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Posts tagged “Patrick Loveland

Paranormal & Supernatural in Review: Hell House LLC (2015)

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[PRAAAAWBABLY SOME SPOILERS IN THIS ONE]

I actually just had to go through my now-double-digits past write-ups for Machine Mean to see if I was right on this…but HHLLC will be the first found footage film I’ve actually reviewed. And by found footage, I mean the shot-on-video incarnation, and not earlier films with an in-progress-documentary-film conceit like Cannibal Holocaust, Man Bites Dog, etc..

Coincidentally, I think I was supposed to review The Houses October Built but maybe didn’t for scheduling reasons or something. I say ‘coincidentally’ because that was another found footage film about the “Haunt” industry—commercial haunted house attractions run by professionals during the fall season, especially around Halloween. HHLLC goes a very different way with its scares, mostly due to revealing itself as a different subgenre of horror to THOB, which was something more like The Blair Witch Project meets The Strangers. Continue Reading

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Paranormal & Supernatural in Review: We Are Still Here (2015)

Image result for we are still here 2015

I had no idea what to expect going into this one, other than hearing some vague things about it being pretty good. I’m glad I came in fresh this time. I usually at least have a vague idea of what I’m getting into but it’s nice to have no preconceived notions of any kind once in a while. I had also heard Barbara Crampton was in it, which was a plus as I’ve been a fan since growing up with Re-Animator and From Beyond, and seeing her more recently in Beyond the Gates.

SUMMARY:

So, I’m gonna admit right out of the gate that I didn’t pick up on this being a period piece at all when I watched it the first time. Once I found that out, it made sense when I was scanning back over some scenes. I either missed a year tag or just how period specific all the cars and clothes were. Although, in my defense, a lot of what was popular in the late 1970s in those realms is still popular or popular again. Continue Reading


Slashers & Serial Killers in Review: Wolf Creek (2005)

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All right, this is kind of funny (to me if no one else): I’d originally planned to review Halloween: Resurrection for this—the one with the fake Myers found footage house thing with Busta Rhymes—because I’d only seen a chunk of it and it was pleasantly terrible. I went to put the used disc I’d purchased for three dollars at a local record/tape/cd/dvd type of shop for the express purpose of doing this review into my PS4 to give it a full watch before reviewing…and it wouldn’t read it. Cleaned it off, dried it, tried it again. No go. Never had an issue with the many discs I’d purchased there and the disc looked good, so…oh well.

Instead, I looked at the others I’d purchased back when I was going to do like seven or eight reviews this year for Machine Mean—still would have, but some personal issues caused me to scale it back and also skip the Vampire-oriented MM Fright Fest October event, sadly—and I’d already watched PIECES (and loved it) and my former-Troma-employee wife had already seen Graduation Day because they distributed it at some point or just because she’s always been a horror fan. I had Wolf Creek too, and neither of us had ever seen it…so here we are.

I’d heard a lot about this over the years and it seemed to have a bit of a reputation. Was it earned? Let’s unpack it, shall we?

[THERE WILL BE SOME SPOILERS BUT WILL NOT BE NEEDLESS AUSTRALIA JOKES] Continue Reading


Slashers & Serial Killers in Review: FREDDY VS. JASON (2003)

[Probably some spoilers—like you give a fuck, bitch (Freddy voice)]

 

Okay, when this came out, I’d seen every film in the two series this was a crossover of. It would be hard to say which of the two had held up the most, and neither would qualify as serious horror properties by the time this came about. But by then that wasn’t really the point. Not for myself or most fans I knew, at least.

The first few films in each series (well, probably first one or two for Freddy) were pretty serious, dark horror films that happened to be about teenagers frolicking and getting horribly slaughtered. They both became somewhat tongue-in-cheek affairs the further they went on, then eventually each had a remake of some sort, and just before this crossover, Nightmare had what I felt was a very well done return to serious territory that was also “meta”-rrific and a step outside the canon. Craven himself directed that one, and it showed. Actually to this day the only one of these films I haven’t seen is the remake of Nightmare, but I’ve heard I really haven’t missed much. I personally even enjoyed the Friday the 13th sort-of remake reboot-ening, but only saw it once and wasn’t exactly sober, so be gentle.

So, Full Disclosure™—while I have love for both of these characters and properties, I personally would own up to landing pretty squarely in the Team Jason camp—Get It? ‘Camp’? We try to have fun here…

The real question, though, is: does this crossover live up to what people enjoy about each franchise and character and make for an enjoyable film on its own?

Well, heck-a-doodle-doo-doo-muh-bob-a-reeni—let’s find out what I thought, shall we?  Continue Reading


Slashers & Serial Killers in Review: Sleepaway Camp (1983)

[YEAH, I’M SPOILING THE BEST PART… ‘CAUSE WHAT ELSE IS THERE IN THIS ONE?]

Okay, being totally honest—I had only seen the very last scene from this film before watching the whole thing a few nights ago. I’d stumbled onto it in some list of shocking horror moments or something and wasn’t worried about it being spoiled, so I watched it. That scene stuck with me, and also made me (mistakenly!) assume this was a disturbing, dark film throughout. Hahahaha… No. Not at all. That’s not to say it’s bad… but I think the backwards way I experienced it actually says a lot about this film and its legend, if you can call it that. This is more like a Troma film for the most part with a few decent kills and one very effective, weird scene.  Continue Reading


Slashers & Serial Killers in Review: The Town That Dreaded Sundown (1976)

 

[ blahblahblah Spoilers Probably yaddayaddayadda ]

This is a weird one, you guys. Not in a deliberate, fun way. More in a… I-have-no-idea-what-the-director-was-thinking-half-the-time kind of way. I’m going to keep myself to the format I’ve been using for the most part and not get too far ahead of myself this time. I’ll just say this one might be a little less meaty than my usual review as I’m not sure how much I can say about this one. We’ll see what happens as I get further down this cuppa (Joe)…  Continue Reading


Fright Fest: Tombs of the Blind Dead (1972)

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[ SPOIL-O-RAMA, GUYS—DON’T CRY ABOUT IT—HAVE FUN WITH IT… ]

I’d been meaning to check these films out on my own for a while and had a set in my amazon wishlist waiting and ready when I saw this title in the list of choices of films to review. I called dibs and went immediately to amazon to grab this. So, just so I’m clear on what I’m working with, the set I now have is the Blue Underground set of all four Blind Dead films (and that Ghost Galleon that popped off its holder in transit better be watchable when I get to it…) and there is a decent amount of conflicting information (hence, the 1971/2 up top). This film is generally referred to as Tombs of the Blind Dead, but the disc in this set has two versions of the film—the first one I watched, La Noche Del Terror Ciego (The Night of the Blind Terror) is the original Spanish/Portuguese production title and cut; and The Blind Dead. Nowhere in the actual video material does it say the title I’ve always heard this film given, other than the box. Also, on the box it says it came out in 1971, but most other places say 1972.  Continue Reading


Creature Features in Review: Humanoids from the Deep (1980)

[ BIG SPOILERS—like, skip-to-the-number-score-if-you’re-actually-worried level spoilers ]

 Okay, two things right out of the gate: this movie is terrible… but I’m going to explain to you why I feel (if you enjoy a certain level of badbad = goodgood) you should still watch it.

Also, it’s basically about mutant fish people raping women (when they aren’t killing everyone else to get to that) but seeing as how I highly doubt there are going to be humanoid fish people waddling out of the sea and actually raping anyone anytime soon, I’m not going to address that further in any serious way after this intro. I also won’t make a joke out of it, though, and you can call me what you like for that.  Continue Reading


Creature Features in Review: DeepStar Six (1989)

[ SPOILERS ABOUND; also, PETTY, UNNEEDED LATERAL REFERENCES yaaay! ]

So back in the day, after his success fusing science fiction and horror with The Terminator (1984) and ALIENS (1986), James Cameron was shopping a treatment (not sure if it was one of his legendary ‘scriptments’) of his around Hollywood for a new original film called The Abyss. With these other two films under his belt—and possibly even his (false) start with Piranha Part Two: The Spawning (1981)—apparently several studios assumed he’d be using his vaguely revealed deep-sea setting to craft a horror film of some kind (or possibly knew it wouldn’t be, but made horror films anyway; but the assumption of horror was how it was told to me by an insider back in the dayday). While it was thrilling and suspenseful and had some spooky-ish setup moments, it was more of a survival action film driven ultimately by a well-guarded pure sci-fi premise.

Which brings me to why I am once again starting a review by talking about a film I am not reviewing—I chose to review DeepStar Six because I grew up watching it a lot and I wanted to revisit it, and it was one of the films produced at least in some small way in anticipation of competing with a Cameron epic deep-sea horror film (that doesn’t and never was going to exist). And when I first heard this story, I only knew about Leviathan (1989) and DeepStar Six

There were three others made I only stumbled across when I first started researching for this review: The Evil Below (1989), Lords of the Deep (1989), and The Rift/Endless Descent (1990)—which was itself a low budget production also funded by Dino De Laurentiis, who had bankrolled the thematically similar Leviathan as well a bit earlier.

Okay, with that out of the way…

SUMMARY:

DeepStar Six is about a team of US Navy and civilian deep-sea workers setting up a prototype (?) nuclear launch platform on the ocean floor. They’re almost finished (and it’s established that this tour of duty has been longer than originally planned (im-por-taaaant).

While surveying the site they intend to erect the nuke platform on, they detect a cavern under it. The leader of the project on the civilian end decides it should just be… collapsed… or… something? So, they send a couple guys out to do that. That goes poorly.

Then, they…….. Okay, naw. I have to skip to just reviewing because—review spoiler—this one is not really worth a lot of analysis. I can’t fight my urge to talk trash within the summary, so that’s a bad sign.

REVIEW:

Okay, I’ll be honest—I’d watched this movie in double digits when I was younger (my older brother chastising me about that fact every time he witnessed it) and even I remembered it not being great, but I was genuinely surprised on this viewing how well it holds up… for just about the first half.

We’ll return to that magical second half, believe me.

But the first half works.

The characters are introduced naturally enough and all seem to have their place in the station teams and such. Our focus characters are a submarine pilot, McBride—Greg Evigan (mostly of My Two Dads fame to me personally, other than this movie)…

…and another crew member, Joyce (whose role isn’t super clear. Her job puts her in close proximity to this sub pilot, which leads to their joint introduction being intimate and post-coital.  It’s established that sub pilot has never been married because he couldn’t find a woman who would put up with his demanding schedule and all that. She practically beams with desire to assure him that wouldn’t be a problem for her—seeing as how they’ve been getting close on the regular and they do the same kind of work, I’d assume.

But no—he’s a loner Dottie… a rebel.

Other than that, we’ll go fast and loose. The jerky head of the project mentioned earlier, Van Gelder (Marius Weyers), decides to collapse the chamber under the chosen nuke erection site, ignoring Scarpelli’s (Nia Peeples) expert opinion—and hope—that they could find sea life that had been cut off from the rest of the ocean and evolved on its own in parallel. So, long story short… two other minor characters (pleasantly and charmingly played by Thom Bray and Ronn Carroll) blow the cavern, then guide a remote down into it and lose it. They detach their sub from the cat style threaded base and go down into the cavern.

Well, Scarpelli was right!—and we really, really know that because of her lengthy explanation, that is all but crosscut with this scene and also happens to be completely accurate somehow.

The two most fun characters in the film are immediately murdered by… something mysterious…

Said mystery creature then attacks a forward station staffed by Joyce and the probably-Russian Burciaga (Elya Baskin), crippling that station and causing McBride and the tragically underused but great Taurean Blacque as station commander Capt. Laidlaw—although, now that I think about it, his character gets to do something noble and dramatic in the last decent scene in the film so it works out better for him all around—to take a sub out to see why the forward station isn’t responding.

They hook the sub to the damaged, tilting-on-precipice-of-the-deepdeep forward station—‘cause golly, McBride is just the best—and use a manual bypass lever to go inside the station. They find Joyce and a just-dead Burciaga. While leaving, the manual lever inexplicably slips its notches and slams down onto Laidlaw’s midsection, breaking his back. They try to save him, but Laidlaw sees they’re all going to die if he doesn’t do something—so he presses a manual flood of the station, drowning himself and forcing the others to swim for it.

-[ rough mid-point; end of relative goodness ]-

Now that I’ve ruined the decent build-up parts… I’m going to go into a hard nutshell on this one.

After that mid-point, this film is, frankly, a mediocre one-plot time trials race to the bottom of fake-as-hell looking ocean floor. And that’s a snide reference to how some of the deep sea miniature effects are pretty cool… then this one recurring ‘set’ ruins those by being so murky as to look like a VHS transfer to 35mm for some sort of deliberate ‘realism’. Blargh, I say… Blargh and such.

After realizing there is something quite deadly lurking about and killing whatever is moving and/or lit up, they decide to secure the site and leave for the surface.

My favorite actor and character in this film is Miguel Ferrer/Snyder, and that’s for good reason. If you watch this film for no other reason, it should be Snyder’s jerky selfishness and telegraphed need to leave the DeepStar Six station ASAP becoming a bumbling, death-causing, drug-induced psychosis-fueled exodus—and resulting death-splosion of human jam.

Buuut before all that scene-chewing goodbadness, the biggest bullshit thing they make this character do is completely misunderstand the commands their super-secret nuclear erection control computer is presenting him. Van Gelder tells Snyder to ‘secure’ the nukes or something to that effect. While going through the procedure—and highly stressed from being undah dah sea too long, as well as the mystery creature attacks, and completely alone, I might add—he misinterprets the questions and options and basically tells the computer that Russians are trying to take the nukes… So it detonates them.

That goes poorly for good ol’ DeepStar Six station, and after that, Snyder had basically doomed them all (except for the ones who sort-of-secretly like touching each other, and as we find out, literally destined to be together…)

Other than that…?

There’s a pretty gnarly guy-in-diving-suit-gets-bitten-in-half scene—not many of those around. Then Nia Peeples gets eaten in the least convincing death in the movie (which is saying something).

The on-site doctor, Norris (Cindy Pickett)—who also seemed to be the only semi-sympathetic character to the perpetually-losing-it Snyder—goes down in a blaze of… Well, she uses a defibrillator to electrocute the monster—wait, no. She electrocutes a huge amount of water to electrocute the enormous arthropod thing.

There’s also some bullshit late in the move about Joyce hearing God voices or some shit and feeling super-sure everything’s just gonna be peachy. I am not kidding.

Then the true-er-ish climax of the film is of course a desperate battle against the not-actually-dead monster at the ocean surface—that is so badly presented I just…  I just can’t, you guys. It’s one of the worst things I’ve ever seen. Okay, have you ever seen Game of Death? That one shot where it’s obviously a promo shot of Bruce Lee himself used as a bad matte over a shot of the body double guy?

This last part is worse than that.

It also reminds me of another film—but in that film, the fake background was intentional and part of the point.

 

WHAT I LIKED:

-The Creature. It’s actually pretty well done and seems to be a decently researched representation of a Eurypterid or other big arthropod from the WayWay Back. I almost added a point back in for the overall quality of the monster… but the script failed it badly enough I just can’t.

-Miguel Ferrer, but I always do.

-The two guys who bite it first are fun to watch.

-Some of the miniatures and underwater pieces are well done.

-Greg Evigan does a pretty good job, if I’m being honest.

-Nia Peeples ‘Scarpelli’ is adorably earnest in a pretty wasted role.

WHAT I DIDN’T LIKE:

-The second half is mediocre at best and sometimes painful to watch—for all the wrong reasons.

-I decided not to even go into all the subtle and not-so-subtle limp parallels and visual/scene nods to ALIENS because I already talk about those movies too much and they’re just transparent and weak.

-The last fight scene with the monster is unforgivably cheesy and bad

-Said last scene is immediately followed by (what at least feels like) a ten second shot of the Joyce actress standing and looking at where she’s sure her lover just sacrificed himself to save her… and her diamond-hard nipples are framed prominently in the shot. I actually laughed at how long and obvious the shot was—not the emotion I think they wanted me to feel in that scene.

-Oh and then they rip off fucking JAWS by having McBride burst to the surface behind her, splashing around amidst the debris of the exploded sub… thing… I’m done with this trash movie. Ugh

RATING:

I’ll give DeepStar Six­­­­­­­­­­­­­­………5.0/10 (added a full point because I loved Miguel Ferrer; RIP, good sir)

PATRICK LOVELAND writes screenplays, novels, and short stories. By day, he works at a state college in Southern California, where he lives with his wife and young daughter. His stories have appeared in anthologies published by April Moon Books, Bold Venture Press, Sirens Call Publications, Indie Authors Press, PHANTAXIS, and the award-winning Crime Factory zine. Patrick’s first novel, A TEAR IN THE VEIL, was released June 2017 by April Moon Books. Twitter: https://twitter.com/pmloveland   Facebook: https://www.facebook.com/pmloveland/   Amazon: http://www.amazon.com/-/e/B00S78LF9M Blog: https://patrickloveland.com/ 

You can ORDER A TEAR IN THE VEIL FOR on Amazon for $14.99!!


Fright Fest: Planet of the Vampires (1965)

 

planetofthevamps

[WARNING: EXTREME DIGRESSIONS, LATERAL ASSOCIATIONS, AND UNSOLICITED MUSINGS FOLLOW] To start, a confession—as much as I enjoy Italian horror (and horror in general), I’m not sure if I’d ever seen one of Mario Bava’s films in its entirety [preemptive update: since choosing this film for review and watching it through a couple times, I coincidentally had the pleasure of finally watching Blood and Black Lace at a good friend’s birthday movie party]. I’d seen a few of his son Lamberto’s, but looking over the Elder Bava’s filmography I couldn’t honestly say I could attach a title listed to a film I could clearly remember. My early days of watching Giallo and other types of Italian horror coincided with attending art/film school in San Francisco, so you’ll have to forgive my own uncertainty—as I wasn’t always completely sober while viewing a great deal of the offerings from “Le Video” and other VHS-lined halls of magical filmic goodness. I’m much clearer on the Argento, Soavi, and Fulci (my personal favorite) films I devoured at the time, but there were others that, for whatever reason, remain a vague blur.

So, why did I choose this film of all films? Second confession—if you know me this won’t come as too big a shock, but I’m borderline obsessive about the Alien film franchise. It is taking a considerable effort to not expand upon that statement with the finer distinctions I make between the different film entries, EU comics, novels, games, etc. and their varying levels of individual quality. You’re welcome (just trust me… you’re welcome). Simple version—I like Alien-related things that are good.
Okay, I’ll just cut to it—I chose Planet of the Vampires for review because Nicolas Winding Refn (Pusher, Bronson, Valhalla Rising, Drive) said this recently while introducing a new 4k print of Planet at Cannes as a “Cannes Classic”:

“Planet of the Vampires” is the film that Ridley Scott and Dan O’Bannon stole from to make ‘Alien.’ We found the elements, we have the evidence tonight. This is the origin!”

Could it be that a film I hold so close to my heart could have pilfered from another film openly, or at least been heavily influenced? I was torn by this… so this review will be a bit torn. I’m going to abandon the regular review what-I-liked/didn’t-like format I would do and try something different. I ended up watching the film twice, with two mindsets—first, looking for connections to Alien. Then, as its own film (which would’ve been impossible for me the first time, feverishly Alien-crazed as my feeble mind tends to be).

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And so…

PLANET OF THE VAMPIRES AS POSSIBLE ALIEN INSPIRATION/SOURCE MATERIAL:

I’d heard in the past that Alien strongly resembled another film, It! The Terror From Beyond Space, but still haven’t watched that due to stumbling onto some images of the creature in the film—it… didn’t do much for me. That’s unfair, I know, but it’s hard when you’ve been spoiled (and scarred) by the diseased mind of a brilliant Swiss dark surrealist like Giger. Planet of the Vampires intrigued me for different reasons.

The Wikipedia article for Planet’s “Influence” page states that Ridley Scott (director of Alien) and Dan O’Bannon (main writer of Alien; co-written with Ronald Shusett, then revised heavily by Walter Hill and David Giler before being rolled back some), had stated they’d never seen Planet before making Alien. From what I know of Scott, that wouldn’t surprise me. After some snooping, though, I discovered some different things about O’Bannon’s history with it.

O’Bannon is quoted as saying he was ‘aware’ of Planet but didn’t feel like he’d ever watched all of it. He also says that he thought about Forbidden Planet (a classic I’m more familiar with) way more than It! while writing Alien. His approach seemed to be to make the ultimate scary-monster-on-a-ship movie, pulling from a lifetime of Sci-Fi film watching—something crystallized in this quote: “I didn’t steal from anybody—I stole from everybody!

So, where does this Planet/Alien comparison—that I’ve now stumbled onto many times while researching this review—come from?
Planet of the Vampires
starts with two ships (Argos and Galliot) in space near a planet. They discuss a signal they’ve been monitoring from an unknown origin somewhere down on the surface. A powerful force grabs their ships and exerts an incredible force on them, pulling them down into the planet’s atmosphere. They are set down in a strangely gentle fashion after such powerful artificial force. Upon touching down all but the captain of the Argos go mad, immediately attacking him and each other. He’s able to smack sense into most of them, and then he and a crew member chase the still-crazed doctor out onto the spooky planet surface. After he is released from whatever mysterious power had hold of him, the captain sends him back inside.

So far we have a mysterious planet (large moon in Alien, but close enough), a signal of unknown origin, and a rocky, dark planet surface. Okay, I see that. This is followed by a dangerous trip across the spooky, dark planet’s surface to investigate the fate of the Galliott. The Galliott’s crew are mostly dead, with a few missing.

There’s a decent chunk here with nothing comparable, then they find a third ship near the Argos while doing a survey, and a few of them go to investigate. So we also have space-suited ship crew investigating a planet’s surface, only to find a… “alien” ship. Not only that but the remains of said alien crew are skeletons of humanoids of great size—possibly up to three times that of an average human.

I see where this is going… These basic elements (and that they later take off, with malicious stowaways aboard) are similar between the two films, and from what I’ve come across the imagery of the skeletal alien crew is one of the strongest “gotcha!” things for those who feel Alien was directly influenced by Planet, due to the similarity to the former film’s “Space Jockey”/ “Pilot” scene.

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But Planet was not the only film about a crew touching down on a spooky planet, finding weird things, and leaving with something that wasn’t exactly pleasant in their ship. Other than It! The Terror From Beyond Space, the director of another Sci-Fi movie called Queen of Blood, Curtis Harrington, is quoted as saying he felt the makers of Alien most likely had been heavily inspired by his film—due to it also having that same rough barebones plot. I’m no expert, but I’m sure there are at least a few other Sci-Fi films from before Alien’s late 1970s writing and production that could be boiled down to the same basic structure.

Also, It! The Terror From Beyond Space is the closer film to the follow-through of Alien by default—Planet doesn’t have what you would call a “creature” per se. There is a zombie- or revenant-like reanimation and possession that takes place, followed by more insidious mimicry of human behavior. I’d go so far as to say Planet’s last act more closely resembles John Carpenter’s The Thing in its emphasis on paranoia and mimics trying to use their human hosts’ technology to their advantage—that is if The Thing was also missing its well-loved practical creature effects. Giger’s nightmarish creations were undoubtedly a huge part of Alien’s power and success as a film. There is nothing like that in Planet of the Vampires.

To sum up my thoughts, I feel like it’s a little unfair to say Alien stole from anyone Sci-Fi film—it appears to have been more of a loving potpourri of elements from many earlier Sci-Fi films with attempts of their own at claustrophobia and scares. The setup of Alien is not its greatest strength and is its least original aspect. Thankfully, it more than makes up for that in the realms of atmosphere, design, special effects, acting, genuine fear, and well-earned and -executed scares.

Valaquen at Strange Shapes, a favorite blog of mine as an Alien series fan, puts it best I feel with this line: “The story of the Nostromo could easily be that of the Demeter, the ship that Dracula stowed upon on his way to London.”

It’s not the bare-bones plot, but what they did with it that made Alien groundbreaking and frightening.

Whereas the legacy of Planet of the Vampires is cheapened by it being treated as a footnote in the history of Alien. I honestly wish I’d heard of it in a different context. Which leads me to…

PLANET OF THE VAMPIRES AS A FILM ON ITS OWN TERMS:

As stated above, the film begins with two ships in space. Well, it starts with a title sequence with some pleasant spacy shots. Then, we see the two ships. Right off the bat, it’s clear we’re in for a B-movie affair of some kind, as the model work for the ships and space background is done well enough, but leaning toward cheap and a bit cheesy. This isn’t a strike against the film coming from me, for the record. A shot focused on a bright section of one ship model dissolves into a shot of space out through a circular ship bridge area, the camera tilting down to show more examples of what I’ve learned Bava was known for—getting the most out of low-budget production values. Large banks of glowing, pulsing readouts and other kinds of equipment are seemingly lit in such way as to make it less clear how much empty space the set actually has. This could also have been a stylistic choice, but I have a feeling I’m not entirely wrong either way.

Then we are treated to one of my favorite things about this film—the costuming. The crew spacesuits are dark, form-fitting, and sleek, with bright orange trim. One has to imagine that—and this is really the last Alien-ish part, I swear—whether or not Ridley Scott had ever seen Planet before making Alien, he’s seen it since, and wanted to either poke some fun at that or make a genuine homage.

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My only complaint is they only wear their snazzy bright yellow helmets in the scene I mentioned earlier where the captain and a crewman chase the doctor out onto the planet surface after they touch down. They make great paperweights for the rest of the film, sitting on flat surfaces all over the Argos and Galliot just looking cool and not helping the space adventurers breathe safely.

The sets are also really well done. The interiors are deliberately minimal and have glowing and blinking machines placed strategically. But where the sets really impress is the exterior planet shots. A thick ankle-deep fog blankets the planet surface, swirling around at every step that breaks it. Rocky outcroppings, spires, and crags on the planet surface look suitably natural and menacing. Lava patches are well-executed with superimposition and matting.  The ships’ implied sizes are reinforced by landing supports and airlock set constructions. The airlock hatch mechanics are smooth and believable. There’s a weight to their use that feels right as if they’re part of a large vessel and not a cheap suggestion of one.

Also, the use of the different sets and camera tricks gives the planet a good sense of size. They have to travel good distances between ships and don’t just jump around through editing.

Photographic effects bring the sets together and make the planet surface feel dangerous and foreboding, and this otherworldly feel is consistent. Optical printer post-production slo-mo is used to give the rising of a few dead Galliott crew members a strange and menacing feel.

The atmosphere, in general, is fantastic. The planet is mysterious and spooky, even before they find the remnants of the alien presence. The open interiors of the ships go from comforting chambers of safety to increasingly empty areas hiding possible terrors around every corner.

A lot of the heavy lifting for the atmosphere is the lighting. Having now seen Blood and Black Lace since deciding on Planet for this review, I can definitely express with confidence that Bava’s lighting is my favorite thing about his films (so far; I have much more to watch). Those two films have different cinematographers, but Bava seemed to have a strong enough sense of light and color that it was dictated at a directorial level. His bold, almost garish color choices are toned down some in Planet, going for darker, cooler colors than the bold reds and violets he plays off the darkness in Blood. There is some of that in Planet, though, when the reluctant planet explorers are traversing the surface and having to climb over and around lava flows.

He also uses a nice trick, backlighting the rocky set pieces from a distance, suggesting either light poking in through the thick atmosphere or unseen moons or other celestial bodies throwing light from afar. But the surface areas are dark, mostly lit up by lava or eerie, dim fill lighting. These two things contrast nicely.

The performances are pretty good too. According to Wikipedia (don’t hate), Barry Sullivan was the only actor speaking English, Norma Bengell (a Brazilian) spoke Portuguese, and the rest of the international cast spoke their own languages—not understanding each other as they performed.

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I knew that most of the voices were dubbed, but wouldn’t have guessed they were so disconnected. They all perform well together. There are some “scream queen” worthy moments and some pleasantly hammy, scenery-chewing moments (unintentionally amplified by the dubbing, I’d say).

There’s even a twist ending. I won’t spoil the specifics, but whether you end up unsure if it was tacked on or not (as I still am), it gives the whole thing a Twilight Zone or Outer Limits outro feel.

CONCLUSION

As I expressed above in detail, I doubt this film was a huge influence on Alien directly. On its own merits, I really enjoyed it. It’s a straight-faced sci-fi/horror piece with great use of budget and plenty entertainment value. Or as the original trailer dubs it…

 

I’ll give Planet of the Vampires…………….7/10.

 

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PATRICK LOVELAND writes screenplays, novels, and short stories. By day, he works at a state college in Southern California, where he lives with his wife and young daughter. His stories have appeared in anthologies published by April Moon Books, Bold Venture Press, The Sirens Call Ezine by Sirens Call Publications, and the award-winning Crime Factory zine. Patrick Loveland’s first novel, A TEAR IN THE VEIL, will be published in early 2017 by April Moon Books.  Twitter: https://twitter.com/pmloveland   Facebook: https://www.facebook.com/pmloveland/   Amazon: http://www.amazon.com/-/e/B00S78LF9M Blog [under construction]: https://patrickloveland.wordpress.com/

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