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SEPTEMBER 28 VHS MOVIE REVIEW : FACE TO FACE
Written By Jules Grinder For VHS Wasteland

Calling ‘Face to Face’ a documentary is insulting to the worst of documentary films and the most inept of documentarians. Made quickly, cheaply, and with little perspective to offer to the viewer, this is merely a collection of scenes from two or three Jackie Chan movies, and a couple of Bruce Lee movies. This straight to video waste of time does very little to explain the backgrounds of either performer, nor does it offer much information about their careers, or even any real historical perspective.

It can be summarized like this; isn’t Jackie Chan great, watch this fight. Hey, wasn’t Bruce Lee awesome, check out this fight scene. That’s it; it’s a lousy excuse for a documentary, and generally speaking a waste of time, video tape, and narration.  

I have watched my fair share of bad documentaries, especially ones devoted to Asian action cinema, but this makes cheap stuff like Top Fighter look like a brilliant work of art, or at least high class when compared to this dreck. This was obviously made for one reason and one reason alone. It was made for a quick buck and I bet it succeeded at that.

Ordinarily, I find these kinds of compilation tapes quite enjoyable, but not this one. The shoddy quality of this particular presentation is exceptionally poor and not particularly fun to watch. The pleasure of watching a kung fu compilation is the fun of viewing just the fights and not having to spend any time trying to follow a discernible storyline. The best of those kinds of movies are things like ‘the Deadliest Art’, which offered the cream of the crop when it came to martial arts fight scenes, and had the distinction of a fairly lively narration from none other than John Saxon. Such a thing cannot be said about ‘Face to Face’.

The direction (or lack of it) is credited to Curtis Chan; a filmmaker that has enjoyed so much success that he doesn’t even appear to have an IMDB page. The narrator is Marc Andrews, I did find someone with the same name on IMDB, and considering the fact that the listing was for someone with one credit to their name, and that credit was for the narration of a shock-u-mentary in the vein of Mondo-Cane, Faces of Death, and Traces of Death, I consider it a relatively safe assumption that this narrator, and that narrator are one, and the same. Oddly enough, no proof of the existence of ‘Face to Face’ can be found anywhere on IMDB, but they can’t hide it forever, because the proof just sullied my VCR.

Among the footage used are scenes from Young Master, Twin Dragons, and Fist of Fury (AKA the Chinese Connection). Most of the footage is grainy, washed out, and looks several generations removed from an original commercial VHS release. Which is odd, because it shouldn’t have been too hard at the time to obtain decent looking copies of the scenes that are presented here, but the producers were probably looking to spend as little as possible to make this film, perhaps they even attempted to make this for a total budget of a mere few cents.

Also featured is a brief moment from the 1971 interview with Bruce Lee from the Pierre Berton Show, which is interesting, but seek out the video of the entire interview which can be purchased on VHS under the title of ‘Bruce Lee: the Lost Interview’, and is well worth checking out. Another oddity that appears in this sorry excuse for a documentary is the behind the scenes footage from ‘the 36 Crazy Fists’, something that Jackie Chan probably never intended for public display, because he has a cigarette dangling from his lips the entire time he is on camera, and this certainly wouldn’t have helped his squeaky clean and family friendly image that he was mastering at the time.

The packaging leads one to believe that this is going to be some sort of fight fest featuring Jackie Chan versus Bruce Lee, but it is not. Although, a truly smart filmmaker would have made use of the multiple examples of footage that utilized then stuntman Jackie Chan as a cinematic punching bag for Bruce Lee.

Made in 1993, when Hong Kong cinema was just starting to become popular in America, this was as exploitative as could be, and marketed to the gullible. What does it say about me that I actually bought this? That it was really dirt cheap at the thrift store and I’m just that much of a glutton for punishment. Or, perhaps I’m just that much of a sucker for anything related to Asian action movies.

Check it out if you feel the need to do so, but consider yourself properly warned. Not the worst experience known to man, but still a painful one. 


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RadioDrome Episode 4: Return Of The Living Dead: "The Fourth episode of my radio show RadioDrome (Original airdate 01-27-11). Brad Jones and I talk about video in general and we dissect the Return Of The Living Dead franchise." - Josh Hadley


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SEPTEMBER 28 VHS MOVIE REVIEW : SCANNERS
From feoamante.com

Written and directed by David Cronenberg (RABID, VIDEODROME, THE FLY [1986], NAKED LUNCH, eXistenZ), SCANNERS is about a new "breed" of human beings with psychic abilities. Most notably, they can scan other people and read their thoughts in a form of telepathy. More specifically, as the film explains, the scanner is linking his nervous system with that of the victim and is then able to manipulate their actions, inflict pain, and even cause a rather traumatic death. Throw in some conspiracy and intrigue, and voila: we have a screenplay.

Not a bad concept on which to base a movie, if you ask me. Unfortunately, Cronenberg is unable to follow through. The plot grows weaker as the film progresses, and there are several holes and mistakes throughout the action.

Get this: it appears a computer somehow has a nervous system. Oh! That means the scanner can link up with a computer and read or alter its programming! So our protagonist simply dials in from a pay phone and takes over.

"What's happening?" cries the bad guy henchman.

"Gee, it appears the system's been invaded. That's too bad," says the unconcerned computer lab technician. Now honestly, how many programmers or IT support employees do you know that wouldn't have a serious heart attack if they stumbled upon a hacker in their system?

"Damn!" says the henchman. And nobody reaches for a plug, a telephone cord, anything.

But wait! That leaves out the possibility for drama! If they throw the emergency switch that blows all the circuits, we can fry the scanner's mind! Unfortunately, the computer geek has to have WRITTEN PERMISSION from the chief of the corporation to blow the computer.

So let's get this new bit straight: picture our average friendly neighborhood network administrator. A hacker is in his system right now, wreaking havoc. Do you honestly think he is going to go through bureaucratic red tape, or waste time with voice mails, pagers, and faxes trying to track down the CEO so he can get permission to shut down the system? Granted, this was filmed in the 80's, but I think every company, even then, had some idea of system security!

So, we have more drama as the henchman pulls his gun on the tech geeks and says "here's your permission!" Cheesy and cliché.

And that's not the least of them! The others would giveaway parts of the plot, which I feel I should, out of some sense of decency, keep from revealing here lest you decide to actually go out and rent this film if only for the sake of seeing a cult favorite.

And why a cult favorite, you may ask? First of all, Cronenberg's name is on the cover. And again, the horror/thriller concept of the psychic scanners drives some interest. But if you're at all a fan of Michael Ironside (TOTAL RECALL, STARSHIP TROOPERS) and his excellent portrayals as an all-around bad-ass in both protagonist and antagonist roles, it's worth seeing this early performance when he was still showing up rather low in the credits lists.

Ironside (Nominated for the Canadian GENIE award as Best Supporting Actor for this role) plays Darryl Revok, a renegade scanner who is out to conquer the world with his powers and an army of fellow scanners. He is a very eccentric character, with a mean and cunning streak that Ironside conveys very well. His motives may be simple, but they're probably the most realistic motives in the film.

The protagonists performances are very flat, and they appear to be going through the motions of chasing Revok for no reason other than they have nothing better to do. Patrick McGoohan ([TV] THE PRISONER, TRESPASSES) was probably at a career low in this one, playing Doctor Paul Ruth, an employee of a top security company that recruits and trains scanners. He tracks down Cameron Vale, played by Stephen Lack (of talent? There was less wood in the first half of Pinocchio's performance, yet he is allowed to act again in Cronenberg's DEAD RINGERS). Vale was homeless, unable to cope with his abilities or function in society until his one day of training against an old Yoga master turns him into a force to be reckoned with and he's sicked on Revok by Ruth. Vale is led to Kim Obrist, played by Jennifer O'Neill (THE RIDE). Obrist belongs to a small group of hippie-like scanners that link to one another in some funky mental lovefest that allows them to share their love and their feelings. Of course, the hippies are all conveniently wiped out by a couple of guys with shotguns, who also fail to make another appearance in the film.

The film starts strong with some mystery as to Vale's powers and Ruth's involvment, and Revok's assassination of the company's last scanner and his subsequent escape from their security team is a good attention-getter. Unfortunately, as the plot tries to become more convoluted, it just gets sillier and develops ever-growing holes that swallow even the greatest suspensions of disbelief. Great idea but poor execution, granting it three negative shriek girls.


SEPTEMBER 28 VHS MOVIE REVIEW : SCANNERS
From internalbleeding.net

When I was younger, I always thought having a super power or ability like the talent of flight or invisibility would be awesome.  As I get older, I realize that Telepathy would probably be a lot cooler.  You could read minds, use the power of persuasion, or have the ability to find out what people are thinking - their wants, desires...  Cameron Vale (played by Stephen Lack) has that power, but at times it more of a hinderance than it is a gift.  You see, he's a scanner - one of only 237 in the world that has unique telepathic abilities that allows him to control others with his mind - and he's on the lookout for another person who shares his ability.  The problem is, that other person is on the wrong side.

Scanners starts out by showing us a Cameron as derelict.  He's eating off of other's plates in a mall food court when an incident with an older woman has his on the run from some trenchcoated individuals.  He gets caught by those trechcoat dudes and gets taken to a military contractor, ConSec, where he meets Dr. Paul Ruth (played by Patrick McGoohan).  Dr. Ruth (No, not that Dr. Ruth) tells Cameron about another scanner who's been recruiting other scanners into a sort of underground organization who's goal is to destroy civilization as they know it.  That other scanner?  His name is Darryl Revok (played by Michael Ironside) and he recently infiltrated a ConSec scanner demonstration where he was able to blow apart one of their staff scanner's heads.

After training from Dr. Ruth, Cameron develops the power to control his ability with the help of their drug "ephemerol".  He goes out in search of Revok and meets another group of scanners.  They aren't affiliated with Revok's underground, and they aren't affiliated with ConSec either.  After another confrontation, he and scanner Kim Obrist (played by Jennifer O'Neill) are again hot on Revok's trail.  Will Cameron find and defeat Revok, or will Revok persuade him to join the underground?

This is probably my favorite David Cronenberg movie.  While I haven't seen them all, I think this one has a great premise and has a few nice twists that you won't see coming.  Most of the acting is really up there, with the exception of Stephen Lack, who turns in a really wooden performance.  His lines are delivered stiffly, and a lot of his "scanning" scenes consist of showing his face with his eyes wide open, staring off into space.

Another great thing about this movie is Michael Ironside.  Again, this is one of his best performances.  I've seen him in a lot of different roles, and he's always on top of his game when he's playing as a bad guy.  Thankfully, this is right up his alley and he does an awesome job.  In a way, you really hate him because he's just that bad, but in another,  you have to envy him because he is a total badass.  His power is almost limitless and when he bursts the ConSec's egghead (which is totally awesome, and you can watch it in the clip below), it really puts the dot under the exclamation point.

All that being said, this movie does have it's flaws.  Some of the story leaves you scratching your head, especially the ending.  Stephen Lack's performance can be a distraction.  His awful delivery can take you right out of the movie at times.  There's also the idea that the scanners can hack computer systems because "Computer's have a nervous system, scanners have a nervous system... You can access it!" Uhhh, what?

This film is from 1981, so some of the styles are a little laughable and dated, but if you have an itch for a horror/sci-fi/thriller - this should be the perfect scratch for you.  Don't forget - "We're gonna do this the scanner way.  I'm gonna suck your brain dry!"


SEPTEMBER 28 VHS MOVIE REVIEW : SCANNERS
From metalasylum.com

"We're gonna do it the scanner way. I'm gonna suck your brain dry. Everything you are is going to become me," - Darryl Revok

Continuing to deal with concepts of physical manifestation and bodily horror, this 1981 Sci-fi/Horror blew people's minds away with its special effects and announced Cronenberg as a director to be reckoned with. The film deals with a group of mutants born with a certain extrasensory perception known as telepathy. In the hands of a weak scanner who doesn't understand his special powers, the gift is nothing more than madness because they constantly hear the thoughts of all those around them like an antenna that draws signals from everyone broadcasting but isn't equipped with a tuner to select one. In the hands of the master Darryl Revok (Michael Ironside), it can control another person's mind and force them to do anything, even commit suicide. The focus is not on a positive aspect of the power; this is a movie about if thoughts could kill.

The disturbingly powerful scene that everyone remembers - the most famous Cronenberg has ever created - occurs a little more than 10 minutes into the film when the only scanner cooperating with the good forces of ConSec attempts to give a demonstration of scanning to a select group of VIP's (no doubt in hopes of acquiring more funding for the program). Revok, who has infiltrated the top level security meeting but isn't known by anyone there, innocently volunteers to be the subject of the scanning. I like how he asks "Do I have to close my eyes" as if he has no idea what's about to happen and then we cut to the First Scanner (Louis Del Grande) who is just beginning his process but seems to be straining himself. With a cut back to Revok, who is obviously in deep concentration but showing no ill effects, and a brain snarl sound effect we begin to realize that he too has this power and it's much greater than the demonstrator's. The battle scene continues going back and forth between profile shots of Revok - devilishly enlivened and probably sexually pleasured by control and superiority as he sucks away his foe's nervous system - and First Scanner - peering in fear at Revok as his body starts sweating and convulsing - mixed with shots of the audience to show that they don't know things are going wrong. Finally, the pressure on the demonstrator becomes too much and Cronenberg delivers the shocking, gory money shot of his head exploding. I love the look on Ironside's face right after this happens, it's like he sucked so much out of the scanner that it gave him indigestion. This is definitely one of the great scenes of gore, not only for the actual effect but also for the perfect suspenseful setup and intensity of the performances.

The movie is not about gore though, as it later contains an excellent training experiment where the good scanner is asked to raise the heartbeat of world renown Yoga master Dieter Tautz (Fred Doederlein). One thing I like about the scene is it shows the need for an equalizer because even in good hands tremendous power can be all consuming and result in misuse.

The plot is seemingly pretty basic because most of the story isn't explained until the final minutes. Dr. Ruth (Patrick McGoohan), the man at ConSec who trains the scanners, trains the unknown 237th scanner Cameron Vale (Stephen Lack) to use his power then sends him out to infiltrate Revok's secret society. Revok has Hitler-esque aspirations of his master race controlling the world and will stop at nothing to achieve this goal. He has any scanner that won't join his cause killed, and certainly doesn't mind taking out any of the "normals" that get in his way. Although this is nothing revolutionary, the movie is socially aware and the scenes are all well handled. It shows the various dilemmas that are associated with dealing with a special human being from all perspectives.

The opening sequence that shows the scrubby outcast Cameron, haunted by his own powers, being driven crazy in a restaurant by two old ladies is particularly good. They think they are making fun of the bum behind his back, but unfortunately he knows what women don't want. It brings out the idea that his powers prevent him from functioning in a society that's still controlled by uncaring and uninformed traditional human beings. He's a scared misunderstood reject who can't control his own powers that only cause him physical, mental, and social problems. It also causes one of the women problems because she "forces him" to hurt her with the power he doesn't know how to control.

In spite of my purposely disingenuous plot summary, the film has freshness, uniqueness, and originality because even though this is "accessible Cronenberg" he never makes anything that turns out to be tired and remotely standard. All the technical and scientific aspects Cronenberg would become known for incorporating into his films enliven the story. The Dr. Ruth character that gets almost all of the explanatory dialogue is particularly interesting. He knows the scanners are the most spectacularly evolved human beings, and by being the only non-scanner that understands their capabilities he can suggest things to Cameron like getting an important highly guarded program off a computer by calling it up and connecting to it's "nervous system."

Unfortunately, like Rabid, the film constantly breaks down into something of an action film. The many interesting concepts that should make it a thinking man's sci-fi are there. I know Cronenberg would like you to consider them, but instead of fully developing them the film starts to lose focus in the middle with chase scenes and gunplay. Too many of the ideas, even if fascinating, wind up seeming rolled out. Late in the movie Kim is scanned by a fetus. Although people consider this one of the silly scenes, I don't have a problem with the possibility because the baby doesn't have to see Kim to pick up her thoughts. However, the idea is so radical that it distracts from the point of its inclusion.

The film is interesting because in addition to horror, sci-fi, and action it could even be called a thriller or a spy film. However, as is usually the case when a film could fit into 5 or more genres (Abre Los Ojos would be an exception), while it scores a lot of points for tackling so much it loses some of them because doing so in a short film dilutes the individual concepts. I tend to appreciate almost every movie I review more when I really dig into it, but since this buzzes through it's many ideas I find myself mainly looking at the technical aspects that make it a good film.

Scanners was the first film Cronenberg had a bit of dough to work with. The budget was $4,100,000 Canadian as opposed to $1,400,000 Canadian for his far better 1979 effort The Brood. However, there was some tax shelter system that forced Cronenberg to finish shooting by the end of 1980, which was difficult because Cronenberg began without a completed script. The result is he'd get up and write some scenes then give them to the crew so they could find a location to shoot them that day, with the actors learning their lines in the meantime. Nonetheless, while Scanners cannot match The Brood for terror or especially conceptually, the film is clearly superior from every technical perspective.

Cronenberg really brings his concepts to life. The scenes involving mind control are all so well done with the actors doing things like whipping their body around to show they no longer control it. Still, it wouldn't work at all without the excellent special effects, particularly the astounding makeup that is so grotesquely realistic and believable. The climactic scanner battle is the best example of this with the veins swelling then bulging out of Michael Ironside's head. Then, when he takes over, Stephen Lack's veins not only bulge out but also rupture. The eyes exploding out of their sockets is probably what people remember about the scene, but the look that's created for the mental duelists is really what makes the scene.

Carol Spier's sets are generally claustrophobically minimized to help create the tense atmosphere. The highlight is hermit scanner Benjamin Pierce's (Robert A. Silverman) isolated (so people are too far away to be accidentally scanned) art warehouse. This is vintage Cronenberg, the kind of look at all that's missing setting he'd go back to in the masterpiece eXistenZ. Here we have large futuristic sculptures being made in a place that could almost be an Amish paradise. To top it off though, they create something so ridiculous as having Benjamin's "living room" and "bedroom" be combined on a small upper level of the giant warehouse seemingly only so he can store a bunch of wooden junk under it.

Howard Shore provides an excellent score that fits the film perfectly. It's eerie and creepy like a horror film composition should be, but it incorporates the technology aspect that is such a big part of the film. Actually, all the audio is incredibly well done. The multitude of voices that Cameron hears at once are so believably maddening because all the layering distorts them into distinguishable words but not followable sentences.

Michael Ironside, who was relatively unknown at the time, gives his best performance. He is so creepy and devilish, just a totally deranged and demented example of pure malevolent evil. Aside from the awesome intensity of his sucking scenes, my favorite involving him is a 13-year-old tape Dr. Ruth & Cameron watch. This was during Revok's self-destructive days in the nuthouse before he'd come close to mastering his powers. He's there looking totally ridiculous with tape in the middle of his forehead that has an eye drawn on it. He tells the psychiatrist that he drilled the whole in the middle of his forehead to let the people out and then taped it up and drew an eye in the middle to fool the people into thinking it wasn't a door. The scene gets over the scanners feeling like the brain is overloaded with other people's thoughts at the same time it makes us understand why humans would institutionalize them. I always laugh my ass off because he looks so foolish and his story would be so crazy if they movie didn't establish the logic of it. What I like about his performance is he's serious to show that he believes everything he's saying, but laughs to show he enjoys self-mutilation. When you start thinking the younger Darryl might have been a lighter more pleasant individual, he explodes with a George C. Scott burst of rage, but then momentarily switches to being merely crazy. This is one troubled individual.

Patrick McGoohan is good as the intelligent, devoted, fatherly Dr. Unfortunately Ironside and McGoohan don't get nearly enough screen time, and the rest of the cast is pretty Lackluster. With this film, Cronenberg built his reputation as a unique director with challenging thought provoking material, which allowed him to land James Woods and Christopher Walken as the stars of his 1983 features and go on to make films with the likes of Jeremy Irons, Holly Hunter, & Jennifer Jason Leigh. At this point though, although the excuse could be made that he hadn't worked with a notable protagonist other than Oliver Reed, the fact that Reed's work was clearly subpar leads me to believe he hadn't become a great actor's director yet.

Scanners protagonist Stephen is very hard to identify with because he's severely Lacking in ability. Lack is incredibly bland and shows no range, dimension, or depth. He makes a few good faces when he's scanning, but you get the idea he was more lucky than good. Other than working for Cronenberg in his second masterpiece Dead Ringers, his few films before and after were barely seen. Jennifer O'Neill gets top billing because she's the only name in the film, but she is given remarkably little to do and could best be described as forgettable.

The film has its share of ups and downs and certainly has its flaws, but ultimately it's a satisfying film. If you are on the fence about it's quality the final segment where certain aspects are turned upside down, changing your perception of what you just saw and really this whole world Cronenberg has created, combined with the brilliant final conflict and brilliantly terrifying ending should win you over. It's hardly Cronenberg's best film, but it's an important actually commercially successful film that marks a great technical improvement for the director and helped him acquire the means to make superior films for the rest of the decade. The effects were way ahead of their time, and like the rest of the film they still hold up very well today.

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