Author: BRWC

Recently I reviewed Massimo Dallamano’s The Night Child – an aesthetically cheerful Exorcist knock off – now from the same director we have a different proposition in Super Bitch.

I know. What a fantastic title. The pleasures seem boundless from such a title. Although the film’s original English title Blue Movie Blackmail does make a lot more sense in terms of conveying the plot. This time Dallamano tackles international espionage and criminal organisations with a story that could have been a potential Bond plot, with less sexy results. Ivan Rassimov stars as an undercover officer who plays to gangs off against each other. One being a high end escort agency dealing in blackmail of government officials. The other a gang of Turkish drug dealers is led by Mama, played with glee by Patricia Hayes (who you may remember as the elderly lady with the dogs from A Fish Called Wanda). Mama is your average patriarch who kills with ease, enjoys high speed chases with the police and loves her children. Also key to the plot is top escort Joanne played by Stephanie Beacham who is at the centre of the blackmail plot and then a kidnap plot (there are a surprising number of plot strands). Joanne ends up falling for Ivan, or he for her, and seems to be the Super Bitch of the title. The poster suggests the “Super Bitch” will do anything to get what she wants. In this regard Joanne is actually quite pleasant as expensive, entrapping escorts go. She’s surprisingly vulnerable and has a back story that seems far more interesting than the film gives credit. Super Bitch is a film built around discussions of double dealings, some action scenes and good bit of casual 70s nudity. Mama would be a more appropriate recipient of the Super Bitch title, but I suppose distributors can’t really plaster Patricia Hayes on DVD boxes in a seductive pose.

Super Bitch is surprisingly well put together film. The expensive London locations look great and the plot spans across Europe to New York. But ultimately it takes itself just a little too seriously. Ivan Rassimov is Yojimbo-esque figure which could have given way to a knowing grin here and there to let us in on the fun of playing off both sides. Instead he plays it so cool that he rarely registers an emotional response. Hayes on the other hand adds a more camp touch which suits the film. She gives a widely over-the-top performance that comes across as fun rather than misplaced. Beacham too seems to be more knowing of the films more ridiculous aspects, especially in a scene where she has to dress like a rabbit in a clients fetish games. But she still brings both a sympathetic and vicious streak to Joanne.

As with The Night Child, Dallamano has made a beautiful looking film. Although slow and bogged down in un-engaging criminal conversations in places Super Bitch is enjoyable enough thriller that should be seen by more on the strength of it’s performances. If it has pushed further toward out-and-out action fun it could have been a classic 70s romp.

Crimewatch always has, and always will, scare the bejeesus out of me. The shoddily filmed reconstructions made the fact they were based on true stories even more realistic, like someone had filmed the crime themselves for shits and giggles. This is what Oliver S Milburn’s The Harsh Light of Day instantly reminded me of…well for half of it at least, before flipping entirely on its head and becoming a surreal revenge film I did not at all expect.

Daniel Shergold (Dan Richardson) is a writer, and after celebrating the launch of his book, he returns home with his wife (Niki Felstead) only for it to be invaded by a trio of masked thugs who brutally murder her and film the grisly events. Confined to a wheelchair after the attack, Daniel suffers badly from the incident. Brutal daydreams of the killers and painful memories of his wife taunt him daily as he struggles to come to terms with what happened. Now under the care of Fiona (Sophie Linfield), he shows no signs of recovery both physically and mentally until he accepts a visit from a mysterious man who offers him a chance of vengeance and redemption none too different from the occult that appears in his books.

Feeling like a strange concoction spanning several genres and clearly inspired by a number of films, from Dead Man’s Shoes to Blade 2 to The Blair Witch Project, The Harsh Light of Day is certainly a strange one. Initially feeling like a simple and bare bones revenge movie set in the English countryside, it suddenly takes a sharp left into Supernaturalville, hoping a Hellraiser style scene of abstract gore will bridge the gap. I honestly can’t decide whether it does or not; while it was somewhat of a pleasant surprise for Oliver S. Milburn to take the narrative into such a radical direction, it just felt odd to witness such a monumental shift in genre with such little explanation.

It is more than watchable though, which is quite a feat for an independent film made on a meagre budget, and while it obviously looks and sounds like the entire monetary allowance could fit snugly into the hand of a child, there a few things that are actually quite impressive, with the editing especially being a major plus point. The intruding frantic cuts of what’s going on in Daniel’s head are executed very well indeed and truly add an elevated sense of style to the film even if Milburn becomes a little too reliant on them. There are a couple of stand out sequences too; one towards the end of the film shot entirely on a handheld digital camera is particularly haunting. Although not being original in any sense, it really does heighten the tension setting up for a genuinely gripping finale.

Of course the film looks cheap (mainly because it is) but when the action is at its most dormant, you can really tell. The ugly effect of the digital age creeps in and becomes a little jarring in certain scenes, but then there are others where it works perfectly. When it needs to be rough, raw and brutal, the disadvantage of using such limited technology really helps the film, but when it’s something simple, like a conversation in a brothel for example, it looks a little too much like a student’s second year Uni project. Obviously this might be classed as unavoidable, but a bit more time on lighting the scene with a bit more flair would’ve really helped at certain points I think.

The acting is a bit ropey for the most part, but that’s expected for a micro-budget Brit-flick. There are a few moments of clever creativity, Daniel’s detective work was especially great to watch unfold, and while it’s not the most originally constructed film in the world, there are enough decent moments for it to be classed as a solid effort for the fans of budget British horror…and Crimewatch reconstructions.

Your going to pay me for a service I’m going to perform

A film revolving around a sadistic Dallas cop who also happens to moonlight as a hit man is not what you would usually expect from Mathew McConaughey, but in this fierce blood thirsty disturbing thrill ride set amongst the back drop of Dallas trailer trash, full of killer lines and killer characters what’s not to like!

William Friedkin will perhaps always be best know for his earlier work most notably The French Connection, and The Exorcist, Killer Joe could well join this list as the brutally gruesome bone-crunchingly violent film is sure to stay with you long after the credits role. Adapted from the play by Tracy Letts and collaborating again with William Friedkin (the pair turned Bug into a film). Boasting an impressive cast of Matthew McConaughey (‘Killer’ Joe Cooper), Emile Hirsch (Chris Smith), Juno Temple (Dottie Smith), Gina Gershon (Sharla Smith) and Thomas Haden Church (Ansel Smith) prepare for one disturbing ride.

The plot revolves around Chris who after having his drug stash stolen by his own mother has to come up with six thousand dollars or he is dead. He is desperate and turns to his father Ansel for help and a plan to save his life, of course the plan sounds simple kill Chris’s mother because no one really likes her anyway. This would resolves all their problems the life insurance alone would clear them of their debt not to mention they could be rich. Could it really be that easy?

Killer Joe is a professional he can do this right

They enlist the help of ‘Killer’ Joe Cooper a Dallas cop who likes to take a walk on the wild side in the form of being a hit man but when Chris and Ansel are unable to come up with twenty five thousand dollars cash upfront he requires for the kill he asks for Dottie as a retainer until he receives the money.

I heard y’all all talking about killing mama I think it’s a good idea

Chris and Ansel somewhat reluctantly hand over of Dottie who has a somewhat fitting name for her character, to Joe which is more than slightly disturbing as Dottie is left crying in her room before having ‘dinner’ with him. Of course things don’t run as smooth as planned and after Joe performs the kill on Adele ‘Mama’ it turns out the sole beneficiary is not in fact Dottie but Rex ‘Mama’s’ boyfriend. The family are now in turmoil as they have no way to pay not only Joe but the drug dealers who are hell bent on tracking Chris down for the money he owes. Cue another twist as Rex is not only the boyfriend of Mama but also the current lover of Sharla, Ansel’s wife who has orchestrated the set up in order to collect the money from the life insurance but of course Rex has of course split town without her with the money.

Joe is that last person you would like to turn up at your trailer uninvited and the last person you would want to catch you in a lie. This is unfortunate for Sharla as he catches her in a lie that unravels the whole web, cue the disturbing fried chicken moment!He also informs the family he is taking Dottie with him as payment for the kill, something Chris is against and ultimately leads to a truly bloody showdown, involving fists, face smashing, a tin of pumpkin and a gun.

I don’t think you will ever look at fried chicken in the same way ever again…Enjoy!

Director Ernst Lubitsch may be best known for To Be Or Not To Be and Ninotchka but this delightful lost gem is one of his finest. The simple set up sees thieves Gaston (Herbert Marshall) and Lily (Miriam Hopkins) go to work for the wealthy Madame Colet (Kay Francis) with the intention of robbing her. The plan is dependent on Madame Colet falling head over heels for the charming Gaston and by gum he is charming, we’re talking Terry Thomas mixed with John Le Mesurier mixed with a terribly charming duck. Wouldn’t you know it? Gaston ends up having feelings for the very woman he’s trying to con and a delicious game of romantic cat and mouse ensues.

Made in 1932 before the dreadful Hayes Code infected Hollywood, Trouble in Paradise has a suprising sexuality not often seen in early American cinema. It was for this reason that the film was effectively banned, remaining unseen again until the late 1960s. Luckily it’s now been registered as a film of cultural importance and like a Nathional Trust manor house will be preserved for generations to come. Which is fantastic as Trouble in Paradise is genuinely more entertaining than a lot of recent rom-coms released. Yes that’s partly the opinion of someone who has a love for the nostalgic, seemingly naive looking cinema but I was also entertained the entire time with many a grin crossing my face at the sitcom like humour.

The dialogue and acting is over-the-top at times. Miriam Hopkins does become a little grating and the comedy stylings is verging Three Stooges territory but you can forgive these faults by falling back on the “it’s of it’s time” mentality. The pluses far out way the negative script itself is snapping and lively. Marshall makes for a very endearing leading man. The climax which leads to a “whom will he choose” love triangle did have me wondering how it would end. Yes the title sounds like you’re about to embark on some turgid melodrama but Trouble in Paradise is one of those perfect films for a crappy Sunday afternoon in with takeway and a huge log fire.

The Masters of Cinema print is beautifully restored and makes me realise that Ernst Lubitsch is a director that I need to watch up on.

The success of The Exorcist led to a slew of knock-off films from Beyond the Door to the The Sentinel. Here we have The Night Child, originally known as The Cursed Medallion (that would have looked spookier in a ghoulish font). Directed by Massimo Dallamano who cut his teeth as DOP on films including For A Few Dollars More but enough of naming other films.

This film revolves around Michael Williams (The Haunting‘s Richard Johnson) a TV producer/presenter, working on a documentary. He is aided by an attractive colleague played by a pre-Blade Runner Joanna Cassidy (I promise to stop name dropping now). Along for the trip is his young daughter Emily (Nicoletta Elmi) who is still haunted by memories of her mother’s gruesome death and her Nanny (Evelyne Stewart) is secretly longs for Michael’s loins. In between investigating the occult for his new doc Michael sparks up a relationship with his attractive colleague, breaks the heart of his Nanny, meets a psychic countess – if I had a penny for every time I’ve written that out – and gives his daughter a medallion which belonged to her late mother.

Once around her neck the medallion starts to change Emily’s manner in such terrifying ways as; screaming a bit loudly and throwing vases. Not quite as bad as masturbating with a crucifix but I think you’ll agree nuisance behaviour nonetheless. As the plot unfolds we discover that Emily is in fact the re-incarnation of a little murderers who was once chased down by a mob of bad actors in cloaks. Slowly Emily’s true colours start to shine through as she generally acts a bit naughtier until the film climaxes with her being terribly naughty. The Night Child is a very nice looking film. The photography is travel-show pretty but the pace is languid and apart from Richard Johnson and Joanna Cassidy, who manage to be charming and watchable, the acting is average at best. Nicoletta Elmi is considered by some to be an etherial child presence in her early career. For me she’s just creepy. Not in a Damien, “that kid’s creepy looking and very mysterious”. More in a “her face is upsetting me” way. For a film that was clearly made to capitalise on The Exorcist’s success it’s a shame that Dallamano decided not to lift some of the more unsettling aspects from it. We have the possessed child but other than have fits of anger there is no disturbing physical or emotional transformation. Johnson remains stoic throughout whereas if he were to crack under the situation we may have felt more peril to the situation. The Night Child looks pretty but as a horror has very little to recommend.

The main reason to buy the newly released DVD is the accompanying documentary which discusses The Exorcist’s influence on Italian horror in the 1970s.