Film Review: Neutron the Atomic Superman vs. the Death Robots (1962)

Also known as: Los autómatas de la muerte (Spanish title), Robots of Death (informal title)
Release Date: August 10th, 1962 (Mexico)
Directed by: Federico Curiel
Written by: Federico Curiel, Alfredo Ruanova
Music by: Enrico C. Cabiati
Cast: Wolf Ruvinskis, Rosita Arenas, Julio Aleman, Armando Silvestre, Roberto Ramirez Garza, Rodolfo Landa

Estudios América, Producciones Corsa S.A., 80 Minutes

Review:

Holy fuck, this was unwatchable. I only made it through, actually, because I watched the version that was lampooned by the RiffTrax guys.

This is essentially a lucha libre movie without an actual luchador in it. Maybe the hero was a luchador but he’s not one that I ever heard of and if he is, the way he played this role breaks the sacred rules of lucha libre anonymity.

I can’t imagine trying to watch this without the riffing expertise of Michael J. Nelson, Kevin Murphy and Bill Corbett but I guess Mexicans and American drive-in patrons suffered through it in the early 1960s.

This is a nonsensical mess that doesn’t care in the slightest about fluidity, consistency, coherence or any of those pesky things one needs to make a film that has some sort of actual plot. I guess there’s a plot but it’s all just a weak thread weaving through the random bits and pieces only to create a reason for a luchador superhero to fight “death robots”.

This is a headache. It’s barely a film. As I said, it is unwatchable and I know that I’ll never have the urge to revisit it and I often times revisit bad movies for the sake of re-experiencing their awfulness. But what makes this worse than the worst of films is that it is dreadfully boring. It’s not the sort of bad that you can admire in its own way. This is just a dry, dusty fart of a motion picture.

I’d just say that one should avoid this at all costs. Unless, you are a RiffTrax fan and don’t mind suffering through it with those guys.

Rating: 0.75/10
Pairs well with: Other Mexican lucha libre style movies of the 1960s.

Film Review: Cape Fear (1962)

Also known as: The Executioners (working title)
Release Date: April 12th, 1962 (Miami premiere)
Directed by: J. Lee Thompson
Written by: James R. Webb
Based on: The Executioners by John D. MacDonald
Music by: Bernard Herrmann
Cast: Robert Mitchum, Gregory Peck, Martin Balsam, Polly Bergen, Lori Martin, Telly Savalas

Melville Productions, Talbot Productions, Universal Pictures, 106 Minutes

Review:

“I got somethin’ planned for your wife and kid that they ain’t nevah gonna forget. They ain’t nevah gonna forget it… and neither will you, Counselor! Nevah!” – Max Cady

I had to rectify a grave injustice that I have committed against myself for decades. That injustice was never seeing the original version of Cape Fear. Strangely, I love both Robert Mitchum and Gregory Peck, plus this has Telly Savalas in it. That alone should have had me on board for this years ago but alas, I didn’t see this wonderful picture until 2018. In my defense, if I had already seen every classic, I wouldn’t be able to be wowed by them the first time.

This is, far and away, better than the remake done by Martin Scorsese and I am a big fan of that picture. That version got in my head when I was a young teen and it never really released its grip. I do need to go back and watch that one too, in the near future.

Anyway, Robert Mitchum is one of the most charismatic actors to ever grace the screen. When Mitchum decides to delve into darker roles though, the audience is in for a treat. Well, if they consider terror as a treat. He’s just so damn good playing such an evil bastard. Between this movie and The Night of the Hunter, he really exists on an evil level in a way that other actors don’t. If you want to see a master of their craft at work, this is a prime example of Robert Mitchum transcending his craft and having a presence that reaches through the screen and haunts your imagination.

Gregory Peck was perfection as the other side of this coin. He represents good and is a solid moral character that believes in law and justice. He is pushed to his limit and almost crosses over to the dark side a few times but ultimately, he keeps his soul clean and pure. If this was made in modern times, the ending would have looked like an obvious attempt at leaving things open for a sequel. But in 1962, goodness prevails without evil being mortally wiped out. Plus, in 2018, they would have had the hero blast a dozen holes into the bad guy while the audience cheered.

This is just a classic tale of good versus evil and that’s why it works so well. There are no bones about how terrible of a person Mitchum’s Max Cady is and the same can be said about the goodness of Peck’s Sam Bowden.

What was surprising about this, at least for me, is that a motion picture from 1962 could cross the lines that this one did. There were the threats of rape and pedophilia, which are disturbing now but imagine seeing this unfold through the eyes of someone in 1962 when film’s were censored by the morality police and the rating system wouldn’t exist for another 6 years.

Cape Fear is near perfect as a straight up thriller. It gives you an immediate sense of danger and dread and slowly simmers for 90 minutes before its nerve wracking climax.

Every actor in this was superb.

Rating: 9.75/10
Pairs well with: PsychoThe Night of the Hunter and the 1991 Cape Fear remake.

Film Review: Sanjuro (1962)

Release Date: January 1st, 1962 (Japan)
Directed by: Akira Kurosawa
Written by: Ryūzō Kikushima, Akira Kurosawa, Hideo Oguni
Based on: Hibi Heian by Shugoro Yamamoto
Music by: Masaru Sato
Cast: Toshiro Mifune, Tatsuya Nakadai, Keiju Kobayashi, Yūzō Kayama, Reiko Dan, Takashi Shimura, Kamatari Fujiwara, Takako Irie, Masao Shimizu, Yūnosuke Itō

Kurosawa Production, Toho Co. Ltd., 95 Minutes

Review:

“You tired of being stupid yet?” – Sanjuro Tsubaki

Sanjuro is a sequel to Akira Kurosawa’s Yojimbo, which was such a success for the director and Toho that the script for the novel that this was based on, was rewritten to include the famous Toshiro Mifune character from the previous movie.

Yojimbo would go on to inspire Sergio Leone’s “Man With No Name” character over his trilogy of films. It would also inspire countless other spaghetti western movies and other samurai films, as well. But this here, is the one and only true sequel to the Yojimbo story.

The best part of this film is that it was a sequel made by the original director, a true auteur, and its original star. Granted, Kurosawa and Mifune were no strangers to one another and worked on several films together.

This isn’t the masterpiece that Yojimbo is but it is still a damn fine motion picture of the highest caliber for its time and for its scant budget when compared to the rest of the motion picture landscape, which was dominated by bigger budget Western films.

In this story, the famous ronin helps a group of young samurai combat a corrupt politician, who is involved with organized crime and who has framed and imprisoned the uncle of one of the samurai. The story has several twists that make it interesting and unpredictable. Most of the time, Sanjuro puts a plan in motion and somehow the young samurai find a way to muck it up. It isn’t until the end, that they follow Sanjuro’s orders and succeed.

While this is a serious drama, it is also comedic at times, which was a great strength in Kurosawa’s storytelling ability. He lets you know that his characters exist in a somewhat harsh world but he keeps things fairly grounded and lighthearted enough to not allow his films to get too dark. I’ve always been a person that has dealt with pain and tragedy by using humor. So, in a way, Kurosawa’s style speaks to that part of me and I think it speaks to others in the same way.

This film’s action and violence come off as mostly PG rated. Then, in the final showdown, there is a moment where it literally feels like the screen goes red with blood, even though it is still presented in black and white. The final blow to the enemy was violent but effective because it eclipsed anything else in the film and is sort of shocking the first time you witness it. But it is an amazing and beautiful sequence, captured by Kurosawa’s magic.

Sanjuro may even feel a bit more polished than Yojimbo. It doesn’t feel as gritty, anyway. Some of that could be due to a lot of the movie taking place at night where I remember Yojimbo being brighter and happening much more during daylight hours. Plus, Yojimbo was dustier and had the look that would become synonymous with all the spaghetti westerns that tried to emulate it’s visual presentation.

Both movies work so well together and they also compliment each other. Sanjuro gives a little more depth and character to the famous Mifune ronin. If anything, this just enriches the world that Kurosawa gave us in his previous film.

Rating: 8.75/10
Pairs well with: Yojimbo (the film before it), as well as any Kurosawa jidaigeki picture.

Film Review: Ring of Terror (1962)

Release Date: February, 1962
Directed by: Clark Paylow
Written by: Lewis Simeon, Jerrold I. Zinnamon
Music by: James Cairncross
Cast: George Mather, Esther Frust, Austin Green

Playstar, 72 Minutes

Review:

What a dreadful movie. I mean, this is truly terrible. But then again, it was featured on Mystery Science Theater 3000 for a reason, I guess. But shit, every time I think I’ve found the worst film that MST3K could dig up, something else comes along and surprises me with its absolute awfulness.

Ring of Terror features the oldest college students you’ll ever see, anywhere. Even in modern times where people of all ages go back to school. However, these actors are supposed to be hip youngsters and even when they throw down and party, it’s like a lame ass middle aged party that I assume has the type of food your aunts and uncles would bring over for Christmas that no kid would touch.

This thing is a mess and not only that, it’s a friggin’ boring mess. It’s so dull that it couldn’t even slice through melted butter.

The story is about a college guy that has a fear of the dark or the dead or something. Maybe both. Anyway, he is tasked with stealing the ring of a dead person. If he succeeds he can join a fraternity full of boring old people. If he fails, well… he has to live out a boring college existence on his own. The story is narrated by a graveyard keeper looking for his missing cat. When he stumbles upon a specific gravestone, he is reminded of this stupid dumb story. Why he feels the need to share this with anyone, is baffling. I’d rather share anything other than this story: hors d’oeuvres, an old VHS tape of Dean Martin Celebrity Roasts, an empty shoe box, sarcastic praise, an STD… anything.

This movie is literal poop on celluloid.

That being said, Ring of Terror is going into the Cinespiria Shitometer. The results read, “Type 6 Stool: Fluffy pieces with ragged edges, a mushy stool.”

Rating: 1/10

 

Film Review: Carnival of Souls (1962)

Also known as: Corridors of Evil (reissue)
Release Date: June 1st, 1962 (San Diego)
Directed by: Herk Harvey
Written by: Herk Harvey, John Clifford
Music by: Gene Moore
Cast: Candace Hilligoss, Frances Feist, Sidney Berger, Art Ellison

Herts-Lion International Corp., 80 Minutes (theatrical), 84 Minutes (Director’s Cut)

Review:

“I don’t belong in the world.” – Mary Henry

Carnival of Souls was a film that I had heard others talk about for a long time but I never got to check it out until it started streaming on The Criterion Channel through FilmStruck. I had heard that it was a great inspiration to George A. Romero and David Lynch and after seeing it, it is hard not to see how it influenced them, as well as other directors.

It is sort of considered a zombie picture, even though it really isn’t. Ghoulish people do haunt Mary, the main character, throughout the film and a big horde of them chases her in the finale but they aren’t traditional zombies or what they would become a few years later with Romero’s Night of the Living Dead. These undead ghouls, however, certainly made a fine template to what Romero would give us.

Additionally, the look of realism, due to the use of guerrilla filmmaking tactics, would go on to inspire the look of Night of the Living Dead.

Carnival of Souls, despite its surrealism and fantastical elements, has a very real feeling to it. The camera is more fluid, there is a lot of movement and each shot isn’t over produced or the product of meticulous tweaking.

You can also see how the more surreal aspects of the film would inspire Lynch. At one point, in particular, when Mary is driving, a ghostly image is superimposed onto the passenger side window. There are also other surreal moments, many of which would feel at home in Lynch’s work.

The story follows Mary, the sole survivor of a car crash. Strange things happen to Mary as she moves on from the incident and tries to restart her life in a new location. There is a defunct carnival in the distance from her new home that calls to her. As the film moves on, we see strange characters appear to her. It all comes to a head when she can no longer outrun the strange happenings.

The film was shot in Kansas and in Utah, at the SaltAir Resort, which stood in for the carnival pavilion, the center of the story’s supernatural activity. The film was also made for just $33,000, which explains why the director had to go guerrilla to get some of his shots done. The financial limitations, however, are why this film looks so unique and would go on to show future indie filmmakers how to create a quality motion picture without using traditional means.

Carnival of Souls might not be a fully appreciated classic but it is a mother figure to many beloved directors’ early films and for opening the door to new techniques and a visual style that would be adopted by countless filmmakers after this picture’s release.

This is a film that displays an uncanny level of craftsmanship and raw talent on many levels. It is also better acted than a picture like this typically is. And ultimately, it is pretty damn significant when understanding what it paved the way for.

Film Review: Tales of Terror (1962)

Release Date: July 4th, 1962
Directed by: Roger Corman
Written by: Richard Matheson
Based on: MorellaThe Black CatThe Facts In the Case of M. Valdemar by Edgar Allan Poe
Music by: Les Baxter
Cast: Vincent Price, Peter Lorre, Basil Rathbone, Debra Paget, Joyce Jameson

American International Pictures, 89 Minutes 

Review:

“Haven’t I convinced you of my sincerity yet? I’m genuinely dedicated to your destruction.” – Montresor Herringbone

Director Roger Corman and actor Vincent Price collaborated on several motion pictures for American International in the 1960s. Most of their movies were adaptations of Edgar Allan Poe’s literary work. They also dabbled in the works of H.P. Lovecraft and Nathaniel Hawthorne but it was the poems and stories of Poe that drove most of their collaborations.

This film, is a rare one, as it is an anthology piece that covers three Poe inspired tales. Traditionally, Corman picked a Poe title and turned it into one solid feature. Tales of Terror was a bit more experimental and was able to showcase famous Poe stories that wouldn’t have worked as a 90 minute feature, The Cask of Amontillado for instance, which was mixed into this film’s second story, The Black Cat.

Vincent Price is the only actor to star in all three stories. However, Peter Lorre really steals the show as Montresor Herringbone. He is only in The Black Cat, the middle and longest of the three stories, but it is one of the greatest comedic performances in Lorre’s career. Then again, every time Lorre played the comic relief opposite of Price, the results were always fantastic.

Price also works with Basil Rathbone, another horror legend. We also get to see Debra Paget and Joyce Jameson, two women who would work with Price and Corman again.

Tales of Terror is a solid outing by Corman and Price and it has the same tone and vibe as their other Poe adaptations. The anthology format makes it the most unique and different of these pictures. Plus, it has two really good stories, out of the three. The first one, my least favorite, is still entertaining though, and it is also the shortest.

This is definitely a picture worth checking out if you like Price, Corman or Poe. It is one of the best in their series of these pictures.

Film Review: Tonight For Sure! (1962)

Also known as: Meet Me Tonight for Sure
Release Date: October 25th, 1962 (Los Angeles)
Directed by: Francis Ford Coppola
Written by: Francis Ford Coppola, Jerry Shaffer
Music by: Carmine Coppola
Cast: Don Kenney, Karl Schanzer

Searchlight Productions, Premier Pictures, 69 Minutes

Review:

“The Harem Club, home of the most beautiful girls in burlesque presents: The most beautiful girls in burlesque!” – Announcer

Every director has to start somewhere and for legendary auteur Francis Ford Coppola, this was his directorial debut. There is nothing to be ashamed of about this, however. It really just sort of fits in with the nudie cuties of the time – none of which are good movies.

Yes, this is an awful film but it is basically a softcore sex picture without any sex, really. It just follows two guys around doing dumb shit and then is constantly interrupted to show a girl shaking her juggies for no real reason other than people wanted to see bare boobies on the big screen after the motion picture industry wasn’t forced to adhere to outdated government mandated morality codes. Film was now free to be art and sexploitation pictures flourished.

To be honest, Coppola didn’t show any real signs of his talent with this movie. He hadn’t fully been exposed to the tutelage he’d get from B-movie King Roger Corman. Regardless, this still helped him develop the tools and skill set that would lead to his magnum opus The Godfather, just ten years later.

The cinematography on this film was handled by Jack Hill, a man that would go on to direct several pivotal exploitation films. His directorial work includes the Pam Grier movies Coffy and Foxy Brown, as well as a personal favorite of mine, Switchblade Sisters.

Compared to other nudie cuties, this one is pretty standard. Now while I don’t enjoy it as much as Ed Wood’s Orgy of the Dead, it still fits well within this bizarre and short lived genre. Also, it was a launching pad for one of the best directors of the last half century.

For this being what it is, even with such a low rating, I can’t run it through the Cinespiria Shitometer. It works for its genre, which was a genre not known for its quality. Plus, presenting a cornucopia of fabulous titties gets you off the hook.