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Butch Cassidy and the Sundance Kid (1969) review

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Butch Cassidy and the Sundance Kid
“I’m not sure, but I think they might be trying to kill us.”

Twitter Plot Summary: The story of Butch Cassidy and the Sundance Kid as they are chased into South America after stealing some monies.

The opening sequence is presented in a glorious sepia tone, perfectly establishing the timeframe and setting for what is to follow. With a brief exchange of words and an even briefer demonstration of sharpshooting ability, the audience is privy to the full extent of both of these characters with almost minimal support from the script. If nothing else it is at least some clever and well crafted direction, supported no doubt by a few decent lines in the script.

Paul Newman and Robert Redford are the titular Butch Cassidy and Sundance Kid respectively, stealing money from well-stocked trains in order to fund a surprisingly non-extravagant lifestyle. They abscond with Etta Place (Katherine Ross) where for some time things settle down and they live something akin to a normal life before the law, like an unflappable, unstoppable zombie, finally track them down.

It mostly descends into an extended chase sequence with Butch and Sundance staying one step ahead of the law at every turn. Gradually they make their way down into South America where (spoilers) they would ultimately meet their end. That final shootout is a well structured piece, two men fighting against overwhelming odds. And yet never once do they consider surrendering. This is a characteristic that defines them throughout, individually and as a pair. It also helps define the film, that despite the odds against them there’s no quarter given. This leads to some notable sequences, including a cliff top jump into a fast running river below – despite the fact Sundance can’t swim. In spite of their circumstances, there is still opportunity for the occasional wisecrack and moment of humour – just look at the use of Burt Bacharach’s “Raindrops Keep Falling On My Head”, lyrically appropriate yet slightly whimsical in tone.

Butch Cassidy and the Sundance Kid
Traditionally, cowboys have a horse each.

This whimsy is also present in their repeated raids on the train “Overland Flyer”, causing much concern and worry for the man who is watching over the money, constantly being shot at and nearly blown up. On the less interesting side of the scale are the sequences featuring Katharine Ross as Sundance’s girlfriend. This takes away from the core story and slows things down to an almost unbearable pace. It’s an unnecessary diversion, at least in the way it has been presented here, and could have done with being either removed entirely or rewritten so the story keeps pushing forward rather than grinding to a halt.

I was always of the opinion, before actually seeing the film, that this was a classic of cinema. The reality for me is that it’s an entertaining piece but doesn’t quite hit the mark across the board. The extended and lengthy chase into South America is one fraught with tension, but taking this (and the occasional moment of entertaining banter between the outlaws) aside, I didn’t get a huge amount from it. Perhaps another viewing or two might change my opinion in time, but at the time of writing I’d put this down as a bit of fun and not much else. It just goes to show that just because a film is almost universally applauded it doesn’t mean that everyone will think the same. Food for thought.

Score: 3/5

Short Story: Closure

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Evening all, another Friday and another short story for your pleasure. This is another zombie related piece, but I promise that some slightly more varied fiction is on the way. Honest.

And now, to the fiction!


 

She had died too soon.

As he stood over her freshly dug grave, the shovel in his hands leaning gently on the soil, he said a silent prayer for his dearly departed wife. A single white rose lay on top of the cross he had fashioned for her, an amalgam of leftover boxes and wire that he’d kept in the garage. It wasn’t much, but it was the best he could put together with what little they had left.

A good storm would wash away the headstone and his hastily written words, but it didn’t matter. As long as there was a headstone now, at her burial, that would be enough. There was no permanence in the world now.

He wiped a tear from his eye as he thought back to their lives before. She had always been the smart one. When the old world had started to crumble, she had been the one insisting they go out and stock up on food, water, essentials. She had been the one to suggest barricading their home, to stop the baying hordes outside from getting in. Her best idea yet had been to destroy their staircase. If the dead did happen to break inside they would find nothing but what was left of the gutted downstairs rooms. He’d had to admit it was a clever idea. She said she’d read about it in a book.

So they had worked together, hacking away at the staircase until there was nothing left but scraps. They kept it all in the spare room upstairs, to be used as firewood when the winter came rolling in. With the power out it would be bitterly cold.

They had settled down to see through the end of the world together. Their lives had been as perfect as they could have been under the circumstances. They had both been happy.

And yet in the end, she had been bitten and he hadn’t. There was something cruelly ironic about this world. At first he’d wished it had been him instead, then realised she would have had to go through exactly the same as he was now. He wouldn’t have put her through this.

The tears continued to flow down his cheeks as the soil began to writhe and move near his feet. A hand emerged from beneath it, reaching out tentatively at first, then began grabbing desperately at the air when it reached the top.

He staggered back in alarm. He had known that this might happen, but the cold reality of it still made him recoil in terror. It had been a mistake burying her in such a shallow grave.

Slowly but surely the remains of his wife clawed their way back up into the world. She snarled with every move, her mouth fixed in an angry rictus. Her teeth were now permanently bared, her lips having been pulled back completely as her skin had dried out, her features now seemingly plastered firmly against her skull.

Now she was nothing more than a horrific reinterpretation of his wife. All that he had loved about her was gone, both in body and in spirit. Her skin, covered in soil and grime, was a pallid grey. Her hair was matted and twisted. Her face… he couldn’t bear to look at her like this.

But she had seen him. Now, with increasing speed, she began struggling over to where he stood.

As she clawed her way over towards him, he raised the shovel above his head. Could he do this? Did he have the strength to do what he knew must be done? Wouldn’t it just be easier to let her bite him too? There wasn’t much left in this world now that she had been taken from him. It would be better if he ended it now, on his own terms. One bite, that’s all it would take.

His eyes closed, he listened as the snarls grew closer with each passing second. What to do? In those seconds he weighed up every decision that had led him to this point. All the possibilities that might lie ahead if he chose to live. What he would regret if he lived on.

A hand grabbed his boot. In that instant he made his decision.

 

The King of Comedy (1982) review

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"Ho. Ho. Ho."?
“Ho. Ho. Ho.”?

Twitter Plot Summary: De Niro’s Pupkin wants to be where Jerry Lewis’ Langford currently is. So, he stalks his idol. Naturally.

Combine the method acting of Robert De Niro with the comedic acting talent of Jerry Lewis, and what happens? Well, this film, The King of Comedy. De Niro is small-time comedian Rupert Pupkin, a man who has the desire, but not necessarily the talent to hit the big time in the business, even if his age and constant lack of success are hindering his almost deluded sense of self belief in his product. Still, if nothing else he is at least able to put some skills to good use by stalking Jerry Langford, a late night chat show host who is in many respects the opposite of Pupkin, a man who still lives at home with his mother.

This all culminates with De Niro putting his famed method style of acting to good use by performing a stand-up routine in the final act. While I personally didn’t find the jokes all that great, in the context of the story it’s a routine that goes down well with the fictional studio audience and is an important moment for the character, despite the dubious methods he used in order to get a slot on Jerry’s show. But I’ll not go into detail on that point, lest it spoil the film for you. Can’t be doing that now, can we?

When analysing the two central characters of Rupert and Jerry, you get to see two sides of the grand circle of fame. Jerry’s been there and done that, recognised on the street and regularly mobbed by fans following his television shows. Then there’s Pupkin who is trying to reach that level by whatever means necessary. It acts as a subtle discussion about the pressures of fame and the lengths people will go to in order to reach that level. Furthermore, there is Jerry Lewis’s very restrained rage and anger at Pupkin’s methods which is a constant source of entertainment, gradually becoming more and more frustrated the more frequently he and Pupkin cross paths. And because Pupkin is a stalker extraordinaire, that is quite frequently indeed.

Oh, he wasn't lying.
Oh, he wasn’t lying.

In the grand scheme of things I didn’t enjoy it to the same level as I have with many of Scorsese’s other films. Yes, the performances from Lewis and De Niro are exceptional but it lacks something that makes much of Scorsese’s other films such essential viewing. Maybe it’s that outside of Pupkin’s stalking methods I really dislike Sandra Bernhard’s antagonistic face and acting, or that it didn’t seem to do much to expand on Pupkin’s reasoning or borderline obsessive personality. Or maybe it was my dislike of De Niro’s hairstyle.

If there’s nothing else proven by these complaints, first it probably proves Bernhard’s a really good actor and, in this film, in very good company. Second, that by drawing focus on one aspect of Pupkin’s obsessiveness was necessary lest a 3 hour film occur (not outside of Scorsese’s abilities). And, finally, Pupkin’s hairstyle is just another aspect of the character that you can enjoy disliking.

So… I kinda liked it then?

Yes, I kinda did.

Score: 3/5

Avengers: Age of Ultron (2015) review

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Avengers, assemble! And look serious.
Avengers, assemble! And look serious.

Twitter Plot Summary: The Avengers return for more action, taking on the sentient robot Ultron, as created by Avengers snark, Tony Stark.

Chalk this one up as one of the biggest films of the year but not the biggest, because Star Wars wiped the floor with everything else when it hit in December. Based on my own experience, and from an IMAX perspective, my screening of Age of Ultron on an early Friday evening was packed, and the following showing at 8pm was completely sold out. If IMAX is getting such impressive numbers, you can only imagine how many seats were being sold in the standard and 3D screenings. The answer is: a lot.

This should come as no surprise, as the Marvel movie juggernaut has been growing exponentially with each passing release. The question is, how do you follow up one of the biggest movies of all time, 2012’s Avengers Assemble (to give it its UK title)? Well you kind of bigger, you kind of go wider, you kind of make things a little more personal for the heroic group. In essence, you put all of the best bits of Buffy The Vampire Slayer into a 2.5 hour movie.

Jeremy Renner fans rejoice, as Hawkeye is given a much more central role this time round, and gets a welcome amount of backstory and a family that makes him much more than his role as Loki’s puppet in the first. By giving him a family it humanises the threat faced by the world and brings things back down to a relatable level, if only for the briefest of moments.

There’s an interesting side step from the comics canon as Bruce Banner and Black Widow get a romantic subplot – who knew, right? There’s great banter between the main Avengers posse – an early party piece where they each try to lift Thor’s hammer Mjolnir is a delight. Then there are the new characters – Aaron Taylor-Johnson’s Quicksilver (a different incarnation to Fox’s X-Men edition of the character), his sister the Scarlet Witch (Elizabeth Olsen) and Paul Bethany’s Vision, somehow looking equal parts genius and terrible.

I have issues with the finale in that it is once again an example of going large on a threat where it perhaps wasn’t absolutely necessary, and it fits in the same box as Marvel’s Phase Two films whereby a large object is likely to smash into the ground at great speed. But with that said, Joss Whedon manages to bring the action down to ground level and as ever it’s all about the characters rather than the set piece itself.

"Hey, I'm actually in this one!"
“Hey, I’m actually in this one!”

Ultron had promise as the villain of the piece, however somewhere along the way much of his villainy seems to be have been lost. Rather than the extremely promising villain that appeared in the trailers, his voice full of doom and menace, we get a character that is more content with being a bit sarcastic and little more than a self-replicating comedic tool. In many respects he has the exact level of snark and sinister behaviour to indicate that he’s a Joss Whedon creation, but he’s never given much to do beyond pontificate about his hatred for the Avengers and to engage in some Grade-D villainy. Still, at least James Spader provides value for money.

To some, the Marvel Cinematic Universe is now an incredibly bloated place, requiring extensive knowledge of past events before heading into any new film. In other respects, much of the previous story isn’t always necessary. In this case, there is enough to support this story on its own without previous knowledge of any of the MCU. It may also feel somewhat flat when compared against its predecessor, but seeing as that rather splendid effort would have been hard to beat anyway, Age of Ultron is a film that stands quite adequately on its own two feet.

Score: 4/5

World War II From Space (2012) review

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WW2FromSpace1Fake Tagline: World War 2: The Video Game

I’m a longstanding history fan, and the two World Wars of the 20th century are particular topics of interest for me. So when faced with a documentary that has a title of World War II from Space I’m naturally going to dive in and see what it’s all about.

Mixing talking heads with a CGI look at America’s involvement in World War II, this documentary film from the History Channel is a surprisingly effective glance at the biggest conflict in modern memory. Events are picked up from the entry of the United States to the war in 1941, quickly progressing through an overview of some of the biggest battles of the conflict. All of this is shown using a “satellite” view of the world.

The CGI effects look good on the whole, although now and again they somehow manage to obscure the relevant details by placing a text label in an inconvenient spot or, ironically enough, placing the “camera” a little too close to the action. It’s a minor gripe all things told, but bearing in mind they had full control over the graphics it should have been an easy fix ahead of release.

Even for someone like me who has had a longstanding interest in history and WWII itself, I was surprised at how many new angles the satellite-style presentation provides. Subjects like the mid-Atlantic gap and the struggles in the Pacific Theatre are areas of the war that have not received anywhere near as much mainstream focus as you would hope, and they get specific focus here. The Pacific Theatre in particular is an aspect that rarely gets mainstream coverage, although as proven here it is slowly gaining focus as new details about the war in Europe start to decrease in volume.

It's not as entertaining from this distance, is it?
It’s not as entertaining from this distance, is it?

If there are any complaints to level at it, it’s that the documentary covers many important aspects of the war without the opportunity to spend more than a few minutes on each subject. It would have perhaps benefitted from being spread out into a series focusing on each individual subject rather than cramming everything into a single 90 minute documentary, but the key points are covered in sufficient detail for somebody new to the study of World War II. This documentary could very well act as a stepping stone towards more detailed analysis of the history of the conflict. There’s less here for those well versed in the important details of the conflict, but the CGI presentation adds that veneer of freshness that justifies a viewing.

I have one further issue in that all of the talking heads are discussing events from the Allied perspective. There are no contributions from any German or Japanese veterans or experts which leads to quite a one sided discussion of events. I’m firmly of the opinion that a balanced discussion requires contributions from both sides of the conflict, whether or not history is written by the victors. Because of this we end up with a sadly one sided analysis of each of the big conflicts featured. Perhaps of lesser concern is that there is no focus on any significant Axis victories to act as a counterpoint to the Allied advances. In any case, if you come into Worl War II From Space expecting a balanced discussion, you will be disappointed. For everyone else, there is enough here to warrant at least one viewing.

Score: 3/5

https://www.youtube.com/watch?v=Q_e34j5aPlM

Atomic Dog (1998) review

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"So our dog is now a rabid, atomic killer, Dad?" "That's right, honey."
“So our dog is now a rabid, atomic killer, Dad?”
“That’s right, honey.”

Twitter Plot Summary: A dog gets irradiated and goes on a rather lacklustre streak of attacks on the local populace.

You will probably decide, just from the title, that this isn’t a particularly good film. If you’re anything like me, a film with a title of Atomic Dog just has to be watched no matter the final quality. I can’t be the only person to think this, right? Back me up here, people. Your decision will also be made on viewing it, of course, because it resolutely fails to run with its premise and make the titular atomic-infused dog anything more than a slightly angry dog that has a few issues with how humanity act around animals.

 

 

You would think that with a title like Atomic Dog we would be in cheesy action movie territory, a world in which a rabid dog doused in radiation goes on a killing frenzy, leaving it down to an inadequate bunch of people from various backgrounds to take on the beast. Inevitably, a few people will be killed by the dog, but eventually it is defeated. There may even be a hint of a sequel in the closing moments. Do we get any of that? No, not even close.

Much of the focus is placed on the family who lie at the centre of the dog’s assaults. And, amusingly, they are almost entirely incidental to the thin narrative. While the performances from all involved are surprisingly good, they are mired by a script that doesn’t have much of interest to say about family relationships, and doesn’t even have the good grace to offer entertaining action to make up for the slower moments.

Doesn't look all that atomic to me.
Doesn’t look all that atomic to me.

The odd moments of “action”, and I use the term loosely, see the dog mildly attacking people who get in its way. The script clearly calls for the dog to savagely attack people, but that’s not presented on screen at all. It’s like the savage beast is hugging them to death. It’s an oddly bloodless approach, and a missed opportunity in my book. A little bit of violence here and there would have at least made up for the fact that very little else happens for the full ninety odd minutes. Still, at least the family aren’t that bad at acting. So there is the one silver lining to all of this after all.

The family call in an animal expert (better known as a vet in some circles… ahem) to help them retrieve their own dog, who has gone on the lam and has, amusingly, shacked up with our atomic dog. Just think of the possibilities for this if they had decided to throw a few jokes into the mix, combined with some over the top gore and violence? This could have been an all time cult classic!

It isn’t. Not even close.

In other words, it is little more than a mid-week, mid-afternoon Lifetime movie, with added nuclear dog – a nuclear dog that looks like any other dog. It isn’t particularly good, it isn’t particularly entertaining, and perhaps the biggest crime of all is that at no point does anybody have their face ripped off.

Score: 1/5

Spend time world building

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I’ve posted about this a long time ago, more as a personal diary type thing than anything else, but I’m a strong believer in having a fully constructed universe in place for my stories before I start writing. In my experience it makes the actual process of writing much easier, and saves you sitting there wondering how you’re going to get from A to B. The following isn’t a guide as such, but it might offer a few pointers for you.

The majority of the time and effort I put into a project goes into the period before I start writing the story. We’re probably talking about an 80-20 split in favour of preparation over writing. That might sound like a lot, especially when it takes about 50 hours or so for me to write an 85,000 word novel. But if I’d have gone into that novel without knowing my characters, their voices, how they would react to the situations I threw at them, it could have easily taken twice as long to write.

I keep a very basic list of character traits to get a feel for them as I write the story. Simply personality traits (laid-back, quick to anger, analytical etc), which I then mix with secondary personality traits (dedicated, cowardly, heroic, etc). I like to ensure that everybody has a few shades of grey to their personality. Preferably not fifty, though, as that could be horrendous and also terribly convoluted. Unless the story calls for it – a dumb action film, for example – I find more enjoyment in coming up with complicated personality types to write about.

As for the wider world, what sort of place is it? Are your characters up against an all powerful government? Is it a corrupt system or are your characters antiheroes? They’re all questions I ask whenever I start planning a story out, and more besides. You can never have too much of this sort of material, although I’d recommend not throwing absolutely all of it into your manuscript. Use it to colour and add flavour to your setting by all means, but explaining everything? Not so good.

The moral of the story is that preparation is key for those of us who have attention to detail. Pantsers (people who just sit down and start writing, so called because they’re writing by the seat of their pants) might be able to get into a story with little or no advance planning, but I’m more inclined to have the details plotted out well in advance. At least that way I know that I won’t end up walking myself down a one way alley with no way back to the story I was trying to tell.

As I often say in these posts, working out the most appropriate process for your own needs is perhaps the most important part of writing. I’ve done moderately okay with this way of approaching writing in the past, and if you get something out of it too, then great.

So the big question: what works for you? Do you do something similar to me, or have you got a completely different approach? I look forward to reading and responding to your comments.

Robin Hood (1973) review

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All hail, the phoney king of England!
All hail, the phoney king of England!

Twitter Plot Summary: The Robin Hood legend, as told by Disney and using anthropomorphic animals.

Released at a time when Disney were floundering a little, creatively and financially, following the death of their glorious leader and budget issues meant their films weren’t produced to the same level of quality as those that had come before, Robin Hood succeeds despite its somewhat inconsistent plot and frequent moments of re-used animation cells. It doesn’t hurt that all of the characters have been turned into talking animals either.

This is a stripped down version of the Robin Hood legend, focusing on the meanness of Prince John and the Sheriff of Nottingham, the plight of the people of Nottingham and the efforts of Robin Hood and his band of merry men to restore some balance, be it financially or emotionally. The local children draw some of this focus, in particular three of the rabbit children living in Nottingham – and yes, there are a lot of rabbit children before you ask.

It’s almost a non-issue that the characters are talking animals, but it’s also a development that makes sense within the context of this world. Prince John is a cowardly lion, Sir Hiss a duplicitous snake, Robin Hood a cunning fox, and so on. Maid Marian is a fox – well, almost. Technically you’d argue that she’s a vixen, but that wouldn’t work quite as well for the purpose of this joke. Either way, the fact they’re animals makes this a more accessible story for children, who seem to react rather well to anthropomorphism.

What Robin Hood and Little John get up to in their own time is none of our business.
What Robin Hood and Little John get up to in their own time is none of our business.

The real joy is in the songs, the quality of which do not appear to have been affected by Disney’s financial issues at the time. Most are performed by the cockerel Alan-a-Dale, not so much an active player in events but mostly a distant observer, almost like a singing omniscient narrator. I dare you to watch this film and not spend a week singing “Oo de lally” repeatedly. But other songs are equally as joyous. “The Phony King of England” is a classic romp, and while “Not in Nottingham” is tonally quite the opposite it sits perfectly within the narrative.

Secondary to the songs are the voice cast, some of whom are essentially reprising roles from Disney’s earlier The Jungle Book. Phil Harris, formerly Baloo, is the Baloo-shaped Little John. Sir Hiss, whilst voiced here by Terry Thomas, could have been an update of Kaa had Sterling Holloway made a return. Peter Ustinov is on top form as Prince John, and Pat Buttram is all sorts of excellent as the Sheriff of Nottingham. It seems that the story was initially set in the Wild West, hence the number of actors here who were known for their work in that genre.

There’s a lot to like in Robin Hood. The animation is solid, the songs are fun, the characters a joy to spend time with. It’s perhaps not as widely acclaimed as the studio’s other productions, but it’s a high point from a decade in which Disney weren’t firing on all cylinders. And if this is Disney on a bad day, it’s no wonder they’ve been around for decades.

Score: 3.5/5

Short Story: With Peaceful Intent

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Good evening once again, and welcome to another of my weekly short stories. This one takes a step away from zombies (for a bit anyway) and returns to an alien invasion type storyline, albeit with a slight twist in its tail. If zombies and alien invasions aren’t your thing, I’ll be moving onto some other genres over the coming weeks.


 

“So they’re heading this way. What are we supposed to do about it?”
The Secretary of Defence took a drag on his cigarette, contravening a dozen laws preventing smoking indoors, and spoke in a clear, deep tone.
“Mr President, there is absolutely nothing we can do.”
The President slumped back into his chair and rubbed his greying temples. “No, there’s one thing we can do. We can go public.”

The alien fleet had been detected approximately 20 light years away from Earth and were on a direct course for the pale blue dot. At first, when NASA first identified the object, they had assumed it was an unusually large asteroid. But, as the object had drawn closer, maintaining a steady speed and trajectory through the vast emptiness between two solar systems, they soon realised it was a vessel of alien origin. After a few more months of close observation, additional smaller ships could be seen alongside the main vessel.

No signals had been received from the fleet, apparently no attempt at communication. This had led to much consternation and worry at the higher levels of most of the world’s governments. If they came in peace, surely they would have made some effort to communicate their intentions? Those who suggested that they may not have the capability to communicate on the same level as humanity were quickly dismissed as most turned their thoughts to a more military type of response.

The public were as yet unaware that humanity was not alone in the universe. Instead they went about their daily business as usual, some mildly concerned by the reports in the news about increased global tension and disagreements amongst world leaders. The majority were more interested in when the football was going to be back on the television, or deciding what to have for dinner that evening.

The President of the United States of America made his live broadcast approximately 27 days before the alien fleet was due to enter the solar system. It was calculated that it would take them less than a week to travel from Pluto to Earth orbit, based on their current speed and course. He advised the public to be cautious, to not panic in the face of the unknown. At first order was maintained, much to everyone’s surprise.

As the all important day drew nearer, millions began to suffer from severe migraines and short tempers. Doctors were uncertain about its origins. Street violence increased in volume a hundredfold in the space of a week. Very soon it was no longer safe to go out onto the streets unless absolutely necessary. Riots became commonplace as people across the world succumbed to their violent thoughts. Naturally, conspiracy theorists assumed this was the work of the aliens, designed to soften up the planet before appearing at the last for their coup de grace. Nothing could be proven. No signals were detected by those Earthbound scientists who had not yet given in to the rage.

Within a fortnight international relations broke down. After the Americans refused to share data with the Russian Federation the former Communist country started posturing. It was only a matter of time, with lines drawn in the sand and previously controlled angers now unchecked, before the nuclear bombs started falling. Much of the Northern hemisphere was wiped out in the space of a few days, the Southern hemisphere following suit in retaliatory action shortly thereafter. The survivors continued their fight against one another until there was almost nothing left but scraps.

The alien fleet arrived in Earth orbit precisely 27 days and 1 hour after the President’s speech. They had been sending signals to the planet for what passed for weeks on Earth. They had received no response. The scientists on board responsible for their message beam had suggested the lifeforms in this system may not be capable of communicating in such a manner. The command group responsible for this expedition had agreed and decided to continue their efforts. They had no other way of confirming their peaceful intentions apart from a face to face meeting. By sending out regular messages of peace, it would be clear to the planet’s inhabitants that the visitors meant them no harm.

On arriving in orbit, the alien fleet switched off the energy beam transmitting the message and scanned the surface for life signs.

The planet below was a dead husk. Thick black cloud covered much of its surface, the oceans darkened from their previous vibrant blue to a murky green. If anything had lived here before – and the artificial satellites in orbit confirmed as much – that was no longer the case.

Perhaps their readings had been wrong? The small craft they had picked up, the one enclosing a small golden disc containing strange audio recordings, had left clear instructions as to which planet should be approached. And yet, there was nothing. It seemed that this was yet another dead end, the fleet arriving too late to introduce themselves.

There was nothing more to do here, clearly. The fleet commander checked the map for this section of the galaxy and ordered that a course be set for the next solar system. After so many false positives and dead planets behind them, the commander hoped that the next one would prove once and for all that there was still other life out there in the universe.

Death Falls (1991) review

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Such a poorly known film, the only image from it is the YouTube still.
Such a poorly known film, the only image from it is the YouTube still.

Twitter Plot Summary: A wrangler comes under fire when he owes money to Jeffrey Combs, but decides to help his terminally ill friend escape hospital.

Rip Torn is Dub Farley, a wrangler who is short on cash and has a number of typical vices – drinking, gambling etc. He’s under threat from Lonnie (Jeffrey Combs) who is looking to recoup the gambling debts owed to him, and also has news that his friend Hals (Roberts Blossom) is terminally ill and is currently stuck in hospital. Whilst deflecting the attempts of Lonnie to get his money back, Dub talks to his horses and plots to help Hals get out of the hospital. He also manages to upset the local sheriff (Kaz Garas), which if you know your screenwriting 101 means that all of these various elements are likely to be thrown together for the finale. And, of course, they are.

The tone is one of near whimsy, lighthearted country music makes up much of the soundtrack, and Torn has a shotgun that frequently goes off without warning or intent, with erm… hilarious consequences. Except it’s not that funny, mostly because the whole film feels like one of those mid-afternoon telemovie productions, albeit one with plenty of swearing that wouldn’t pass muster at 3pm of a weekday afternoon. The jokes never work and it feels like the entire production is nothing more than a tired attempt at film making, as if everyone is just there to pay the bills. Much like Jaws 4, then.

Yep, it's as bad as it looks.
Yep, it’s as bad as it looks.

Rip Torn is reliably solid as Dub, but that’s mostly because he doesn’t have to do anything except look grumpy and shout at people. Jeffrey Combs is also a reliable presence, although again his role is limited to a lot of angry acting and also shouting at people, whether it’s Dub or his slightly simple goon of a friend. His standout moments comes in what passes for a car chase, again with a lot of shouting and overacting. Finally there’s Beverly Garland, an actress who deserved to be in far better stuff than this. Then again, looking back at her list of credits, it’s not all that different from her usual fare. Pity, that.

By the time things start to get interesting – that is, when Dub has finally broken Hals out of hospital and they go on the lam – it’s already too late to care at all about anything they do. Which in this case amounts to running off into the forest for a bit with a horse like a terrible version of Brokeback Mountain, chased by Lonnie and the local police. The finale may wrap everything up reasonably well, but again it’s wrapping up a story that is hard to care about. The end couldn’t come sooner enough.

Even despite running for a lean 83 minutes the plot still feels incredibly slow paced thanks to the lack of proper story and those occasional jokes never hitting their mark. It wouldn’t be so bad if it had a point to make about anything, yet it can’t even give us that. It’s fair to say that this is typical TV movie fare, and hardly deserving of any attention unless you really have nothing better to do with your time.

Score: 1/5

https://www.youtube.com/watch?v=w8sbvjIl1FE