Cleansing the doors of cinematic perception since 2006, or earlater

Friday, December 16, 2016

"I never said it wasn't terrible" - 10 quasi-terrific Sci-Fi curios streaming on Amazon Prime

Signs and wonders. While I get my parts together, rest assured (and often). And until then, old friend, if you need something to help put the kids to sleep, or to have in the background while you sleep on the couch and have Amazon Prime. Behold! Colorful, relatively un-gory, sometimes hilariously bad, you don't need snarky silhouettes in the bottom center of the screen to appreciate the badness of ROBOT MONSTER, for example. But don't get too exploratory without me. Amazon doesn't discriminate and there's loads of recently made SOV nowheresville stuff on there. Well, these on this list here are curated by myself --they're all shot of real film, have restored colors (or sharp black and white) and look pretty good. The star rating is the average between my fondness (for lost causes) and the actual quality (for non-bad movie lovers); the letter grade is for the Prime transfer itself.  You know I love you. Enjoy. Happy Holidays, and this too shall pass. 

PS - All images are screenshots off Prime, for quality assurance. 

 (1964) Dir. Ib Melchoir
*** / Amazon Prime transfer - A+

Good old Ib Melchoir, not exactly the most engaging sci-fi story teller, less pulp than we'd like, but reliable with tons of rocketry, patriarchs in uniform with stern countenances pointing at images of space onscreen,  rat monsters, robots, girl miasmas, or mutants, and a certain quantity of Weird Tales twists to put it all over. A man who knew how to stretch a low MGM budget to make it look like a medium MGM budget, which equals a huge budget in a tax shelter country, Melchoir brings TIME TRAVELERS to the land of medium budget comic book snazzle if naught else. Lapses into egghead longwinded analysis, lot of straight edge males refusing to fire on mutants since killing is wrong even with a limited food supply  (i.e. DC rather than Marvel) and no room for ugly people in the gene pool blah blah, and robot arms on walls. But stick with it--it's the early 60s so there are some hotties lolling topless in the artificial sun spa and pleasant miasma of LOST HORIZONS-meets-MOLE PEOPLE disaffect.

By the time you wake up from dozing off (a Melchoir specialty), a nice 'awake to the problem of overpopulation and/or getting wise to the genetic con job that is reproduction and life' kind of epiphany may well have erupted in your absence, addressing what was still considered a serious problem here on Earth bak in the 60s-70s--overpopulation.

Somehow, today, though our population has more than doubled since then, we're not allowed to worry about it anymore. Think about it, then do the right thing. Unleash the kraken!

Whatever your outraged stance on that last sentence, rest assured there's no browbeating here, instead Melchoir offers the same kind of mellow mix of awe and sleepiness you might feel during Walter Pidgeon's walking tour of the Krell wonders in 1956's  FORBIDDEN PLANET.  If you're wondering why it looks so damned good, know that the great Czech ex-pat Vilmos Zsigmond did the cinematography (he'd go on to be a key player in the gritty-but-cozy look of 70s movies like Spielberg's CLOSE ENCOUNTERS) and someone along the chain from the vault to restoration to transfer, there was someone who was looking out for this film -- I call her, Antidecasia. goddess of 35mm color restoration and Melchoir of Zsigmond is clearly a royal consort.

(1962) Dir. Sidney W. Pink
**1/2 (Amazon Prime transfer - B-)

A visibly hungover, irascible John Agar leads an international space crew who land on Uranus or wherever, and there's a stop motion animation one-eyed rat monster in a cave, and a bunch of ghostly Swedish women, a giant all seeing alien eye (ala X, the MAN WITH X-RAY EYS). So far so good --right? No, Uranus looks like the thawed Danish woodland and the alien broads dress in overly-starched Dutch maid aprons rather than sexy mini-skirts, giving their space exploration a kind of dispiriting vibe like we're six years-old and being bored during a 60s-70s birthday party visit to a matinee showing some K. Gordon Murray fair tale import, one that will inscribe itself into the texture of all our subsequent flu/fever delirium. Still, no matter how much it may put you to sleep like a longwinded grandpa's hazy memory of seeing Sputnik on the radio, keep it on until the end for the astro lounge credits - it's the star-swingin'-est theme song ever, set to groovy planet space scenes, like Tracy Morgan Astronaut Jones tip. If your AA sponsor permits you, mix yourself a 5 AM martini and let its dreamy lounge vibe provide the coup de gras for a little Melchoir coma (he co-scripted). As Teleport City's indomitable Keith puts it:
"Journey to the 7th Planet isn’t very good. It moves at a snail’s pace toward a predictable conclusion. The characters are pretty dull. The special effects are pretty awful, on the rare occasion that they make themselves known. And yet, as you can guess, there is something strangely compelling about the movie. It’s like an album you put on in the background."

 (1965) Dir. Elio Petri
**1/2 (Transfer - A)

As I've written in the past, DEATH LAID AN EGG-maker Elio Petri's career seems to run on its own parallel track to the evolution of Italian cinema, predicting major trends and then moving on from them right when the breakthrough came, like an explosion he walked away from in slow motion. That's not to say he's necessarily great or anything. Here he beats Antonioni's inestimably influential BLOW-UP by a full year, bringing us the pop art explosion, but then he harnesses it to a satire of the TV generation that's so broad it makes William Holden's pompous final NETWORK monologue, the "This is real life, Diana, you can't change the channel" speech, seem like the height of subtlety. By now you know that the film posits an inevitable future where people are hunted on the streets for TV ratings and population control, and that those who survive are national media stars, and they must alternate between being the hunter and the hunted several times before 'winning'. One of the next victims is Marcello Mastroianni, in black turtleneck, cropped blonde hair, and horrible swollen purple bags under his eyes. He looks like goddamned mid-70s Sally Can't Dance / Metal Machine Music-era Lou Reed if Lou was dumb enough to take his shades off, which of course he wasn't. Without Marcello's trademark dark glasses, the full brunt of the previous year's dolce vita-ing is felt like the sucker punch of being stuck with the check after your dinner party is crashed by half of Rome. The harder he tries to pass this weary look off the more we wish he'd stood up to Petri and insisted on doing his own hair and keeping his shades --especially if you've ever been really strung out, stuck at home in the suburbs after a long time swinging in the city.

Luckily, he's being stalked by hottie Ursula Andress. Death where is thy sting, so you'd think, but it's never fast enough--first there's way too much dumb flirting and chasing. If you've ever made movies with only a buddy or girlfriend as cast and crew, you've probably done the 'chase thing' - where first you film them running away, occasionally looking backwards in fear, and then you switch-- and they film you chasing them--which gives you the chance to have dialogue-free stretches and make use of the landscape and urban sights without need of a permit, or microphone, or lights (if you shoot during the day). Well there's a lot of that in here, with breaks for the inevitable falling in love and escaping or so forth, with he wise to her trick of luring him to a kill zone surrounded by cameras, etc. It might all be haughty fun if his regularly outsmarting such a clever sexy woman didn't carry such a misogynistic and unchivalrous undertone.

It also irks that even though he's a well-funded TV star, Marcello is so bad with money he's constantly having his furnishings repossessed, including his girlfriend's comic book collection ("the classics" she says), and we get the feeling the writer's doing high-fives with his Marxist-sexist buddies at Cahiers du Cinema in his mind while writing that one - Zap! Pow! The comics! The Flash Gordon! For Americans, though, especially in this era with our reality TV president-elect, this grim pop art future is a bit like watching your father drunkenly hitting on your girlfriend at Thanksgiving. If you like that post-modern pop style (lots of weird art everywhere: mannequin arms and blinking eyes) and communist ideology sewn into your commodified spectacle, hey ---rock on. It looks damned good and has no cover art, so might seem to be just a crappy mirage when you find it on Prime. The plain brown wrapper it sports is the perfect consumerist last word in this engaging if ultimately irritating satire. Pow!

(1960) Dir. Edgar G. Ulmer
**1/2 (APT: A-)

The Edgar G. Ulmer story is the stuff of anachronistic filmmaker legend: a seasoned hand at pre-Hitler UFA in the high-end Expressionism business, he was all set to be Universal horror's F.W. Murnau but instead he fell in love with his script girl, who happened to be already married to studio head Laemmle's nephew. "Uncle Carl" wasn't having him as the alienator of his niece's affections so booted him out of Universal after one great film (THE BLACK CAT). Edgar took the niece with him and decamped to poverty row's PRC. Working with budgets so low his work went unharried by producers, he made movies that today are acknowledged masterpieces of economy (and narrative dissonance) like DETOUR. This one's not so acknowledged or masterpiece-y, but Ulmer makes great use of a futuristic Dallas World's Fair exhibit--all geometric geodesic angles and offsets--to conjure a post-apocalyptic world that seems sterile and underground, somehow buried under rubble, as if buildings fell as smooth stalactites, creating a highly stylized dream theater vibe (so emblematic of German Expressionism ala CALIGARI, FAUST, etc.), the kind where the action seems to occur well outside the boundaries of space and time, in some geometrically disjointed 'corner'-dominated reality.

It all happens when a test pilot's (Robert Clarke) sound barrier acceleration experiment launches him not only faster than the speed of sound but far into the future, to a world gone mutant and/or sterile and either way underground (and all corners, as I've said). A dying world run by a few old character actors and housing a few babes dying for a real man's --ahem--essence, the dominant social order's suspicious security chief thinks Clarke's a spy for the imprisoned mutants,. all in a very stylish prison below the below. Played by the intimidating Red Morgan, this security officer is given way too many scenes of hysteric and tiresome fear mongering. The script is by a decorated WW2 photographer Arthur C. Pierce. Daughter Arianne Ulmer is one of the girls, proving standing up to uncle Carl bears sweet fruit.

(1995) Dir.
**1/2 (Prime Image: A)

This Michael Crichton adaptation got a bad rap when it came out for a slew of reasons: it was overbudget, it was racist, it had a terrible ape suit, the ape had a translator watch, it was laughably acted, there were no CGI dinosaurs. JURASSIC PARK had just come out a couple years earlier and so Crichton's name was now associated with this cutting edge technology, so CONGO's old school ape suits and stagey red clay gigantic sets invited sneers and bad dinosaur 'extinct' associative analogies by smarmy critics. But now the smoke has cleared and we can re-examine the film free of all liens. Turns out, I like CONGO for all those same reasons --it glows with early 60s matinee nostalgia, reminiscent of those terrible old H. Rider Haggard-or-Edgar-Rice-Burroughs adaptation safaris, those lost civilization adventures from the 60s-70s, slung together with paperclips and terrarium lizards rear-projected and enlarged, lashing their tongues out at middle-aged lumpen former A-listers pretending to leap over great precipices and burbling science fair volcanoes or firing old fowling pieces at big foam-rubber pteranodons zipping by on visible wires.

In case you can't tell, I also got no problem with giant
diamonds lying around with no surrounding rocks whatsoever, volcano rear projection, ape suits, the corny ape translation device, or even the ape's sappy bromance between 2nd tier-Swayze Dylan Walsh. The main reason though, aside from nostalgia: Laura Linney as the expedition leader, ably commanding an all-male cadre into the Congo to find boss Joe Don Baker giant diamonds for his satellite space laser. Whether she's running into super-intelligent white apes, toppling Congolese juntas, or dealing with Tim Curry's greedy treachery, she stays savvy and cool, neither relying on bitchy or sexy manipulative tropes to get men to do her bidding. The mysterious white apes are all uniquely different from one another with complex strategies, and there are moments when they're battling the automated machine gun sentries and laser fences that you think FORBIDDEN PLANET, ALIENS, and PLANET OF THE APES are all swirling together under Paul Simon lyrics about lasers in the jungle somewhere.

(1953) Dir. Phil Tucker
* / Image - B
I loathe tow-head boychiks gallivanting around in shorts and fishbowl space helmets as much as the next guy, nor do I like "it was all a dream" resolutions, if you feel as I do, well, you can still enjoy ROBOT MONSTER (which has both) by just waiting to start watching until after Johnny falls asleep in the cave in the beginning, and then leaving briefly when he wakes up. Imagine it ends, as I do, when--amidst ONE MILLION BC stock footage--3D shots of Ro-man walks up to the camera and back, sticking his hand out. Growing up, Ed Wood's PLAN NINE and BRIDE OF THE MONSTER were always on TV, but ROBOT MONSTER was just a myth, something we read about in the Medved's "Golden Turkey Awards" book and pined for, dreamt of, hoped one day to see. Now here it is forever, and it's even better/worse than anyone dared hope. Miracles and wonders. See it for herculean devotion to the cause of art that is George Barrows lumbering to and fro in a giant gorilla costume with a diving bell helmet, carrying a screaming girl Al-lice (a sublimely haughty Claudia Barrett), over and down the hills around Bronson Canyon. Hear the thundering Wagner-meets-playful Raymond Scott-ishness of Elmer Bernstein's booming score. Marvel at the only family left alive (due to the German doctor's whizzbang invisibility shield and immunity serum), who ties daughter Al-lice's hand with a shoelace to stop her from escaping their bomb crater basement hideout to meet Ro-Man who feels "that she would understand." Gape at sexist lines like "you're either too smart to be so beautiful or too beautiful to be so smart" and be impressed Tucker's not afraid to have Ro-Man strangle a five year-old girl, and then rip Alice's dress. Bam - those church chimes come blaring down like someone shot a hole in THE OMEN. "If Ro-Man wants us, he should calculate us," notes the Operation Paperclip scientist. "The great one himself sends the cosmic blast!" retorts the head Ro-Man from space Skype. It's so good you can see it again mere minutes after its over (especially if you stop when I say, during the giant dinosaur apocalypse) or go directly onwards, into the Canyon..

(1959) Dir. Bruno Ve Sota
 **1/73464.006th  (Amazon Image - A-)

Bronson Canyon rides again in this diverting hybrid of Monogram East Side Kids misadventure, YOU BET YOUR LIFE-era Groucho Marx, and CREATURE FROM THE HAUNTED SEA-era Roger Corman. If ARTIST AND MODELS Frank Tashlin, Three Stooges sans sadism, and Bugs Bunny sans animation got together on a bad hooch bender, it would look and sound and smell just like INVASION OF THE STAR CREATURES, a film that's gotten a bad rap over the years by critics with no gift for recognizing wry beatnik laissez-faire when it walks up and borrows a dollar. You know it's good because Corman corp. actors are working behind the scenes: Jonathan Haze (writing) and Bruno VeSota (directing). Robert Ball, Frankie Ray are the comedy duo, part half-assed Martin and Lewis, part hipper Wheeler and Woolsey, part tackier Huntz Hall and Gorcey, topped with overbearing puns and spazzing that gets tiresome quick. But dig the George Armitage-Firesign Theater-Duck Soup-esque military (the general who tenderly combs his platoon's eyebrows), and the two giant space broads with lots of dialogue and Russ Meyer Vavoom authority.  Their craft is staffed with carrot monsters who run and dance and twirl their fringe tops. The two hapless privates don't know whether mate with these Amazon alien girls or just run for their lives. Tough call.

There are some whooping, dancing hipster Native Americans (you'll want to study the moves of their chief--clearly an unbilled Jonathan Haze with a deep tan) and all sorts of absurdist self-aware Brechtian movement, the kind of zany underground west coast beatnik disaffect we usually find only in Corman films from the same era, that helps contextualize the awful, flat riffing of the lead pair. At least they have the taste to not just imitate one set of comedians of the day and earlier, but all of them. Joe E. Brown, Bugs, Curly, Bert Wheeler- all go flying past Ball's balding kisser; Frankie Ray sneaks in off-brand stealth impressions of Peter Lorre, Cagney and Eddie G. Robinson in true termite fashion. If the patter between them can get a little Vaudeville corny, well, one gets the same shit in Wheeler and Woolsey movies, and you seem to love those. So suck it up, private!

No matter how juvenile it gets in spates, it's still nice to get two schmucks who at the very least know what to do when a giant space broad takes them onto her lap. If like me you've studiously avoided this film due to reliable critical consensus, then you'll want to track down those critics and give them a hearty bitch slap. Any movie with two legitimately giant hotties, wild-eyed carrot monsters, cheap laser guns, and "electronic noise" by Jack Cookerly and Elliott Fisher (aka Jack Loose) can't be all bad, even if you brook no post-modern Brechtian affiliation. You could have seen it so many times by now you'd have it memorized! Make it the triple feature bridge between Godard's ALPHAVILLE and Jack Cunha's MISSILE TO THE MOON. Suddenly, it will all make sense. Don't ask what 'kind,' sinse it.

1950) Dir. Kurt Neumann
*** / Amazon Image - B+

1950 was the year science fiction broke, with George Pal’s Technicolor DESTINATION MOON launching itself into America’s consciousness via a juggernaut of space publicity. Riding the cosmic wake of that juggernaut was ROCKETSHIP X-M, made for a fraction of MOON’s budget in glorious black and white and later red-tint. The story is, as the ads summarized; “four guys and a girl in space!” Said guys consist of mustachioed brainiac Dr. Eckstrom, (John Emery), obligatory hick who never shuts up about Texas (Noah Beery Jr.), dour pretty-boy pilot Harry (Hugh O’Brian) and starry-eyed super-sexist Col. Floyd (Lloyd Bridges), who falls for Swiss scientist Dr. Lisa Van Horne (Osa Massen), “the girl” battling male egos in her bid to substitute her own calculations. Starting off at a press conference while the countdown to blast-off ticks ominously in the background, the film wastes no time in getting its crew into space. But soon a miscalculation in their fuel mixture drives them off their original moon-bound course towards Mars (no doubt easier to get to), where the guys and girl find some shocking secrets (and red tinting), like boulder-tossing mutant survivors of a global nuclear holocaust who look suspiciously like cavemen.

Preceding the actual moon landing by 19 years, and DESTINATION MOON by several weeks, this staunch Kurt Neumann production manages to still seem somewhat modern today thanks to moody black and white cinematography, low-key performances (they're all on a small quite ship, so no need to shout). An intelligent script from a then-blacklisted (hence uncredited) Dalton Trumbo uses the pros and cons of male-female dynamics rather well (Van Horne insists on substituting her own figures in a way that promotes Eckstrom's sexist resistance, and vice versa), even an element of gender-reversal in the romance between Dr. Van Horne and Floyd, with Floyd spending much of the film sweet-talking her into loosening up (the way a housewife of the era might be expected to soothe her hard-working hubby).

Contrasted to the Technicolor, gee-whiz science lecture/red menace posturings of MOON in fact, X-M can be read as almost subversive. Sure, some aspects of the film do seem dated, such as the comic moments of “selective gravity” (only a few objects float, at random intervals) and Beery’s incessant and corny Texas 'color' (the kind of thing that was a staple on any WW2 movie submarine, bomber, or PT boat). But these things fade in the darkness of the movie’s more mature themes, such as a strong anti-nuclear message and downbeat ending that lend the film a grim, fatalistic edge far more aligned with late 1940’s film noir than 1950’s science fiction, with a hushed acting style so low-key it could almost be a Val Lewton.  (review orig. published Scarlet Street, 2001)

(1956) - Dir. Ib Melchoir
*1/2 / Amazon Image - A

It's sleepy time with Ib Melchoir again, delivering the yackity dated crap (and engaging weirdo monsters) X-M lacked. This time the expeditionary ship has an angry red-haired girl in the crew--the circle in the middle of their side of the yin-yang, the love birds in the backseat while 2-D monsters clearly ushered into existence by the delightful sci fi comics genius Basil Wolverton (or at the very least, inspired by him) come staggering out of the rocks and red tinting. The weird negative red effects look relatively vivid and might seem cool to anyone who doesn't know how to use Final Cut Pro color effects, and I like the way the animals blend so neatly into their surroundings, mimicking the animals outlined by all the deranged paredoliacs scouring Mars Rover photos on the Earth's web. That said, I've never actually watched this film for more than 20 minutes at a time. Not sure what my issue with it is, unless it's the usual Melchoir ZZzz-factor. I figured you should know though, that it looks damn good.

PS - Oh wait, I just tried again. Now I know why I've never watched the whole thing! I heartily dislike the approach of landing on a strange world and blasting everything that moves like you own the place. Dude, that rat spider monster you just blinded might have been a source of wisdom! Where's Dr. Carrington when you need him? If you get that reference then you should have seen more of this than I have by now. Then the leader wants to leave the minute they get there because of the monsters, which is like going to the Running of the Bulls in Spain, then getting a hangnail before the charge begins so deciding to go home.

Man oh man, what a shitshow of a list. Luckily it ends on a potent note:

(1980) Dir. Lugio Cozzi
*** / Prime Image - C- / Shudder Image - A

This movie gets a bad rap in some circles but I adore all its alien-aping ways, from the magical way ugly watermelon slime pods explode and cause instant explosions in the stomach of everyone in horseshoe vicinity outwards to the magical appearance of obvious phone book size padding under the victim's shirts before the explosions, to the traumatic Freudian-cave-on-Mars flashbacks. I dig the vibe between the NYC cop who discovers the initial shipment (Marino Mase), the female colonel of the Army's special disease control unit (Louise Marleau) and the traumatized astronaut (Ian McCulloch). The three team up in a sexy 'share-the-woman' synergy (ala DESIGN FOR LIVING, and PAINT YOUR WAGON) and head down to Colombia (the pod shipments erupting in NYC storage hangars were supposed to be coffee) where they're soon ensnared up in a big slimy alien's world domination plan, ala IT CONQUERED THE WORLD.

Louise Marleau's heroine finds a nice shadow in the bad guy's right hand woman in Colombia (lovely blonde Gisela Hahn), and I love the alien himself, especially that bicycle reflector eye and the glistening artichoke coloring. Lastly, what really earns my goofball admiration is the Goblin soundtrack, that late 70s prog rock style has aged well. I don't know what else you need to make you love this dumbass film as I do. Whatever's missing, you don't need. 

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