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Review of BEAST FROM HAUNTED CAVE Special Edition (Blu-ray)

October 17, 2023

James Plath, Family Home Theater Drama, Horror-thriller, War Leave a comment

Grade:  C-

Horror/Drama

Not rated (would be PG)

Just in time for Halloween, Film Masters has released a B-movie trick or treat (you decide):  a newly restored 4K scan from 35mm archival materials of the Gene and Roger Corman-produced Beast from Haunted Cave Special Edition. What makes it a special edition is bonus B movie from the King of B Movies, director Roger Corman: his WWII drama Ski Troop Attack, with both films released in 1959.

The Corman brothers were ahead of his time, because their films are perfect for today’s young adult film-watching parties, where the goal is to offer snarky running commentaries. It will be a “treat” for this crowd to savor and skewer—especially the “beast,” who has to be a contender for worst looking bargain-basement movie monster ever. You’ve got to see this. Really.

The “trick,” of course, is that the film got a 4.3 rating out of 10 at IMDB.com, and that’s not inaccurate. But a little context:

As someone who grew up in the late fifties and early sixties, I’ve sat through my share of B movies when going to the theater meant a double feature: the heavily advertised A movie that you went there to see, and a B movie that was shot on the cheap and thrown in as a bonus. Most of them were genre films and some of them were just bad. Sad bad—the kind that made you squirm in your seat or think to go to the restroom yet again, because you had a limited amount of money for movie snacks and could only make so many trips to the lobby counter. Then there were Hammer films and Roger Corman films, who embraced the fact that they were making movies, not films, on the cheap, so why not do it tongue in cheek? These were the campy films, the so-bad-they’re-good ones that left you wondering whether they were intentionally or unintentionally goofy. Somehow, despite being bad and having abrupt endings that made you wonder if they stopped filming when the money ran out, they were still fun to watch.

That’s what we’re dealing with here. Beast from Haunted Cave combines two genres—the heist film and the horror film—and it ends so suddenly that—wait, what?—you’ll probably want to rewind a bit. The plot is straightforward, as B movies typically are, but with better-than-B-average dialogue. A group of men and one woman plan on robbing a ski lodge, and decide to blow up an old mine/cave for a distraction. There’s more talk than action, but there are some interesting moments, many of them provided when Sheila Carol is on camera. Trivia fans might also look for Frank Sinatra’s nephew, who does a decent job with his role.

The heist team in this film is probably the most generic and benign cast of characters ever assembled, though the writing and their acting is just good enough to hold your attention until the next sighting of a creature that sometimes looks like a hairy tentacle operated by a Muppetteer and sometimes looks like a thinner, gauzy, spidery rendition of Pizza the Hutt. Like I said, you’ve got to see this movie monster to believe it. Beast from Haunted Cave is one of those B movies that’s fun make fun of.

Ski Troop Attackis surprisingly okay for a B movie, which is to say it’s almost good. Like Beast, it holds your attention while you wait for something to happen, but instead of hokey laughable moments there are just logical lapses that make you think, really? Like, why is it that it takes five ski troopers behind enemy lines to take out a bridge that we’re told can’t be attacked by the air, when A movies like 633 Squadron and The Bridges at Toko-Ri established that pretty much any target can be hit through the air?

Both films are halfway decent for B movies, and the transfers look great. Of the two, Beast remains the most fun to watch because of that campy monster. Ski Troop Attack, also filmed in Deadwood and the Black Hills of South Dakota, doesn’t lend itself as much to wisecracks—maybe because a historical war is the central subject. As I said, it’s surprisingly okay, but logically uneven. One final note:  like Alfred Hitchcock, Roger Corman liked to insert himself into his films. Look for “German Soldier Entering Cabin” in this one. The films and bonus features are on two separate discs in this release.

Entire family:  No (Age 10 and older)

Run times:  65 and 72 min., Black & White

Studio/Distributor:  Film Masters

Aspect ratios: 1.85:1 and 1.33:1

Featured audios:  Dolby Digital and DTS 2.0 Mono

Bonus features:  B-/C+

Trailer

Amazon link

Not rated (would be PG for adult subjects and frightening images)

Language:  2/10—Beast is squeaky clean, and Ski Troop isn’t much worse

Sex:  1/10—Other than a single bathtub scene where nothing can be seen, there isn’t anything here

Violence:  3/10—Neither film is particularly violent, either

Adult situations: 4/10—Some smoking and drinking and wartime action

Takeaway:  This is an interesting pairing of a Corman brothers’ produced B movie and a Roger Corman directed movie

Review of SO PROUDLY WE HAIL (1943) (Blu-ray)

August 20, 2022

James Plath, Family Home Theater PG-13 rated, Romance, War Leave a comment

Grade:  B/B-
Drama
Not rated (would be PG-13)

Studs Terkel won the Pulitzer Prize for The Good War: An Oral History of World War Two, a title he said was suggested by an army correspondent. “The Good War” was a phrase “frequently voiced by men of his and my generation” because it was the last war fought that was not divisive or controversial, Terkel said. Americans rallied behind the flag after Pearl Harbor, and when everyone is in the same boat, rowing in the same direction, there’s a sense of shared purpose and commitment. That leads to a feeling of solidarity, of shared joys or sorrows that nonetheless bind people into a greater family or community stronger than the individuals themselves. There really is strength in numbers, and patriotism at its workable best is a group activity dependent upon full (or nearly full) participation, not an individual attitude—and certainly not competing attitudes.

All of which is to say, aside from the aesthetics of film, there’s value in watching an old black-and-white patriotic war movie because it can remind us of what patriotism really involves.

Colbert tends to Lake

So Proudly We Hail (1943) is an interesting case in point. Most of America’s World War Two movies were about the front-line heroism of fighting men, designed to keep the recruits coming and the people on the home front encouraged, still feeling the commitment and still willing to accept the sacrifices of wartime patriotism. When So Proudly We Hail was first released, Bosley Crowther of The New York Times praised the film’s  “shattering impression of the tragedy of Bataan” and producer-director Mark Sandrich’s reenacted battle-action scenes, but complained that “we behold the horror of Bataan through a transparency, through the studiously disheveled glamour of the Misses [Claudette] Colbert, [Paulette] Goddard and [Veronica] Lake.”

To a degree, that’s unfair, because the formula behind every patriotic war movie pulled against the film’s intended realism. I think Sandrich (who would direct Holiday Inn the following year) does a decent job of focusing not only on the professional aspects of military nurses serving in Bataan and Corregidor, but also on their love lives. So Proudly We Hail was billed as the “First great love story of our girls at the fighting front,” and Sandrich does a commendable job of adding romantic involvements to the standard war movie.

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Review of SERGEANT YORK (1941) (Blu-ray)

October 15, 2020

James Plath, Family Home Theater Biopic, Drama, PG rated, War Leave a comment

Grade: B+
Biopic
Not rated (would be PG)

Hollywood legend Gary Cooper won two Best Actor Oscars: one for his performance in High Noon (1953) as a marshal facing a showdown on the day of his marriage to a Quaker pacifist, and the other for his portrayal of a real-life conscientious objector who became an American war hero in Sergeant York. And Cooper plays York with the same kind of aw-shucks naiveté as he gives Lou Gehrig in The Pride of the Yankees, a film he would make the following year.

Based on Alvin C. York’s personal diary, this 1941 black-and-white biopic was made to inspire a nation near the start of America’s involvement in WWII. But it also helped to fund an interdenominational Bible school—the main reason a reluctant York finally agreed to let Hollywood dramatize his life story and WWI heroism for the big screen.

Typical of biopics from the period, Sergeant York is wholesome, folksy, sentimental, and moralistic. But with director Howard Hawks (Red River, Rio Bravo) behind the cameras, it’s also an example of compelling narrative storytelling.

Mostly set in an impoverished backwoods corner of rural Tennessee, Sergeant York spends four-fifths of its 134-minute run time showing how York, a hard-working mama’s boy, went from being a frequent hell-raising drinker to a born-again Christian opposed to killing. Like Daniel Boone, who recorded one of his exploits on a tree near the York homestead, York is a crack shot and crafty outdoorsman, and early in the film he disrupts a church service by shooting his initials into a tree.

A young but still raspy-voiced Walter Brennan plays the pastor, while Joan Leslie (Yankee Doodle Dandy) is the love interest and British actress Margaret Wycherly plays the taciturn mother who stands by her boy no matter what he does. When the announcement comes that all young men are expected to go to Europe to fight and Alvin says, “Maw, what are they a’fightin’ for?” She replies, “I don’t rightly know. I don’t rightly know.” But she knows he has to go fight, no matter what his newfound religion tells him. More

Review of THE LAST VALLEY (Blu-ray)

June 5, 2020

James Plath, Family Home Theater Action-Adventure, Drama, PG rated, War , , Leave a comment

Grade: B
Historical war-adventure drama
Rated PG

If the movies have taught us anything, it’s that Shangri-La is never what it appears to be, because idylls are too close to idols and idles for comfort. Human nature always gets in the way of any Eden, and paradise seems always destined to be lost, as illustrated by this 1971 historical adventure-war drama.

Moviemakers were going different directions the year The Last Valley was released, with audiences latching onto tough-guy cops and P.I.s (The French Connection, Dirty Harry, Shaft), racy literary adaptations (A Clockwork Orange, The Last Picture Show), prostitutes (Klute, McCabe & Mrs. Miller), and the latest James Bond entry (Diamonds Are Forever). So The Last Valley was all but overlooked in America, despite its popularity in the U.K. and the pairing of Michael Caine (The Ipcress File) and Omar Sharif (Funny Girl, Dr. Zhivago).

Written and directed by James Clavell (To Sir with Love, also known for his novel Shogun that was made into a popular TV mini-series), the film raises a lot of questions about religion, war, and the very meaning and nature of existence. Mostly, though, it feels like an anti-war fable that grinds its gears toward the conclusion that conflict is futile yet, ironically, inevitable.

For an older film, it’s surprisingly compelling because it’s surprisingly fresh—well written and, except for a few melodramatic moments, superbly acted, with impressive location filming in Austria. Families who like the comedy Miss Congeniality will hardly recognize makeover artist Michael Caine decades earlier in this film as a captain who commands a group of mercenaries during Europe’s Thirty Years War. Superscript tells us at the film’s beginning that this 1618-48 war ravaged central Europe the same time as the plaque and was initially fought between Protestant and Catholic states in a deteriorating Holy Roman Empire. Then it became a fight for power and control, with wealthy noblemen and professional soldiers leading large armies of mercenaries from both religious sides as they spread across the countryside, destroying villages and raping and looting along the way. In effect, they put their religious differences on hold in order to pursue a common “bad”. A similar truce happens in The Last Valley. More

Review of THEIR FINEST HOUR: 5 BRITISH WWII CLASSICS (Blu-ray)

April 1, 2020

James Plath, Family Home Theater Drama, PG rated, War Leave a comment

Grade: B+
Not rated (would be PG)
War / drama

British WWII movies were dependably good, so it’s no surprise that this collection of five black-and-white films doesn’t contain a single stinker. Every one of them is in the B range. Because of patriotic undertones and because of the era they tend to be on the melodramatic side, but they stick with you as much as those distinctive vocal harmonies from the ‘40s.

Went the Day Well? has a title that sounds stiff, and in fact all of the older women in this 1942 film seem to talk in the same proper, lilting, slightly theatrical voice as Aunt Bee from the old Andy Griffith Show. One of the strongest films in this collection, it’s a home guard movie based on a Graham Greene story about residents of a small British village who are asked to “billet” a platoon of soldiers. Some soldiers are put up at homes and others in a town hall converted into a dorm. But the residents start to suspect that some of those soldiers aren’t at all proper British. Could they be Nazi sympathizers? Or has wartime made everyone overly cautious? Like other films in this collection it’s a bit of a slow simmer but a fascinating drama that might appeal to older children because of the “what if” questions implied by the scenario and because some of the key characters are children. This one’s a B+, with the added bonus of being shot during wartime, when studios couldn’t build new sets and therefore used more location filming with available buildings. As a result, you get a pretty fair idea of what life looked and felt like in 1942.  More

Review of 1917 (Blu-ray combo)

March 18, 2020

James Plath, Family Home Theater R rated, War , Leave a comment

1917 Blu-ray coverGrade: A-/B+
Rated: R
War

1917 was one of my top five films of 2019, and after the awards show dust cleared it emerged with three Academy Awards (Best Cinematography, Visual Effects, and Sound Mixing), three Golden Globes (Best Picture-Drama, Best Director, Best Original Score), and seven BAFTA Awards (Best Film, Outstanding British Film, Best Director, Production Design, Sound, Visual Effects, and Cinematography).

It’s a striking film that’s a contender for family movie nights if the children are older, despite the R rating, because it’s a war film with an underlying antiwar theme that doesn’t rely too heavily on bloody carnage to get its message across. This unique film from director Sam Mendes (Skyfall) and legendary cinematographer Roger Deakins features just two soldiers on a mission that begins to feel like a fantasy quest, given the surreal landscape and dangers and delights they encounter. The ground they cover is a recently abandoned battle zone, so while there’s little actual fighting, the effects of war pop up here and there in horror-thriller fashion as sobering reminders—hence the R rating.

Long takes make it feel as if the film was made with just two continuous shots, with a brief blackout in the middle. You realize how different this film is from other war movies almost instantly, as it opens with a shot of two soldiers lolling in a bucolic countryside in a pose vaguely reminiscent of the one that Alice strikes at the beginning of Alice in Wonderland. But when one of the two soldiers, named Blake, is summoned and told to pick another and report to the commander and the camera follows them, it’s a long tracking shot through the trenches that leads them to their reverse Wonderland, and not a rabbit hole. That sensation is supported by a later episode in which one of the soldiers helps a French woman in hiding by calming her baby and reciting an Edward Lear poem to the infant—a poem called “The Jumblies.” And of course there are no wondrous creatures in this surreal world—just dead bodies, rats, a few of the enemy, and a number of close calls. More

Review of JOJO RABBIT (Blu-ray)

February 23, 2020

James Plath, Family Home Theater Comedy, Drama, War , , , , , , , Leave a comment

Jojo Rabbit Blu-ray coverGrade: A
Rated: PG-13
War-comedy-drama

Jojo Rabbit was my personal pick for Best Film of 2019, and watching it again only confirms that for me. It’s a wildly inventive, offbeat, hilarious-yet-poignant critique of Nazism that entertains as it subtly instructs. Since the action takes place in the closing months of WWII, there are some sad moments and some violence, but far less than what’s usually contained in a PG-13 film these days.

One of the most commonly taught books in junior high and high school is The Diary of a Young Girl by Anne Frank, a German-Dutch teenager who spent two years hiding in a secret upstairs section of her father’s pectin factory in the Netherlands with family and friends. She died in a concentration camp, and what the Nazis did to Jews remains a horrible page in the history of humankind. Picture that story with an equally sad death, a better ending, and the kind of quirky laugh-out-loud humor that characterized Taika Waititi’s film “What We Do in the Shadows, and you’ve got a pretty good idea of what this film is like. It’s shockingly funny because, as co-star Sam Rockwell told Imdb.com, “Taika has a really good comedy compass.”

Jojo’s family is down to just two—his mother and him—since an older sister had recently died of influenza and his father was still absent, allegedly fighting for the Germans on the Italian front. As a result, he and his free-spirited mother (Scarlet Johansson) are extremely close, and we see them playfully interacting—he, always the serious one, and she the teaser, the one most likely to play a prank or act spontaneously.

Jojo (wonderfully portrayed by first-time actor Roman Griffin Davis) has two problems: the first is that he’s so clearly sensitive and unsuited to being a Nazi that it underscores the propaganda side of Nazism. Jojo gets his nickname when, during a Hitler Youth training camp, he finds himself unable to kill a rabbit, as ordered. But the second and more pressing problem he faces is that he discovers his mother is secretly sheltering a Jewish girl behind a secret panel in the room where his sister stayed before she died. What’s a Hitler Youth to do? More

Review of PAN’S LABYRINTH (4K UltraHD combo)

October 12, 2019

James Plath, Family Home Theater 4K Ultra HD, Drama, Fantasy, R rated, War Leave a comment

Grade: A-
Entire family: No (16 and older)
Fantasy-drama-war
2006, 119 min., Color
Rated R for graphic violence and some language
Warner Bros.
Aspect ratio: 1.85:1
Featured audio: Spanish DTS-HDMA 5.1
Bonus features: B+
Includes: 4K Ultra HD, Blu-ray, Digital Code
Trailer
Amazon link

Strange. Dark. Sad. Beautiful. Haunting. Powerful.

That describes Guillermo del Toro’s Oscar-winning Best Picture The Shape of Water (2017), and it also aptly describes the Mexican director’s earlier wartime fantasy-drama, Pan’s Labyrinth (2006).

Del Toro introduces the new 4K HD release (in Spanish, with English subtitles) by saying simply, “This movie almost killed me.” That’s easy to believe, because Pan’s Labyrinth takes a lot out of audiences too. With del Toro’s fairy tales for adults, you know you’re going to find the film visually stunning, narratively compelling, and, ultimately, deeply moving.

The action takes during place during WWII (1944) in Franco’s fascist Spain. Ofelia (played confidently and sympathetically by Ivana Baquero) is riding in a military car with her pregnant mother to a country outpost run by the ruthless and sadistic Captain Vidal—who married the mother, Carmen (Ariadna Gil), after her husband died in the war. He had sent for them because he wanted his baby to be born near him. In the car, Ofelia reads a fairytale about a princess who fled her father’s underground kingdom to live in the world above, where she was subject to that world’s illnesses and death. But her father knew that one day her spirit would return to him in the form of another.  More

Review of THE CAPTAIN (Blu-ray)

January 25, 2019

James Plath, Family Home Theater Drama, R rated, War 1 Comment

Grade: B+
Entire family: No (age 14 and up?)
2017, 120 min., Black and White
War drama (w/dark comic moments)
Music Box Films
Not rated (would be R for language, violence, some nudity)
Aspect ratio: 2.35:1
Featured audio: German 5.1 Dolby Digital
Bonus features: B
Trailer
Amazon link

The Captain (2017) isn’t a movie for kids. Then again, neither is Schindler’s List, which my daughter saw in her 10th grade history class during their discussion of the holocaust.

Both are films that stay with you, and for the same reason: mass executions by Germans during WWII. Except that The Captain isn’t a holocaust film. Set in Germany during the final months of the war, it’s based on the true story of Willi Herold, who became separated from his unit and may or may not have deserted. In the film, as in real life, he stumbles onto an abandoned staff car in which he finds a suitcase containing the uniform of a Luftwaffe captain. After celebrating his good fortune he dons the uniform. And putting it on and acting the part begins to have the same effect on him as the ring did on Gollum.

Shot in black and white in German with English subtitles, The Captain is a fascinating film, and not just because it’s so totally different from all the other WWII films that depict the battles, struggles, and individual stories of bravery and survival. It’s also a provocative psychological study. We wonder:

Is it the uniform and the role-playing that makes this corporal suddenly behave like a sadistic German officer? Is it another example of the intoxicating effect that power has? Is it an individual pursuit of irony, with Willi getting back at life for almost having him executed as a deserter by embracing some deserters and “lost” soldiers as his own private army but choosing to execute others? Is Willi the victim of PTSD, or is he representative of what happens when soldiers realize their side has lost and order and discipline start to break down? Did the situation bring out the evil in him, as it did with the British schoolchildren in Lord of the Flies? Or was Willi evil from the start, and the universe just provided him with a chance for that evil to come out? More

Review of DUNKIRK (Blu-ray combo)

December 28, 2017

James Plath, Family Home Theater War Leave a comment

Grade: A-
2017, 106 min., Color
War
Warner Bros.
Rated PG-13 for intense war experience and some language
Aspect ratio: 2.21:1 and 1.78:1
Featured audio: DTS-HDMA 5.1
Bonus features: B+
Includes: Blu-ray, DVD, Digital Copy
Trailer
Amazon link

Dunkirk, a small northern coastal city in France, is historically famous for a massive WWII evacuation in May 1940, when Hitler’s armies surrounded the French and the British Expeditionary Force and pinned them against the sea. With snipers firing and the German Luftwaffe strafing and bombing the area and any vessel that tried to load soldiers—hospital ships included—the Allied military brass decided they needed to save many of the larger ships for the next impending battle. That set up what Winston Churchill later called “The Miracle of Dunkirk,” when more than 100,000 French and British soldiers were rescued by a hodgepodge fleet that included private civilian launches, all acting on the prime minister’s order that ships large and small should go to Dunkirk to rescue the besieged soldiers.

As a film, Dunkirk is one of the year’s best—if you don’t mind minimally plotted films that feel vaguely like fly-on-the-wall documentaries. It may also be the ultimate anti-war movie, because it feels more like a disaster film than the typical war movie. That’s because director Christopher Nolan (Intersteller, Memento) employs minimal dialogue and in media res camerawork to plunk the viewer right into the thick of things so you don’t feel as is you’re watching a movie about war—you feel like you’re experiencing it: the chaos of war and the reactive drive to escape it. The narrative thrust isn’t heroism, or the fight-or-flight impulse, or the need to defeat an enemy. It’s escape, and the bombs and bullets might as well be lava pouring from an active volcano, or a fire threatening to destroy a skyscraper, or a floundering cruise ship taking on water in the middle of the Atlantic. War, in Nolan’s hands, isn’t political. It’s a disaster to survive.

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