Post on 29-Aug-2019
ISSUE #1.2 ~ SEPTEMBER 2015
The Hardcopy is just that, a PDF or print version of the output from the nEoFILM blog, which is hosted by Wordpress. Not everyone likes reading blogs, or material from PC, Laptop or Tablet screens so it only seemed fair and logical to provide an old school version to allow more people to access and enjoy these reviews. Feel free to visit the blog @ www.neofilm.wordpress.com for up-to-the-minute news, muse and movie reviews. The Hardcopy is a compilation LAST month’s output so for the latest, the blog or nEoFILM’s Facebook page https://www.facebook.com/NeofilmFilmReviews are the places to be. So, sit back, brew up and enjoy this months reviews courtesy of nEoFILM...
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INSIDE THIS ISSUE
THE DAY THE EARTH CAUGHT FIRE COLLECTION
● THE DAY THE EARTH CAUGHT FIRE (1961) ● OPERATION: HURRICANE (1952) ● THE H-BOMB (1956) ● THE HOLE IN THE GROUND (1962)
GENERAL REVIEWS
● MISSION: IMPOSSIBLE - GHOST PROTOCOL (2015) ● ANIMAL FARM (1954) ● DINOSAUR ISLAND (2014) ● STAR TREK: RENEGADES (WEB TV MOVIE) (2015) ● GALAXY QUEST (1999) ● 9|11 (TV DOCUMENTARY) ● SHERLOCK HOLMES: GAME OF SHADOWS (2012) ● THE BLACK HOLE (1979) ● DRAGNET (1987) ● CINDERELLA (1950)
SELECTED ARTICLES
● FILM OF THE MONTH ~ AUGUST 2015
● CINEMA-SCOPE @62
nEoFILM STATS
REVIEWS ~ 705 ARTICLES ~ 178
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1961
DIRECTOR: Val Guest
Contains Spoilers!
I first revised this, one of my all time favourite Sci-Fi films,
five years ago and to be honest I’m pretty happy with what I
had to say then. So here it is…
“If this isn’t one of the best and yet widely unseen
environmental sci fi shockers then I don’t know what is.
Though it is not just the science, though certainly
unlikely, but serves as a simple narrative to explain the
consequences of man’s obsession with pushing the boundaries, that makes this such a
winner.
Ultimately, it’s the gritty presentation and cynical characterisations that give this a very
British feel of how we would deal with such a calamity.
Told through the press room at the Daily Express in the 1960’s, this has an uncompromising
view, never patronising nor afraid to use dialogue that is accurate to the characters
regardless of whether the viewer understands.
This is one of the factors that made “The West Wing” so popular and the this film in my
view, rivals “All The President’s Men” for its portrayal of dogged reporting uncovering the
nasty truths.
With a shot of Scotch here and water fight there, it would seem to be all to
realistic view of our nature should this ever befall us and one day, it just
might…”
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But last year, the BFI have restored this British masterpiece again, this time preserving and
future-proofing it with a 4k transfer, loaded with vintage special features, including three nuclear
themed shorts, Operation Hurricane, The H-Bomb and The Hole In The Ground, crystal clear
trailers, radio ads, a new retrospective documentary, a 1998 Guardian Lecture with the late Val
Guest, and one of those late night road safety ads from 1978, entitled “Think Bike” with balding
Edward Judd.
All in all, this is MUST HAVE disc for Sci-fi and film fans alike, at the the very least, a real gem of a
movie and a Blu-ray set bustling with interesting features.
Highly recommended.
OPERATION: HURRICANE (SHORT) 1952
DIRECTOR: Ronald Stark
Operation Hurricane is a short subject chronicling in detail, the
efforts made during the early days of the cold war and more
importantly, the beginnings of the Nuclear Arms Race, as Great
Britain test their first A-bomb in the Indian Ocean. This was it,
the Atomic bomb test by Britain as it entered the burgeoning
race to prove that they were a power-player just six years after
helping to bring the Second World War to a close and I can only
conclude, feeling the need to prove themselves to the growing
nuclear community, I.E. The United States and The Soviet Union.
Of course, the U.K. was not alone in this endeavour but the documentary concludes on this point,
that after half an hour of explaining the details of what they were testing for, the radioactive
effects on food, structures and people, that the final images of a massive explosion and that
mushroom cloud was a statement of intent to a world now consumed with building the biggest and
most destructive bombs in order to rule the world.
It is interesting to point out though, that both the Soviets and Great Britain
achieved their victories without the use of the A-Bomb. The United States of
course, is the only power to use such a device, and twice just to make sure.
As a documentary, it is interesting, dated but a time capsule none the less and
well worth a watch.
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This is available on the 2014 BFI Blu-ray edition of Val Guest’s The Day The Earth Caught Fire
(1961).
THE H-BOMB (SHORT) 1956
DIRECTOR: David Villiers
This 22 minute short subject was an information film trying to put
into context the dangers and the attitudes needed to survive a
nuclear attack in Great Britain, just a year after the Warsaw
Pactwas signed and the A-Bomb was giving way to the much more
powerful Hydrogen, or H-Bomb.
The film takes us through a detailed breakdown of what damage to
expect and does so in chilling fashion, especially as it was toned
down, but in the same vein that less is more, this is a frighteningly
upbeat educational film, skirting over many of the less palatable
facts about the death tolls, suffering and devastation we could expect from such an attack.
Using diagrams, animations and graphs, the implications are much more chilling than the facts
presented, as the 1950’s English narrator describes the difference between the “Nominal”
A-bomb’s expected damage compared to the 500 times more powerful H-Bomb. If this doesn’t put you of Nuclear proliferation then nothing will!
Highly recommended.
This is available on the 2014 BFI Blu-ray edition of Val Guest’s The Day The Earth
Caught Fire.
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THE HOLE IN THE GROUND (SHORT)
1962
DIRECTOR: David Cobham
The Hole In The Ground is a colour
docudrama, the nearest that I’ve seen to
the chilling 1984 docudrama, Threads,
which focuses on the role and procedures
of the Royal Observer Corps (British) in the
event of a nuclear attack. It is a bit dry,
stiff upper lipped and reeks of propaganda,
focusing almost exclusively on tracking fallout and dismissing, or skirting over the devastation
caused by a the various nuclear detonations.
It also talks a lot about the rates of fallout and radiation does in terms of hours rather than days,
weeks or even years. It completely dismisses the idea that food source and farmland contamination
and is one step removed from the preaching whole “Duck and cover” nonsense.
“It’s all in a days work…” It is frightening how frightened that the government was to feel the need
to lie so blatantly about the impact.
People are apparently safe in their homes and can leave for short periods etc… Yeah, right!
The film should have said that the role of the Observer Corps was just that, to simply bear witness
the destruction of the majority of the country and probably starve to death themselves before help
would arrive, but instead, ops to show them as a sort of modern WW2 Bomber command,
coordinating useful information regarding how to manage the contamination and keep going as if
this was the 1960’s version of the blitz.
Well, we all know now that is far from the truth.
You can almost see the smug grins on their faces as they know the truth, yet
pull out this patronising nonsense to pacify the fears of a nation which is never
happy knowing all the facts.
This is available on the 2014 BFI Blu-ray edition of Val Guest’s The Day The
Earth Caught Fire.
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2015
DIRECTOR: Christopher Mcquarrie
May contain spoilers!
By number 5, the Mission: Impossible franchise seems to be
finding its feet. Tom Cruise’s ego, whilst still on top form, is now
conceding more to a weary audience that he is not the centre of
attention, at least not all the time. In this case, the master
Geek, Simon Pegg is standing almost toe to toe with Cruise
throughout and the ensemble established over the past two moves, beginning with J.J. Abram’s
shake up, M:i III (2006), is making this an expanding, action packed and never dull world.
The opening hit’s the ground running, quite literally and with the exception of the ubiquitous
slower paced second acted espionage sequence, the first-rate Opera Assassination is pitch perfect,
pardon the pun; the action is relentless throughout, with a motorcycle chase scene which even puts
John Woo’s M:I 2 (2000) to shame. And that was good too!
It is all about the feel, the tone and the comfort zone with this one. Now we have an established
cast, their relationships are allowed to grow as with the original TV series, with a solid cast gelling
well together and allowing Cruise his moments to shine without him dominating the movie. Simon
Pegg, Jeremy Renner and relative newcomer Rebecca Ferguson as the duplicitous femme fatale are
all good, as is the reliable Alex Baldwin as the obstinate C.I.A. Director.
Overall, the action is exciting, the tone is fun and the plot is interesting without being too
convoluted. And us Brits are kind of the villains… I like it!
If they continue down this road then the next instalment should be a must see!
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1954
DIRECTORS: John Halas & Joy Batchelor
May contain spoilers!
“All animals are equal though some animals are more equal
than others”
Louis de Rochemont, a producer I first became aware of with
his 1958 Cinemiracle film Windjammer: The Voyage Of The
Christian Radich, was given the task of producing this, the fist theatrical adaptation of George
Orwell’s communist satire by none less than the C.I.A., as part of their offensive against the rising
threat of Communism in the U.S. as the Cold War heated up during the 1950’s, but he opted to
farm the work out to a London animation firm, Halas and Batchelor.
They went on to make the U.K.’s first theatrically released animated movie, no less than 17 years
after Walt Disney’s Snow White And The Seven Dwarfs (1937), but better late than never! The plot
follows the source book of the same name quite closely, slavishly you might say as it chronicles the
uprising of Manor Farm’s animals over their oppressive and drunken master, Farmer Jones.
He is seen off within a few minutes only to drown his sorrows at the The Red Lion pub and the
animals create a communist society within the farm’s boundaries. As the story progresses, they
repel an attack by other farmers, open up trade with a greedy profiteer and see their society’s core
values eroded by the corrupt “leaders”, the pigs, who, like the very man which this propaganda
film is targeting, are ultimately lead by Napoleon, the Joseph Stalin of the farm.
He and his cohorts become richer and more corrupt whilst the rest toil to build grand symbols of
their little republic, in this case, a windmill.
In the end though, this warning piece about the ultimate flaws of communism are decades ahead of
its time as it foreshadows the eventual fall of The Soviet Union, even though it would not happen
for another 35 years. Orwell got this one right, recognising the issues but also providing a strikingly
poignant weapon to be used by Capitalists against their enemies, especially during this troubling
time.
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Propaganda this most certainly is but it also works as a timeless social satire, one which whether
the players are the U.S. or U.S.S.R., the socialist ideals are never far away from our imaginations
and this only highlights the dangers and flaws of such notions. All the best intentions in the world
won’t protect us from evil, seductive men, a point raised in the narration towards the end in which
it is said that “this could be a great and peaceful world but is isn’t now” to paraphrase just as the
animals are about to revolt again, but this time, against their tyrannical leaders, the pigs.
This is a masterful adaptation of a masterpiece of literary satire. One which so compellingly takes
us by the hand and leads us on a cynical journey though good ideals and notions of socialism only to
snatch the hand away and leave us the mercy of the unfortunate truth. Communism, an ideal of
equality like no other will have to have leaders and they will more than likely give in to
temptations and allow their absolute power to corrupt, absolutely.
Animal Farm is not perfect, seemingly jumping from a mildly plausible animal vs. human set up to
something more anthropomorphised by the end, in which the animals can perform tasks which are
purely fantastical but it is not about that. It is a cartoon, a fantasy, a fable and then animals are
simply allowing us to digest this in a different way, one which is much more compelling than yet
another dry drama which would probably have been forgotten by now.
But because of Animal Farm’s use in schools as both a legitimate learning tool as well as an
effective anti-communist propaganda weapon, it has become a treasured mainstay for so many
adults today. Some would say that the animation is crude and should be forgiven as such but would
disagree. I think that the film is great and the haunting music adds a real sense of tragic drama to
proceedings, as the ever growing sense of doom is lavished upon the screen.
This has the benefit of being both a good film and a interesting piece of social and political history
all rolled into one. A Technicolor time capsule of the war which began just days after The Second
World War should have ended them all. But the war of words, gestures and ideologies was in its
opening decade when the pig, Napoleon’s twisted efforts to take man’s place was unleashed upon
Manor Farm, a farm would be known by the name given to by its new masters, Animal Farm.
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2014
“STINKER!”
DIRECTOR: Matt Drummond
May contain spoilers!
The acting in Australia’s answer to Sir Arthur Conan
Doyle’s The Lost World is nothing short of reprehensible! It
comes a no surprise what so ever that hardly any of the
cast had acted before or so far, since! Almost as much as the derivative and ill conceived plotting!
The only redeeming quality here is actually the above average special effects, namely the CGI
dinosaurs, but SFX only work if the interplay is there and with the cast seeming being plucked from
the rejects list of a second rate acting school, this simply was never going to happen.
It is such a shame that a subject which has such a following across all ages can fail so miserably so
often only to be so successful with Jurassic Park (1993), this years record smashing Jurassic World
(2015) an the fantastical world of Godzilla (1954 – Present).
This was an uncomfortable and cringe-worthy watch from the opening frame. In fact, scrap that,
the open logos and credits where better than the film too!
Kids film this might be but even if it is aimed a very young audience, there is no need for it to be
this bad. But with a PG rating, it looks as if it is aimed at the family. Don’t waste your time.
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2015
DIRECTOR: Tim Russ
May contain spoilers!
Somewhere between home made videos of wild antics, raw
news footage and movie trailers is the ever growing culture of
web shows and movies. Many of them are great, short but
professionally produced, unregulated media which have fans
across the spectrum but it is also giving rise to projects such
as this.
Released on the 1st August 2015, this Kickstarter funded
project, Star Trek: Renegades is a Star Trek sequel/pilot which no mainstream media outlet will
produce. The idea that ex-cast members as well as actors such as Sean Young can pool together to
produce episodes of the now defunct show is as interesting as it is novel but is it really necessary?
The production values vary from scene to scene, with certain scenes looking as good at the series
which ending a decade ago, dropping in quality to something resembling Tron (1982), the
great-grandfather of modern CGI!
The make up effects are reasonable and the plot is one step removed from a REAL Star Trek pilot
but this reeks of being both a fan pleaser, no doubt a major topic at Star Trek conventions and
plain fanboy art. The cast is good, with Walter Keonig reprising his role as Chekov, Richard Herd as
Admiral Paris, Robert Picardo as Doctor Zimmerman and Tim Russ as Tuvok, as well as sitting in the
director’s chair. Other actors of note were the aforementioned Sean Young and the all but
forgotten original John Conner, Edward Furlong and the less said about Gary Graham the better!
The stand out character and performance here was Manu Intiraymi as Voyager’s child Borg all
grown up and cynical, Echeb, who seems to bring something of the televised Trek to this movie. But
the other than that, besides the usual revealing costumes, ham handed morals and civic dilemmas,
the film is filled with clunky exposition and a main character is supposed to be the daughter of
Khan, which makes no sense what-so-ever; but I am sure there was to be an explanation if the
“series” was picked up?
For Trekies, such as myself, this is worth a watch as it is close to the Star Trek we know and love
but this is not for anyone else. This needs a forgiving eye, one more so than mine…
Watch the movie here and judge for yourself…
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1999
DIRECTOR: Dean Parisot
May contain spoilers!
“Never give up, never surrender”
Considered by many to be one of the best Star Trek films that
was never was, even though J.J. Abrams had stated a love for
this parody of the much beloved franchise, his two instalments are at least, a league below the
quality of this quirky spoof. Complex, affectionate and littered with detailed in-jokes as well as
nods, both subtle and obvious, the relatively unknown movie director, though his TV work is much
more prolific, Dean Parisot has managed to capture the fanaticism of Trekkies and the spirit of
their idol’s adventures in one fell swoop.
Galaxy Quest follows the ageing cast of a Star Trek style 80’s TV series as they do the convention
series only to be recruited by an alien race, the Thermians, who have created a very real version of
their fictional ship along with a whole culture based on what they believe to be “Historical
Documents”, which are of course episodes of the dated TV show.
So after about 20 minutes of a real look at the life of the cast of Star Trek, sorry, Galaxy Quest,
with real references to the star of the classic show, William Shatner, the NTE (Not The Enterprise)
Protector’s crew are transported to the recreated starship and embark of a self-aware adventure
across the galaxy.
Fun, witty and entertaining throughout, this Sci Fi adventure is as much a meta-docudrama about
Trek as it is a Star Trek adventure by another name, with both aspects being fulfilling to avid fans
of the show such as myself and entertaining to everyone else, who will simply enjoy the parody of
Star Trek fandom and the dubious source for their obsessive fanaticism.
In other words, a very well conceived, written and executed movie as much for a broad audience
and those who clearly hold an affection for it.
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2002
DIRECTORS: James Hanlon, Gédéon Naudet & Jules
Naudet
9|11 was first aired on the 1st Anniversary of the attacks
in September 2001, but by now, the 14th Anniversary of the
world-changing event, 9|11 has lost some of its poignancy
but not much. After so many more detailed accounts,
following the jumpers, the heroic emergency services and
the victims both on the planes and the ground, this rough
cut mash-up of DV footage seems to leave us a little
wanting.
Plus the fact that the conspiracy theorists have gone insane
over the past decade with many accusing the French Naudet brothers of being part of the faked
footage brigade. The documentary which was originally supposed to be about a New York
Fire-house, which is why the pair ended up being so close toe the World Trade Centre in the first
place, became something else, with them being taken along for the ride as the crew which were
the subjects of their project would now find themselves in the lobby of the doomed North Tower.
Their raw, first hand POV footage is chilling at times, with the
explosive bangs on the mezzanine roof being the bodies of jumpers
crashing to their deaths above them, the devastated lobby only went
to show the force of the impact 80 floors above and eventually, the
dust-covered city streets after the towers fell.
But like I said, after a myriad of documentaries and two feature films,
the masterpiece that was United 93 and the movie of week, even
though it was directed by Oliver Stone though it is hard to believe,
World Trade Center both in 2006,9|11 has joined a catalogue of films
from that day but the first hand account is still engaging, interesting
and chilling as we know what they didn’t. That they would be lucky to
escape with their own lives that day and that the world was about become a very different place.
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2012
DIRECTOR: Guy Richie
May Contain Spoilers!
The 2012 sequel to Guy Richie’s hit Sherlock Holmes (2009)
meets a major stumbling block. Where do we go from here?
Following the events of the London-based reboot in which
Robert Downey Jr. takes on the mantle of literary
detective, this carries on almost where we left off but in
the three-years between the two movies, BBC’s Sherlock,
starring Benedict Cumberbatch had become a phenomenon in ways that Richie could only have
dreamt of for his own movies.
But it is a shame, because given time to breathe, both versions are good, modern and invigorating
but Downey's Holmes is a heroic Hollywood manifestation, whilst Cumberbatch is all BBC, through
and through. But it seems here, that now we have re-established Sherlock as a slightly mad, rough
and tumble detective, Richie opted to take him down the action road and away from the
intellectual detective from first film.
Here, he is simply fighting his nemesis but there is very little “detecting” going on and it is clearly
following the three act structure of hero meets nemesis, takes a beating but wins out in the end by
making the ultimate sacrifice for his friends. Fair enough but the plot was too hollow to prove this
and Downy is running the risk of being the Baker Street detective in name only.
Having said that, the film was entertaining, funny and the action was good, though way over the
top. Still, far from Holmes’ worst outing and Downy Jr. is always a pleasure to watch with this is
being no exception to that rule. In my view, this was misstep and one which may well have derailed
the budding franchise but with Sherlock to compete with, it was always going to be an uphill
struggle.
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1979
DIRECTOR: Gary Nelson
May contain spoilers!
I want to say that the effects were good for the time. I want to
say the acting was acceptable. I want to say that the screenplay
was more than a mediocre sci-fi script and that Anthony Perkins
was not horribly miscast in this post Star Wars Disney movie.
As the for the acting, all I can say is that it was toss-up between Roddy McDowell’s dustbin shaped
R2-D2 rip-off, V.I.C.E.N.T. and Ernest Borgnine. Maximilian Schell was just incredible, incredible
that he felt no need to act in any way, just go off on one for 90 minutes! But any movie which has
with McDowell and Ernest Borgnine as their best actors is as doomed as ludicrously sized
greenhouse shaped spaceship lingering around the titular Black Hole!
Oh hang on…
So, the action was poor, the script was mediocre and the special effects were, well functional,
though the black hole looked more like Roman candle from a cheap fireworks set. This was 1979, 11
years after 2001: A Space Odyssey (1968), 2 years after Star Wars (1977) and Close Encounters Of
The Third Kind (1977) and the same year as Star Trek: The Motion Picture (1979). There is no
excuse for the cheap look of this film, except for the fact that is easy to forget that Disney was not
the successful and iconic studio that it is today.
They had hit rough times and their output was poor and this poor man’s Star Wars is living proof of
that. But one thing I will say for it, beside the amusement of how bad certain elements where,
especially the casting of Anthony Perkins as a dubious but essentially “good” character, yes, they
cast Psycho in a Disney film and portraying him in a similar light!, and that is the pacing as well as
the late John Barry’s easy to enjoy score.
The plot is simple and ends up being a chase throughout the vast spacecraft, leading to several set
pieces and this is where it works. It is entertaining, corny but fun and no matter how hard you try,
you cannot help rooting for the them a little. But the bizarre Heaven and Hell ending with the dead
villain and his equally dispatched sidekick robot Maximilian, is typical ’70’s nonsense and totally
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out-of-place in such a straight forward sci-fi action romp as this. This is where the film thinks that
it 2001, but trust me, it most certainly is not!
1987
DIRECTOR: Tom Mankiewicz
May contain spoilers!
“Just the facts, maam”
I was kid when I was first introduced to this 1980’s comedy
interpretation of the 50’s/60’s cop drama Dragnet. And I
loved it. But it is a little hard for me judge this in the
context because of this. Yes, it is ludicrous, the plot is more
80’s than 50’/60’s and whilst some comedic scenes work by shining a modern light of what was
funny by modern standards about classic TV, other jokes such a the Police fighter jet complete with
a flashing blue light are step too far.
But then again, this is Tom Hanks in his all but forget comedy era and one which I remember well.
Starring alongside Dan Aykroyd to boot, this was an A-list pairing at the time yet this film has all
but fallen into obscurity. It has all the hallmarks of another adaptation, the 2004 Todd Phillips
directed Starsky And Hutch, which made a comedy out of a relatively serious cop show.
Both have there merits and by doing this, they both serve to breathe some life into franchises
which had long since died and I think that aiming the comedy at the generation gap is fair game but
with Dragnet, it plays it a bit too broadly. There are plenty of Tom Hanks moments and Aykroyd’s
poe-faced Sgt. Joe Friday, nephew of the original’s Lt. Joe Friday, making this a sequel to the TV
series, is great fun but this is as much a comedy vehicle for these two as it is an homage to the
original, and to be honest, homage might be strong word.
All bar the title, this is a generic cop comedy based on the genre, something with The Heat (2013)
may have also done a little better by spoofing the entire genre rather than just a specific title.
As a fan of 80’s comedy, Hanks and Aykroyd, this a worth seeing again but as a dragnet fan,
probably not worth wasting your time.
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1950
DIRECTORS: Clyde Geronimi, Wilfred Jackson & Hamilton
Luske
May contain spoilers!
This classic animation, as with many of the golden age
Disney pictures, have become more iconic than critically
acclaimed. The animation style is good, though not at the
heights of Disney’s greatest works, with many short cuts
used throughout and story is so simple that it manages to
miss the darker points of the story and spend much of its running time focusing on the dastardly
cat’s attempts to kill the friendly mice.
But there is no doubting the style of this animated feature, with Disney’s brand of anthropomorphic
fun throughout, decent enough songs, many of which are now classics in their own rights and
moments of fun. But the plot is only based on the original tale and opts to spend as little time as
possible with its source material, in favour of its own patented brand of Disney action and comedy.
But this certainly serves as a colourful introduction to the story for young children, who will
hopefully seek out the much darker and poignant source, later in life.
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FILM OF THE MONTH ~ AUGUST 2015
The Film Of this Month is Pixar’s latest hit, Inside Out (3D).
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CINEMA-SCOPE @ 62
This is the one that stuck! Just a few days shy of a year after the release of the phenomenally
successful This Is Cinerama at the end of September 1952, The Robe (1953) ushered in the simpler
and more palatable widescreen format, Cinema-scope and one which quickly evolved to become
one of the industry standards.
Even though anamorphic widescreen would flourish, Cinema-scope itself, would only last for 15
years, with its last movie, Caprice (1967), being
released in 1967, but the screen dimensions are
still in use today, unlike the doomed Cinerama
process, which with its three projector, three panel
system, was just as complex and overwrought as 3D
was at that time, which would last just over
decade.
Both formats played their parts, with Cinerama’s
contribution indisputable to the evolution of
Cinema with widescreen, stereophonic surround
sound and the idea of making epic documentaries, which the IMAX Corporation would take to the
next step in the 1970’s and beyond but Cinema-scope made it.
Here is a short but compelling documentary on the subject which I believe was included as part of
The Robe’s Blu-ray release. Unfortunately, the Blu-ray edition of The Robe is still only available in
Region A in the U.S. and is not available for anyone else at this time. Hopefully that will change.
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