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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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MURDER AHOY (Dir: George Pollock, 1964).
The fourth and final entry in MGM’s Miss Marple series.
Here the amateur sleuth boards the retired battleship HMS Battledore, now used by charity Trust for the rehabilitation of juvenile delinquents, in order to investigate the death of one of the charity's trustees. It is anything but plain sailing as more crew members are bumped off and Miss Marple's own life is at risk as she uncovers embezzlement and theft on board.
The only title in the series not directly based on an Agatha Christie novel; the opening credits bear the legend “original screenplay by David Pursall and Jack Seddon based on their interpretation of Agatha Christie’s Miss Marple”. The wording here is key as, with a markedly more comic tone, this is definitely Pursall and Sneddon’s interpretation rather than Christie’s. However, having previously adapted three Christie novels, the writers prove more than adept at recreating a murder mystery with twists and turns worthy of the author.
Wary that the franchise was in need of a refresh, the decision to set much of the movie on board the HMS Battledore gives it a slightly different flavour from other series entries. With Miss M spending much of the film aboard ship she relies heavier than usual on her land based contact and constant companion Mr Stringer (Stringer Davis). It’s nice for Davis to have a bit more to do and this different dynamic also serves to shake up the formula somewhat.
Again, Rutherford is wonderful as Miss Marple; nothing like the character in the books, but an excellent comic creation in its own right. As always, a cast of familiar vintage British stars offer sturdy support, most notably Lionel Jeffries whose terrific comic performance as ship's Captain Sydney De Courcy Rhumstone almost steals the movie from Rutherford.
Like its predecessors Murder Ahoy is all very silly, yet also highly entertaining. Purists may disagree, but this naval nonsense is hard lnot to warm to and concludes the series in ship shape fashion.
To read a longer, more in-depth review of MURDER AHOY visit my blog JINGLE BONES MOVIE TIME! Link below.
AS YOUNG AS YOU FEEL (Dir: Harmon Jones, 1951).
A lightweight comedy from 20th Century Fox which provided an early role for Marilyn Monroe.
Aged 65 and facing forced retirement, John Hodges (Monty Woolley) blackens his greying hair and beard to pass himself as the younger Harold Cleveland, president of the parent company where the former printer worked. Aiming to overturn the company's ageist policy he successfully fools the boss Louis McKinley (Albert Dekker) who unexpectedly arranges for Hodges to address the local chamber of commerce. His rousing speech attracts the attention of both the press and the real Cleveland (Minor Watson).
There is something Capra-esq about this tale of an underdog fighting against the system; there are also elements of the screwball comedy in its themes of role reversal and its saturising of big business. Somewhat surprisingly this was based on a story by Paddy Chayefsky. Those familiar with the writer's more acerbic screenplays for The Hospital (Arthur Hiller, 1971) and Network will find this satire of a far gentler persuasion. The directorial debut by former editor Harmon Jones, his work here is proficient but unexceptional. Much like the movie itself. Indeed, were it not for an early appearance by Marilyn Monroe, I feel the film would be little remembered today.
A standout in a small yet noticeable role as McKinley's secretary, Monroe was a mere two years away from her stardom cementing appearance in Gentlemen Prefer Blondes (Howard Hawks, 1953). Although playing to blonde bombshell type, she displays her considerable comic talents which would become more apparent as the decade progressed. Monty Woolley was always good value for money. Although he isn’t as well served here as in The Man Who Came to Dinner (William Keighley, 1942), his performance as the disgruntled Hodges is still a lot of fun.
Although it provides a few big laughs, As Young as You Feel is never quite as funny as it threatens to be. That said, it is a pleasant enough viewing experience and is worth watching for its fine comic performances courtesy of the bluff Monty Woolley and the radiant young Marilyn.
A slightly longer review of AS YOUNG AS YOU FEEL is available on my blog JINGLE BONES MOVIE TIME. Link below.
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 PARENT TRAP (Dir: David Swift, 1961).
Hayley Mills' second movie for Walt Disney is also arguably her best for the studio. Indeed, nearly 60 years after release it remains one of the studio’s most popular and well regarded live action features.
Based upon Erich Kästner’s German language novel 'Das Doppelte Lottchen' (Lisa and Lottie) The Parent Trap tells the story of identical twin sisters Susan and Sharon (both played by Mills) who are separated at birth by their divorced parents. Thirteen years later they meet at summer camp and decided to switch places on their folks, knowing that they would have to meet up again in order to switch them back and hopefully reconcile their romance. So Susan heads to Boston to meet mom (Maureen O'Hara), while Sharon jets off to stay with dad (Brian Keith) at his sprawling California ranch. With unfortunate timing dad is just about to wed gold digging platinum blonde Vicky (Joanna Barnes), with whom he is besotted, forcing the twins to plot ever more elaborate schemes to 'submarine' Vicky and save their parents marriage.
While its plot is far fetched to say the least, the movie is executed with such skill and warmth that disbelief happily takes a vacation.
Maureen O’Hara was never lovelier than she is here and Brian Keith was never more lovably oafish. Of course the real star is Mills in her duel role as the twins. Her deft performance displays genuine charisma and expert comedy timing in what is only her third screen appearance.
Save for the odd bit of obvious back project, the pre-digital effects are excellent; the movie would be far less effective if they were not. The trick photography that allows two Hayleys to appear on screen together is astonishing and completely believable.
Perhaps The Parent Trap’s greatest achievement is that it works as a sophisticated romcom for adult audiences just as well as it does a slapstick comedy for kids. If you have never seen The Parent Trap or haven’t seen in a while, I highly recommend giving it a watch. It is a comedy gem whose warmth and charm is hard to resist!
Check out my blog JINGLE BONES MOVIE TIME for a longer, more in-depth review of The Parent Trap! Link below.
TURKEY HOLLOW (Dir: Kirk R Thatcher, 2015).
Jim Henson’s Turkey Hollow, to give the movie its full on-screen title, is based upon a Henson project unrealised during the Muppet master’s lifetime.
Originally co-written by Henson and Jerry Juhl, Turkey Hollow is a feature length TV movie combining puppets and humans, produced by The Jim Henson Company for the Lifetime Network.
Following their parents divorce, teenagers Tim (Graham Verchere) and Annie (Genevieve Buechner) are forced to spend the Thanksgiving holiday with their Aunt Cly (Mary Steenburgen) in the rustic town of Turkey Hollow. Learning of a local 10 foot mythical monster The Howling Hoodoo, Tim sets out to find the beast. Instead he encounter the friendly forest monsters Squonk, Zorp, Burble and Thring as well as uncovering the illegal activities of a neighbouring turkey farmer, who poses a threat to his Aunt's farm.
Turkey Hollow is not the Muppet-fest you may have hoped for. The puppets are used fairly sporadically and serve the otherwise human led story. However, when they do appear, the puppets, as you would expect, are excellent. The undoubted highlight of the low key movie, the foursome are as appealing as any other monsters to emerge from the Henson stable. The humans almost take a backseat whenever the puppets appear, although performances are solid throughout, especially the always dependable Mary Steenburgen.
The plot of Turkey Hollow is simple and not particularly original; the movie equivalent of a light snack rather than a Thanksgiving feast. A romantic subplot between Aunt Cly and local Sheriff Grover (Reese Alexander) feels both under developed and slightly out of place and the one dimensional bad guys will only seem like a genuine threat to the youngest audience members. Otherwise the movie is a mostly endearing tale which, while not approaching the genius high standards of his best work, does nothing to tarnish the legacy of Mr Henson.
Turkey Hollow may not quite rank as a holiday classic, but it is a sweetly old fashioned treat and one you should find merits re-visiting during the festive season.
Visit my blog JINGLE BONES MOVIE TIME for a longer, more in-depth review of Turkey Hollow! Link below.
