Film Review (re-watch): STAR WARS: EPISODE VIII – THE LAST JEDI (2017)

Here's your full-length 'Star Wars: The Last Jedi' trailer | EngadgetSTAR WARS: EPISODE VIII – THE LAST JEDI (2017, USA) ***½
Action, Adventure, Fantasy, Sci-Fi
dist. Walt Disney Studios Motion Pictures; pr co. Walt Disney Pictures / Lucasfilm / Ram Bergman Productions; d. Rian Johnson; w. Rian Johnson; exec pr. J.J. Abrams, Tom Karnowski, Jason D. McGatlin; pr. Ram Bergman, Kathleen Kennedy; ass pr. Jamie Christopher, Nour Dardari, Leopold Hughes, Nikos Karamigios; ph. Steve Yedlin (Colour. 70 mm (horizontal) (IMAX DMR blow-up) (Kodak Vision 2383), D-Cinema (also 3-D version). Digital Intermediate (4K) (master format), Dolby Vision. 2.39:1); m. John Williams; ed. Bob Ducsay; pd. Rick Heinrichs; ad. Todd Cherniawsky, Chris Lowe; set d. Richard Roberts; cos. Michael Kaplan; m/up. Peter King (makeup), Kristyan Mallett (prosthetics); sd. Bonnie Wild (DTS (DTS: X) | Dolby Surround 7.1 | Dolby Atmos | Dolby Digital | 12-Track Digital Sound (IMAX 12 track) | IMAX 6-Track); sfx. Chris Corbould, Branko Repalust; vfx. Hybride Technologies / Important Looking Pirates (ILPvfx) / Industrial Light & Magic (ILM) / Jellyfish Pictures / Mark Roberts Motion Control / Rodeo FX; rel. 9 December 2017 (USA), 12 December 2017 (UK); cert: 12; r/t. 152m.

cast: Mark Hamill (Luke Skywalker / Dobbu Scay), Carrie Fisher (Leia Organa), Adam Driver (Kylo Ren), Daisy Ridley (Rey), John Boyega (Finn), Oscar Isaac (Poe Dameron), Andy Serkis (Snoke), Lupita Nyong’o (Maz Kanata), Domhnall Gleeson (General Hux), Anthony Daniels (C-3PO), Gwendoline Christie (Captain Phasma), Kelly Marie Tran (Rose Tico), Laura Dern (Vice Admiral Holdo), Benicio Del Toro (DJ), Frank Oz (Yoda (voice)), Billie Lourd (Lieutenant Connix), Joonas Suotamo (Chewbacca), Amanda Lawrence (Commander D’Acy), Tim Rose (Admiral Ackbar), Adrian Edmondson (Captain Peavey).

Having taken her first steps into the Jedi world, Rey joins Luke Skywalker on an adventure with Leia, Finn and Poe that unlocks mysteries of the Force and secrets of the past. An entertaining and action-packed addition to the saga, which revisits many of the themes explored earlier in the series and as such may seem overly familiar. It also suggests a new direction as the series moves toward its final instalment, which may upset die-hard fans. The basic chase plot is stretched a little thinly with some lazy plot progressions, but despite its over-length the film does not stand still for long and doesn’t outstay its welcome. Hamill and Fisher feature more heavily and there are some new twists along the way, but its mid-trilogy position inevitably leaves certain issues unresolved. The visual effects and location work are exemplary, and Johnson’s direction is energetic. The script and dialogue lack the wit of THE FORCE AWAKENS, substituting even more dynamic action instead. Also shot in 3-D.

AAN: Best Achievement in Visual Effects (Ben Morris, Michael Mulholland, Neal Scanlan, Chris Corbould); Best Achievement in Music Written for Motion Pictures (Original Score) (John Williams); Best Achievement in Sound Editing (Matthew Wood, Ren Klyce); Best Achievement in Sound Mixing (Michael Semanick, David Parker, Stuart Wilson, Ren Klyce)

Film Review – STAR WARS: EPISODE VII – THE FORCE AWAKENS (2015)

Harrison Ford, Carrie Fisher, Oscar Isaac, Adam Driver, John Boyega, and Daisy Ridley in Star Wars: Episode VII - The Force Awakens (2015)STAR WARS: EPISODE VII – THE FORCE AWAKENS (USA, 2015) ****½
      Distributor: Walt Disney Studios Motion Pictures; Production Company: Lucasfilm / Bad Robot; Release Date: 14 December 2015 (USA), 16 December 2015 (UK); Filming Dates: 16 May 2014 – 3 November 2014; Running Time: 135m; Colour: FotoKem; Sound Mix: 12-Track Digital Sound (IMAX 12 track) | Dolby Atmos | Dolby Surround 7.1 | Dolby Digital; Film Format: 35 mm (Kodak Vision 2383), 70 mm (horizontal) (IMAX DMR blow-up) (Kodak Vision 2383), D-Cinema (also 3-D version), DCP (2K DCP) (Normal 3D versions), DCP (4K DCP) (IMAX Laser versions); Film Process: Digital Intermediate (4K) (master format), Dolby Vision, IMAX (source format) (Escape from Jakku scene), Panavision (anamorphic) (source format); Aspect Ratio: 2.35:1; BBFC Cert: 12.
      Director: J. J. Abrams; Writer: J.J. Abrams, Lawrence Kasdan, Michael Arndt (based on characters created by George Lucas); Executive Producer: Tommy Harper, Jason D. McGatlin; Producer: J.J. Abrams, Bryan Burk, Kathleen Kennedy; Associate Producer: Michael Arndt; Director of Photography: Daniel Mindel; Music Composer: John Williams; Film Editor: Maryann Brandon, Mary Jo Markey; Casting Director: Nina Gold, April Webster, Alyssa Weisberg; Production Designer: Rick Carter, Darren Gilford; Art Director: Neil Lamont; Set Decorator: Lee Sandales; Costumes: Michael Kaplan; Make-up: Amanda Knight, Lisa Tomblin; Sound: David Acord, Matthew Wood; Special Effects: Chris Corbould; Visual Effects: Nina Fallon, Meredith Meyer-Nichols, Lillias Ng, Louise Bertrand, Ben Lock, Sophie Dawes, Chrysta Marie Burton, Janet Lewin.
      Cast: Harrison Ford (Han Solo), Mark Hamill (Luke Skywalker), Carrie Fisher (Princess Leia), Adam Driver (Kylo Ren), Daisy Ridley (Rey), John Boyega (Finn), Oscar Isaac (Poe Dameron), Lupita Nyong’o (Maz Kanata), Andy Serkis (Supreme Leader Snoke), Domhnall Gleeson (General Hux), Anthony Daniels (C-3PO), Max von Sydow (Lor San Tekka), Peter Mayhew (Chewbacca), Gwendoline Christie (Captain Phasma), Joonas Suotamo (Chewbacca Double), Pip Andersen (Lead Stormtrooper), Simon Pegg (Unkar Plutt), Kiran Shah (Teedo), Sasha Frost (Jakku Villager), Pip Torrens (Colonel Kaplan).
      Synopsis: 30 years after the defeat of the Galactic Empire, a new threat rises. The First Order attempts to rule the galaxy and only a ragtag group of Heroes can stop them, along with the help of the Resistance.
      Comment: The best of the STAR WARS films outside of the original trilogy, fans of which will no doubt readily accept this continuation and overlook some of its flaws – notably in originality in plot and character development. But as the start of a new trilogy, it also succeeds in capturing the uninhibited spirit of those first three films. The result is a lively, action-packed and thoroughly enjoyable addition to the series. It is great to see Ford back as Han Solo and his scenes will give older fans a warm and satisfying smile. The new characters portrayed by Ridley and Boyega are likeable and the script keeps the right tonal balance. Yes, it is a virtual replay of the original STAR WARS, but there is also a freshness here that was lacking in the second trilogy. Also shot in 3-D.

TV Review – DOCTOR WHO – ASCENSION OF THE CYBERMEN/THE TIMELESS CHILDREN (2020)

Image result for doctor who the timeless childrenDOCTOR WHO: ASCENSION OF THE CYBERMEN/THE TIMELESS CHILDREN (UK, 2020) ***
      Distributor: British Broadcasting Corporation (BBC); Production Company: BBC Studios; Release Date: 23 February & 1 March 2020; Running Time: 115m (1 x 50m & 1 x 65m); Colour: Colour; Sound Mix: Dolby Digital; Film Format: HD; Aspect Ratio: 2.00:1; BBFC Cert: PG.
      Director: Jamie Magnus Stone; Writer: Chris Chibnall; Producer: Nikki Wilson, Alex Mercer; Executive Producer: Chris Chibnall, Matt Strevens; Director of Photography: Sam Heasman; Music Composer: Segun Akinola; Film Editor: Rebecca Trotman; Production Designer: Dafydd Shurmer; Casting: Andy Pryor; Costumes: Ray Holman; Make-up: Claire Pritchard-Jones; Sound: Harry Barnes; Special Effects: REAL SFX; Visual Effects Producer: Pete Levy (DNEG).
      Cast: Jodie Whittaker (The Doctor), Bradley Walsh (Graham O’Brian), Tosin Cole (Ryan Sinclair), Mandip Gill (Yasmin Khan), Sacha Dhawan (The Master), Jo Martin (The Doctor), Patrick O’Kane (Ashad), Ian McElhinney (Ko Sharmus), Julie Graham (Ravio), Alex Austin (Yedlarmi), Matt Carver (Ethan), Rhiannon Clements (Bescot), Seylan Baxter (Tecteun), Kirsty Besterman (Solpado), Steve Toussaint (Feekat), Rhiannon Clements (Bescot), Jack Osborn (Fuskle), Evan McCabe (Brendan), Branwell Donaghey (Patrick), Orla O’Rourke (Meg), Andrew Macklin (Michael), Paul Kasey (Judoon Captain Pol-Kon-Don), Nicholas Briggs (Voice of Cybermen & Judoon Captain), Matthew Rohman (Cyberman), Simon Carew (Cyberman), Jon Davey (Cyberman), Richard Highgate (Cyberman), Richard Price (Cyberman), Mickey Lewis (Cyberman), Matthew Doman (Cyberman), Paul Bailey (Cyberman).
      Synopsis: In the far future, the Doctor and her friends face a brutal battle across the farthest reaches of space to protect the last of the human race against the deadly Cybermen uncovering the secret of the Time Lords in the process.
     Comment: Enjoyment of this two-part finale will very much depend on the viewer’s willingness (notably die-hard fans) to buy into writer Chibnall’s re-invention of Time Lord history. The opening episode is an excellent scene-setter full of energy and drama, featuring the Cybermen on a mission to reassert their domination, with an injection of mystery surrounding the so-called “Timeless Child”. Then at the cliffhanger, the Master resurfaces along with a gateway through to a destroyed Gallifrey and we move into a second episode that will divide fandom right down the middle. Firstly, Dhawan’s take on the Master as some form of unhinged psychotic has taken the character away from the charm and subtlety established by Roger Delgado back in the 1970s, with more than a nod toward John Simm’s similarly unhinged portrayal. Dhawan’s performance is way OTT and ill-serves the character, robbing him of any real menace. Secondly, the Master’s appearance relegates the Cybermen to a mere side-show as his battle of wills with Whittaker’s Doctor in the Matrix takes centre stage. The Master’s motives are muddled and his seeming alliance with the Cybermen (mirroring that in The Five Doctors) lacks any core logic beyond the madness displayed in the character. The frenetic nature with which Chibnall tries to cram so many revelations and explanations ultimately weighs down the second episode. The story’s whole is very much less than the sum of its parts – the excitement of the first episode giving way to bafflement in the second. That said, the second episode still has its moments. Whittaker is able to stretch her range more, for the most-part dialling down the motormouth patter. The visuals are very good and each of the companions gets room to breathe. However, I can’t help feeling Chibnall has created a rod for his own back here, by trying to create his own vision and tying it with what has gone before. The result feels overly forced in its attempt to re-boot Time Lord history, leaving the viewer pondering how this will change things going forward. The likely answer is it won’t as the general premise of a time traveller fighting evil throughout the universe remains.

TV Review – DOCTOR WHO – THE HAUNTING OF VILLA DIODATI (2020)

Nadia Parkes, Jodie Whittaker, Mandip Gill, and Lili Miller in Doctor Who (2005)DOCTOR WHO: THE HAUNTING OF VILLA DIODATI (UK, 2020) ***
      Distributor: British Broadcasting Corporation (BBC); Production Company: BBC Studios; Release Date: 16 February 2020; Running Time: 49m; Colour: Colour; Sound Mix: Dolby Digital; Film Format: HD; Aspect Ratio: 2.00:1; BBFC Cert: PG.
      Director: Emma Sullivan; Writer: Maxine Alderton, Chris Chibnall; Producer: Nikki Wilson, Alex Mercer; Executive Producer: Chris Chibnall, Matt Strevens; Director of Photography: Ed Moore; Music Composer: Segun Akinola; Film Editor: Agnieszka Liggett, Joe Skinner; Production Designer: Dafydd Shurmer; Casting: Andy Pryor; Costumes: Ray Holman; Make-up: Claire Pritchard-Jones; Sound: Harry Barnes; Special Effects: REAL SFX; Visual Effects Producer: Pete Levy (DNEG).
      Cast: Jodie Whittaker (The Doctor), Bradley Walsh (Graham O’Brian), Tosin Cole (Ryan Sinclair), Mandip Gill (Yasmin Khan), Lili Miller (Mary Wollstonecraft Godwin), Nadia Parkes (Claire Clairmont), Jacob Collins-Levy (Lord Byron), Maxim Baldry (Doctor John Pollidori), Patrick O’Kane (Ashad), Lewis Rayner (Percy Bysshe Shelley), Sarah Perles (Elise), Stefan Bednarczyk (Fletcher), Nicholas Briggs (Cyberman Voice).
      Synopsis: The Doctor and gang arrive at the Villa Dioscidati, Lake Geneva, in 1816 – on a night that inspired Mary Shelley’s Frankenstein. The plan is to spend the evening soaking up the atmos in the presence of some literary greats – but the ghosts are all too real. And the Doctor is forced into a decision of earth-shattering proportions…
     Comment: Another episode that has a lot right with it but still manages to frustrate. The story has a great setting in an old house at Lake Geneva and the premise is obviously geared toward events inspiring Mary Wolstencrof to create the vision for her novel Frankenstein. The house is suitably spooky, populated with quirky characters and some chilling surprises. But yet again there is too little time to cover all the ideas on show and the narrative appears muddled as a result. There are still too many companions to fully justify themselves Cole’s acting has been wooden at best and here he gives possibly his worst performance delivering lines with little conviction or flair for humour. The shoe-horning in of the Cyberman threat – which we could all see coming following pre-empts earlier in the series – raises more questions than are answered here. The closing two-parter will hopefully square these off. Whittaker has the occasional strong moment, whenever she is given more to do than just dial-up the quirky scale beyond Tennant levels. She is very good in the scene close to the finale where she debates the actions she should take with her friends.  The series is running out of time to hit the heights we have come to expect but hopefully, the season finale will deliver.

TV Review – DOCTOR WHO: CAN YOU HEAR ME? (2020)

Image result for doctor who can you hear meDOCTOR WHO: CAN YOU HEAR ME? (UK, 2020) ***½
      Distributor: British Broadcasting Corporation (BBC); Production Company: BBC Studios; Release Date: 9 February 2020; Running Time: 49m; Colour: Colour; Sound Mix: Dolby Digital; Film Format: HD; Aspect Ratio: 2.00:1; BBFC Cert: PG.
      Director: Emma Sullivan; Writer: Charlene James, Chris Chibnall; Producer: Nikki Wilson, Alex Mercer; Executive Producer: Chris Chibnall, Matt Strevens; Director of Photography: Ed Moore; Music Composer: Segun Akinola; Film Editor: Agnieszka Liggett; Production Designer: Dafydd Shurmer; Casting: Andy Pryor; Costumes: Ray Holman; Make-up: Claire Pritchard-Jones; Sound: Harry Barnes; Special Effects: REAL SFX; Visual Effects Producer: Pete Levy (DNEG).
      Cast: Jodie Whittaker (The Doctor), Bradley Walsh (Graham O’Brian), Tosin Cole (Ryan Sinclair), Mandip Gill (Yasmin Khan), Ian Gelder (Zellin), Buom Tihngang (Tibo), Clare-Hope Ashitey (Rakaya), Sharon D Clarke (Grace O’Brien), Bhavnisha Parmar (Sonya Kahn), Aruhan Galiva (Tahira), Sirine Saba (Maryam), Nasreen Hussain (Anita Patel), Everal A Walsh (Gabriel), Michael Keane (Fred), Amanda Liberman (Mum), Willie Jonah (Old Tibo), Anthony Taylor (Andrew).
      Synopsis: From ancient Syria to present-day Sheffield, and out into the wilds of space, something is stalking the Doctor and infecting people’s nightmares.
     Comment: An episode with lots of ideas around the psychological impact of nightmares linked to a god-like race known as the Eternals who feed off the mental instability that the dreams cause. It’s an intriguing and creepy episode for two-thirds of its runtime powered by some wonderful visuals, an intelligent script and a deliciously evil villain in  Gelder’s Zellin. The companions all get their own sub-plots as each has an element of their psyche manipulated by Zellin.  Unfortunately, things unravel a bit in the final third and give us a finale which is resolved all too quickly – continuing the issues the production team have in trying to tell complex stories and deliver new concepts in a single-episode format. It’s a shame as there is so much promise here, but Chibnall either lacks sufficient editing skills to understand how to best land the ideas of his writers or he is trying to cram too many story threads together and as a result creating too much for the viewer to absorb.

Film Review – STAR WARS: EPISODE IX – THE RISE OF SKYWALKER (2019)

Image result for Star Wars: The Rise of SkywalkerSTAR WARS: EPISODE IX – THE RISE OF SKYWALKER (USA, 2019) ***½
      Distributor: Walt Disney Studios Motion Pictures; Production Company: Lucasfilm / Bad Robot / Walt Disney Pictures; Release Date: 16 December 2019 (USA), 19 December 2019 (UK); Filming Dates: 1 August 2018 – 15 February 2019; Running Time: 142m; Colour: Colour; Sound Mix: DTS (DTS: X) | Dolby Atmos | Auro 11.1 | Dolby Digital | IMAX 6-Track | Dolby Surround 7.1 | Sonics-DDP | 12-Track Digital Sound; Film Format: 35 mm (Kodak Vision3 50D 5203, Vision3 250D 5207, Vision3 500T 5219); Film Process: Digital Intermediate (4K) (master format), Dolby Vision, Panavision (anamorphic) (source format); Aspect Ratio: 2.39:1; BBFC Cert: 12 – moderate violence, threat.
      Director: J. J. Abrams; Writer: Chris Terrio, J.J. Abrams (based on a story by Derek Connolly & Colin Trevorrow and Chris Terrio & J.J. Abrams and characters created by George Lucas); Executive Producer: Tommy Gormley, Callum Greene, Jason D. McGatlin; Producer: J.J. Abrams, Kathleen Kennedy, Michelle Rejwan; Associate Producer: Nour Dardari; Director of Photography: Dan Mindel; Music Composer: John Williams; Film Editor: Maryann Brandon, Stefan Grube; Casting Director: Nina Gold, April Webster, Alyssa Weisberg; Production Designer: Rick Carter, Kevin Jenkins; Art Director: Paul Inglis; Set Decorator: Rosemary Brandenburg; Costumes: Michael Kaplan; Make-up: Digital Makeup Group; Sound: David Acord; Special Effects: Dominic Tuohy; Visual Effects: Industrial Light & Magic and others.
      Cast: Adam Driver (Kylo Ren), Daisy Ridley (Rey), John Boyega (Finn), Oscar Isaac (Poe Dameron), Carrie Fisher (Leia Organa), Mark Hamill (Luke Skywalker), Anthony Daniels (C-3PO), Naomi Ackie (Jannah), Domhnall Gleeson (General Hux), Richard E. Grant (General Pryde), Lupita Nyong’o (Maz Kanata), Keri Russell (Zorii Bliss), Joonas Suotamo (Chewbacca), Kelly Marie Tran (Rose Tico), Ian McDiarmid (Emperor Palpatine), Billy Dee Williams (Lando Calrissian), Greg Grunberg (Snap Wexley), Shirley Henderson (Babu Frik), Billie Lourd (Lieutenant Connix), Dominic Monaghan (Beaumont), Harrison Ford (Han Solo (uncredited)).
      Synopsis: The surviving Resistance faces the First Order once more as Rey, Finn and Poe Dameron’s journey continues. With the power and knowledge of generations behind them, the final battle commences.
      Comment: A technical triumph of visual effects and energetic action set-pieces this is an engrossing experience for two-thirds of its run time. Unfortunately, it becomes bloated during its final act with a need to tick too many boxes as it plays out its crowd-pleasing finale. It’s a shame as there is so much that is right with this conclusion to a saga that has spanned 42 years. The story propels us from one strange or exotic location to another and from set-piece to set-piece as it guides us through the simple quest that will ultimately lead to final closure on the Sith/Jedi war. As a spectacle, it is hard to resist, yet it somehow fails to connect on an emotional level as character revelations seek to top each other and some of the plot contrivances are overly convenient and obvious. Also, during the many action scenes, you begin to wonder whether any Stormtrooper can shoot straight. That said, the CGI and design work is simply amazing and Williams provides yet another majestic score. The result is an entertaining and largely satisfying final chapter that at the same time leaves you thinking it could still have been better.
      Notes: Also shot in 3-D.

Film Review – ARABIAN ADVENTURE (1979)

Image result for arabian adventure 1979ARABIAN ADVENTURE (UK, 1979) **½
      Distributor: British Lion Film Corporation (UK), Associated Film Distribution (AFD) (USA); Production Company: EMI Films / British Lion Film Corporation / Major Studio Partners; Release Date: 19 July 1979 (UK), 21 November 1979 (USA); Filming Dates: 24 July 1978 – October 1978; Running Time: 98m; Colour: Colour; Sound Mix: Dolby; Film Format: 35mm; Film Process: Spherical; Aspect Ratio: 1.85:1; BBFC Cert: U.
      Director: Kevin Connor; Writer: Brian Hayles; Executive Producer: Kevin Connor; Producer: John Dark; Director of Photography: Alan Hume; Music Composer: Ken Thorne; Film Editor: Barry Peters; Casting Director: Allan Foenander; Production Designer: Elliot Scott; Art Director: Jack Maxsted; Set Decorator: Terry Ackland-Snow; Costumes: Rosemary Burrows; Make-up: Yvonne Coppard, Robin Grantham; Sound: Jim Atkinson; Special Effects: George Gibbs; Visual Effects: Cliff Culley, Charles Staffell.
      Cast: Christopher Lee (Alquazar), Milo O’Shea (Khasim), Oliver Tobias (Prince Hasan), Emma Samms (Princess Zuleira), Puneet Sira (Majeed), Peter Cushing (Wazir Al Wuzara), Capucine (Vahishta), Mickey Rooney (Daad El Shur), John Wyman (Bahloul), John Ratzenberger (Achmed), Shane Rimmer (Abu), Hal Galili (Asaf), Elisabeth Welch (Beggarwoman), Suzanne Danielle (Eastern Dancer), Art Malik (Mamhoud), Jacob Witkin (Omar, the Goldsmith), Milton Reid (Jinnee), Roy Stewart (The Nubian).
      Synopsis: An evil magician seeks to gain power by obtaining a magic rose. A peasant boy and a Prince join forces to stop him.
      Comment: The last of five fantasy adventures made by director Connor with producer Dark. This hokey Arabian Nights tale owes much to the strong cast headed by Lee at his villainous best. However, Tobias lacks charisma and acting chops as the hero prince. Samms makes for an appealing princess whilst Rooney adds some comic relief and Cushing some gravitas in cameo roles. The action scenes are plentiful, but often sub-par with obvious choreography. The visual effects are average at best, as is evident in the climactic magic carpet battle. A fun adventure nonetheless for the undemanding.
      Notes: Feature film debut of Emma Samms.

Film Review – WARLORDS OF ATLANTIS (1978)

Related imageWARLORDS OF ATLANTIS (UK, 1978) **½
      Distributor: EMI Films (UK), Columbia Pictures (USA); Production Company: EMI Films / British Lion; Release Date: 5 May 1978; Filming Dates: 5 September 1977 – 13 January 1978; Running Time: 96m; Colour: Technicolor; Sound Mix: Mono; Film Format: 35mm; Film Process: Spherical; Aspect Ratio: 1.85:1; BBFC Cert: PG.
      Director: Kevin Connor; Writer: Brian Hayles; Executive Producer: Jim Brown (uncredited); Producer: John Dark, Kevin Connor; Director of Photography: Alan Hume; Music Composer: Michael Vickers; Film Editor: Bill Blunden; Casting Director: Allan Foenander; Production Designer: Elliot Scott; Art Director: Jack Maxsted; Costumes: Lorna Hillyard, Monica Howe; Make-up: Robin Grantham; Sound: Jim Atkinson; Special Effects: John Richardson; Visual Effects: Charles Staffell.
      Cast: Doug McClure (Greg Collinson), Peter Gilmore (Charles Aitken), Shane Rimmer (Captain Daniels), Lea Brodie (Delphine), Michael Gothard (Atmir), Hal Galili (Grogan), John Ratzenberger (Fenn), Derry Power (Jacko), Donald Bisset (Professor Aitken), Ashley Knight (Sandy), Robert Brown (Briggs), Cyd Charisse (Atsil), Daniel Massey (Atraxon).
      Synopsis: Searching for the lost world of Atlantis, a professor and his associates are betrayed by the crew of their expedition’s ship, attracted by the fabulous treasures of Atlantis.
      Comment: The last and weakest of McClure’s four fantasy adventure movies with director Connor. The story and plot are derivative, but at least Connor keeps the action coming thick and fast and the set-pieces are well shot and edited. Monster effects are variable, with the best being the giant octopus. The inhabitants of Atlantis are stoic and bland with Gothard and Charisse giving one-note performances. However, McClure and Gilmore work well together as the heroes of the piece, echoing the former’s work with Peter Cushing on AT THE EARTH’S CORE (1976). Aka: WARLORDS OF THE DEEP.

Film Review – AT THE EARTH’S CORE (1976)

Peter Cushing, Doug McClure, and Caroline Munro in At the Earth's Core (1976)AT THE EARTH’S CORE (UK/USA, 1976) ***
      Distributor: British Lion Film Corporation (UK) / American International Pictures (A.I.P.) (USA); Production Company: Amicus Productions; Release Date: July 1976 (USA), 22 August 1976 (UK); Filming Dates: 26 January 1976 – mid April 1976; Running Time: 90m; Colour: Technicolor; Sound Mix: Mono; Film Format: 35mm; Film Process: Spherical; Aspect Ratio: 1.66:1; BBFC Cert: PG.
      Director: Kevin Connor; Writer: Milton Subotsky (based on the novel by Edgar Rice Burroughs); Executive Producer: Harry N. Blum; Producer: John Dark, Max Rosenberg, Milton Subotsky; Director of Photography: Alan Hume; Music Composer: Michael Vickers; Film Editor: John Ireland, Barry Peters; Production Designer: Maurice Carter; Art Director: Bert Davey; Costumes: Rosemary Burrows; Make-up: Robin Grantham, Neville Smallwood; Sound: Jim Atkinson, George Stephenson; Special Effects: Ian Wingrove; Visual Effects: Charles Staffell.
      Cast: Doug McClure (David Innes), Peter Cushing (Dr. Abner Perry), Caroline Munro (Dia), Cy Grant (Ra), Godfrey James (Ghak), Sean Lynch (Hoojah), Keith Barron (Dowsett), Helen Gill (Maisie), Anthony Verner (Gadsby), Robert Gillespie (Photographer), Michael Crane (Jubal), Bobby Parr (Sagoth Chief), Andee Cromarty (Girl Slave).
      Synopsis: A Victorian era scientist and his assistant take a test run in their Iron Mole drilling machine and end up in a strange underground labyrinth ruled by a species of giant telepathic bird and full of prehistoric monsters and cavemen.
      Comment: Scatty, juvenile and low-budget fantasy adventure gets by on its camp approach to the material with Cushing excelling in one of his lightly comic and eccentric scientist roles. McClure makes for an effective and likeable hero and Munro is stunning as one of the scantily clad natives. The monsters betray the lack of funds, but the action is well-edited to disguise some of the limitations this presents the production. The script is tight but lacks any depth or set-up. Vickers provides an eerie electronic score and Connor directs with a great sense of fun which he balances with the eerie atmosphere created by the imaginative production design and Hume’s photography.
      Notes: Last film produced by Amicus, Hammer’s chief rival during the 1960s and ’70s.

Film Review – THE PEOPLE THAT TIME FORGOT (1977)

Image result for THE PEOPLE THAT TIME FORGOT 1977THE PEOPLE THAT TIME FORGOT (UK/USA, 1977) **½
      Distributor: Brent Walker PLC (UK), American International Pictures (AIP) (USA); Production Company: American International Pictures (AIP) / Amicus Productions; Release Date: 22 June 1977 (USA), 27 August 1977 (UK); Filming Dates: began 24 Jan 1977; Running Time: 91m; Colour: Technicolor; Sound Mix: Mono; Film Format: 35mm; Film Process: Spherical; Aspect Ratio: 1.85:1; BBFC Cert: U.
      Director: Kevin Connor; Writer: Patrick Tilley (based on the novel by Edgar Rice Burroughs); Executive Producer: Samuel Z. Arkoff; Producer: John Dark; Director of Photography: Alan Hume; Music Composer: John Scott; Film Editor: John Ireland, Barry Peters; Production Designer: Maurice Carter; Art Director: Bert Davey, Fernando González; Set Decorator: Simon Wakefield; Costumes: ; Make-up: Robin Grantham; Sound: George Stephenson; Special Effects: Ian Wingrove, John Richardson; Visual Effects: Charles Staffell.
      Cast: Patrick Wayne (Ben McBride), Doug McClure (Bowen Tyler), Sarah Douglas (Charly), Dana Gillespie (Ajor), Thorley Walters (Norfolk), Shane Rimmer (Hogan), Tony Britton (Captain Lawton), John Hallam (Chung-Sha), David Prowse (Executioner), Milton Reid (Sabbala), Kiran Shah (Bolum), Richard LeParmentier (Lt. Whitby), Jimmy Ray (Lt. Graham), Tony McHale (Telegraphist).
      Synopsis: Major Ben McBride organises a mission to the Antarctic wastes to search for his friend (McClure) who has been missing in the region for several years.
      Comment: Okay sequel to THE LAND THAT TIME FORGOT (1974) lacks the creative energy of the original but remains a mildly entertaining diversion. Wayne is rather wooden in the lead role, but Douglas and Walters compensate. McClure reprises his role from the first film in a guest slot. Effects are limited due to the lack of budget, but Connor gets as much excitement as he can from a rather flat script and stages some good action sequences and monster set-pieces.