MUCH STOCK FOOTAGE.  It is embarrassing to see in 2024 by (technically) a real Film Studio.

We only get about 5 minutes of big Action across nearly 90 minutes.  It's just a poor decision, kind of like giving Sean Young this haircut...
I apologize if this turns out to be her idea, but I need a Stinger.

A Film that sounds like lots of silly fun.  Unfortunately, the Film is so cheap and full of talking that most of the fun is seriously absent!

Wednesday, July 2, 2025

My Crazy Youth: The Fantastic Four vs. Galactus- Round 3!

 After the last Episode, I figured I'd keep going.

In Episode 20 (now fully in the new style), Galactus would return in 'When Calls Galactus...'

The FF go out to dinner, but are mobbed by fans.  Whoops.

One girl (Nova) is daring and kisses a morose Johnny (missing his beau Crystal) and... lights on fire.

It turns out that she was exposed to chemicals as a kid and now has Johnny's powers too!
Bad timing as Terrax- last seen in 'To Battle the Living Planet'- arrives and attacks!

He is Galactus' new Herald (replacing Silver Surfer), but wants their help to kill him!
They are forced to acquiesce when he floats New York City into the upper Atmosphere!

The group- with Nova and now Invisible Woman- goes to him and he explains that he was 'poisoned' by a Planet chosen by Terrax.

He attacks them and our Heroes realize that his attacks power up Galactus, allowing him to defeat his Herald!
As he goes to leave, Galactus is suddenly 'sick' from that Planet (delayed reaction?) and now decides to feed on Earth!

They battle him, but things aren't going well.

A literal Deus Ex Machina arrives in the form of Thor (voiced by John Rhys Davies!), who aids them.
However, he's still not enough.

As a Fox Crossover, Ghost Rider (who previously appeared on Hulk and was going to get a Show) rides onto the scene and uses his Penance Stare.

It makes Galactus feel the pain of every life he took by eating their Planets (which is countless 1,000,000,000s!).
Galactus goes down!

He soon begins to feed on its own energies, shrinking the giant alien!
However, Nova speaks up, offering to become Galactus' new Herald and exploring the Galaxy with him.
Johnny doesn't take it well, obviously.

She goes with him, apparently not appearing on the Show again.  Dang.

The End.
A fun Episode, even if it does speed through a ton of story in just one Episode.

Curiously, the 1st Season did a 2-Part Episode on Galactus (which I remember watching on my living room floor one Saturday morning) and then did these Episodes in just one-offs.

In the course of 20+ minutes, we have to meet Nova, get her origin, see her relationship form with Johnny, see her fight the villains and then see her change her fate to leave with Galactus.

If that's not a speed run, what is?

Having said that, I did like it.  I like that they introduced Terrax and Thor before and then paid them off in the same Episode.
Ghost Rider was a good replacement for Dr. Strange, who did the same thing in the Comics (just with a spell that caused the same effect).

It is a random, but fun cameo.

All in all, this one- sans Silver Surfer- does show what an improvement we got from Season 1.  I mean...this is a real Screenshot from that 2-Part Episode.

A less remembered, but still fun Episode of this dated Show.  Thankfully, it is less dated in the bad way, especially compared to the previous 2.

Tuesday, July 1, 2025

Shudder Day: The Found Footage Phenomenon (2021)

 A Genre that I have a real love/hate relationship.

All bad Movies are bad (obviously), but the Found Footage ones always find more ways to be annoying.

Here are all of them I've covered so far (the List will, of course, include this one too).

The Documentary talks about the Origin of the Horror Subgenre, talking about early Films and how they were influenced.

They thankfully credit such Films as Peeping Tom (below) and others that I'd genuinely not heard of.
Throughout the Film, you hear from various Directors and a few people that study Films.

This means that you hear plenty from guys like this before you eventually learn what Film he made.
They obviously spend lots of time talking about The Blair Witch Project.

If you're not familiar with it, this is informative.
They eventually talk about later ones in the Genre- like REC- and how they were made.

If you like this kind of Behind the Scenes talk, it is nice.
If you don't need every Found Footage Film Director to tell you how clever they are, it is less nice.
No disrespect to Andre Ovredal, of course.

Trollhunter rules.
We hear many times from this lady, who is pretty informative.

She has a French Poster for The Strange Vice of Mrs. Wardh (and no, I didn't need to Google that), so I do like her.

In closing, if you don't know all of the minutia and history of these Films, this is a good watch.
The End.
A pretty enjoyable Documentary, even if it repeats itself a bit.
In fairness, the Film is made up of a couple dozen interviews taken at completely different times.  

I guess they couldn't be bothered to cut out the THIRD Director make the same point.

Joking aside, they got a great number of interesting people to talk about their Films, from Ovredal to Ruggero Deodato to Eduardo Sanchez.

More love for Ghostwatch- yes, please!

I love that they cover the History of the Genre (going back to the 1960s) and the realities of the World that inspired it.  Again- a very informative Film.

My final gripe- they gloss over all of the bad Found Footage Films, somehow not mentioning Area 407 (which this picture appears on if you Google it)...

A very enjoyable and fact-filled Documentary.  Just know that it makes the same points a few times too many throughout the runtime.