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ONE MUST FALL (Dir: Antonio Pantoja, 2018).
ONE MUST FALL (Dir: Antonio Pantoja, 2018).
A low budget, independent horror-comedy, the feature length debut of writer/director Antonio Pantoja.
Unfairly dismissed from an office job by her creepy boss, single parent Sarah (Julie Streble) is forced to take a position as part of crime scene clean-up crew. When called to the site of a murder in abandoned warehouse, Sarah initially has concerns that the killer is still on the premises. Her fears are confirmed when, one by one, her colleagues start disappearing...
One Must Fall is quite gory but it is also very funny. For me, the funnies did go some way to offsetting the grizzlies, although there was the odd moment when I felt compelled to look away from the screen; notably during a clean-up sequence and in the excessively bloody and highly improbable but amusing conclusion.
Set in the 1980s, the era is reinforced by pop culture references such as vintage Pepsi cans, Walkmans and nods to Janet Jackson and ET. There is also a cheeky anachronistic reference to the Duffer Brothers blockbuster 1980s period Netflix series Stranger Things (2016 - present). Adding authenticity is a neat electronic soundtrack, which recalls John Carpenter's music for his iconic slasher movie Halloween (John Carpenter, 1978).
Director Antonio Pantoja is not afraid to indulge in horror clichés, sometimes ironically, but always effectively. In this he has crafted a loving tribute to the genre's legacy. It lacks the polish of a larger production, but this is no bad thing; the lack of studio sheen lends it an air of 80s slasher movie authenticity. The cast, all of whom were unfamiliar to me, make a game task at juggling the more horrific scenes with some moments of goofy humour. Julie Streble, in particular, is both sympathetic and believable as the kick-butt heroine.
With credible effects work and some genuine moments of tension One Must Fall should please ardent slasher aficionados. Ultimately, the black comedy aspect took the edge off of some of the nastiness and in the moments I wasn't averting my eyes from the screen, I was definitely entertained.
I was lucky enough to catch a screening of One Must Fall at Southend-on-Sea's Horror-on-Sea Festival 2020. It doesn't appear, as yet, to be widely available. If comedy-horror-slasher movies are your thing this is worth keeping an eye out for!
A longer, more in-depth review of ONE MUST FALL is available on my blog JINGLE BONES MOVIE TIME! Link below.
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THE CHRISTMAS TREE (Dir: James Clark, 1966).
Cheap and cheerful Christmas movie from the Children’s Film Foundation.
Cocky kid Gary (William Burleigh) boasts to friends in a hospital ward that he can secure them a Christmas tree by 6PM on Christmas Eve. Determined to make good his claim, he and his younger siblings Jane (Kate Nicholls) and Sam (Anthony Honour) trek the 30 miles to London’s St Vincent hospital, stolen tree in tow, ill advisedly accepting lifts from strangers and finding themselves in evermore ridiculous situations as the movie progresses.
Like all CFF productions The Christmas Tree has a certain slapdash appeal. None of the cast seem particularly professional, with the exception of Brian Blessed, the Z Cars actor on familiar ground in a minor role as a police constable.
Its amateurish charm is actually probably the The Christmas Tree’s greatest asset. What submarines the film is its ludicrous plot involving cantankerous bus conductors, armed robbers and a circus troop. The three waifs, who must rank among the dopiest kids in history, somehow manage to evade parents, police and avoid being shot at by the army as they wander onto a military rifle range.
It is difficult to think of a movie with less of a grasp on reality. I am sure it entertained young audiences hyped up on sweets and sugary pop at the Saturday Morning Pictures in the 1960s, but viewed today it is quaint and corny and less than thrilling.
I can’t honestly say I would recommend The Christmas Tree to anyone other than those with an interest in British cinema. Clocking in at just over one hour, it is short enough to watch out of curiosity. It may hold nostalgia value for those who saw it as a child but I can’t see it appealing to kids raised on Star Wars and The Avengers.
100+ movie reviews now available on my blog JINGLE BONES MOVIE TIME! Link below.
THE CHRISTMAS COAL MINE MIRACLE (Dir: Jud Taylor, 1977).
A festive family drama made for US TV.
Set in the mining town of Caufield in 1951, The Christmas Coal Mine Miracle tells the story of coal miners trapped underground on Christmas Eve following an explosion. Centered largely around Matthew Sullivan (Mitchell Ryan), his wife Rachel (Barbara Babcock), their two daughters and prospective son-in-law Johnny (Kurt Russell).
Although claimed by some sources to be based upon a true story, the closing credits read: “The events depicted in this motion picture are fictitious although suggested by the history of mine disasters”. Which particular mine disasters are unclear. I think the movie would have more impact were it based on actual events. Instead what we have with The Christmas Coal Mine Miracle is an intriguing story, although not particularly dynamically told.
Surprisingly, considering it was made in the era when disaster movies were vogue, the focus of the film is not the explosion in the mine, but the relationships of those affected by it, particularly the women. As a result the movie suffers from being overly reliant on dialogue and a little short on action. Originally broadcast on the NBC network, it has the distinct feel of a Movie of the Week, albeit distinguished by a better than average cast. Top billing is afforded to Mitchell Ryan, but further down the cast are the more familiar names of Kurt Russell, John Carradine and Melissa Gilbert.
As earnest young man Johnny, Kurt Russell is, well, earnest. In fairness to Russell the role is not especially well fleshed out. Which is kind of an issue with every character; none are particularly well delineated and the audience never gets to know any of them well enough to be as affected by their plight as they should.
The Christmas Coal Mine Miracle is no Christmas classic. Were it a true story in the traditional sense, rather than vaguely inspired by historic mining accidents, I feel as if I would have warmed to the story a little more and have more investment in the characters. That said, if you stumble across this movie on daytime TV it is worth a look for the decent performances from its likeable cast.
Visit my blog JINGLE BONES MOVIE TIME to read a longer, more in-depth review of The Christmas Coal Mine Miracle! Link below.
MURDER MOST FOUL (Dir: George Pollock, 1964).
MGM’s third outing for Agatha Christie’s amateur sleuth Miss Marple, with the incomparable Margaret Rutherford in the title role.
Investigating the murder of a blackmailer, Miss Marple bluffs her way into theatrical troupe the Cosgood Players, with whom the victim has a previous association. The old girl knows she is on the right track as more troupe members are disposed of. Anyone of the players has possible motive for murder, and Miss Marple is soon in danger herself as the killer gets wind of her snooping.
As with the previous series entry Murder at the Gallop, this movie is based upon a novel featuring Christie’s Belgian detective Hercule Poirot, in this instance her 1952 novel Mrs McGinty’s Dead. As before, Poirot is elbowed out the picture to make way for Miss Marple.
Once again Rutherford attacks the role of Miss Marple with relish! While nothing like the literary incarnation, she injects the role with such goodnatured bluster that its impossible not to love her interpretation. A strong supporting cast of Brit acting legends adds to the fun. Returning from previous adventures are Charles Tingwell as the long suffering Inspector Craddock and Rutherford's real life husband Stringer Davis as Miss Marple's chaste love interest Mr Stringer.
As with other titles in the series, Murder Most Foul is not necessarily one for Christie purists. Great liberties are taken with the original, not just the recasting of the lead character. However, the movie is a lot of fun. Director George Pollock skillfully judges the overt comic tone with the more serious business of murder. There are genuine thrills to be found as the mystery unfolds to a neatly suspenseful, not too obvious climax.
In truth, Murder Most Foul differs little from the two previous outings. But happily, what worked before works again and the formula still feels surprisingly fresh. Unfortunately Miss Marple doesn't delight us with her twist again, or any other fad dances for that matter. But as compensation she does perform a priceless rendition of Robert W Service's poem The Shooting of Dan McGrew, which alone makes the movie worth a watch!
A longer, more in-depth review of MURDER MOST FOUL is available on my blog JINGLE BONES MOVIE TIME! Link below.
MURDER AT THE GALLOP (Dir: George Pollock, 1963).
Following the success of Murder She Said (George Pollock, 1961) aging amateur detective Miss Marple returns to investigate the death of the elderly Mr Enderby, supposedly frightened to death by a cat. Eavesdropping at the reading of Enderby's will, where his estate is divided between four family members, Miss Marple's suspicions are confirmed when the deceased's sister Cora suggests that the old man was murdered. When Miss Marple visits Cora to question her, she finds the sister too has been murdered. Deciding to investigate further, Miss Marple books herself a holiday at The Gallop Hotel and Riding School, an establishment run by Enderby's nephew Hector and the other surviving heirs.
The second of MGM’s Miss Marple movies was the first not to be based upon a Miss Marple novel. Rather, Murder at the Gallop is based upon Agatha Christie’s 1953 novel 'After the Funeral', which featured her other most famous creation, Belgian detective Hercule Poirot. Poirot is nowhere to be found in this adaptation in which he is supplanted by Margaret Rutherford’s bluffly brilliant interpretation of Miss Marple. Rutherford's real life husband Stringer Davis returns as loyal companion Mr Stringer, as does Charles Tingwell as the weary Inspector Craddock. Standout among the supporting cast is Robert Morley; his excellent comic turn as Hector Enderby threatens to steal the movie from Ms Rutherford. The quality cast also features neat performances from acting legends Flora Robson and Finlay Currie.
As with Murder She Said, the movie paints a picture of a quaint post-War Britain that never really existed and must have seemed archaic to audiences in the so-called 'swinging' sixties. But I feel this is kind of the point. The movie is very tongue-in-cheek and never takes itself too seriously; gently mocking genteel middle England, while at the same time romanticising it.
Again, this maybe not be an adaptation for Christie purists, but like the previous movie it is a lot of fun. There are some genuine moments of suspense amongst the jollity and Miss Marple even does the twist. What's not to love?
100+ movie reviews, including MURDER SHE SAID, available on my blog JINGLE BONES MOVIE TIME! Link below.
KLAUS (Dir: Sergio Pablos, 2019)
Just when you think you have seen all the Santa origin stories you care to, along comes Klaus. Netflix’s first original animated feature film, Klaus made its debut on the streaming service in November 2019; an early gift for the festive season. Produced by Sergio Pablos Animation Studios, it is the directorial debut of studio head Pablos, the co-creator of Universal's highly lucrative Despicable Me franchise.
Incompetent postman Jesper (Jason Schwartzman) is sent by his Postmaster General father to establish a post office in the remote northern isle of Smeerensburg. On arrival he finds a divided community, engaged in a bitter feud, who barely speak to each other, let alone send mail. Determined to succeed he seeks out each town member to extol the virtues of the postal service, including Klaus (J K Simmons), a mysterious, solitary figure with a workshop full of toys. The pair team up to distribute the toys to the unhappy Smeerensburg children, creating some new Christmas traditions along the way.
Klaus is as warm and heartfelt as you would expect a Christmas movie to be. Sure, it is sentimental, but never slushy and with genuine pathos in Klaus' backstory. Its distinctive visual style and expressionistic use of colour help make it one of the most visually pleasing animated features in recent years; the 2D animation combines the slickness that audiences would expect of a modern animated feature with a cartoony style reminiscent of the Mid Century Modern stylings of the UPA animation studios.
While Klaus does cover some similar ground to the Rankin/Bass TV favourite Santa Claus Is Comin’ to Town (Arthur Rankin Jr & Jules Bass, 1970), in all other respects it is easily the most imaginative take on St Nick's early years for sometime.
In a year where cinema release schedules have been dominated by animated sequels, first time director Sergio Pablos has crafted a movie which feels fresh and original, yet reassuringly tradition. It is arguably the most satisfying Christmas movie of the decade and seems destined to become a holiday classic.
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