VANish (2015)

VANish ★★★★✫ Director: Bryan Bockbrader Dark Sky Films (Official Site) 79 Minutes Available February 24 on VOD, iTunes, DVD and Blu-ray – Bryan Bockbrader’s directorial debut VANish (2015) is a tight little action-horror film with plenty of twists, turns and splatter to entertain even the most jaded of indie movie fans. This ultra low-budget flick was shot in just 13 days and runs at a confident, snappy pace. Stalwart indie legends Tony Todd and Danny Trejo have small but pivotal roles, and they’re both terrific here, of course, because they’re Tony Todd and Danny Trejo. But make no mistake, VANish belongs to its four leads, especially Maiara Walsh, who puts in a fantastic turn as a strong and savvy hostage victim. Jack (Austin Abke) and Max (Bryan Bockbrader) have a solid plan: to kidnap Emma (Walsh) and hold her hostage until her father coughs up $5 million. But the plan goes south almost immediately as the unhinged Max starts shooting at the first sign of trouble, and the addition of Jack’s old Army buddy Shane (Adam Guthrie), a man sporting a nasty case of PTSD, doesn’t help. Jack finds himself in the thankless role of the smartest guy in a room full of dimwits who have no idea how to handle their captive. A surprise visit from some goons in ski masks and a series of startling revelations turn what at first seemed like a typical (albeit ill-advised) kidnapping into a very dangerous situation. Filmed entirely from inside the van … Continue reading

The Spiderpool

The history of the Spiderpool is the quintessential Hollywood story, a particularly American brand of fairy tale that begins with excess and eccentricity, wild parties and beautiful women. Like so many American dreams, it was over almost as soon as it began, and what was once celebrated became nothing more than crumbling remnants of exploitation, disappointment and lost dreams. Continue reading

The Wild Affair (1963)

The Wild Affair (1963) is a charming, light and sophisticated British sex comedy, sadly forgotten despite being incredibly influential in its day. A vehicle for early-60s cinematic It Girl Nancy Kwan, The Wild Affair concerns a young working girl, her hapless fiance, assorted colleagues and the ever-present worry that one has not lived enough before jumping into that metaphorical death known as marriage. Though a rather calm and collected film once it gets going, The Wild Affair opens with some truly bonkers credits that feature a series of still photos of Kwan, staid and serene on one side of the frame, adorable and spirited on the other. “Spirited” in this case means the stills of Kwan’s head vibrate and hop around like they were cut out and glued onto a popsicle stick, and then filmed as a little kid played puppets with them. And then come the legs: I have absolutely no idea what this is implying.   The Wild Affair is based on the William Sansom novel The Last Hours of Sandra Lee, a title that evokes a sinister end, undoubtedly the author’s intent, but certainly not the film’s. Sansom, now mostly unknown, was once called “London’s closest equivalent to Franz Kafka,” and was known for writing characters made to “face inscrutable futures with patience and resignation, knowing that they can do little to influence the outcome of their lives.” In his novel, Sandra Lee has to deal with some very harsh truths and a future that’s difficult to … Continue reading

An Important Content Announcement for SBBN Readers

Rita Hayworth in Cover Girl, courtesy Dr. Macro.   Long-time SBBN readers know that this blog began back on the Blogger (Google) platform many years ago, and along with She Blogged By Night came its slightly naughty sister blog, Technoknob. SBBN is now on my own website with a WordPress install but Technoknob, a blog with a teeny tiny bit of infamy, remains on Blogger. Blogger has recently announced that they no longer allow nudity, except for what they personally deem has enough “substantial public benefit” to be “allowable.” Every Blogger user behind an “adult content warning” page was told Monday by Google to delete sexually explicit content, or find their blog removed from every form of access except registered users. Until today, Google’s Blogger platform previously allowed “images or videos that contain nudity or sexual activity,” and stated that “Censoring this content is contrary to a service that bases itself on freedom of expression.” That changed on a whim Monday when Google ripped the rug out from under its previously-compliant Blogger users, who were told they’d be disappeared if Google decided their blogs contain “sexually explicit or graphic nude images or video.” Over the last few years I’ve seen several LGBT blogs, horror movie blogs and art blogs get taken down by Blogger because of content despite Google’s policy stating that adult content was permissable. Some of these blogs were put back up with a splash page Content Warning imposed on them without their permission, while others were permanently … Continue reading

White Comanche (1968)

  Johnny Moon (William Shatner) is a loner and wanderer in the unsettled American West, on a mission to find his long-estranged twin brother Notah (also Shatner) and settle a score. Both men are of mixed race, half European white and half Native American, and while Johnny identifies as a white man, the murderous Notah has hitched his wagon to the Comanche tribe, where he leads a small but vicious group of warriors. Johnny is tired of being accused of his brother’s crimes, and tells Notah to meet him in a few days in nearby Rio Hondo, where they will duel, because the only solution to the problem is that one brother must die. White Comanche (1968) is a Paella Western (frequently mislabeled as a Spaghetti Western, even by William Shatner himself in his autobiography Up to Now) long favored by bad cinema aficionados who appreciate the finer points of a classic Good Shatner versus Evil Shatner story. For a while, it seemed there was some irresistible gravitational pull that forced Shatner into these plots, starting with “Star Trek” episodes such as “The Enemy Within” and “Mirror, Mirror.” The nutritious goodness of two Shatners for the price of one, combined with Notah’s halting speech and Shatner’s propensity to go shirtless at every opportunity, well, it’s undeniable that White Comanche has plenty of cheese to spread around. There’s just so much in White Comanche that doesn’t make any sense, and trying to explain it is basically pointless. Notah, for instance, has … Continue reading

Panic Button (1964)

When a Hollywood production company discovers they have a half million dollars in unclaimed profit they have to lose to avoid prosecution by the Feds, they come up with a wacky scheme: to film a truly awful television pilot so bad it guarantees a loss. The president of the company sends his son Frank (Mike “Touch” Connors) to Italy to put the deal together. Frank quickly convinces elderly, washed-up actor Philippe Fontaine (Maurice Chevalier) and his beautiful ex-wife and manager Louise (Eleanor Parker) that this new modern production of Romeo and Juliet will be a great comeback opportunity for the former star. Add the buxom Angela (Jayne Mansfield), a gorgeous local prostitute with a heart of gold, as Juliet and one truly terrible director known as Pandowski (a wonderful Akin Tamiroff) to the mix and you have a recipe for disaster — just what Hollywood ordered. Panic Button, recently released for the first time on DVD through Warner Archive’s made-on-demand series, is a surprisingly pleasant spoof of the early 1960s trend toward lavish Hollywood productions in Italy. There are elements of a sex farce here — Louise runs a hotel for women, Frank likes the ladies, and Angela’s vocation is meant to raise eyebrows — but mostly, Panic Button is a light romantic comedy. Parker looks absolutely stunning and gives the kind of performance that, had everyone else involved been so dedicated, would have prevented Panic Button from becoming basically forgotten. Chevalier is charming and has a couple of musical … Continue reading

Kill or Cure (1962)

A series of cute pencil sketches and a light mambo-esque theme song in the opening credits hardly prepare us for the first frames of Kill or Cure (1962), a wacky British comedy-murder mystery starring the delightful Terry-Thomas. As the theme song (featuring someone who sounds an awful lot like Thurl Ravenscroft) fades out, a slow pan reveals that one Captain Barker-Rynde (Terry-Thomas) is a private investigator, the sneaky-sneaky-picture-takey kind of PI who specializes in divorces. Disgraceful! He receives a call from one Mrs. Clifford (Canadian singer and comedienne Anna Russell) to come visit her at the Green Glades estate, where she wishes to meet him to discuss a job. With the dreams of pounds sterling dancing in his head, he arrives at Green Glades, only to discover it’s not the posh vacation spot he had expected. The moment Barker-Rynde discovers Green Glades is a health resort.   Before he gets a chance to talk to Mrs. Clifford, she’s poisoned… with ricin! Her assistant Frances (Moira Redmond) is also poisoned but survives, yet cannot give any clues to her employer’s death. An investigation by Detective Inspector Hook (Lionel Jeffries, in fine form) ensues, and a £2000 reward is announced for anyone who can help capture the murderer. Barker-Rynde once again sees an opportunity to make bank, while Green Glades health consultant Rumbelow (Eric Sykes) does as well; unfortunately, Rumbelow is certain that Barker-Rynde is the killer, and Detective Hook is starting to suspect the same. What Britmovie condemns Kill or Cure … Continue reading

Soundtrack Review: Song One (2015)

Song One Original Motion Picture Soundtrack ★★★★✫ Released by Lakeshore Records Available digitally and on CD on January 13, 2015 – There’s something pretty great about an informal mixtape, a quick compilation for yourself, or a few random songs here and there you kept meaning to send to a friend and finally got around to putting together, where accidental juxtaposition and comparison can reveal some truly wonderful things. At times, the soundtrack for Song One, the first feature-length outing from director Kate Barker-Froyland, soundtrack captures that kind of moment, where a Nina Simone jazz standard blends into the ’70s-style gospel funk of Naomi Shelton, and it’s held together by the unlikely glue of Dan Deacon’s techno-twist “The Crystal Cat.” But there’s something a little clinical about this mix, too, and the roots of that can be found in the film. The Song One script is bogged down by a self-conscious desire for indie cred, with what feels like a checklist of alternative-indie influences dutifully noted. That includes the an unintentionally hilarious moment when a character briefly mentions the Beatles’ “Blackbird.” If Wayne’s World were remade today, that music shop sign would have to read “No ‘Blackbird’” instead of “No ‘Stairway to Heaven’,” and Song One proves why. While half of the songs on the Song One soundtrack have been previously released, seven are new compositions by Jenny Lewis and Johnathan Rice, who also produced the album. Most of their songs are performed by actor-musician Johnny Flynn, whose calm, understated vocals … Continue reading