Adams Movie Reviews

If you've seen the Wonderful part 1 of this title, Stepfather, you wont be too dissapointed with this Stepfather II sequel.

It brings Terry O'Quinn back with a good story line, after all, we all thought he died in Part 1 at the end but he didnt.
and im not spoiling anything here people due to a PART 2 !!!!

Basically like part 1 our infamous step daddy wants the perfect family, perfect house, and perfect wife!!! all is going 'oh so well' when..... well, you'll have to find out!

All i have to say is that, this wedding scene ROCKS!!!!!
It takes allot for my jaw to open with disbelief. Its a pretty good flick. I'd add it to your Crazy Stepfather Psycho movie list!

enjoy! I'd like to hear back from any fans out there that seen this. FlaMiataGlenn@aol.com

SoFlaGlenn

You have to remember that this film was basically made in only 4 months. That's writing the script, casting, shooting, post production, etc. It was made for about 1 and a half million dollars and originally was supposed to be a direct to video release. Some additional shots were added and changed when the studio decided it was going to run a theatrical release like the first Stepfather, and they needed a more violent "Horror Movie".

The DVD release presents the film in it's original Widescreen format, and it's a very sharp Animorphic transfer. A great thing included on the disc is that it has many alternate and extended scenes that were from the original Director's cut. There is also a short still gallery, and a very interesting full-length commentary by the Director and Producer of Stepfather 2. The only thing missing is a theatrical trailer...albeit most Buena Vista DVD's lack a trailer so it's no big surprise there.

If you like this film then you need this DVD, it easily blows away the old VHS and Laserdisc editions. Now, if only they'd release the 1st Stepfather movie on DVD!!!

also, as a Jewish person I see nothing anti-Semitic or racist in any of the Underdog episodes.

the politically correct person who referred to Underdog as "racist/anti-semitic" is obviously the type of individual that probably sees everything as racist in society.

in my humble opinion, Underdog was nothing more then a very entertaining cartoon for kids that was basically a spoof of superman with Sweet Polly Purebred representing Lois Lane.

Bernard Shaw himself (he did not die until the 1950s) is credited with the screenplay, which may have something to do with the criticisms. Shaw is very talky and hard to 'transfer' to motion picture standards of verisimulitude, but this movie has a beautiful, delightful Vivien Leigh, the incomparable Claude Rains, the beautifully dashing Stewart Granger, plus 'old friends' of the classic British cinema such as Flora Robson, Felix Aylmer, Basil Sidney, Stanley Holloway, Leo Genn, Francis L. Sullivan -- all who appeared in wonderful films like Laurence Olivier's 'Hamlet', David Lean's 'Great Expectations' and many other intelligent pictures of that pre- and post-war (WWII, that is) period. (There is even a very very young, but very lovely as always, Jean Simmons as a slave of Cleopatra who plays the harp.)

The picture attempts an 'epic' look, with battles yet noted I'm afraid by unconvincing stunt work and 'casts of thousands' sort of milling about -- and Cecil B. De Mille does this so much better than Gabriel Pascal, the director of 'Caesar and Cleopatra'. But I myself admit I love the Shavian ambience -- the intellectual activist actually attractive (in Shaw's plays at least!) to the winsome young woman; sex as friendship, discussion and respect; thought as more important than 'action-adventure'.

If Shaw's plays do seem too dated to you and they generally bore you, yes, stay far away from this film! But if you brighten when 'entertainment' is also provocative to the intellect and not only to the eye (and other sense organs) -- and particularly if you have great affection for the era of British cinema dominated by Olivier, David Lean, and the early Tony Richardson and featuring so many familiar and adept character actors that fill the firmament with 'supporting' stars, you will like the movie, and ignoring its quite obvious flaws, enjoy every minute: I guarantee it!...

I had seen those snippets as part of a larger Argento documentary called "Dario Argento: an Eye for Horror"---and they were ghoulish indeed! Harvey Keitel impaled on a stake? Mewling, hairless baby cats walled up with a gore-caked corpse, 'Cask of Amontillado' style? The gruesome final finishing touch---death by merciless, razor-sharp pendulum---that even Poe himself had shied away from?

I had to have it, just for the Argento work alone! As for the Romero adaptation of "The Facts in the Case of M. Valdemar", well how could you lose, with the evil mastermind behind "Night of the Living Dead" helming up a short movie about a miser left in hypnosis after death?

Blue Underground has done an excellent job with their Limited Edition DVD: the DVDs themselves are nicely decorated with two of the more chilling sequences from the film, and the material on the bonus DVD (including---hey!---a tour of make-up guru Tom Savini's home!)is worth the price of admission alone. It's a handsome DVD, and a nice addition to any horror movie aficionado's collection.

As for the movies---well, they're not what I had expected, highly uneven, and not the best examples of either Argento or Romero's work. But they're enjoyable, gory, ghoulish fare, with Romero's piece more subtle and stylish and Argento's entry an over-the-top assault on the senses that pays tribute to some of the nastiest of Poe's nuggets, including "The Black Cat", "Lenore" (ah yes, her lovely 32 teeth! nice touch, Dario!), "The Pit and the Pendulum", "The Cask of Amontillado", "The Tell-Tale Heart", and even a glib nod to "The House of Usher".

Taken together, the two pieces that comprise "Two Evil Eyes" give the film a "Creepshow"-like feel, not surprising given that Romero helmed that movie. Romero's piece here has been unfairly savaged, and while it seems sedate in comparison to Argento's gory Italian Grand Opera, it's a stately, stylish little chiller. Adrienne Barbeau plays the crafty youngish wife of financier Valdemar (played to the hilt by Bingo O'Malley, who gave me the creeps!---he also shows up as Stevie King's dad in the Meteor episode of Creepshow), who plots with her hypnotist lover to get rid of the sick old man and abscond with a fortune.
Not surprisingly, things don't go as planned; look for an opening shot right out of "Night of the Living Dead" and a scene-chewing contest by movie veteran E.G. Marshall and Barbeau (who holds her own).

But it's really Argeno's sanguine little number you should check in for. Ostensibly an adaptation of "The Black Cat", it features Harvey Keitel as a demented crime photographer whose lifestyle and pre-occupations would make his "Bad Lieutenant" character cry for his mommy. It's not Dario at the height of his game, but it's wicked, depraved, gory stuff.

All told, these two shorts make a jolly, gory little evening of Poe-vian goodness. Break out a nice cask of Amontillado from your cellar (don't mind the knocking from the other side of the wall), open up a tin of caviar for your trusting black cat, put a blanket over your pet raven's cage, and enjoy two horror masters having some fun with their medium.

Could they have possibly found a better actor to play the Phantom? Easily. Tyler should have stuck with the 'oaters' and said thanks a heap but heck no to this serial.

Well "The Phantom" 1943 serial was once one of these long lost films rediscovered, digitally remastered and thanks to VCI Entertainment is now on DVD. This 2 DVD set gives us 15 action packed chapters introduces us to this mysterious character. This is fun stuff.

Summary: Tom Tyler plays "The Phantom" and this serial introduces us to this mysterious family who for generations has played "The Phantom" the man who never dies. It seems that a descendent male member must perpetuate the "Phantoms" existence. Why, because the "Phantom" is the law of the African jungle & keeps the peace among more than 50 native tribes. In 15 chapters the Phantom is poisoned to death,(because he knows of the Lost city of Zolov). His son replaces him before he actually dies. (therefore keeping the legend of the man who never dies going.) Privateers want the hidden treasure of Zolov. Mysterious nation wants to build secret air field at Zolov. Phantom is in the middle. Everyone tries to kill the man who never dies. For 15 exciting chapters we see how the "Phantom" eludes death and escapes periless traps.

The extras include; a One Chapter commentary by famous comic strip writer Max Allan Collins, Biographies, and comic book art.

This is a great secret serial rediscovered for us to watch once again. Enjoy.

As the three stars indicates this film is a mixed bag. Ali does a solid job of portraying himself and the ever brilliant Ernest Borgnine does a good job as Angelo Dundee. The storyline is somewhat disjointed and seeing an old Ali replaying his youthful antics is only a limited success.

There are points in the film where Ali is acting like a prize ..., whether he intentional meant to show this or whether he still didn't realise considering it was still only 1977 when this was made I am not sure.

Like the life of Muhammad Ali himself there are some areas of the film which age very well whilst others already seem rather embarressing and will only get worse as time goes on.

Ali's risking prison by refusing to be inducted into the military is a great example of a principled stand, something that will never be diminished.

However the three stages of Ali's interest in women is an example of the rather dated attitudes of the day. First we have Ali with the white hooker, thankfully saved ...by the calling of Malcolm X. The not so subtle message of this encounter equating white women as basically [easy] who are there to tempt the black man from the righteous path is racist nonsense. Ali is then saved by the perverted ideology of the Nation of Islam as spoken by Malcolm X (bizzarely played by James Earl Jones) and their "blue eyed devil" hate filled speaches. Next he moves to a transitional stage where he is with a black woman who is swiftly got rid of once she dares to dress provocatively and heaven forbid is willing to talk, even flirt with the devil white man. Finally Ali gets the perfect girl, your classic submissive and virginal young black muslim girl who needs her parents permission to go on a date.

The scenes where Ali encounters racism is no more or less convincing than the usual Hollywood stuff. Ali looks all noble whilst some small time actor is paid to stand there and call him "boy" and generally give him grief.

All in all this is probably only going to be enjoyed by the Ali fan. As someone who is a huge fan of the man despite recognising his many shortcomings I found it interesting. Someone with a limited knowledge would perhaps be better off with the modern day Wil Smith epic.

ps. I noticed they didnt include Ali getting pole-axed by 'enrys Hammer (Henry Cooper) in London. Where only the quick thinking of Angelo Dundee ripping Ali's glove and thus stopping the fight for five minutes and allowing Ali to recover prevented him from losing. ;)

Neither movie however does Ali's whole life full justice, so you might want to get an Ali documentary if you want to have a fuller look at Ali.

Nick Adams visits his fiance Susan Farmer's ancestral estate in the country, where he is not welcomed with open arms. Farmer's father, Boris Karloff, has a feared and hated name in the region, for reasons no one will disclose. Karloff himself tries to send Adams away upon his arrival, but Farmer won't hear of it - nor will her mother, the sickly and sequestered Frieda Jackson, who sent for Adams in the first place.

Standoffish Karloff is hiding something, and even Jackson isn't fully sure what it is. It has something to do with a meteorite that permanently blasted the nearby heath some years ago, and is somehow killing Karloff's household. Jackson wants Adams to take Farmer away from the unhealthy environment.

But Adams discovers from town doctor Patrick Magee that Karloff's family has always been twisted with a bizarre space-cult religion, which in some way has something to do not only with their penchant for undiagnosable wasting illness, but also seems to have created an unknown poison that is sucking the vital life force out of the entire area and gives birth to mutations.

It isn't long before Adams discovers the hidden source of Karloff's family's - and the town's - woes: Karloff has been keeping the meteorite in his diseased progenitors' religious shrine, where its unearthly cosmic force continues to ravage anything in the vicinity. Before the story is out, most of his household will succumb to it - in colorfully hideous fashion, by way of disintegrating facial makeups and sundry other mutations - and Adams will have a nasty time delivering poor Susan Farmer (and himself) to safety.

The movie is uneven, and takes a while to get going. There are a lot of stalking-through-the-mansion shots. But director Haller's experience as an artistic scene designer shows, and the film is indeed extremely colorful and atmospheric. There are some clever puppet effects used to show mutated plant-creatures and lesser changed animals. Jackson's disintegration is a great moment, very creepy and unsettling. And Karloff undergoes a final unlikely mutation himself, transforming from a wheelchair-ridden irascible old man into a silvery-greenish, bald, athletically powerful alien attacker - which makes no logical sense whatsoever, but is great fun to watch.

A typical movie of the studio and the time, but elevated by a good cast, decent script, and terrific production design and cinematography.