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Resurrected, The (Blu-ray)

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The resurrected

The ResurrectedStarring Chris Sarandon, John Terry, Jane Sibbett, Robert Romanus

Directed by Dan O’Bannon

Distributed by Scream Factory


The prose and peculiarity of H.P. Lovecraft’s work has proven to be difficult for feature film adaptation, with only a handful of titles – at best – getting it mostly right. Slavish translation would be pretty much impossible, and I doubt even Guillermo del Toro could have pulled it off with his unmade epic take on “At the Mountains of Madness”. The best most filmmakers can hope to achieve – and viewers hope to experience – is the essence of Lovecraft; the sensation of being in a world of arcane magic and ancient gods. For the most part, genre heavyweight Dan O’Bannon’s The Resurrected (1991) gets it right, immersing audiences in Lovecraft’s backyard, literally, as the film takes place in Rhode Island (it was lensed in Canada, though). The foggy New England countryside and forested landscapes are perfectly replicated, inspiring a good East Coast chill and springing up that back-of-the-mind fear that something could be – and oftenis – lurking just outside a smoky treeline.

After an unexplained, bloody crime scene the film flashes back a few weeks, to when Claire Ward (Jane Sibbett) hires private investigator John March (John Terry) to investigate her husband, Charles Ward (Chris Sarandon). Claire doesn’t suspect cheating, rather, she just wants to know how her conspicuously busy beau spends his time. Charles is a research scientist who practically lives in a cottage laboratory in their backyard. After Claire repeated inquests, he moves to a secluded cabin and essentially vanishes from her life. Marsh is led to Ward’s cabin “by the smell” thanks to a local tipster, but he is told off by a shady assistant and leaves, only to return later with Claire and finally gain access. Ward looks terrible; gaunt, with a raspy voice and decaying teeth. He speaks in an older form of English. Per Ward, he has been conducting arcane experiments once attempted by Joseph Curwen (also Sarandon), an ancestor of his who used science to try raising the dead at this very location.

As March discovers, the cabin has secret passageways, which Curwen would use to smuggle in his fresh corpses. His experiments using Reflux, the key to reanimating dead flesh, were hideous abominations. Based on Ward’s condition and March testimony, police raid the cabin and arrest Ward, who demands raw meat and blood. With Ward incarcerated Marsh, Claire, and Lonnie (Robert Romanus), one of March’s investigators, enter the subterranean lair where Ward has been conducting his witchcraft. There, they find the twisted results of his playing god – and Marsh soon learns Ward may no longer be the man he appears.

The heart of this picture, though not the star (as the poster art might suggest), is Chris Sarandon. Yes, he is called upon to play two characters but, really, Ward is only a fleeting glimpse whereas Curwen gets the meat of the performance – and Sarandon fully commits to bringing this foul-toothed warlock to decrepit life. The inflection in his tone, the mannerisms in his speech, the wild fire behind his sunken eyes – Curwen is a relic reawakened in modern times and Sarandon would have you believe it is the truth. John Terry is serviceable enough as the boilerplate P.I. but he has no magnetism; this picture works as well as it does because Chris Sarandon fucking kills it.

Yes, it’s also cool to see Robert Romanus pop up as a poorly-supporting character but, I don’t know, maybe it’s his very nature, but I just kept waiting for him to try selling March concert tickets. He is forever Damone. Not such a bad thing, maybe.

The special effects come in bursts but they are effectively done, thanks to the liberty of Lovecraftian anatomy and, most importantly: good lighting (read: not much). The encounter between March and his troupe and a pit filled with Ward’s discarded deformities is tense and unsettling because the monsters within are vaguely humanoid but definitely disgusting. There is a slight tendency to look a bit goofy because the sculpts only allow for so much movement to be shown, but something tangible and dripping terrorizing lead actors is still more convincing than a clear computer creation, which everything seen here would be today.

This is a film I could watch simply to soak in that Lovecraft environment. The production design and cinematography do the best job of any feature film in capturing the spirit and setting of Lovecraft. Everything is swathed in fog or darkness. Ward lives in an earthen cottage, with a secret passage leading via stone tunnels to the riverbanks. Modern trappings are minimally seen, with the bulk of the time spent in this archaic world. It feels old timey and evil. “The Resurrected” is an underrated gem that, with this release from Scream Factory, is finally getting the proper respect it deserves.

Thanks to a 2K scan of the interpositive, the 1.85:1 1080p image looks nearly pristine and highly detailed. This is a major step up from the last time Lionsgate issued the film on home video… with a full-screen VHS-quality transfer on DVD in 2005. Comparatively, this is a revelation Cthulhu itself would applaud. The gloomy Rhode Island countryside looks picturesque, with daylight scenes showing off plenty of details in the environment, close-ups, and fabric. Nighttime scenes are prone to spikes in film grain, and there are expected moments of softness, but overall this is a strong picture long overdue.

An English DTS-HD MA 2.0 stereo track soundly delivers composer Richard Band’s sweeping score. Dialogue is clear and nicely prioritized in the mix, with no issues. Band’s score has a solid presence, adding a true sense of action to some tense moments. Subtitles are available in English.

Audio commentary with producers Mark Borde & Kenneth Raich, screenwriter Brent V. Friedman, actor Robert Romanus, and make-up effects artist Todd Masters.

“Claire’s Conundrum – An Interview with actress Jane Sibbert” – The actress discusses aspects of her career in addition to talking about her role here.

“The Strange Case of Charles Dexter Ward – An Interview with author S.T. Joshi – This piece focuses on Lovecraft’s history; his hometown, his literary style, his lifestyle. Great for those who want to know more about the man.

“The Resurrected Man – An Interview with actor Chris Sarandon” – Ever the gregarious type, Sarandon has plenty of good-time recollections about his foray into horror, taking on this role, and his legacy (of sorts) in the genre.

“Abominations & Adaptations – An Interview with screenwriter Brent V. Friedman” – The scribe talks the appeal of adapting someone like Lovecraft for film and what he hoped to produce for this feature.

“Grotesque Melodies – An Interview with composer Richard Band” – Done in the studio, Band is animated and candid in his regaling.

“Lovecraftian Landscapes – An Interview with production designer Brent Thomas” – If you loved how the film looked, as I did, watch this informative piece.

“Human Experiments – An Interview with special effects artist Todd Masters” – The man behind the horrific humanoids discusses the film’s intentions behind their look and how he was able to achieve it.

A reel of deleted and extended scenes, taken from an early workprint and looking rough, runs for around 18 minutes. The majority are character additions.

“Chainsaw Awards Speech” sees Bruce Campbell introduce “the director of Reservoir Dogs and the upcoming Tony Scott film True Romance, director Quentin Tarantino”, who then gives the award for Best Direct-to-Video film to Dan O’Bannon. This is a rad extra.

A home video trailer, the film’s Japanese trailer, and a photo gallery of production stills, promotional photos, and ephemera complete the extras.

Special Features:

  • NEW 2K transfer from the film’s vaulted interpositive film element
  • NEW Claire’s Conundrum – an interview with actress Jane Sibbett
  • NEW The Strange Case of Charles Dexter Ward – an interview with S.T. Joshi, author of I Am Providence: The Life and Times of H.P. Lovecraft
  • Audio Commentary with producers Mark Borde and Kenneth Raich, screenwriter Brent V. Friedman, actor Richard Romanus and make-up effects artist Todd Masters
  • The Resurrected Man – an interview with Chris Sarandon
  • Abominations & Adaptations – an interview with screenwriter Brent Friedman
  • Grotesque Melodies – an interview with composer Richard Band
  • Lovecraftian Landscapes – an interview with production designer Brent Thomas
  • Human Experiments – an interview with special effects artist Todd Masters
  • Deleted and Extended Scenes from the workprint
  • Home Video Trailer & Japanese Trailer
  • Photo Gallery

BUY IT NOW!

  • The Resurrected
  • Special Features
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Godzilla: Planet of the Monsters Review – A Timid Step Towards a Frightening Possibility

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Starring Mamoru Miyano, Takahiro Sakurai, Kana Hanazawa, Yuki Kaji, Tomokazu Sugita

Directed by Kobun Shizuno and Hiroyuki Seshita


The Godzilla series is the longest-running franchise in cinema history. With over 30 films over a 60+ year career, the famous kaiju has appeared in video games, comic books, TV shows, and more, cementing its place as one of the most recognizable cultural icons in the past 100 years. With Godzilla: Planet of the Monsters, the titular beast makes its foray into the world of anime in this first film in a proposed trilogy. While there are moments that are genuinely thrilling, the film unfortunately fails to capture the imagination and wonder that is at its fingertips.

The story is quite simple: Earth is under attack by swarms of various kaiju who are wreaking havoc across the planet. Entire cities are being destroyed when Godzilla appears to vanquish humanity’s foes. Unfortunately, the King of the Monsters isn’t really there to help humans and its rampage continues until a race of alien beings arrive at Earth asking for a place to stay in exchange for defeating Godzilla. When they are unable to do that, the remaining humans board a giant spaceship to venture off into space in search of a new home only to come back some 20 years later, nearly 20,000 years later by Earth time (think Interstellar logic), to search for resources and, possibly, a planet that will welcome them once again. However, Godzilla is still around and isn’t keen on sharing.

The main character of the film is Haruo Sakaki, a young man who begins the film by nearly following through on a suicide bomber terrorist act that is meant to call attention to humanity’s loss of vision and failure to fulfill their mission of finding a suitable home for the remaining survivors. Even though he is accosted and jailed for this act, he is eventually freed when people realize that his lifelong passion of killing Godzilla is the foundation for research he’s done in finding a way to take down the creature…a plan that just might work. The other characters are so forgettable that I forgot their names during the film.

From there, the film essentially pivots into following a massive team of volunteers who land on Earth’s surface to lay a trap for Godzilla in order to destroy it. Since this is Earth 20,000 years after they left, the flora and fauna have evolved and changed so radically that the team have no idea what to expect or how to react, so caution is a must.

The problem with this is that while the characters have to be cautious, the film doesn’t nor should it. The movie has the chance to explore the wealth of imaginative opportunities at its fingertips and yet does almost everything it can to avoid doing just that. The color scheme is flat and uninteresting. The character movements lack smoothness and the action sequences fall victim to shaky cam syndrome. There are a few mentions of some of the changes that have taken place on the planet, such as razor sharp plants, but they’re so incidental or offhand that it feels like no one making the film has any interest in seeing anything other than man against beast.

Speaking of this dynamic, the action sequences are quite entertaining but also feel somewhat reserved. Godzilla barely moves and much of the destruction levied against the humans is seen from a distance, apart from an attack on a military outpost by dragon-like creatures. For nearly the entire film, I found myself thinking, “I’m okay with this but that’s about it.

The brightest moment in the film are the last few minutes and I won’t spoil what happens. Suffice it to say that it definitely has me interested in the second and third films but I really hope that this new world will be explored further in those entries. Otherwise, we’ve got a fascinating foundation that will be squandered.

  • Godzilla: Planet of the Monsters
2.0

Summary

Godzilla: Planet of the Monsters is a bland entry in a trilogy that has great potential. For a first course, there’s a distinct lack of flavor or complexity. The final minutes are the only saving grace and I hope that the second and third films make use of that grand wonder.

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Satan’s Cheerleaders Blu-ray Review – Sacrifice This Snoozer At The Altar!

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Starring Jack Kruschen, John Ireland, Yvonne De Carlo, Jacqueline Cole

Directed by Greydon Clark

Distributed by VCI


The ‘70s. Satanism. Sultry cheerleaders. Sex appeal. With these tools nearly any low-budget filmmaker should be able to turn out something that is, at the very least, entertaining. The last thing a viewer expects when tuning in to a film called Satan’s Cheerleaders (1977) is to be bored to tears. But that is exactly the reaction I had while watching director Greydon Clark’s wannabe cult comedy. Even on a visual level this film can’t be saved, and it was shot by Dean Cundey! No, unfortunately there isn’t a cinematic element in the world that can overcome a roster of bad actors and a storyline so poorly constructed it plays like it was written on the day. The only saving grace, minor as it may be, is the casting of John Ireland as Sheriff B.L. Bubb (cute), a hard-nosed shitkicker who adds all the gravitas he can muster. But a watchable feature cannot be built upon the back of a single co-star, as every grueling minute of Satan’s Cheerleaders proves.

The cheerleaders and jocks of Benedict High School rule the campus, doing what they want, when they want, with little else on their minds except for The Big Game. Their belittling attitudes rub school janitor (and stuttering dimwit) Billy (Jack Kruschen) the wrong way. What they don’t know is Billy is (somehow) the head of a local Satanic cult, and he plans to place a curse on the clothes (really) of the cheerleaders so they… suck at cheerleading? Maybe they’ll somehow cause the jocks to lose the big game? When Billy isn’t busy plotting his cursed plans, he spies on the girls in the locker room via a hidden grate in the wall. I guess he doesn’t think being a sexual “prevert” is fair trade enough; might as well damn them all, too. Billy has his own plans to kidnap the girls, for his Lord and Master Satan, and he succeeds with ease when the girls’ van breaks down on the highway; he simply offers them a ride and they all pile in. But when Ms. Johnson (Jacqueline Cole) gets hip to his plan the two tussle in the front seat and Billy winds up having a heart attack.

The squad runs off in search of help, coming across the office of Sheriff B.L. Bubb (John Ireland), who, as the name implies, may be a legit Satanist. Bubb invites the girls inside, where they meet his wife, Emmy (Yvonne De Carlo), High Priestess of their quaint little satanic chapter. While the girls get acquainted with Emmy, Bubb runs off to find Billy, who isn’t actually dead. Wait, scratch that, Bubb just killed him for… some reason. The girls figure out things aren’t so rosy here at the Bubb estate, so they hatch an escape plan and most make it to the forest. The few that are left behind just kinda hang out for the rest of the film. Very little of substance happens, and the pacing moves from “glacial” to “permafrost”, before a semi-psychedelic ending arrives way too late.

“Haphazard” is one of many damning terms I can think of when trying to make sense of this film. The poster says the film is “Funnier Than The Omen… Scarier Than Silent Movie” which, objectively, is a true statement, though this film couldn’t hope to be in the same league as any of the sequels to The Omen (1976) let alone the original. It is a terminal bore. Every attempt at humor is aimed at the lowest common denominator – and even those jokes miss by a wide berth. True horror doesn’t even exist in this universe. The best I can say is some of the sequences where Satan is supposedly present utilize a trippy color-filled psychedelic shooting style, but it isn’t anything novel enough to warrant a recommendation. Hell, it only happens, like, twice anyway. The rest of the film is spent listening to these simple-minded sideline sirens chirp away, dulling the enthusiasm of viewers with every word.

A twist ending that isn’t much of a twist at all is the final groan for this lukewarm love letter to Lucifer. None of the actors seem like they know what the hell to be doing, and who can blame them with material like this? I had hoped for some sort of fun romp with pompoms and pentagram, like Jack Hill’s Swinging Cheerleaders (1974) for the Satanic set, but Clark provides little more than workmanlike direction; even Cundey’s cinematography is nothing to want on a resume.

Viewers have the option of watching either a “Restored” or “Original Transfer” version of the 1.78:1 1080p picture. Honestly, I didn’t find a ton of difference between the two, though the edge likely goes to the restored version since the title implies work has been done to make it look better. Colors are accurate but a little bland, and definition just never rises above slightly average. Film grain starts off heavy but manages to smooth out later on. Very little about the picture is emblematic of HD but given the roots this is probably the best it could ever hope to look.

Audio comes in the form of an English LPCM 2.0 track. The soundtrack sounds like it was lifted from a porno, while other tracks are clearly library music. Dialogue never has any obvious issues and sounds clear throughout. Subtitles are available in English SDH.

There are two audio commentary tracks; one, with director Greydon Clark; two, with David De Cocteau and David Del Valle.

A photo gallery, with images in HD, is also included.

Special Features:

  • Audio commentary with director Greydon Clark
  • Audio commentary with filmmakers David De Cocteau & David Del Valle
  • Photo gallery
  • Satan's Cheerleaders
  • Special Features
1.3

Summary

Although the title is enough to reel in curious viewers, the reality is “Satan’s Cheerleaders” are a defunct bunch with little spirit and no excitement. The ’70s produced plenty of classic satanic cinema and this definitely ain’t it.

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A Demon Within Review – Familiar Possession Beats To A Dreary Tune

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Starring Charlene Amoia, Clint Hummel, Patricia Ashley, Michael Ehlers

Directed by Ayush Banker and Justin LaReau


Possession flicks don’t often hold a long shelf life in the horror community, with Ayush Banker and Justin LaReau’s A Demon Within suggesting why. Hands emerging from the darkness, exorcisms, anxious priests – you’ll see it all again as you’ve seen it before. Early scenes glimmer a polish unlike equal indie products, but that’s just the devil playing tricks on you. Once the film’s main satanic takeover begins, cursing teens and stony glares become the been-here-before norm. Low-budget filmmaking isn’t an immediate detractor like some high-society snobs may believe, yet it’s surely no excuse either. Today’s review being an example of both mindsets.

Charlene Amoia stars as Julia Larsen, a divorcee who moves into Crestwick, Illinois looking for a clean start with daughter Charlotte (Patricia Ashley). Their dusty toucher-upper is a quaint, aged farmhouse in the middle of nowhere, complete with electrical issues and weird noises at night. Nothing to worry about, right? Julia’s focus is better directed towards town doctor Jeremy Miller (Clint Hummel), who she immediately hits it off with (after almost hitting *him* with a car). She’s eating stir-fry at his place one night, all things going well, and that’s when it happens – Charlotte is possessed by an evil force who enacts its sinister plan. Charlotte may physically be present, but only as a vessel for “Nefas.”

Without hesitation, A Demon Within lays predictable groundwork as small-town haunters have for decades. Charlotte’s new home is already infested with a spiritual squatter, Jeremy bottles (and drinks down) a blemished past that’s exposed too late, there’s plenty of characters sneakin’ up on one another – never with much “oomph.” Charlotte’s teeny-bopper voice drops to truck-driver deep at the height of possession, but it’s a distracting sound design that alone strikes little fear. Serious scares are attempted, be it a pitch-black basement slashing or Charlotte’s hide-and-seek pounce, just never delivered. An inconsequential failure to unite tone and atmosphere.

Performances are…well…rigid, to say the least. Amoia and Ashley strike a surprisingly likable chemistry as living humans, but once Ashley goes demonic, chemistry bottoms out. The way A Demon Within positions Charlotte when possessed is utterly dull and undefined; Ashley playing an unenthusiastic harbinger of death. It’s bad enough that Hummel’s tortured doctor masters the emotional range of Mona Lisa and the town’s pastor is hardly a scene stealer – but to have a demon be so vanilla (without a side of nuts, no less)? Getting past the limited lighting and Charlotte’s manly demon voice is hard enough, let alone her mostly relenting threats.

Making matters worse, the film’s third act is hardly a religious salvation that flows with ease. I had more fun watching Julia stammer over pizza and beers with Jeremy than their final fight against ghastly hellspawns. The truths of Jeremy’s past leak out in flashback form, only to reveal his stubborn inability to comprehend one’s own possession encounter in the very house Julia bought (useful information, eh?). The local priest shows up in the nick of time, a few cutaway jolts attempt cheap thrills, and some holy water mucks up an old painting – but again, minimal notability. Er…not even minimal? Shaky last-minute framing makes it hard to even notice the touch-ups to Charlotte’s face that signify her unholy imprisonment, even worse than blackened CGI mists.

A Demon Within tries, fumbles, and tries some more, but it’s best treated as a reminder of better exorcism stories that exist elsewhere. Even something like The Vatican Tapes is an improvement over this possessive redundancy, hokier than the honky-tonk love song that plays atop a pizza-chain flirt scene. There’s something to be said about getting out and creating original horror, but herein lies the problem – this ain’t *that* original. With harsher scares and tension, such a fate could be ignored. As-is? It’s hard to see past anything more than a January release placeholder.

  • A Demon Within
2.0

Summary

A Demon Within is a seen-it-before possession thriller that brings nothing new to the conversation. Not the worst, but also not a “hidden secret.”

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