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Pretty Poison (DVD)

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Pretty Poison DVD (Click for larger image)Starring Anthony Perkins and Tuesday Weld

Directed by Noel Black

Distributed by Fox Home Entertainment


The idea of living in a fantasy world is pretty cool. I could be a secret agent or the President in my own mind (it certainly works for some people). Once in a while you can take folks along for the ride of lies and lite murder. There’s no harm in that at all … is there?

Dennis Pitt (Anthony Perkins) has had an eventful childhood. In his teens he burnt down a house which, sadly, also contained his aunt. The police usually don’t smile on situations like that so, of course, he was put in a place with limited flammability.

Much later, an older Mr. Pitt is finally paroled and can start attempting to lead a normal life. It doesn’t take long for his overactive imagination to start deconstruction his law abiding ways as Pitt dons the role of a CIA agent around his home and work.

All would have stayed relatively normal aside from the little quirks if Dennis had not spotted an all-American girl named Sue-Ann Stepanek (Tuesday Weld) during one of her flag marching practices. Pitt is so taken by her that he sets off a whole string of secret agent lies to impress the young beauty, and boy is she hooked. But is this lovely lady as innocent as she seems? Who is really manipulating whom?

There are a lot of things to like about Anthony Perkins. But the one thing it’s easy to grow weary of is how he remained typecast after his amazing performance in Pretty Poison and his earlier work Psycho. While it is hard not to compare his characters in both movies to one another, they are drastically different. Pitt doesn’t have the same nervousness about him that Bates had in Psycho until much closer to the end. Dennis remains calm and at ease most of the time until he notices that Sue-Ann is a bit of a basket case all of her own.

Pretty Poison DVD (Click for larger image)Pretty Poison does have many problems. It’s not exactly clear if Sue-Ann is just plain ignorant when it comes to Pitt’s obvious lies or if she uses his mental instability for her own means all through the film. It was just troubling, especially after she decided she was going to sit on a drowning elderly security guard until he stopped moving.

Maybe it’s just Tuesday Weld’s acting that throws the viewer off. She comes across as your average untainted teen from the 60’s, and her turn for the worse seems to happen too quickly to be fully understood. Then again I could just be picking this movie apart for no reason.

While meanspirited at times, the film isn’t exactly violent by any means. People get shot and a guy gets hit over the head and drowned, but it’s never conveyed in a graphic nature like many of today’s films. The blood is kept to a bare minimum, and with only two deaths it’s not much of a thriller or horror flick.

There were a few moments in Pretty Poison that seemed to serve no purpose other than to just waste time. Just plain old filler. Luckily Perkins’ performance helped to make even the most innocuous of scenes memorable.

The transfer is nice and clear 90% of the time with only a few extra grainy bits during close-up shots. All of the colors come through nice and bright as well, which is nice to see, especially on a bare bones DVD release like this one.

Pretty Poison is also lacking in the audio department. Unfortunately, the track is presented in all front loaded Dolby Digital Stereo. Though this isn’t a big deal when looking at the whole film, a little extra 5.1 ambient traffic wouldn’t hurt. Small things like hearing the cook work during the burger stand scenes would add that little extra bit to throw you into the movie. Oh well.

While the audio does indeed suck, it’s the extras that are the real problem here. We get one theatrical trailer for the film followed by a few more for other thrillers. There are no bios and no commentary. Was there really nothing else that could have been added to this? How about a comparison to the novel? Maybe an old interview with Perkins? We get next to nothing, and that, dear readers, sucks a rather large, hairy sac.

Shortcomings aside, Pretty Poison is very enjoyable little flick. As stated, it’s Perkins who makes it watchable, but Weld’s beauty helps too. We get some action, some violence, a little sex, and an end that makes you think about how much love is really worth. Pick it up, but don’t stay for the extras.

Special Features
Trailers

3 1/2 out of 5

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The Cured Review – Ellen Page Fights for Her Life

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Starring Ellen Page, Sam Keeley, Tom Vaughan-Lawlor, Paula Malcomson

Written and directed by David Freyne


Taking a cue from AMC’s “The Walking Dead,” the new Irish horror film The Cured begins where most zombie stories end. Drawing more comparisons, the themes of mistrust and social upheaval are front and center here as well. We’re the real villains, and the infectious disease turning humans into monsters is only there to hold up a mirror to show the worst sides of ourselves. The Cured uses the zombie mythos as Romero intended as a commentary on culture, with a little cannibalism thrown in for good measure.

Against the backdrop of a military takeover attempting to reintroduce the recently cured back into society, two people try to return to some kind of normalcy in a war-torn Ireland that’s been turned upside down by the zombie menace. Recently widowed, Abbey (Page) allows her now virus-free brother-in-law Senan (Keeley) to live with her and her son, even though most survivors are forced to live in an army encampment. Under constant surveillance, Senan’s old friend Conor (Vaughan-Lawlor) radicalizes the mistreated survivors of the virus into open rebellion.

The treatment of the survivors isn’t entirely unfair considering that they still have a connection and are not detected by a small percentage of the infected that haven’t responded to the cure. As both sides size each other up, Abbey and Senan are caught in the middle as they try to restore their humanity before the powder keg around them erupts.

Given its far out premise, the story stays firmly grounded in reality, focusing on the growing resistance and its political implications, drawing parallels to the protest movements such as the “Black Block” that have dominated some recent news cycles. When the virus divided the population, it was easy to know what side you were on; now, the cure has created a new class structure where the lower class is maligned until they cross the line and overthrow the uninfected. Clearly still affected and haunted by the heinous acts they committed when they were infected, the cannibalistic rage they still carry reflects the rage felt by the mistreated masses hellbent on overthrowing the powers-that-be.

Whether for budget reasons or simply a style choice, the eating frenzies that occurred before the cure are never fully shown so any gore and graphic images that could’ve been showcases for effects are left to the imagination. Maybe they weren’t shown because these acts were so unspeakable that they are too horrific to see and too painful to fully be remembered by the survivors. The top-notch sound design ratchets up instead and roars to life to the point where just hearing the carnage is enough to make you turn away.

Page’s performance is the emotional core of the film as she goes from understanding to fear to dealing with the ultimate betrayal. It’s important for a slow-developing story like this to have an actress with some star power, and director David Freyne and his team were fortunate to have a high caliber actress ready to deliver in some of the film’s quieter, more intense moments. Freyne directs these smaller character moments with care and also delivers once things open up to show the inevitable anarchy brimming under the surface.

The Cured may feel too closed off at times to allow its bigger ideas to fully breathe, but it never pretends to encompass a more epic scope that would be more in the vein of something like World War Z. Without ever addressing it directly, Freyne, as an Irishman, seems well aware of the history of the country; and he and cinematographer Piers McGrail inject their film with a pathos that makes Dublin come to life inside the world of the undead.

  • The Cured
3.5

Summary

The Cured is a gritty take on the genre that fits nicely into the new type of storytelling that these stories need to embrace in a post-Romero world.

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Bad Apples Review – Rotten Fruit, Indeed

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Starring Brea Grant, Graham Skipper, Alycia Lourim

Directed by Brian Coyne


Like a seriously bad rash, some films stick with you regardless of whichever topical ointment you slather in generous fashion over your regions – ladies and gentlemen, allow me to introduce today’s orbital irritant: Bad Apples.

Directed (rather misdirected) by Brian Coyne, this lamentably sterile piece of celluloid follows a couple of murderous sisters, donning horrific (and not in a good sense) masks, and generally putting the sharp edges to random folk on Halloween night…case closed. Only problem here is this: the film has no pulse, no interesting characters to speak of, and basically nothing to redeem or recapture the time that you’ll have spent watching this complete dud. A husband and wife duo has a spotlight on them as well, but their tempestuous relationship makes rooting for them about as pleasing as sitting through 3 hours of Olympic curling…absolutely brutal. Also, you’re reading the babblings of a guy who loves to put the boots to any film that has been deemed “unwatchable”, but this complete wreck of a production is entirely that – something so remedial and uninspired that to type an endless array of rightful vitriol would be an utter waste of time.

So I’ll go on a bit longer with my public display of vehemence, as the casting seems WAY out of whack, and the production? Whoa…don’t even get me started on this – okay, I’ll go on a bit. With differing levels of sound editing, you’ll get the feeling at times like you could pick up a needle drop inside of a concert hall, and other frames of dialogue are so muddled they’re incomprehensible (not like you’ll feel the need to know what’s going on). Wonky camera angles and following shots are so horrendously captured, you’ll be wishing to watch your Mom and Dad’s old home movies just to gain a sense of stability. I normally pride myself on not begging this particular audience to take what I say to heart, or to shy away from something that could potentially ruin their eyesight, but believe me when I plead with you: do not waste your valuable time on this shipwreck – even if your time isn’t all that valuable: don’t waste it. Find something else to do and take a big ol’ pass on this wannabe slasher.

  • Film
1.5

Summary

I don’t mean to pick on the low-hanging fruit, but these Apples should be batted away with a Louisville Slugger.

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Edge of Isolation Review – A Movie with a Simple Message: Don’t Trust Anyone

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Starring Michael Marcel, Marem Hassler, Alexandra Peters

Directed by Jeff Houkal


Sometimes, relying on the kindness of strangers is the thing that’ll do your gullible asses in – kindness? Strangers? Come on – think about it! Even further proof of said warning comes in the form of director Jeff Houkal’s brutally blatant film, Edge Of Isolation – won’t you come inside and grab a seat? You see! You fell right into another trap – jeezus, people…don’t trust just anyone, will ya?

Set up in a simplistic format, we’ve got a traveling couple (Lance and Kendra) whose Jeep, conveniently enough decides to shit the bed along a desolate stretch of roadway, leaving them at the mercy of the Polifer family, a slightly odd bunch of backwoods residents. This particular clan isn’t exactly wrapped too tightly, and they’re not afraid to let their freak flags fly, that’s for sure. You see, the family has been deeply-rooted in these here woods, and their “hospitality” has kept them fed for quite some time, and with a fresh supply of unsuspecting commuters stopping in at varying spells, their stomachs never truly seem to growl out of sustained hunger…oh, that kindness will bite you in the ass every single waking moment.

As I mentioned earlier, the film is constructed fairly simple, yet effective in its barbarism, and those who dig survivalist-horror will be wringing their mitts in anticipation for this one. While some editing does look a bit hokey, the practical effects more than make up for an at-times bit of strewn-about plot navigation, but who’s keeping score? Certainly not me, that’s for sure. I absolutely revel in low-budgeted films that don’t necessarily have the looks and feels of such, and Edge Of Isolation is one of those presentations that is certainly worth its weight in blood and guts – do yourself a solid and give this one a look when it becomes available to the masses, and for f**k’s sake, don’t take up anyone’s offer to chill at their place when your ride breaks down – get AAA and save your life (the previous statement was in no way affiliated or endorsed by the Triple A Automotive group – just sayin’).

  • Film
3.5

Summary

Edge Of Isolation doesn’t need a full-blown allocation to keep future stranded motorists from losing their heads – all they have to do is push “play.”

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