While not one of the three films in the collection of shorts put under the name "Three Extremes" will ever shock to the point of no return, they represent some of the sharpest wit, guts (literally and figuratively), and psychological insight into what really creeps out, entertains and sticks with us as viewers. The first is Fruit Chan's Dumplings. This one had me intrigued on the outset because I had never seen a work of Chan's before- he's won many awards but is not as well-known a cult director as the his other contemporaries here- and by film's end he had me for quite a loop. It's surely the most depraved and intentionally "oh-my-God" type of short horror films one's likely to see in the years to come, mainly because it takes on a very basic and over-done topic, vanity, and is cooked up (no pun intended) with human beings' attachment to new life. Mainly because, as Bai Ling's character demonstrates, it's so useful a old-age-prevention to eat aborted fetuses in dumpling form, as the main character, a former TV star who's worried about being appealing to her husband. This probably has the least depth, emotionally and psychologically, of the three films, mainly because Chan is far more interested in getting the audience repulsed by what's going on. It will certainly set the alarms going off for pro-lifers, but just about anyone will wonder how it can end like it does, with a twist that is just meant to add one more devilishly wretched twist on top of the baby-plate.

Next up is Cut, a film by South Korea's newest sensation Park Chanwook. While overall his film is the most wholly satisfying and entertaining, it's not without a heap of 'hip' shots, like the one that pulls back (via computers of course, though very cleverly) across the set of a movie being shot, or in some of those angles that one saw as being one-of-a-kind in Park's Oldboy. This time a similar thread emerges: a true-blue psychopath, an extra with a grudge, makes psychological mind-games with a director with maybe too much humility to him, as his wife is tied up intricately with her fingers getting chopped off one by one. There's a lot of real guilty-pleasure type laughs to be had here, with the black comedy reaching higher points than one would've expected even from Oldboy territory, where conscience gets thrown out the window and all that's left are raw human emotions and the dark side of circumstance. It helps that the extra, played by Won Hie Lim, is great at the part because there's no real sense of humor to him, but he still ends up being funny, like when he dances to that song from one of the Director's films. The final five minutes of the short ratchets up the terror that's been building up, and those looking for the same knock-out violent climax won't be disappointed. But it's the little moments too that Park gets right, as character, primarily the Director's, is never a very certain thing.

Takashi Miike's Box is definitely, for my money, the best directed of the lot, or at least with the most measured for the characters in the story. This time the outrageousness of the previous shorts is replaced by a grim horror of complexes going back to childhood, of entrapment in the mind to memories that are too horrible to contemplate. An author seems to be revisiting things that happened as a child- the death of her sister by her own very strange accidental hands- and how a box figures its way into it all, on top of a very sick man- the girls' father- with a half-white face. Atmosphere this time trumps perversity, though it still applies that Miike's film is a work that will be probably more haunting because of the complexities to how Kyoko faces what's happened to her sister Soko. I won't reveal what the final twist is, which is pure classic Miike, but the rest of the Box, which has very little dialog and many shots that linger longer than one might expect, is haunting and deliberately gut-wrenching. A circus atmosphere, of the sort here anyway, is no more or less realistic than the other scenarios portrayed in Three Extremes, but Box also has the upper-hand of reality blending with nightmares, and what nightmarish qualities always come up from them. What does the box mean? It's not necessarily a MacGuffin, put it that way.

So, if you make sure not to eat anything during the proceedings, and maybe have someone's arm to clutch during some of the bloodier and gleefully sick moments, Three Extremes should make for a cool night of viewing. The directors on hand are in their A-game forms, and it has an appeal that might reach the more hard-bitten veterans of Asian cult films due to the ingenuity of key moments as well as newcomers to Asian horror that might draw them in ever more than before.


The first thing that needs to be said about this movie, is something that should, and shall, be said about all Reb Brown movies. REB BROWN RUNS LIKE A GIRL. There, I am glad I have got that out of the way. This is something that is apparent from the word go in this movie. Yor dramatically enters, and proceeds to skip across the desert, arm flailing about, and generally he is looking like he has never ran across rough terrain before. I sure this wasn't the intention. I'm sure, that the intention was for Yor to come across as quite adept and at home in this barren landscape. Equipped with nothing more than an axe, a loincloth and a fantastic theme tune, I sure he was supposed to appear to be some kind of natural hunter, at one with his surroundings and senses. But unfortunately, as I have said before, REB BROWN RUNS LIKE A GIRL.

That said, everybody should be like Yor. Everybody should have their own them tune. A theme tune that not only can inspire you to achieve great things in your life, but can also inspire those around you to become better people, and put their absolute trust in you. Yor's theme tune is great. It does all that a personal theme tune should do. It spontaneously burst into play whenever he does something slightly random, like killing a giant bat and using it as a hang glider, or performing fantastic trapeze stunts with an ageing, fat caveman who has man-boobs. But more about those incidents later.

Yor is a hunter. Quite what he hunts is a mystery to me. With this movie apparently set in Pre-historic times, surely everybody is a hunter, therefore making the term 'hunter' meaningless. Nonetheless, yor is a hunter. In this, his first and only movie, he quickly befriends the saggy old man, Pac, and a very clean cave woman called Kala. Together, they travel through prehistoric lands, accidentally destroying every single tribe, village or civillisation that they happen to come across. I mean all. Sorry to give that one away, but seriously. Yor is the cause of the destruction of no less than five tribes of people. Sometimes intensional, sometimes purely by accident. He is one of those people that you really would try your best to divert from your village. He is however, quite adept at killing mutated paper-mache dinosaurs. I say mutated, because they are quite simply like no dinosaurs I have ever seen, and react like no creatures I have ever heard of. The first being a cross between a stegosaurus and a triceretops, a tristegoceretops if you will. But after killing it, he does what every hunter would do, drinks it's blood, but as he so wisely puts it, "drinking the blood of your enemy makes you stronger". Then there is the giant bat. The most useful creature in his entire world. Not only does it fly past at just the right time, but this creature conveniently goes into instant rigour Mortis, even before it hits the ground. This allows Yor to use the said bat as a hang glider to fly into a cave, rescue Kala, and you guessed it, entirely wipe out the tribe that kidnapped her. Fantastic stuff.

This is a very interesting world, it has to be said.There are a few things that can be learnt from this movie. the first being you can make absolutely anything out of straw. Straw seems to be the most versatile substance in the entire world. Pac's bow and arrows are made from it, villages are entirely made from it, they even sail a boat made from straw. Which bring me to my next learning point, if you are planning to sail to a place called 'The island of Storms', don't do it in a straw boat. That really is just asking for trouble.

But it is at the island of storms that the movie takes an unexpected twist (at least it would be if the blurb on the back of the video box din't tell you the entire plot of the movie). The movie gets invaded by a completely different movie altogether. But not just any movie, it gets invaded by a cheap remake of Star Wars. Led by the 'Overlord' who is a dead ringer for the Emperor, and his team of robots, who are dead ringers for Darth Vader, they capture Yor and demand to take over the movie. Despite futile efforts to resist, Yor is eventually forced to submit to there demands and pick up his blaster rifle to continue the battle. Something which he learns to use confidently in a very short space of time. It is a skill he uses efficiently in his other movie, Space MUtiny, where he also RUNS LIKE A GIRL, SCREAMS LIKE A GIRL and generally acts ALL GIRLIE LIKE.


This movie is an absolutely superb beer and crisps movie to be shared with likeminded friends. If you have been looking for the ultimate barbarian-scifi-dinosaur-ufo combo movie check it out. Who could have believed anyone really ever made i movie of this calibre. I mean, jurrasic park only had pixels, but this movie has full blown papiermaché monsters. Brilliant! And not only is it full of really bad acting, FX, costumes etc but it's hilarious to watch. Having watched it a couple of times (incredulously on both occasions) we have coined the term to "Yor" when playing games, meaning to destroy or eradicate (by accident) a town or village. This in fact happens four times during the movie i.e. every time Yor meets up with any kind of civilization. Errr, make that five times.


Yor is great when there is nothing to watch and along comes YOR you can easily stop clicking channels you have been saved .You can watch Yor in any mood and it fits .There is only one catch you can not tell your friends you watched it by your self.You can watch it and drive someone else in the room crazy.I just wish it was a series there is so much more he could do . Stunts like Yor falling off the cliff is amazing I can not tell how they pulled it off.Some how I just knew when he killed the Great flying moth he was going to use it to swoop in on the Hairy Monster men .I don't know how he easily overcame the leader when he was wearing Yors strenght necklace. In the sequel Yor could face the underwater men. The adventures could go on and on Yor the ever living cave dweller.I even think Yor could reach out into the space age and fit in. LONG LIVE YOR


Ah, memories, sweet memories. I recall pulling into the movie theater parking lot with scant seconds to spare before YOR was to begin. I wanted to see YOR because of its title. It also was the only movie starting when we arrived, to be truthful. YOR was magnificently, superbly bad and one of the worst Italian muscle men films in history. And since this was released in the 1980s, our Italian friends threw in a little STAR WARS shtick in the second half for good measure. Reb "Captain America" Brown as Yor is an insult to actors everywhere. The special effects are laughable, on a par with a high school production. Everything you have read elsewhere about this film is true. I still can recall Brown fighting the head -- but not the body -- of a raptor and some bizarre gliding nonsense and a poorly executed laser battle near the end. I have seen some real stinkers in my time, but this one pretty much takes the cake. My wife and I and company snorted and chortled our way through the whole thing, which beat crying. YOR is a must-see for Z-grade film lovers everywhere! Remember those awful sword and sorcery flicks with the guy who played Tarzan in the late 70s? Remember that particular Tarzan flick? YOR is worse. But entertaining in a trashy way.


Yor, Hunter From the Future easily falls into the "it's so bad it's good" category. I have never laughed so hard in my life at a film. No comedy has every produced the side-splitting, tear inducing laughter that Yor has. It's too bad this film was not intended as a comedy, but rather as a science fiction/ fantasy epic.

This movie just screams cheese. It features a story riddled with plot holes (caveman on a quest to find himself runs into a superior race of beings that want to kill him... but don't explain why); randomly occuring events (random laser fire demolishing cavemen villages); criminally bad dialogue; an 80's cheese rock score; horrendous special effects (lasers firing out of weapons at obviously wrong angles); and possibly one of the most ineffective movie villains of all time: THE OVERLORD.

It's so bad it has to be seen to be believed.


This was the greatest science fiction film ever made. It had everything from half naked cave women (who look like strippers) to giant dinosaur puppets that our hero, the brain damaged surfer, must battle to save the planet (only to set off an atomic bomb accidentally at the end of the movie).

Star Wars won an academy award for special effects and it only had 1 Darth Vader. Well, this movie has like 50. You know it was a conspiracy at the academy awards. This movie should have cleaned house.

If you haven't seen this movie that is almost as bad as being a virgin. You have really missed something wonderful and unique that all human beings should experience.

If everyone watched this movie there would be no famine or war, and the ozone layer would grow back.


...that should have been this great films title. Reb Brown rocks, its amazing that in the time of dinosaurs, they also had hair bleach. These "horrible" Italian made films are a great way to see how Italians viewed American culture, for instance the theme song, sans the lyrical content that very well could have been preformed by any of the great American hair bands. Reb please make a sequel or prequel. This 10 line minimum is killing me here!..... seriously....................................................... .................. ..................... .......................... .............................


This has to be the best movie of all time. Any future in which the properties of water change to become flammable is a future i can look forward too. Special visual and sound effects which compare to the likes of Space Invaders from Atari. However, I think the best was costume design of the monsters. It brings back memories of childhood from when my parents took me to see Dinosaurs Alive at the zoo. Reb Brown should win an academy award for his role as YOR. Only he can pull of such a great screenplay with classic lines like "Damn Talking Box". I can only hope that one day they make a sequel to this movie. I believe that it will be directed by this new and up coming star Ed V.


Yor is the hunter from the future. He's a simple tribesman/He-man warrior who leads a village of displaced tribes people to the promise land. Along the way Yor slays a dinosaur,fights evil Morlocks, glides on a Giant bat, fights some alien goons who get in his way and matches wits with Darth Vader's brother. Bad film that none of the actors take seriously (except Yor). Will Yor lead the people to the promise land and find out the meaning behind that funky gold medallion that he wears around his neck? Go out and Get Yor!! I wish I could see the original eight hour version shot for European television. When will this Drive-In gem ever be released on video? Who knows.

Recommended for lovers of bad movies.


Most of the reviewers here seem to have overlooked a portion of the movie audience who love this film and keep it alive for one reason only, and that is to see muscle-boy Reb Brown leap, jump, swing and climb his way into our hearts wearing nothing more than a thong under his flimsy, breeze-catching loincloth.

It's his gorgeous buns that are the real stars here, lifting the action twice as high with their splendid rebounds---and no special effects or stunt-doubles were used in those sequences, the bounce you see is authentically Reb! He must have realized he was "showing" during the filming, but the fact that he doesn't seem to care only stirs our appreation.

It's sad Reb's real-life future did not include a Yor-2, or a Son of Yor, not even The Buns of Yor, and Reb (Mr. Brown) never again received an opportunity to demonstrate those well rounded talents so fully, consequently losing his reputation as the only actor in Hollywood who could up-stage himself by turning his back to the audience.

I hope this revelation sheds some light on why this clunker keeps selling and Columbia Pictures is spending time and money to transfer it to DVD. Can you spell p-r-o-f-i-t-s ?

UPDATE: Yes, there exists one other film showcasing Mr. Browns greatest talents; "Sssssss" (1973) Starring, Strother Martin. Reb plays big dumb jock, Steve Randall, who vies for the attention of the films leading lady. A small part for sure and he gets bumped off before the middle of the film, but you know what they say; "There are no small parts"! And, Reb proves it, by cracky, making the most of his 15 min. walking into a shower as God made him.


Yor, hunter from the future is filled with bad acting, bad scripts and horrible screenplay. why do I give it such a great vote? because it's so damn funny. This movie had me wiping tears away in laughter. Reb Brown has a unique way of looking stupid in almost every scene of this film. His goofy smile is enough to just crack me up in a minute. The music to this movie is spectacular.

I give it 3 thumbs up! A must see...


... but that's an ironic '9'... seriously, if you've ever been bored by a bad Conan rip-off or atrociously dubbed euro-trash, this is the PERFECT movie for you... it's a sci-fi/sword and sandal/post-apocalyptic mish-mash that gets more unbelievable as it goes along. The only way to distill the perfect essence that is Yor is with a meager, unworthy list (scorn) of the more jaw dropping aspects of this classic, underrated treatise on the human condition:

1. The theme song, which at one point explains "Yor's world/He's the maaaaaaaaaaaan(very high castrato soprano)".

2. The horde of smurfs-on-steroids that attack and destroy a very ineptly guarded village of hobos in furs... I'm sorry, "natives" in furs.

3. Cave bimbo Kalaa's constant assertion that "Yor's not like other men" when in fact he looks just like every other South Beach surfer dude who's ever gotten lost in a desert wasteland.

4. The viewer's slow realization that fat, greasy comic relief Pak always and consistently pulls Yor's fat out of the fryer whenever the blonde barbarian putz is about to get killed.

5. Not one, but TWO paper mache dinosaurs. And a giant bat. That becomes an improvised hang glider. No joke.

6. Geez, they just keep coming...how 'bout the line "Take me with you stranger!" spoken in all earnestness by a non-acting girl-child.

7. The straw boat that's supposed to represent a sea-based culture's highest technical achievement... with seating for four.

8. Best line in the movie- "Damn talking box!"

9. Just when you're praying it won't get any more surreal, just when you've thrown up your hands and surrendered your sanity, Darth Vader shows up. Correction: an ARMY of Darth Vaders.

10. John Steiner! Remember him? I don't! But he's the 'Overlord'! And by now, it makes sense!

11. The same South African factory-basement set from MST3k's "Space Mutiny". Now you know the movie has to be a quality effort.

12. Laser battle! Yor, having never seen a pulse rifle before, proceeds to pick off half a dozen Vaderbots from a hundred yards... or a coupla feet. My bad.

13. Skipping intermediate plot, just know that there's a wise old blind man with a monologue and a candy-stripe barber's pole jutting from the Overlord's gut, along with genetic engineering and nuclear holocaust and a house of mirrors and a rocket jet escape and OH MY GOD they coulda made a sequel! But we all know sequels are never as good as the originals. Plus the theme song runs over the end credits and Pak displays his gymnast skills during the stirring climax... saving Yor yet again! Whatever you come away from this list with, just remember that what you have in your head is not a suitable prep for the untethered insanity, the pure unadulterated madness, the sheer brain scrambling head trip that is... YOR, THE HUNTER FROM THE FUTURE! Well worth the $.99 + tax from the blowout inventory sale at the local movie gallery.


Dominance is the one word which summarizes this thoughtful exploration of the classic technological man v. natural man. Has society progressed to the point that we are fundamentally alienated from our natural environment? Yor, The Hunter From the Future, has an answer to that question which every thinking man needs to consider. A masterpiece.


Every once in a while avid movie connoisseurs are treated to a veritably timeless piece of cinematic art.....Gone With The Wind, Citizen Kane, The Seven Samurai, Yor: The Hunter From The Future......erm OK so I lied about the last one but ye gods - you'll never forget this movie once you've watched it!

In fact, this is more than just a movie...it's a life changing experience!

Within the very first few seconds of this, backed by the eighties rock soundtrack you just know that your in for one hell of a (B-Movie) ride!

What do you get for your money?

Well you'll witness an embarrassed looking Reb Brown battling dinosaurs that are pleasantly reminiscent of those found in the late 1970's movies starring Doug Mcglure. You'll find buxom babes with barely a stitch on (always a plus in my book!) You'll marvel at witless dialogue that could have been written by a pre-schooler and basically laugh your socks off at scene after scene of (endearing) stupidity.

This film is one of the most unintentionally hilarious movies I have ever had the pleasure to sit through.

Two moments stand out for me especially:

Firstly in one incredible scene, Yor utilises a dead prehistoric bird to hand glide into a cave and save his female companion (!!!!!)

Secondly, towards the end of the movie, Yor swings across a chasm in order to plant a bomb (don't ask). However he then realises that he can't get back across the immense gap which prompts his friend Pag to perform one hell of a circus stunt in order to save the day!

Both the above scenes are made immeasurably more enjoyable when the dramatic opening of the main title song suddenly blurts out during the crucial moments! - absolutely classic! I was laughing my head off!

Simply put my friends, you have not lived until you have witnessed the cinematic marvel that is Yor: The Hunter From The Future. They just don't make them like this any more!


This film was not the best movie ever made, but as far as the Conan clones that came out in other countries this one was certainly not the worst of that bunch. It tries to do some different things for a movie of its types while doing some of the things these types of movies are known for mainly the giant puppet monsters and the completely off the wall scenes like hang gliding with a flying dinosaur. What is a super cool caveman who questions who he is supposed to do? The movie goes by quick, I am guessing they knew it was not an award winning masterpiece or anything so keep it short and simple and throw in a really strange yet catchy theme song to really get the audience going. Or to make them more confused as you find out the strange truth behind Yor the hunter from the future, something tells me he is related to the Robot Ghost of Christmas Past From The Future of Aqua Teen Hungar force fame. Still, you have some interesting things to see here, there is action and you get to watch as they just launch a super powered jet as an explosion occurs cuing yet another round of that strange song that is most highly energetic. No, it is no masterpiece (let's face it Reb Brown is the star of this one), but it is bad enough to be rather entertaining in its own strange little way.


Great Movie!!!

I am a member of a danish Tolkien society, and I am the only one there, who has seen the whole thing. That in itself says alot (Almost everyone has watched a 14 or so hour finnish series based on The Hobbit (without subtitles)). It never siezes to amaze me, how horrible some people are at making movies. The real laugh comes from realizing that someone took the project serious when they shot it! It's almost better than Monty Python!


"Yor's strong, he's our man!" Those are the first words sung at the beginning of this movie! "That bad?" you ask? Yeah. Should I see it? Yeah, especially with a group of rowdy folks who like to make jokes during a movie.

Our first image is of Yor, looking like Conan's impotent brother walking into the wasteland. As the movie progresses, we are fed with cheap lines (e.g."We must have fresh blood to appease the gods!"), ladies in skimpy outfits (I don't complain about that! But no nudity!), and cheesy effects (e.g. a bat creature which looks more like a kite). Did I forget to mention that it has one of the worst theme songs in history (hey, at least "Flash Gordon" had cool guitars and good vocals!).

Half way through this film, I thought that the directors might as well have made a porn film with this material--then I would have given this movie some credit! Unfortunately, the actors take this movie so seriously, they try to deliver their lines with the utmost sincerity, only to fall flat on their face (e.g. when the villain Overlord calls Yor's girlfriend "the fresh rose of fertility", Yor proudly, but flatly states "You can't have her, Overlord. She's my woman."--what original dialogue!)

So why do I recommend this film? As you can see, I have seen this movie only once, yet I can remember half the ridiculous things in it with such accuracy! Yes it's bad, and if you are bored with your drinking pals on a Saturday night, watch this film and you will be laughing for eons!


Well, this movie is obviously not a 10! But it's very funny to watch. It's true, that Yor, the barbarian, in the beginning fights some clay&paper-dinosaurs and than decides that fighting some Sci-Fi-Robots would be more interesting. But that's the fun of it! The Story is so unbelievable stupid, that it gets normal people to laugh. What would you do, when suddenly Darth-Vader comes around the corner in an "Cavemen-Movie" ? Even more funny is the fact, that the Actor of Yor must have been very happy to be in this movie ... because he smiles like an idiot directly into the camera in nearly every stupid scene. Not to mention the awful music in this movie which sounds like an very bad Amiga-shooter... or like the music of Doom 2.

If you don't want to watch this movie, maybe it's enough to watch just the trailer... because everything mentioned is shown in it. As if it want's to say: "Hey... look how shitty I am!"


Look, I'm not going to kid you. This Italian flick (originally a TV mini-series) is really bad. But maybe the fact that I saw this on a rainy Saturday afternoon put me in the right mind-set. This film ended up reminding me of those old-fashioned monster movies I used to watch on local access TV stations when I was about five years old. The fact that the movie seems subdivided into three specific sections also helps give it that "Saturday Matinee" feel. The first third deals with the mysterious Yor stumbling upon a tribal village. Next, Yor and two companion villagers embark on a quest out in the great prehistoric wastes. Finally, the film does an about face from caveman fantasy to sci-fi when our heroes encounter a galactic warlord type who lives in secret on an island. Actually, to achieve maximum impact, you could watch the three sections separately, with cookie and soda breaks during the intermissions. Or I suppose you could just read a good book instead.


Dear IMDb user,

You may have seen trash movies, but u never saw Yor. U may have seen special effects so trashy u wanted to rip your eyes off, but u never saw Yor. You surely did enjoy thrash battle movements BUT you have never seen Yor!!!

Man first, there are 2 different moves that Yor, the hero can perform with his stone axe, but guess what..... its one too much :D. Yor perfectly beats dinosaurs, cyborgs from future, etc. with an axe swinger from right to left!!!! This move is so stylish trashy and breaks all film fight rules ever created, one point why i love this movie :D . At one scene Yor changes tactics he performs a axe block, this is very surprising because at this point the Viewer might believe with an axe swinger you will be able to conquer the whole world;) .

Secondly, Yors silly smile at different points of the movie... he jumps right in front of the camera, performs his sensational smile, at the beginning beats a dinosaur to death( guess with what move :D:D:D) and rescues a lady, performing again such an lusty smile, i think the lady got the message how to repay Yor for her rescue;)

The Story doesn't count much (its easy to follow it) but gets some really thrashy plot changes. The sets are most of the time boring, few are good(indicates that some guys on the set knew their job ;)

I recommend this movie to all the trash movie fans out there, but even to Hollywood fanatics with their good film chatter to watch and learn, because its a difference to create a "pro made" 200 million dollar trash film or to create the one and only "Yor" Film which surely has the best trash style ever seen on screen ;)


This film is so bad that it actually is worth watching to see what they ripped off from other films.

The last half of this film is what you really need to tune in for. When out hero Yor, played by B movie golden boy Reb Brown and his friends are transported to a futuristic city. Why do B- Movie cities of the future always look like the basement of a water treatment plant? Yor has to battle the evil emperor, who looks strangely close to the evil emperor in the star wars films and his evil robots, who also strangely look like Darth Vader.

To be fair the evil emperor has been working on new robots. These new more intelligent robots look like they have been chewing there stitches and had plastic collars put on them to make them stop. Best of all when Yor is fighting we are treated to a kicking rock soundtrack that sounds like a bad rip-off of Queens Flash Gordon soundtrack. You expect to hear "Yor, leader of the universe, Ah-ah, he'll save every one of us."

If you can stop laughing during the fight scenes notice how everyone has to stay in the same place during the laser battle to make it easy for the special effects people to draw in the laser shots. Also notice the high tech control room the rebel city dwellers are in, it also bears a strange resemblance to the control room of a water treatment plant. Yes, they have mastered gravity but they still have large analog dials.

If you liked Star Wars, He Man and the Masters of the Universe or Queens Flash Gordon soundtrack then catch this movie on cable because they ripped them all off and did a very bad job of it. Don't spend money to rent it. This movie is so bad it may make you smile!


The painful memory of watching this movie when it was released 20 years ago lingers, like herpes.

The only good thing about this movie are the unintentional howlers, such as the bad guys who live in the desert, and wear full-length fur coats (hmmmm, maybe not the best thing to wear when it is 120 degrees out). Reb Brown proved he cannot act in this film. It is ludicrous, horrible, terrible and more than a complete waste of time. It deserves a rating in the bottom 100 on IMDB.

Another howler. The scientists Yor encounters tell him that they have been watching his parents. Yor wisely concludes "Ahh, my father and mother". Yep, that's who parents are!


With movies like this, I wonder how no one thought to stop the

thing long before shooting wraps. Movies like Yor force me to

argue for a referee who can bring a halt to shooting a troubled

movie, much in the same way a referee saves a boxer in danger.

When would the ref have brought an end to things? Reb Brown's

first appearance might have ended it, or maybe the first papier- mache dinosaur would have brought the ref's arms up. Either

way, we would have been saved from 100 minutes or so of this

drag.


Oh, man... I remember seeing this absolute dog as a teenager. It was a matinee in this run-down theater, and no one was there but me and some friends... The plot was so incomprehensible from the outset that we began hooting at Reb Brown (dressed as a caveman and Steve Martin look-alike)... every time someone called his name -- "Yor!" -- we would yell back in unison: "My what?" Crappy movie, but a fond memory.

Can anyone explain how 22 people gave this laugher a "10?"


I was appalled after watching this. Yor runs around, randomly fighting dinosaurs, gorillas, and dodging lasers that come from the middle of nowhere. The movie follows one story line, then decides to change to just random events for the last 50 minutes. Do not see this movie.


After the opening credits , I had some hope - it looked SO bad that I thought it might be funny. Absolutely the worst , most cheaply produced film I have ever seen which tried to pass itself off as a serious movie , as opposed to the toxic avenger series, killer tomatoes , et al -though possibly rivaled by The Texas Chainsaw Massacre II. Much better than the film is Sam's review in the At-A-Glance Film Reviews - a must see.


Very, very bad film. Entertainment value is sparse, except for derisive laughter. Racist plot centers around lost tribe of Aryans with ludicrous medallions to identify themselves with. Decent full size paper dinosaurs. I dig Yor hangliding on a pterodactyl, and the fact that the rockin' soundtrack song ("Yor swore he's their man!") only booms out of the movie when something REALLY exciting is happening (which is twice).

Star Wars/Conan crossbreeding just didn't work.

p.s. that comment was from 2002. Here's my new comment:

"Yor" is one of those films that it's really hard to honestly rate on IMDb's 1-10 film scale. I don't really think that the directors were trying to make a film that was poor in the way that this film is poor. For one thing, I've seen more than one film with the name "Anthony Dawson" on the credits, so I know that a lot of his films aren't even this amusing (though a handful are even moreso). Nevertheless, a uniquely entertaining film emerged.

Yor (Reb Brown) is a mighty pre-historic hunter who rescues a beautiful woman (Corinne Clery) and her guardian-uncle Paq (Luciano Pigozzi) from a dinosaur and ends up taking them on a long journey to find his homeland (where all the other blonde haired Aryan types hang out, I guess). Along the way he finds the opportunity to hang-glide into caves using a dead pterodactyl (hang-gliding barbarians seem to be normal in these types of film), briefly fall in love with a blonde gal who might be his sister for all he knows, and basically bring about the destruction of each village he visits. Eventually he finds himself on a futuristic island where it's revealed that Yor is the descendant of a rebel leader (sound familiar, Star Wars fans?) who was spirited away from the island to save him from "The Overlord" (John Steiner). All the prehistoric lands Yor has wandered through are the result of a nuclear holocaust (apparently radiation also causes dinosaurs to return to the Earth).

Mere words cannot salvage the mess of this film  recycled story "twists" taken from "Planet of the Apes" (which in turn took them from Roger Corman's "Teenage Caveman", a film that more closely resembles this one), questionable racial undertones, papier-mache monsters (and a villain who's barely more substantial than they are), lovely cavegals in cover-girl makeup, an incredible and undiscipherable soundtrack (sounds to me like someone who doesn't speak English trying to phonetically sound out the words "Yor Swore He's Their Man!") which kicks in just at the film's most exciting parts

Oh the heck with it, I should just admit that I love this film! I've seen it probably 10 times since I was 14 or 15. I can't even imagine anyone ever taking this film seriously. Except that it's certainly not "campy", so somebody must have thought it would be good. Anyway, speaking of the "most exciting parts", I have to say that the scene with Paq swinging across that chasm on electrical cord (remember I said this one would give you déjà vu, Star Wars fans) hanging from his knees is the greatest thing I've ever seen. Congratulations to you Anthony Dawson, or Antonio Margheriti, or whatever your name is this week  you're the man! But Yor swore  he's our man!


I finally managed to get through the film with the aid of modern technology i.e. a dvr that plays back at 300x.What I enjoy the most about the database are the comments posted.Some of the writers should be teaching creative English at the university level although I secretly suspect that all the people who aced those courses didn't get jobs at the New York Times or become mainstream film critics and I know that IMDb reviewers have no reason to distort the truth or are getting paid off.Sometimes the only redeeming social aspect of some of these films are the comments made by the Silent Majority (was that Jerry Falwell or Spiro Agnew who coined that term ? or was it niggling naybobs of negativism ?) who have suffered through really awful films and are willing to share their pain with us


I gave this film a 10 out of a possible 10 stars.

I wish I could write as powerfully and beautifully as this.

Few films move to me to tears, only 2 or 3 have done so in my sixty some years of living. This one did.

This film encompasses so much: the differences that drive us apart, the misunderstandings that cause us emotional pain, trying our best and sometimes not meeting the expectations of others, and the love and compassionate that can bring us together--its all there in this powerfully moving film.

The story begins in Ireland, with a young wife and mother, who learns that her younger brother, Declan, (also an adult), is in a hospital, that he is gay and that he has AIDS.

Upon his release from the hospital, Declan decides he would like to stay at their widowed grandmother's house in the Irish countryside, where he and his sister stayed for some time when their mother went away to care for their father who was dying of cancer, when they were both children.

Declan's sister leaves her children in the care of her husband, and elects to stay at the grandmother's house with her brother. Some gay friends of Declan arrive to help with his care, and Declan's widowed mother also comes to stay there. The story then revolves around these people and the pain of expectations and misunderstandings that separate them.


I have never seen a better movie on TV than "The Blackwater Lightship."

Declan (Keith McErlean) is in his final stages of AIDS and decides to spend the last of his days at his grandmother Dora's (Angela Lansbury) house. His mother Lily (Dianne Wiest) and sister Helen (Gina McKee) come to be with him, as well as two of his friends, Paul (Sam Robards) and Larry (Brian F. O'Byrne). As his family learns to accept the fact that he's dying, they begin to mend their relationships with each other and to forget a long-time misunderstanding that had kept them apart for many years.

I can't find the words to say what a strong, powerful, emotional movie this is about life and love. For fans of Angela Lansbury and Dianne Wiest, this is a must-see (although, of course, it's a must-see for everyone). If you missed it when it aired in February, catch it when it's on again...don't forget to bring a box of tissues!


Although a bit of weepy, well done, particularly Angela Landsbury's performance. I grew up in Ireland and I was completely convinced that she was an Irish actress for the first half hour before I realized that this was the amazing Ms. Landsbury. This is a heartwarming story of the reconciliation of three generations of women come together because of the terminal illness of the 30yr old grandson.


As the father of young man who died of AIDS before we really knew much about this disease, I was deeply moved by this touching story of a young man and his sister and their relationship to their mother and grandmother. This is the kind of story for which Hallmark Hall of Fame is noted and they did not fail again to bring us some of best of TV drama available.


This made for TV Film had a wonderful cast of actors, fantastic photography of the coast line of Ireland with its quaint cottages and lighthouse. Keith McErlean (Declan),"At Death's Door",'99 became sick with AIDS and his family came to his aid along with his faithful loving men friends. His mother, Dianne Wiest,"I am Sam",'02 and grandmother, Angela Lansbury (Dora),"Gaslight",'44", along with his sister found out he was gay and did not realize how deeply he was loved. Coping with the AIDS in the family magically drew all the immediate family together and they came to terms with their great misunderstanding of each other. Old and Young a like had a great learning experience and were able to accept the FEELINGS they all deeply shared with its other. Words cannot describe the great message this film had to offer along with the great physical suffering AIDS can cause to the human body. If you missed this picture, view it the next time it is shown on TV!!


I saw 'The Blackwater Lightship' originally on the Hallmark Playhouse on television..complete with numerous commercials! I loved the film so I bought the DVD from Hallmark...minus commercials...what a treat...the film doesn't play like usual TV movies...with a 'hanger' right before the commercial to hold your interest and get one to return to the film after the commercial.

This film plays smoothly as one piece....not fragmented and spotty like most TV films.

The cast is magnificent....the sublime Angela Lansbury playing the Irish granny...Diane Wiest as the daughter of GRanny, and with several actors who were unfamiliar to me.

However two actors I am familiar with are Sam Robards (have to see more of his work) and Brian F. O' Bryan (I know I didn't get this name correctly, but he is currently collecting all the awards on Broadway this season for his superb work in 'Doubt') They are exceptional as two gay friends of Wiest's son who is dying of Aids.

With an Irish seaside setting (the Blackwater Lightship) and superb character transformations...this is a film I recommend unhesitatingly.


I hope that Marijka makes a better choice as per representation!!Beware of wolves in sheep's clothing Marijka!!!She was talking about being represented by some part-time operation in Ireland??There are a lot of very reputable and "connected" agencies in Ireland and the u.k that would love to represent this young lady i am sure.However my advice to her is to forget Ireland and actually go to the states where she is being looked at anyhow.Keep your agents to a minimum and go for the best in the business and not some mickey mouse operations that are run part time.You should try Lisa Richards in Dublin who represents Colin Farrell and also Lisa Anne porter.They are two of the best as is Karl Hayden by all accounts.


Ramon Novarro is quite charming in the title role of this little-known film. All of the other stars also do a superb job: Renee Adoree, Dorothy Janis, and Donald Crisp. It's amazing to me how natural and contemporary this film seems after 72 years. Novarro is funny, dramatic and quite believable in the title role.

It just about breaks one's heart to realize that Renee Adoree died at the age of 35, about 3 years after the release of this film. If you enjoy her in this film, be sure to see her performance in "The Big Parade".

Donald Crisp's role harkens back to his character in "Broken Blossoms", and his is the only performance in this film that teeters a little toward the melodramatic side.

Viewers may also be interested to know that Novarro had attempted a legitimate singing career in opera and recitals, and it is his voice you hear in the overdubbed recording.


I love this movie! I've seen it about four times, and every time I see it, Ramon Novarro gets cuter and cuter. He portrays the lazy and carefree islander to perfection, and Renee Adoree's performance is as heartbreaking as that in THE BIG PARADE. As a big fan of Donald Crisp, and used to his roles as kindly father figures, the lech he portrays in this film is a bit jarring, but he does an admirable job, considering he was really a big-hearted marshmallow. One of the greatest films in the twilight of the silent era.


In this funny, moving and magnificent film Ramon Novarro again proves that he was one of the best actors of the silent era. Physically he is more beautiful than any man has a right to be, but his beauty also comes from within because he projects a warmth and humanity that few actors can convey. The film itself is brilliantly directed by W.S. Van Dyke, with a witty and poignant screenplay. It is also quite subversive as the Christian is definitely the bad guy, and a life of pagan lust and laziness is held up as the ideal. And it is all superbly shot in Tahiti.

The three other stars are also fine. Donald Crisp is lecherous and loathsome, Dorothy Janis spectacularly beautiful and delightfully innocent, and Renee Adoree unforgettable as the "whore with a heart of gold". Her unrequited love for Novarro is subtlely conveyed and very moving. But Ramon's joy of life, he is truly gay in the old sense of the word, makes this film live. See it with someone you love.

Okay, they over-use the theme tune, but isn't it gorgeous?


While this film is a silent with synchronized score, there are two short scenes where Novarro sings a portion of the theme, "Pagan Love Song". First, when he is thrown off the boat by Donald Crisp and toward the climatic end when he lays down, humming the tune, and finds Crisp's cane.

You can hear him tapping the cane against the bamboo hut "live", not added sound. Both of these scenes are in perfect sync (probably Vitaphone--sounds like disc surface noise). You can usually tell the "sound stage sound" as opposed to studio sound added later.

The reason for these two short sequences is probably because the film was filmed "on location" in the Pacific. At that time, location sound recording would have not been practical. The scenes were most likely shot on a sound stage at M-G-M. Many silents were still in production in 1929. Adding sound sequences, or "goat glands", as they were called, was a transitional way of making silents "part-talkies", as referred by Photoplay magazine.


This short and sweet silent film stars one of the brightest stars of the era, Ramon Novarro. Novarro's trademark energy is channeled into a great performance as a half white half native on an island where he is not accepted by everyone. He is a wealthy man but would rather spend his time lounging in the sun eating bananas and coconuts than doing business. He meets a beautiful native girl named Tito (Dorothy Janis), half white and half native like himself. However, she is restricted by her benefactor, a hypocrite Christian businessman (Donald Crisp) who wants to train her to be white. The natives begin to have a love affair much to the chagrin of the wealthy benefactor and a prostitute (Renée Adorée) who is in love with Novarro.

As a silent made after the talkies swept entertainment, this film features a recorded soundtrack with sung music and sound effects. Sometimes the lips do not match the recording, but the track works quite well with illustrating the story.


Henry Shoesmith is THE PAGAN, a happy, handsome half-caste, perfectly attune with his South Seas home. Henry is also the owner of the largest cocoanut plantation on the island, which arouses the greed of an unscrupulous white trader with a beautiful native 'ward'...

Ramon Novarro is charming in this, his final silent film. Once again, MGM has their Mexican star playing another in his wide range of ethnic roles. Here he is a Polynesian, but he plays his part so well, and is obviously having such a good time, that he gives one of his most entertaining of performances.

He is served well by his excellent supporting cast. Dorothy Janis is Novarro's beautiful love interest - innocent, vulnerable & passionately in love. Donald Crisp is superb as the villainous white trader, consumed with lust for the girl he calls his 'Christian duty' and embittered with hatred for Novarro. His final fate is most proper & welcome. Renée Adorée scores as the island harlot, a staunch friend to both Novarro & Janis.

Directed by peripatetic W. S. Van Dyke, the location filming in & around Papeete, Tahiti enhances the story greatly.

Coming as it did at the very cusp of the new talkie era, this is essentially a silent film with an effective soundtrack that includes musical interludes & background dialogue. Novarro croons 'Pagan Love Song' (by Nacio Herb Brown & Arthur Freed) to good effect - giving Hollywood one of its first hit tunes - and his fine singing voice would be heard again in forthcoming films.


It's just as well The Pagan was shot as a silent, because it it had been a talkie, the camera would have been nailed down, the sound hissy and distracting, and the melodramatic excess of the plot overemphasized. As it stands, this is a wonderful and beautifully made film that highlights the great artistry developed by Hollywood during the 1920s. Though Ramon Navarro was a physically absurd casting choice as the half-caste Henry Shoesmith, he is never less than enchanting in the role, and it's a great pity that he was unable to make the transition to sound. Dorothy Janis, who apparently only made a handful of films in her brief career, is stunningly beautiful and effective as the pagan girl Shoesmith wishes to wed, and Donald Crisp is first rate as Slater, the cad who disguises his lust as an act of Christian charity. Shot to great effect by Clyde de Vinna on location in the South Seas, The Pagan is satisfying on every level, and comes strongly recommended to those who think they don't like silent film.


As many others have pointed out, this lacks what is accepted to be trademarks of Westwood's popular Command & Conquer franchise... the building system, video sequences and a solid story. However, that aside, this isn't a bad game. Rather than following in the footsteps of every RTS game that preceded it within the series, this takes a gamble, wanders of the beaten path. The results of this are hit-and-miss. Features that were missed earlier(such as a "move *and* attack" command... *finally*!) are implemented, game-play is changed around some... however, there are shortcomings and bugs, if not very many of the latter. The new interface is essentially that of other RTS titles(don't get me wrong, the engine is all-new), and this, unfortunately, puts some focus on aspects of these games that others(with this other interface) did better which still haven't been attended to, basically all falling into the category of overview... compared to the excellent overview of StarCraft and the Age of Empires games... titles released several years before this. The graphics are one of the best things about the game... and clearly, the developers realized this: they put footage of it all over the game. Every video sequence is presented in it, it's in the(surprisingly effective) intro, heck, it's even the background in the main menu. The effects are considerably more realistic-looking than in earlier efforts, with smoke, fire, the works. The game does require a bit of power to run well, but the graphics are worth it. The zoom feature was perhaps not the greatest addition, even if it is cool enough that you can get a close-up view... it shows too well where corners were cut in creating the graphics. The game-play is often very exciting and intense, and definitely entertaining. The difficulty is perhaps slightly uneven, but good. The three sides are remarkable in how even they are(though it should be noted that the way they are set up is essentially an idea from earlier RTS titles, including StarCraft), and all have some interesting stuff to play around with, as well as an arsenal that makes them formidable foes, and satisfying to play as. GLA, or Global Liberation Army("one man's terrorist is another man's freedom fighter"), commonly referred to as the terrorists, are the fastest, cheapest, weakest and least technologically advanced. They draw their strength from numbers and celerity. USA(which, incidentally, is also the only "clean" one, no chemical/biological warfare) is the strongest, technologically superior, but also most expensive. China is a "happy medium". Any RTS player will find a side to prefer. There are quite a few units available to all three sides, in spite of further increase in efficiency... engineers are removed, it's now the sides' main infantry unit that can take over buildings, and it's no longer instantaneous, to give a quick example. There are buildings and characteristics that are unique to their respective sides... the GLA, being sneaky and tricky, have tunnel networks, the Chinese, being morally ambiguous, have hackers to acquire further funds(all three sides have an alternate method of continually achieving supplies, so even if you fight long enough to use up all the natural resources, you can still gain more), and the US, having clear air superiority, can call in air-strikes, paratroopers and a nasty drop called The Fuel Air Bomb. All three have abilities and a special unit(which is cloaked, but can be detected, when using abilities or if the enemy has a unit that uncloaks their enemies) that fit their profile... GLA has a sniper, who(in addition to sniping infantry) can kill the driver of any enemy vehicle, the Chinese have an unarmed agent who, using her lap-top, can steal from the enemies and disable their vehicles one at a time, and the US have a battle-hardened colonel, equipped with a knife, explosives and a machine-gun(essentially a Commando/Tanya, but oh well, those *are* pretty rockin'). The special abilities(as well as some units) are accessed by earning higher ranks, granting you points to "buy" them. Successful battle raises your rank, so the better you do, the better you get, the more you'll have access to. Multi-player is quite good, and the setup is very user-friendly. Single player is divided into three campaigns, one per side. There are 21 levels in total, which, sadly, means only 7 per side. Conquer the entire world in just seven missions? The briefings are entirely audio-based, but the voice-work is pretty good. Sound in general is another area where the game does well. All the effects and unit responses/comments sound right. The music is a dramatic score, which works well. The level design is good, but for only having seven missions per side, few of them are terribly memorable(though there are some interesting scenarios, such as providing cover-fire for retreating US troops, and all three sides get a reasonably satisfying finale). The air-borne combat is made more open, particularly when playing as the US, which has access to three different types of planes, a transport helicopter and an attack chopper(and that's in addition to the special abilities). This introduces some interesting stuff that works really well; repelling from a helicopter, having one unit per side which can effectively empty a building garrisoned by enemy units, a limitless source of funds for each side, allowing units to upgrade/expand and allowing more different infantry units to garrison inside bunkers/buildings. Obviously, this has some potentially politically and morally provocative material, and I won't claim that I got through the GLA campaign without feelings of unease... but that debate should be had in the appropriate forum. This is, after all, a review. All in all... it's a pretty good game, and holds new things for RTS games, but the bugs and the features that just ought to be there are a tad obvious. I recommend this to any fan of RTS titles who is interested in the concept and the promise of better graphics, but faithful fans of C&C may want to be sure before they try it. 7/10


this game is the worst of the command and conquer series

they have removed certain featuers of the game that makes it command and conquer.

there is no longer a toolbar, so in the result of that there is workers/buldozers.

it has nothing to do with the tiberian series or the red alert series. I think the gameplay is awful, the graphics isn't good either, it looks to much of an animation rather than a realistic game. take my advice if you are a command and conquer fan, don't get this game.

THe only good thing I could say about generals is that it is in 3D


The greatest shortcoming of this series is perhaps the lack of an in-depth story and associated cinematics that were in the past, part and parcel of all Command and Conquer games. The interface is also annoying and very slow. The load times are pathetic even on faster computers. But the game itself is excellent and includes not two, but 3 sides. The levels are however, a tad repetitive and not very creative. There are plenty of units and associated gib effects to make up for that though. The America and China campaigns are too easy on normal skill and only during multiplayer is there a real challenge that will force you to think more strategically. I think this game could have been much better if Westwood had more time on their hands.


To say that this is an homage to Trufaut's 400 BLOWS would be an understatement. It's a good thing that France never got the chance to see this movie - they'd be in an uproar. Despite that, Johnny Tough is a raw, honest portrayal of a kid with self-indulgent parents, a demeaning teacher and tons of other problems. I'd say he's got like 401 Blows (especially with that surprise ending. If your jaw doesn't drop when the girls go the bathroom, then you must be a psychic. The school scenes are surprisingly touching by the end - it's got to be one of the most real teacher scenes currently in cinema. Not sure when or if ever it will be on DVD, but it's a keeper.


"He's bad...he's black...he's beautiful...and Tough! And that's no jive." I'm what you call a gifted film historian. Especially films of my era...the 70's. As shown, I can quote many films, the trailers, and the tag-lines. Another one from this was..."He'll steal your heart. He'sTough. Rated PG". I saw this when it was released with a double feature of "Together Brothers". Another rare black film. "Tough" was funny &dramatic with lessons to be learned. Remember when Johnny Tough's father made him spend the night in Jail? Then that tragicending. It makes you wonder today,"did the check bounce?". That's an old saying in Hollywood when a film suddenly ends with no explanation. they have to shut production down. I don't believe that was the case with "Tough". I miss the days when we had so many of our films to choose from that showcased a predominantly black cast. Who most times were "sticking it to the man"!


Mischievous Johnny Banes (scrappy Dion Gossett) has an unfortunate knack for getting into all kinds of trouble: he smokes, lies, steals, rudely disrupts class, doesn't do his schoolwork, and even mugs an old guy for his money! Worse yet, Johnny's vain struggling actress mother Denise (nicely played by Sandy Reed) and hard-working insurance salesman stepfather Phil (a strong and likable performance by Renny Roker) spend more time squabbling with each other than they do with Johnny. Writer/director Horace Jackson concocts a somewhat clumsy, but well-meaning and insightful social drama that pertinently addresses how severe parental neglect contributes substantially to juvenile delinquency. Moreover, Jackson tosses in occasional "what the hell?" unexpected oddball moments: Denise gives Johnny a rubdown in a scene that's simmering with incestuous undertones and in one especially startling sequence a creepy pedophile assaults a little girl in a bathroom. The jolting downbeat ending packs a pretty potent punch, too. The kid actors are all appealingly natural (Gossett in particular impresses as the moody and unhappy Johnny). Rich Holmes is memorably hateful as stern history teacher Mr. Bishop. Dennis Coffey's funky, syncopated score and Mark Rasmussen's plain, no-frills cinematography further enhance the gritty realism of this moving and effective picture.


Stage Beauty is another adaptation of a play. Yawn? Well don't, because it also happens to make a highly successful transition from stage to screen thanks to the genius that is director Richard Eyre.

It tells the tale of Ned (Billy Crudup), a young actor who specialises in portraying women on stage. In a world where only men are allowed to tread the boards, Ned's "Desdemona" (from Shakespeare's Othello) is the closest thing 17th century audiences get to femininity in theatre. However, a young upstart in the form of Maria (played by Clare Danes) wants to change all that. She has a passion for drama and unfortunately the bisexual Ned. With the help of King Charles II (Rupert Everett), she may just get her wish, changing theatre forever, and hopefully pick up Ned on the way.

When thinking of the themes of the film, many people dismiss it as a clone of Shakespeare in Love. This is unfair- the film is more thought provoking, substantial and better acted than the aforementioned Oscar snaffler. It explores themes of sexuality and gender with insight and intelligence as well as telling (and, in fact enthralling us with) a love story. As previously referred to, the acting is exceptional, especially the two leads (Danes and Crudup) who shine. The supporting cast is strong too, with Richard Griffiths as a heterosexual prequel to his role in Withnail and I, Tom Wilkinson brimming with quiet intensity as Betterton and Everett hamming it up wonderfully as the King.

Even if it does end on a slightly trite note (not to give too much away, but its' "birth of method acting" shtick irritates), Stage Beauty is a funny, heart-warming and occasionally quite cerebral meditation on love and art. What more could any theatre, or film lover for that matter, want? And don't say Shakespeare In Love!


If you were a medical student at the University of Edinburgh in 1876, be prepared for cold, gray, grimy days, complacent and pompous professors, class consciousness and the occasional dissection. If you were lucky, as the young Conan Doyle was, you might wind up as a clerk assisting the brilliant Dr. Joseph Bell, a forensic surgeon and one of the professors. In Dr. Bell and Mr. Doyle (subtitled, The Dark Beginnings of Sherlock Holmes), Bell, played by Ian Richardson, believes that one must "observe the small facts upon which large inferences depend." He can take a man's pocket watch, even though newly cleaned, and determine that the owner was poor but had come from a well-off family, that he had periods of income but they never lasted, that he was an alcoholic and that he was descending into madness. Bell can study a poorly clad man standing on stage in front of a classroom of students and determine, among other things, that the man was recently discharged from the army, earned a living as a horse driver and who drove two horses, one bay and the other white. This all comes in handy for two reasons. First, Bell uses his powers of observation and deduction to find criminals of the worst sort who otherwise would have been missed by the police. Second, and this is true, the real-life Bell served as the inspiration for Conan Doyle's great creation when Doyle gave up medicine for writing...Sherlock Holmes, of course.

Young Doyle, played by Robin Laing, initially doubts Dr. Bell's methods. Gradually, observing Bell in action and being challenged by Bell to use his own powers of deduction, Doyle becomes a believer. "You see," Bell says to Doyle one afternoon at the Edinburgh morgue, "I believe that crimes can be diagnosed in the same fashion as disease if we use the same techniques. So...what can you glean from the late Mrs. Canning here?"

While Doyle is learning from Bell, Bell and Doyle are caught up in several crimes which might be related. They involve a nobleman who often visits a house of ill repute and whose wife becomes ill; a mute street beggar who plays the violin for coins, and who dies in convulsions; a room bespattered and filled with blood, and then slaughtered sheep are discovered with their eyes gouged out; a woman who dies in a locked room with a husband who is perhaps too helpful; a pair of severed human ears placed in a box and delivered to one of the few women who are studying, with great opposition from most of the teachers and many of the male students, to be doctors; a woman of the streets who was given herbal pills and now is vomiting her life out. In fact, some of these cases truly are related, and the suspects include a moralistic, furious fellow student and an unknown psychopath who believes in simple, straight-forward evil. Bell, with help from Doyle, eventually pulls the pieces together. The conclusion, however, is not entirely satisfactory. There is loss and the promise of retribution. Even more, there is a sense that a part two was waiting to be filmed and, for whatever reason, wasn't made. Eventually there were four additional mysteries featuring Ian Richardson as Dr. Bell and a different actor as Conan Doyle.

Through it all, Doyle and Elspeth Scott, one of the women students, hesitantly discover a mutual affection that could easily grow into love. Their recognition of a possible romance comes while she dissects a corpse's right knee. One of the attractions of the production is that it doesn't shy away from depicting the reality of autopsies and forensic experiments. We first encounter Dr. Bell while he is whipping the buttocks of a corpse, prior to firing a bullet into the dead man's chest. Throughout we see the reality of how the poor live in Edinburgh, the damp, cobbled streets, the constant chill, the smeared faces of the children and the grubbiness of the prostitutes. Even the medical students don't look too well washed at times. The production values are high and there is a solid depth of acting.

Ian Richardson makes the production work. Laing does a fine job as the sincere and somewhat callow Doyle. Richardson, however, gives us a complex character who can at times be impatient, even irascible, but who has a sense of humor and irony and who has a strong feeling of humanity for those who are unfortunate, sick and poor. We can see how Bell slowly grows to feel affection for Doyle and how, in a moment of tragedy, Bell can provide comfort and strength to his student.

The DVD transfer is first rate. There are one or two inconsequential extras, such as cast lists. One of the pleasures of this production, if you are a reader of the Sacred Texts, is to identify references to some of Conan Doyle's Sherlock Holmes stories. I found two, but I've been told there are several others. The affair of the watch references The Sign of Four. The severed ears are a key element in The Cardboard Box.


The pilot episode of this fascinating series from 2000 is a must see for any Holmes fan.The care taken with even the smallest details shows in every scene and the period is beautifully recreated.It's all about how Sir Arthur Conan Doyle came to create the character of Sherlock Holmes.

Any fan will know that he based him on his friend and teacher,Dr.Joseph Bell.Bell taught him at University and had talents which had to be seen to be believed.

The series opens with an older Doyle facing a public backlash over the publication of the Final Problem,which sees Holmes fall to his death during a bitter struggle with Professor Moriaty.People believed in Holmes so much that they couldn't except his death.(Doyle brought him back in The Empty House.)

We are then taken back to the 1800's where Arthur Conan Doyle(Robin Laing)is a medical student at Edingborough Univeristy.He signs up for a class taken by the esteemed surgeon Dr.Joseph Bell(Ian Richardson)who has remarkable powers of deduction which astound those he teaches.

Doyle thinks it's all a trick,however accepting the job of clerk and assistant to Bell soon makes him change his mind.He falls in love with fellow student Elspeth Scott(Dolly Wells)one of a small group of women students desperate to be treated as equals by the men.

Things turn deadly when a prostitute is attacked and Bell discovers a room covered in blood,but which contains no body.Soon Bell and Doyle are in a race against time to stop madman Thomas Neill(Alec Newman)from going on a killing spree.Neill was in real life a fellow student of Doyle's and a suspect in the Jack The Ripper case.

WIth strong performances and some truly chilling moments Murder Rooms is a fascinating and well made crime series.Holmes fans will enjoy seeing which Holmes traits were taken from Bell.These include his appearance,powers of deduction,intellect and at times cold and detached manner(looking at a case without emotion.) Also starring Charles Dance as Sir Henry Carlyle.And Aly Bain as a fiddler,who's murder is the first in a bizarre and frightening line of dark events which draw Doyle and Bell closer together as they try and stop it.

Future episodes saw the growing friendship between Doyle and Bell and the beginnings of Doyles interest and belief in spiritualism.This is well worth watching especially if your a fan of Sherlock Holmes.


I was only 9 years old in 1968, but I was an avid television watcher, and I loved this TV show.

My parents got me a Julia "Barbie" doll, even though I did not have any regular Barbie dolls. (We are a Caucasian family.)

It is almost 40 years since I have seen an episode of Julia, but reading the other comments triggered a little memory for me.

I remember the morality of the show. I remember respecting Julia. I remember liking her little boy for his respectfulness toward his mom. I remember it was an intelligent show, not a silly one.

I loved this show.


As we come upon the golden 40th anniversary of classic sitcom that needs to be released on DVD or for that manner brought back to television. The reason? Before this series,actress/singer and Broadway sensation Diahann Carroll starred in several theatrical features,most notably opposite starred opposite Dorothy Dandridge,and Harry Belefonte in Otto Preminger's brilliant 1954 musical "Carmen Jones". She was also in the film version of Gershwin's "Porgy and Bess"(also directed by Preminger)and starring opposite Sidney Poitier,Pearl Bailey,and Sammy Davis,Jr.,and opposite Paul Newman in "Paris Blues",which reunited her with leading man Sidney Poitier. She also made her mark in action films as well starring opposite former NFL-great Jim Brown in "The Split". She won the Tony Award in 1962(the first African-American actress to do so),and was nominated for an Academy Award for Best Actress in the 1974 landmark classic "Claudine",which she starred opposite James Earl Jones.

So,why after 40 years is this landmark series "Julia" not even mention or not even rated as one of television's greats? Diahann Carroll is best remembered as being one of the first and foremost television series to featured an black actress to star in her own weekly series where she did not play a domestic worker(Before "Julia",television shows featuring lead characters were usually servants like Louise Beavers in "Beulah",and Amanda Randolph in "Make Room For Daddy"). And the first to star in a non-stereotypical role. The classic series "Julia" was groundbreaking for its time in 1968,some three years earlier before Bill Cosby broke color barriers for his work(and won the Emmy for Best Actor) on the series "I Spy". During the 1960's the color barriers in Hollywood were broken and it opened the floodgates for other African-American actors to make their stride...After the success of "I Spy", you had other black actors that did the same,and it launch a new era for minorities too. Actors like Rockne Tarkington("Tarzan"), Hari Rhodes("Daktari"),Robert Hooks("N.Y.P.D"), Nichelle Nichols("Star Trek"), Gail Fisher("Mannix"), Greg Morris("Mission:Impossible"), Don Mitchell("Ironside"), Clarence Williams,III("The Mod Squad"), Ivan Dixon("Hogan's Heroes"), Rafer Johnson("Felony Squad"), and Don Marshall("The Land of the Giants"). Earlier actors included Cicely Tyson("East Side/West Side"). Even the variety show concept also featured African-American actors as well and during the success of Diahann Carroll's sitcom,two black oriented shows were launched featuring black women in their own weekly variety shows..one of them was Broadway sensation and actress Leslie Uggams whose variety show was on CBS,and the other was Barbara McNair whose variety series lasted one season for NBC.

"Julia" was the first to featured a black actress in a positive light during the height of the civil rights movement and the Vietnam War. The series was produced by Hal Kanter for Twentieth Century-Fox Television. It produced 86 episodes during the three seasons that it ran on NBC-TV from September 17,1968 until May 25,1971. The series did very well in its timeslot when it premiered in 1968,opposite the espionage series "It Takes A Thief"(which was on ABC),and the long-running variety series "The Red Skelton Show"(which was on CBS). Diahann Carroll won the 1968 Golden Globe for Best Actress,and was nominated for an Emmy in 1969 for Best Actress during this series' run. However,the show was the first to tackle issues head on for its day and it was handled with style and grace..something that was unheard of and especially when this show premiered in 1968. This was a series that was groundbreaking while it was on the air and for one was devided by a significiant segment of the black community as not being political or angry enough,owing largely to its status as an lighthearted sitcom.

Carroll played a widowed single mother Julia Baker(her fighter pilot husband had been shot down in Vietnam),who also worked as a nurse for a large hospital. She had a son Corey Baker(Marc Copage)who lived with her in a upscale apartment complex. Her boss was Dr. Morton Chegley was played by Lloyd Nolan,while her co-worker Nurse Hannah Yarby was played by Lurene Tuttle. The Baker's downstairs neighbors were the Waggedorns. Julia's best friend Marie Waggedorn(played by Betty Beaird)was close friends with her son Earl J. Waggedorn(played by Michael Link),who was Corey's best friend and playmate,along with Marie's husband Len(Hank Brandt),and their infant daughter. Other characters included The Baker's housekeeper Roberta(Janear Hines),and not to mention Julia's cousin Sara(played by Broadway sensation and Actress Diana Sands). The guest star roster included Cesar Romero,Bob Hope, Sugar Ray Robinson, Mary Wickes, Stu Gilliam, Jack Soo,and a special guest appearance by Jimmy Stewart in one episode. Her romantic interests were Fred Williamson(Steve Bruce),Paul Winfield(Paul Cameron),and Don Marshall(Ted Neumann). The theme music came from Oscar winning composer Elmer Bernstein. When the show "Julia" left the airwaves in 1971,the show that NBC replaced it with was the short-lived police drama "Sarge" starring George Kennedy that ran from 9-21-1971 until 1-11-1972.


I hated this show when I was younger, but to see it now it is so cute and many situations come to light and are dealt with in a fun and dignified manner. I love the '60's and '70's fashions. You get to see some of the greats in their younger days too. Don't take anyone's word check it out for yourself. Fred Williamson's first appearance on this show was in "Dancer I The Dark", an episode that was written by Hal Kanter the creator and producer ofthis series. Many actors are featured in the show...I love it!

There are some negative things, but in all this show is fun and upbeat. I love the old style of acting they had back then. Even Cesar Romero was in a few of the episodes. Also Don Ameche, Jimmy Steward, Stu Gilliam, Bob Hope, Sugar Ray Robinson, Jack Soo, and many others made appearances on this show. Also If you are looking for copies of the Julia show in colour I have seen themon ebay on 16mm film and VHS. Do your research. I really love the style of acting in this series, it's old fashion and wonderful.

I love everyone in the cast they are good actors and Betty Beaird as Marie Waggedorn is excellent. A very earthy mother-like feeling comes from to mind when I watch her.


I was born white in 1963 in a WASP neighborhood in Indiana. But I remembered this show when they came out recently with the new "Nurse" shows--Nurse Jackie and HawthoRNe. I looked it up b/c I couldn't remember the star's name and I was telling a friend about it at work. But I remembered this show that I watched when I was all of 5 years old. Because it mattered. And even then, it pulled me toward where I am now. I have been an RN since 1984, and now work as a nurse practitioner. I am proud to be a nurse. I cried when Obama won the election, because I felt like it was a win for MY side. A huge win--and this show was part of that, the beginnings. I am proud that I have been a part of the "I'd like to teach the world to sing..." generations. That what we have all worked toward is the equality, not just of black and white but of everyone. That we all have value that deserves to be heard and witnessed equally. And I think the fact that this rather brave for the time show (and actress) was able to influence the 5 year old white child of an Alabama bigot to spend a lifetime in the same line of service to others says a hell of a lot about its "epochal" effects on the minds and people of that time. Even today, I think I'd rather be "Julia" than "Jackie". I would feel more respectable. Thank you Ms Carroll and company. You made a difference. I hope today's shows can stand up to the same test. We need nurses, and we need people who cross the lines.


Actually, it was Ethel Waters who was the first black woman to star in her own TV series. The series was Beulah. The show was on during the 1950's. Miss Waters played a maid. No surprise there as roles were very limited to blacks back in the 1950's. A black person having his or her own TV show was shocking back then. What set Julia apart was that the title character was a widow whose husband was killed in Vietnam and was college educated. One of the reasons Julia was cancelled was that Diahann Carroll was receiving threats on her life. She didn't return to a television series until the late 1980's/early 1990's when she started appearing on the prime time soap Dynast.


I saw Lot in Sodom at a film festival about eight years ago and was dazzled by its visuals. The film was shot in the early sound era and, like other films of that period by Dryer, Murnau, and others, the soundtrack is used for music, sound effects and occasional unintelligible words. This film is a must see for anyone interested in the virtuosic film work of the German and Soviet filmmakers of the late silent era as it is a rare example of similar work being done in America. The work's creators used the medium of film to its full potential rather than being content to use the camera to record visuals that could just as easily be seen on a stage.

I tried for years to get a copy of this film and wrote to companies to see if someone might release it on DVD. I am happy to now own a copy, review it repeatedly and share it with friends.


Having first seen the directors' 12min take on Poe's Fall of the House of Usher, I was looking forward to seeing this one too and wasn't disappointed at all. Though perhaps not quite up to the same level of artistic attainment as 'Usher' it is nevertheless very much in the same vein.

Like the 'Usher', the viewer should be familiar beforehand with the story on which it is based. In 1928, the directors, Watson and Webber, could have safely assumed the audience's knowledge of the biblical tale. (Interestingly, apart from the actual Genesis account, a phrase from the Song of Songs is also used when Lot is offering his daughters to the mob outside, desperately trying to convince them of the attractions of 'woman'). To complain that the film does not present the plot more overtly is beside the point, and almost a declaration of ignorance.

The basics of this tale (for those that know them) survive intact its retelling through the particularly distinctively visual, sometimes abstract or symbolic approach of Webber and Watson, and its protagonists are all clearly identifiable and well portrayed by the actors.

On the whole, a more accessible film than the 'Usher' film from the same directors. It bears, even demands, repeated watching. My only wish is that Webber and Watson had made more than just these two films together.


This is an "extra" of sorts on the DVD for Alla Nazimova's production of Salome. Although this was made in 1933 (or at least released then) it totally made me think of the German Expressionist movement of the 1920s. (The Cabinet of Dr. Caligari sprang to mind) You definitely need to already know the story of Sodom & Gomorrah, but as another reviewer stated, the audience back then would have been well-versed in biblical text. As for bible-thumpers who object to sex and violence, they should start with banning the bible since, as this story shows, it is chock full of both. I was curious to know about any censor issues with this film because their is a lot of eroticism with the young male dancers and some bare buttocks, as well as an extremely voluptuous statue of a female torso(at least I think it was a statue). The most surprising image is when the men approach Lot's door and one man has his arm bent upwards and his hand cupped. When he moves out of frame and stops, the shadow of his arm is just to the right of the door-frame and is very clearly in the shape of an erect penis. I wondered if such a graphic image passed the censors because the story was biblical? Either way it was interesting and got the point across very clearly. This is worth watching a few times. It's a bizarre, but interesting piece of film history.


"Lot in Sodom" starts out with a palindrome involving an imagination of Sodom that premeditates both of Kenneth Anger's later works "Inaugeration of the Pleasure Dome" and "Fireworks". It's a description of sin and pleasure with a heavy dark side, slightly feverish in mentality and burdened down (purposefully) by kaleidoscopic imagery and multiple exposures and cuts. After the mirrored tale, we're introduced to Lot and his family, and the movie actually becomes one of the more narrative avant-garde films I've ever seen.

The makers of "Lot in Sodom" did a very good job in mixing together both the experimental side of the still relatively new medium and iconographic imagery. Weird abstract editing style matches Christian icons and symbolism, and a well-known Christian story is told via intertitles AND sound (a pretty good mix of the two, if I may say so myself).

The movie itself is somewhat effective at presenting its themes, but it's true power as an experimental work resides always in its imagery. The images of fire raining from the sky are actually uncannily accurate to the type of ways God's wrath is described in these sources, and the woman turning into a pillar of salt is a resounding moment of special effects... even if it is just double-exposure and really good choreography. I think if ever a movie makes a good argument for the potential of cinema, "Lot in Sodom" is a good film to turn to because it so well manifests an understood story in a whole new form very different from what we accept as generic narrative form today.

--PolarisDiB


A short art-house movie, beautifully photographed and edited, with dark stage-like sets, leaping and leering effete young men wearing eye-makeup, jeering townsfolk, biblical intertitles, and jarring modernistic music. The decadence of the city seems to reside in its airborne or writhing gay dancers, and in the opposition to Lot and his visitor the Angel. A problem arises with Lot: he is the only old person in Sodom, apparently, and he looks a lot like an anti-semitic caricature of an old Jew, both in costume and makeuphe's got a great hooked nose and deepset eyesand gesture. Lot's wife is neither ancient nor stereotyped, nor is his daughter especially notable except for a tranquil beauty. Some cinematic effects workthe montage is both visually attractive and symbolic, and the fiery rain is okay, tooand others don't (a jagged white lightning streak down the centre of the screen during the opening is headache-making). The story ends with the transformation of Lot's wife into a pillar of saltLot is nowhere to be seen. The movie is more like a ballet than a story, interesting and sometimes beautiful but quite uneven.


This is a very strange film - so strange that if you don't know the story beforehand, it won't make any sence at all. It is filmed uniquely (lost of special camera effects), using minimal intertitles. The subject matter is racy, to say the least, and you get to see plenty of skin from beautiful people. is it a fantastic movie? not especially, but worth seeing.


Okay, I'll admit that it is the ONLY gay Avant Garde Biblical film I have ever seen,...but by default it is definitely the best. It's a pretty strange little film, though compared to the rest of the short films from the Kino Video Avant Garde collection, it's pretty "normal" and approachable for the average viewer. However, I am really not sure exactly who the audience is for this strange art film. After all, gay audiences probably won't enjoy all the religious content and Bible verses--especially when the people of Sodom are damned. And, due to the homo-erotic imagery, most deeply religious people will be at least super-duper hesitant to watch the film! So, unless you really want something very different and pretty oddly creative, this film probably won't be one that will change your life or get to to watch it more than once. I gotta say, though, that the inventive camera-work is pretty cool and the film is in many ways like a piece of Pop Art.

If you ARE looking for an "artsy" film but find this type of film I described sounds too unusual or esoteric, maybe you should try the films of the great French artist/director Jean Cocteau. Other than his BLOOD OF A POET, his other films combine artistry and Avant Garde imagery with well-constructed plots and familiar movie elements. My favorites of his films are Orphée (Orpheus) and La Belle et la bête (Beauty and the Beast).


A highly stylized spin on the Biblical story of Lot--and I mean highly stylized, with a generous amount of avant garde tossed in. Lots of beautiful guys, but very sparse on gals. Supple and ethereal editing, yet put the entire thing together, and it doesn't make much sense at all. "Lot in Sodom" makes an Andy Warhol flick seem like a Doris Day feature. Unless you're wired radically different than most of us, I'd give this one a wide pass.


Every time I see The Twilight Zone, I become more and more impressed with it! Nothing in the Dark is a story about the most frightening thing known to man; the unknown. The themes of mortality and fear are well felt in a story of an old woman who forces herself to remain in her small tin shack. She remains there through fear; fear that death may claim her. When she finds a young wounded policeman on her doorstep, she faces a dilemma - does she let him in, and risk letting death claim her - or does she let him die? This episode is shot entirely inside one room, and yet never becomes dull or uninteresting. The claustrophobic feel bodes well with the dark plot, and the way that the program takes an age-old fear and spins a story out of it is fantastic. Gladys Cooper is excellent in the lead role; delivering a performance that is both abstract, yet believable at the same time. The episode also features an early role for one Robert Redford, who gives an early glimpse of his charisma in his role as the policeman. The climax to the tale will probably be guessed way before the ending; but The Twilight Zone is never completely predictable, and it still manages to pull something out of the bag at the end! Nothing in the Dark is surely one of the best episodes of Rod Serling's "The Twilight Zone" and comes hugely recommended from me!


Okay, before I begin I should point out that this episode co-stars a very young and attractive Robert Redford--before he was a star. Most women should be very happy about this--making it reason enough to see the show! But, believe me, it's still well worth seeing regardless.

The actual star of this episode is Gladys Cooper, who plays a seemingly crazy and scared old lady who refuses to allow anyone in her basement apartment. You see, she believes that the Angel of Death is stalking her and if she never lets anyone inside, then she'll live forever. Throughout the episode, various people try to get her to open the door but with no success. Only later, when a young policeman (Redford) is shot does she struggle between her fears and her desire to aid this poor dying man.

The episode is exceptionally well written and acted, plus it is very profound in its message about death and the afterlife--and all handled in a very engaging and deft style. This is one classy and enjoyable episode I can't recommend strongly enough.


The old Ms. Wanda Dunn (Gladys Cooper) had survived many times against death along her long life. Now she is afraid of Mr. Death, and does not open the door of her room in an old building for anyone who knocks the door. When the police officer Harold Beldon (Robert Redford) is shot in her front door, the reluctant woman opens it and lets him in. She helps Harold and she tells him about her fear of Mr. Death and that her time was coming, therefore she could see him. When a contractor (R.G. Armstrong) comes to demolish the building, he explains the "old gives space for the new" to her and she finds that her new journey has begun.

This beautiful tale is among my favorite episodes of "The Twilight Zone". The heartbreak story about the fear of the unknown is magnificently performed like a play on the stage by the awesome Gladys Cooper; Robert Redford in the beginning of his career and R.G. Armstrong. I believe this unforgettable tale shakes with every mature person, and there are many fantastic lines, like for example, "better living in the dark than not living at all" or "old gives space for the new". My vote is ten.

Title (Brazil): "Nada na Escuridão" ("Nothing in the Darkness")


In this classic "Twilight Zone" episode titled "Nothing in the Dark" it's certainly one of mystery and journey into the unknown. Plus it's a vintage one for the fact that it featured Robert Redford well before he became a big movie star or household name. Redford plays Harold Beldon a policeman who's shot alongside a street corner of a house of a sheltered and old woman played perfect by Gladys Cooper who takes Redford's character in and treats and nurses him back to good health. This woman has a fear of dying and venturing out into the real world she even thinks this arrival could be the angel of death, only it turns out to be the opposite as the Redford character returns a favor as he ventures the old lady out and he looks more like a guardian angel. Overall good episode for it's mystery and discovery of good nature proving life is so unexpected as a mystery can arrive to us and be a find that helps us start a new journey.


This is a well-acted, intense episode. It's about a woman who lives in a tenement by herself. She is visited by a handsome young man played by Robert Redford. She comes to know why he is there and attempts with her whole life force to avoid the inevitable. He uses whatever gentle way he can to get her to agree to go with him. And that is what the story is about: The gentleness of the greatest of mysteries. When she finally succumbs to his requests, she knows that this is the time. She knows that her earthly existence offers her no hope and no way out. Of all the Twilight Zone episodes, this one borrows from a classic idea that death comes in corporeal form to take us. Remember "The Seventh Seal." See this. It has wonderful acting and very nice cinematography.


FORBIDDEN WORLD is quite simply a brilliantly stupid, enjoyable little movie. Almost perfect: It has space ships, laser battles, a cool drooling grinning skulled alien, abundant gratuitous female nudity, an excellent early electronica musical score, buckets of gore, slimy alien killings, voyeurism, stuff exploding, girls sunbathing naked in space, is over quickly (77 minutes: perfect for limited attention spans) and the hero is actually the movie's brilliant dork character, whom the surviving female hottie (Dawn Dunlap, who gets naked a lot in her movies) was secretly really in love with all the time. That's because he was smart, and smart is sexy. So like in fellow Geekanoid Sci-Fi/horror hybrids as CHOPPING MALL and HARDWARE, the manbeef lead actor (Jesse Vint, who looks familiar ...) is just a distraction for the popcorn crunchers. The real movie is about the geek and how he beats this transmogrifying alien mass of goo and teeth.

Also known as MUTANT, director Allan Holzman's FORBIDDEN WORLD is of course the 3rd of the Big Three Alien Sleaze Epics from the very early 1980's which exploited the ideas Dan O'Bannon and Ridley Scott cooked up for ALIEN. All three were released in the US by Roger Corman's New World Films and make a sort of unofficial Trio -- The first was Norman "Warm & Fuzzy" Warren's deceptively cheesy looking HORROR PLANET (or INSEMINOID) in 1980, then Bob Clark's GALAXY OF TERROR (or MIND WARP: AN INFINITY OF TERROR) in 1981, then Holzman's FORBIDDEN WORLD in 1982. The films helped fill a void created by the sensational effect of ALIEN and the natural desire to try and make more of it for less. All three had very low production budgets but stand as remarkable & effective little shockers with allegorical references to alien outsiders who want to kill our men and mate with our women, and then eat them.

GALAXY OF TERROR is the silliest of the three and in some ways the most true to the original ALIEN spirit. HORROR PLANET is a far more potent mix, a Sadistic frenzy of murder and chaos with Judy Geeson sweating and screaming and grimacing her way into history. She should have been nominated for an award of some kind, though exactly which variety I am unsure. It is a difficult movie to watch.

Contrastingly, FORBIDDEN WORLD exists as a Sadean fantasy, with the alien more or less leaving it's grubby mitts off the ladies, who both disrobe twice and engage in relations with the manbeef action star lead, and THEN take a shower together. Golly!! One of the interesting aspects of the film is how it repeatedly disrobes it's women and then places them in harm's way, with this grinning, drooling, slimy alien just a tentacle slither away, and as with GALAXY OF TERROR much of what we now know as Hentai Anime and it's unsavory sexual violence was given root in what we see in these films: Slimy, tubular, disgusting aliens having their way with or just simply ripping apart aggressively gorgeous, sexy women in states of undress or nudity.

On that level of thinking, FORBIDDEN WORLD is probably the most exploitative of the trio, using it's subject matter literally where GALAXY OF TERROR and HORROR PLANET both had sub-textural meaning to what was happening on camera. Allan Holzman stuck with the basics: Slimy alien running loose on isolated space station with nubile females showering together while scruffy 2 day growth faced action types search for it with flashlights and ineffective weapons. By keeping the height of his goal post appropriately low, Holzman may have made the superior entertainment of the three, especially if you are fond of naked women and buckets of simmering goo.


Made right after the splendidly schlocky "Galaxy of Terror," this choice cheesy chunk of early 80's sci-fi/horror drive-in exploitation junk rates as yet another lovably low-rent two-cent Roger Corman gem. This time a toothy, voracious rampaging mutant beast terrorizes a bunch of hapless folks in a remote outpost on a hostile desert planet. Allan Holzman's blunt'n'basic direction maintains a ceaseless snappy pace throughout and pours on the gruesome slimy gore with rip-snorting go-for-it aplomb. The ever-cool Jesse ("Macon County Line") Vint makes for an excellent surly anti-hero as intergalactic troubleshooter Mike Colby. Late, great eccentric character actor Fox Harris (the brain-fried lobotomized scientist who drives the car with the radioactive alien corpses in the trunk in the fantastic sci-fi cult black comedy blast "Repo Man") has a scenery-gulping hammy field day as a twitchy flipped-out physician whose cancerous liver is fed to the monster at the picture's incredible conclusion (the grody thing literally pukes its guts out after eating the lethal organ!). Better still, this fine freaky flick certainly doesn't skimp on the copious gratuitous nudity: adorable baby doll beauty Dawn Dunlap bares her whole bod while bagging a few rays in a sauna, stupendously slinky British blonde bombshell June Chadwick (Lydie on the short-lived "V" TV series) happily hops in the sack with Colby a mere five or six hours after making his acquaintance, and both Dawn and June even take a shower together. Susan Justin's obscenely heavy-breathing score, the cramped, claustrophobic set design, Holzman's rapid-fire editing and Tim Suhrstedt's appropriately lurid cinematography are all likewise up to par as well. A delightfully trashy hoot.


Mutant aka Forbidden World is one of the cheesiest and most amazing movies that I have seen. It contains nudity,gore, a cheesy monster and everything that a person who is in favour of b-grade movies requires to be entertained by a movie.

It's indeed a rip off of Alien, but it's much better than Alien, Alien is a very boring film in my opinion, but I think that Mutant is just fantastically good! It contains one of the cheesiest monsters that I have seen. Imagine the monster from Carpertner's The Thing but much cheesier, and you got the this cheesefest called Mutant!

When I saw it I was quite tipsy and I can only recommend that you do the same if you watch it. This film will surely entertain you if you are sober, but watching is tipsy is delightful! Make sure you are in the mood for a fun cheesefest, because Mutant is certainly a remarkable one!!! 10/10