For those who are not familiar with them, “Therapy?” are an “Alternative Metal” band from Northern Ireland. Formed in 1989 by guitarist/vocalist Andy Cairns from Ballyclare and drummer Fyfe Ewing from Larne, Northern Ireland. During the mid 90’s when “Nu Metal” was in ascendance, “Therapy?” achieved a degree of critical and chart success, with their commercially successful album, “Troublegum”. It remains for many fans, the band's high point

However, the follow up album, “Infernal Love” released in early 1995 met with “lukewarm “press reaction. This is curious as the band attempted to expand their style and musical horizons. There are several ballads and the inclusion of brass on some tracks as well as underscoring by Cello. Perhaps this is why the album displeased hardcore fans and the music establishment.

I have picked three tracks from “Infernal Love”, which despite their stylistic variety, all have a common theme. One of love that has gone seriously wrong. I’m sure this is a subject that a lot of us can identify with. “Bowels Of Love” is a sad and bitter statement about a failed relationship. “Me Vs. You” deals with the aftermath of a relationship and is riddled with rancour and reproach. “Diane” is a superb cover version of the classic song by “Hüsker Dü”, about an obsessed serial killer.

All songs are musically accomplished and thought provoking. I have included the lyrics for your further enjoyment. If you have recently ended a relationship, or feel bitterness or resentment over a failed affair, then listen and revel in these three songs.

1.) “Bowels Of Love”.

Yeah, you took me, naive and ugly, into your festering heart
And you poured Eros' maggots down my throat, until I choked

There's nothing darker than love that's gone sour
Satan's spit, love that's gone sour

Yeah, you took me, naive and ugly, into your festering heart
And you rammed Eros' maggots down my throat, until I choked

There's nothing darker than love gone that's sour, Satan's spit
Nothing darker than love that's gone sour, Satan's spit

Out of the bowels of love, the bowels of love
The bowels of love, the bowels of love
Out of the bowels of love, the bowels of love
The bowels of love, the bowels of love
Love
Yeah
Love

2.) “Me Vs. You”.

I just came to get my things, I'm not drunk or anything
I saw a light on in your house, undo the chain and let me in, I want to talk

I never wanted this disease, I never wanted you to leave, hey
I never wanted this disease, I never wanted you, I never wanted you to leave

It used to give me guilty thrills, feeling in control and feeding on your innocence
I watched you torture yourself days, and fucking you got boring when it didn't feel so wrong

I never wanted this disease, I never wanted you to leave, hey
I never wanted this disease, I never wanted you, I never wanted you to leave
(I can see you in my dreams, I can see you in my dreams)
(I can see you in my dreams, I can see you in my dreams)

Let the grass grow over me, let the grass grow over me
Let the grass grow over me, let the grass grow over me
You watch the grass grow over me, you watch the grass grow over me
You watch the grass grow over me, you watch the grass grow over me

I never wanted this disease (I can see you in my dreams)
I never wanted you except when you were on your knees (I can see you in my dreams)
I never wanted this disease (I can see you in my dreams)
I never, I never, I never wanted you to leave (I can see you in my dreams)

Disease, disease, disease, disease, disease, disease

3.) “Diane”.

Hey little girl, wanna go for a ride?
There's room in my wagon, it's parked right outside
We can cruise down Robert Street all night long
But I think I'll just rape you and kill you instead

Diane, Diane, Diane
Diane, Diane, Diane

I hear there's a party at Lake Cove
It'd be so much easier if I drove
We could check it out, we could go and see
Come on, take a ride with me

Diane, Diane, Diane
Diane, Diane, Diane

Lay down together for a while
I'll put all your clothes in a nice, neat little pile
You're the cutest girl I've ever seen in my life
But it's over now and with my knife

Diane, Diane, Diane
Diane, Diane, Diane
Diane, Diane, Diane
Diane, Diane, Diane

For reasons too complicated to explain, I found myself in London yesterday and at about 11:30 I wondered into Trafalgar Square. After seeing the big screen set up, I realised they were showing the closing ceremony of the Olympic Games. Having nothing better to do, I decided to stay. I had a fairly favourable position, as you can see from the picture above (taken via my trusty Nokia N-95).

Okay, I need to be candid and say I was somewhat of a sceptic regarding the Beijing Olympics. I was absolutely amazed at how well team GB did! I actually think it has done the nation a power of good, particularly with the current economic downturn and the general low moral within the country. I was not a advocate of London hosting the 2012 games, but I now take the attitude, that it's happening and we should all get behind it.

Anyway, regarding the closing ceremony, there was good turn out in Trafalgar Square and an even better one in "The Mall" outside Buckingham palace. The Chinese community was out in force and the whole crowd had a very cosmopolitan feel to it. London is a very diverse city. Yet there was a very patriotic atmosphere to the proceedings and I feel that patriotism (not nationalism), can be a good thing on occasions.

The closing ceremony was suitably spectacular and clearly shows the Chinese skill in mass displays. However, the crowd were essentially there for the 8 minutes, or so, when the focus was on the next host of the games, namely the UK! I thought the performance by "Zoo Nation" and the ensuing celebrities was good. The crowd in Trafalgar Square went nuts over Leona Lewis and Jimmy Page. David Beckham (who I actually have a sneaking regard for, because he is actually a fairly decent and straight forward guy) went down a storm as the UK's most recognisable export. But the greatest public admiration was for the current Mayor of London, Boris Johnson! Was he going to manage to wield the Olympic flag?

It was, despite some intermittent rainfall, a very enjoyable day. It's been a long time since I've enjoyed being with my fellow citizens. I welcomed the opportunity to forget all the media scaremongering about the death of society. A chance to stand in a crowd and not worry about random knife crime and look with enmity at the person next to you. I honestly do feel it's done me a power of good!

XoD.

"The Land That Time Forgot" is an Edgar Rice Burroughs science fantasy novel, the first of his "Caspak" trilogy. The original working title was "The Lost U-Boat." Commencing as a wartime sea adventure, Burroughs’s story ultimately develops into a lost world saga with similarities to Sir Arthur Conan Doyle’s "The Lost World" and Jules Verne’s "The Mysterious Island". What makes Burroughs work some what unique is his plot developement of a biological system specific to his island, in which the slow progress of evolution in the outside world maqnufests itself in "Caspak" as individual metamorphosis. This biological feature is only implied in "The Land That Time Forgot"and explored in greater depth over the course of the next two novels.

The novel is set in World War I and opens with a framing narrative in which a manuscript relating the main story is recovered from a thermos off the coast of Greenland. It the recent history of Bowen J. Tyler, an American passenger on a ship sunk in the English Channel by the U-33, a German U-boat, in 1916. He is rescued by a British tugboat with another survivor, Lys La Rue. The tug is also sunk, but its crew manages to capture the submarine when it surfaces. But a saboteur send the sub off course, and by the time he is discovered they are deep in Antarctic waters. Low on fuel, they discover a large island ringed by cliffs, which they identify as Caprona, a land mass first reported by the (fictitious) Italian explorer Caproni in 1721 whose location was subsequently lost. A freshwater current guides the sub to a stream issuing from a subterranean passage, which they folloow to penetrate the isalnd. The U-boat surfaces into a tropical river teeming with prehistoric creatures and travel into a inland sea. The surrounding land is home to various forms of life long extinct in the outside world. An uneasy allownace is then formed between Germans and allied forces as they seek a source of fule and a way to eascpae the strange land of "Caspak".

Edgar Rice Burroughs has a very traditional and candid style of writing. Heroes are manly, villains are fiendish and duplicitious. Women are venerated. Like many other authors of this genre at the time, contemporary new technology and science play an important part in the story. The American hero is a mechanical engineer who is well versed in ship and U-Boat design. There is also a very romantic view of the English as a see fairing nation. But the most interesting element of the plot is the notion of individual evolution. "Ahm" a friendly Neanderthal Man, who befriends the crew believes that he will over the passage of time transform from his current status to Sto-lu (hatchet men), then to Band-lu (spearmen), finally Kro-lu (bowmen). It is a very bold idea and Burroughs handles it well, but subtle implication. However, his rather stereotyped view of Germans, does not do much for their credibility. However, you have to take into consideration the prevailing politics of the times.

"The Land That Time Forgot" is enjoyable pulp fiction, and is ideal lightweight holiday reading. I listened to an audiobook version, over a period of days, while travelling to work and I found that it lent itself to this ideally. On the strength of this, I will be reading the sequels "The People That Time Forgot" and "Out of Time’s Abyss". I may well at a future date review the feature fil adaptations of these novels, which I'm sure a good many people are familiar with.

XoD.

I remember reading an article about this animated TV production, in Starburst Magazine during the late 70's. There were rumours that this Rankin/Bass production, which had already premièred on US network television, would gain a European cinema release. This was possibly to cash in on the success of Ralph Bakshi's animated feature film adaptation of "The Lord Of The Rings". However, this never happened and to my knowledge "The Hobbit" has never been commercially released in the UK via any medium. In the US, it has been available on two VHS labels and also on DVD.

The production company had a pedigree in bringing traditional and familiar children's material to the small screen, so it was not unusual for them to take on such a project. However, the major animation was sub contracted to a Japanese studio and subsequently had a major impact on the production design. Rankin/Bass productions often included songs in their material and Tolkien's work lent itself to this very well. As a result "The Hobbit" has a wealth of vocal tracks sung by popular folk singer, Glenn Yarbrough.

The adaptation of the story is very simple. Some of the more complex plot details have been lost, such as the Arkenstone, Beorn and the scheming master of Lake Town. Tolkien wrote this story for children and that is the way the film is pitched. The character designs range from the adequate to the bizarre. Gandalf is represented pretty much as you would expect. Bilbo and the Dwarves reflect a more juvenile friendly interpretation. However, the Trolls and Goblins are not especially scary and lack any real sense of threat. It is in the design of the Elves that this production really fumbles the ball. This race of near perfect creatures with their angelic qualities, are simply ugly and emaciated. Someone definitely missed the point! Gollum is also poorly conceived and looks a little like a large Bullfrog.

With these shortcomings, are there any positive attributes regarding this production? Well the minimalist water colour backgrounds work well, often drawing on Tolkiens illustrations themselves. The voice casting has some strong performers, such as John Huston as Gandalf. However, some of the minor characters are played by well known voice artists Don Messick and John Stephenson as a result you do feel that you are watching an episode of "Scooby Doo" or "The Arabian Night".

So where does this leave us? Well it's difficult to be objective as any adaptation of Professor Tolkien's work will be over shadowed by the success of Peter Jackson's trilogy. A lot of this was due to his use of several well known artists as production designers. The public already au fait with their work and visual interpretation had no difficulty in accepting Jackson's vision. "The Hobbit" suffers as a result of this. It is a low budget, basic adaptation, with a variety of good and bad animation. The biggest stumbling block being the design of the character. They are often not as you and I would envisage them.

For your enjoyment, here are several songs from the film soundtrack. The vocals are by Glenn Yarbrough and the film cast.

1.) "The Greatest Adventure".

2.) "The Dwarves Song".

3.) "That's What Bilbo Baggins Hates".

4.) "The Road Goes Ever On And On".

XoD.

Firstly, let me clearly state what “Greystoke” is not. Johnny Weismuller overcoming the fiendish plots of white ivory poachers and evil tribesmen, while saving the animal population of the jungle! There is no tree house love nest. Nobody says “Ungawa”. This is a revisionist recounting of the Tarzan legend undertaken in a thoughtful and intelligent fashion. Although relatively faithful to the Edgar Rice Burroughs stories, there have been some thematic changes. These are mainly to reflect the contemporary understanding of great ape behaviour and society.

I will dispense with a synopsis due to the familiarity of the storyline. The literate screenplay by Robert Towne depicts Tarzan, not as racially superior warrior, but a man torn between two worlds; the natural and the civilized. In a remarkable performance, Christopher Lambert portrays this angst and duality with realism. This was his first major English dialogue role. The supporting cast is uniformly excellent, boasting excellent performances from dependable actors such as Ian Holm, John Wells, and the late, great Sir Ralph Richardson. Andie McDowell made her debut as Jane Porter. For some reason, possibly her performance, she was completely re-dubbed by Glenn Close.

The cinematography of the African segment of the tale is very good. It captures both the beauty of the African wilderness and its savagery. Inevitably a lot of the ape sequences had to be shot in a controlled environment, so there is a high degree of studio scenes. Also being a "period" film, there is exceptional use of UK countryside, and London exteriors. The production design seems very authentic in representing the Edwardian age. The soundtrack by John Scott is very evocative and compliments the narrative without being too obtrusive.

Of course the film stand or falls by the quality of the ape make up effects. Rick Baker and his team excel themselves in this area, creating a range of different simian characters, all with distinct features and attributes. It should also be noted that despite its PG certificate, there are some disturbing scenes. This is mainly in the ape sequences where the cruelty of the jungle is not downplayed. Ian Holm also removes an arrow in a “Rambo-esque” fashion. Bear this in mind along with the more cerebral approach to the material. This is not a film for young children.

Hugh Hudson is a gifted director who works relatively infrequently. After the Oscar winning success of “Chariots Of Fire”, it was a bold move to pitch such a radical adaptation to a traditionalist studio system. “Greystoke” is a worthy human drama, exploring the subjects of “mans dominion over beast” and “social Darwinisms”. It takes a hard look at the strictures of English society and the old chestnut of how thin the veneer of civilisation is. It is noble and inherently tragic.

XoD.

Robert E. Howard's collective literary work is overshadowed by his most famous character, Conan The Cimmerian. As with Conan Doyle, the success of a single creation can lead to subsequent material being overlooked or discounted. This is a dilemma for any author. Publishers "Wordsworth" have compiled a collection of Howard's lesser known works, focused on the supernatural and fantastic. Not being familiar with the writer, but a keen fan of the genre from this decade, I decided to by this publication along with another collection of stories about the puritan avenger, Solomon Kane.

Howard’s literary style is accessible and very much in the idiom of the time. The men are virile and the women of exquisite beauty. This sets him aside from his contemporary, H.P. Lovecraft who shied away from such physical elements in his writing. However, Howard shares that sense of the unearthly and the utterly alien, lurking beneath the everyday and the mundane.

Like a good many of the great genre authors of the time, Howard conveys the sense that despite the modern world and its scientific and technological trappings, the ancient, arcane and inhuman is never far away. He also writes convincingly of the clash of cultures, as the colonial powers encroach into esoteric world of primeval Africa.

There is a broad range of short stories in this collection. “Wolfshead” tells of an 18th century soldier of fortune, haunted by the spirit of the werewolf he killed. Set in Eastern Africa in a private fiefdom, run on the behalf of the Portuguese, by a privateer, the story is interesting from both the fantastic and historical angles.

“Sea Curse” tells of a more traditional tale of revenge and retribution. Again the nautical setting mixed with witchcraft, is very well researched and makes the story seem like a genuine sailor’s yarn, the sort told over a pint of ale in a lonely inn.

In “The Hyena”, we are confronted with a tale of New World meets old, as a young African rancher falls foul of a locally revered Witch Doctor (of Fetish Man as the term is used here). It is subtle story with a building sense of tension. You get a vivid mental picture of the enmity between the two central characters.

Then for a change of direction, we have “The Skull” a thriller with a touch of the supernatural. This features East End opium dens, sinister crime lords with their fiendish knowledge of the occult, the flawed hero fights for personal redemption and the love of an exotic and wronged woman. It is all very “traditional” yet the inclusion of the arcane plot elements makes it all far more enthralling.

As I have stated in other reviews of this nature, the reader must be aware of the time period in which these stories were written. The prevailing social and political attitudes reflect the thinking of the time and should not be taken out of context. Anyone who has read the works of Edgar Rice Burroughs (whom Howard bears similarities) will understand this point. Men were men, woman were placed on pedestals and venerated. Love is prosaic and very verbose. Foreigners are sinister and the culture ancient and abstract.

Yet there is a sense of innocence in Howard's work. Morality and grim determination often triumph over outlandish odds and plot devices. The tradition of the classic high adventure from literature is an obvious influence on the author. There is not so much of the bleakness present, as there is in the work of his rivals, Lovecraft and Ashton Clarke.

Recommended to genre fans and readers of classic pre-war American literature.

XoD.

I always enjoyed watching “The X-Files” and was bitterly disappointed in the way the series ended. It was abrupt, lacklustre and inconclusive. So naturally I was interested when I heard that the franchise was to be resurrected for another cinematic outing. I, like so many fans, was curious to see how the characters would be developed and whether if any of the more famous story lines would be used. The fact that series creator, Chris carter, was to direct the film increased my expectation. However, the film that has finally been released (at the height of the summer, amid so much competition) seems to be quite different from what the public were expecting.

Former FBI spooks Mulder (David Duchovny) and Scully (Gillian Anderson) are reinstated to investigate the mysterious abduction of a young female agent. A psychic paedophile priest (Billy Connolly) who has visions of the crime, assists the two agents and as a result makes them confront a few of their own demons. Whilst unravelling a plot involving bizarre experimentation, Mulder and Scully struggle with their relationship and a sceptical pair of FBI colleagues. There is no conspiracy, or shoot outs, alien activity, CGI, or major explosions. The film is very low key.

Unlike the first feature film, the plot does not focus on the series' established "mythos" and instead works as a standalone story, similar to many of the "what monster is it today" episodes that were frequently seen in the TV series. This has been done in an attempt to appeal to a broader audience, but ultimately works against the film. It all seems a little too understated and un X-Filesish. The only above average performance in the film is Billy Connolly. But one good performance is not enough to sustain the film. Also, the major selling point of the original series was the on/off relationship between the leads. This film ruins this mystique by finally settling the storyline. Mulder and Scully as an item simply does not work..

There is a strong degree of moralising and religious debate, which is far from subtley handled. Connolly's character raises several ethical issues but the script seems ill equipped to explore them to any satisfaction. All things considered, this really is a bit of a misfire. It does seem strange that a major studio such as Fox would bring a franchise out of retirement simply for such a basic film. I'm sure writer/director Carter was attempting to go back to basics and not be artistically fenced in by previous material. But I think he took too many steps back on this one and we are left with a film that is content to be no more than a TV episode.

XoD.

Having reviewed material by Professor Richard Dawkins, I didn't want my Blog to have any particular bias. So I thought I'd write a few words regarding British academic theologian, Dr. Robert Beckford. I discovered his work last Christmas when Channel 4 broadcast "The Hidden Story of Jesus". I was intrigued to find a religious academic who was happy to deconstruct his own faith and grapple with what he discovered. As a result I went out of my way to find further examples of his work. I finally chose "Who Wrote The Bible" to review as it addresses and very common question that crosses most peoples mind at some point.

To begin with, here is a potted biography of the man for those who are not familiar with his work:

Beckford was born to Jamaican parents in the Midlands, raised in the Pentecostal church. He states that his "white, middle-class" religious education teacher "turned me on in a big way to RE and sowed the seeds to think about religion and culture", while his Communist maths tutor introduced him to politics and the work of Malcolm X, who is still a hero.

After A levels, Beckford studied religion and sociology at Houghton College, New York. He then studied at the London Bible College, Middlesex. After a year in the community, Beckford studied for his PhD while also working part-time at Queen's College, Birmingham where he became Britain's first tutor in black theology.

Professionally, Beckford has spent his career in academia. Beckford was a lecturer in African Diasporan Religions & Cultures at the University of Birmingham and presented Radio WM's African Caribbean programme. As of December 2007, he presents a show on the same station combining a blend of news, interviews and chat around religious and ethical issues.

Over the last five years, both BBC and Channel 4 have commissioned Dr.Beckford to produce exploratory documentaries on the nature of modern faith and its heritage. What sets him aside from the traditional academics, is his ability to analyse matters that often do not like to be scrutinised. However, the results do not seem to interfere or contradict his faith. This is not due to blind acceptance but because of his flexible and liberal views, which are inclusional and non judgemental. Naturally, this approach has drawn criticism from the more conservative and traditional wings of the church.

"Who Wrote The Bible" takes an in depth view at the origins of the sources texts of the Bible. Beckford, journeys to Jerusalem, Rome and the USA (with a stopover in Walthamstow) consulting scholars and historians on the way. What comes to light is a history of revisions, integration of additional ideology and censorship, driven by an emerging Church with a strong religious and political agenda. There are interviews with pilgrims and preachers and both sides of the argument are examined. But it is the conclusions that are drawn and the way the good Doctor deals with them, which I find the most intriguing. The absolute historical accuracy of the Bible is questioned but it's moral content and powerful message ultimately remain unaltered. I admire a man who can bring such scrutiny to bear on his own faith.

This documentary can still be found on Channel 4 on demand service. Alternatively, copies can be found by searching any of the major torrent sites. I certainly recommend it, as I feel that this approach to faith is far more relevant and accessible in this day and age. Frankly, at a time where fundamentalism in all beliefs seems to be on the increase, it is reassuring to find measured, insightful, moderate views, that do not dilute the "good news".

XoD.

I spend up to four hours a day commuting to work. Being the sort of person that I am, I like to put that time to good use, which is why I have done so much reading in the last 18 months. Having found myself falling into arrears with my reviews lately, I decided to write while travelling. Obviously, doing this longhand was out, so a portable device was required. After 14 year of working in the IT industry, I did not exactly relish the prospect of carrying a laptop about with me, especially my current widescreen HP model. So I did a bit of research and quickly remembered PC Pro magazine reviewing a range of small footprint, Linux based, laptops. I then narrowed it down to the Asus Eee PC 2GB Surf, which seemed to satisfy my requirements.

Now that was the relatively easy part of the process. Actually acquiring one was another issue. Working in South West London has certain disadvantages. The local branches of Currys and PC World do not stock the same range of products as they would in say the City. I wanted to pay cash and collect one directly rather than buy online. Needless to say I had to take the tube over to Bank to find a store that had one in stock. I took the precaution of phoning and reserving it.

Okay, enough small talk about the whys and where etc. How does the Asus Eee PC 2GB Surf actually perform and is it good value for money? Well here is a brief breakdown of the specifications:

Intel Celeron Processor.
Solid state disk drive with 2 GB of storage space.
512MB of RAM.
3 x USB port.
VGA output.
LAN port.
Wi-Fi.
7” Display.
Linux (Xandros) O/S

As you can see the build is basic, but very functional. The upside of these modest specifications is that the battery life is very good. I don't use the device on the tube for obvious reasons but happily spend both legs of my train journey writing. At least three hours! The Eee PC also charges in about an hour which is pretty good. Of course the small size and weight, less than a Kilo, makes packing into a bag or rucksack easy and far from a hassle.

The screen seems very small at first if you're used to a traditional laptop, but you soon adapt and get used to it. The resolution and size have no problem with most web sites. Creating documents is fine, but a little more awkward with spreadsheets. But the media player is very good for video play back. Films and TV series can be viewed at an enjoyable size and there playback is more stable and stutter free than the average mobile phone. Equally, the cramped keyboard requires a change in typing technique. But compared to texting or emailing by Blackberry it’s a lot more convenient.

The preloaded Linux (Xandros) operating system is very easy to use and configure. Don’t worry if you are a card carrying Windows or Mac user. The GUI is simple and intuitive and very responsive. The pre-installed applications, such as the Open Office suite, are comparable to their mainstream counterparts, and can save into standard file formats such as .doc and .xls. Another advantage of Eee PC is the configuration and programming resources available, due to its open source lineage. There's lots of online documentation on the internet if you have the confidence to tinker. If you really feel the need, it will happily run Windows XP!

Now storage is another issue. The integral solid state drives do not have a great deal of free space. However, this is not the sort of device that is designed for excess software. So I cannot see a lot of extra applications being installed. Therefore a USB flash drive or SD/MMC card can be used for data storage. I simply added a 4GB SD card to mine and this is my default document store.

Wireless is quick and easy to configure. So much so, I quickly attach to the nearest network whilst waiting for my train to depart at Victoria station. This gives me time to quickly check my emails before going home. I can also switch swiftly to my home network on arrival. At times its easier to use the Eee PC for some quick surfing rather than fire up my main HP laptop.

Finally, the Eee PC comes with a full set of recovery disks. Not that I’ve had need to refer to them as the O/S is very robust. As far as I can see this is a classic example of a product that for fills its remit. This entry level Eee PC allows me to do all the things that I want and has only a few minor compromises. It can be a little warm on your lap on a hot day, for example. I paid £180 for mine although if you shop around you may save another £5-10. I cannot recommend it enough.

XoD.

Many directors have cut their teeth working in the music industry. They have fashioned their cinematic style and technique from the music videos they have made. Unfortunately I am not a fan of this school of movie making. McG, for example represents the epitome of style over substance. I detest this current trend for lightning editing. It is to the detriment of the film and frankly is insulting to the audience. But there is one director from this background who rises above his roots and exhibits talent and a fundamental grasp of cinema. Alex Proyas, director of "The Crow" and "I, Robot".

"Dark City" is a often overlooked film, lost in the wake of the media hype surrounding "“The Matrix”". Both have plot similarities and common themes. However it is “"Dark City"” that displays a deeper level of thought and perhaps this is why it lost favour with an audience not adequately equipped for its cerebral rigour. There is also an international cast that lacks a mainstream A list actor. Ten years on, director Proyas has re-edited the film adding additional material and some additional FXs footage. The results are quite startling and have quite an impact on the way the story is presented and the themes that are emphasised.

"Dark City" starts off as a stylised "Film Noir", with John Murdoch (Rufus Sewell) waking up in a motel with a dead prostitute. He's soon on the run from hard boiled cop, Inspector Bumstead (William Hurt). Can he trust his estranged wife Emma (Jennifer Connelly)? Is he really mentally ill as his Doctor Shreber (Kiefer Sutherland) implies or is there something more sinister going on? Who are the trio of tall strangers dressed in black, who are pursuing him over the ersatz 1950's city. A postcard hints at clues at shell beach, an out of town resort. But despite being sign posted no underground train seems to go there. Matters just seem to get stranger, as peoples identities change along with streets and buildings. Why is it perpetually night? The story soon descends into a disturbing dystopian nightmare or is it the work of more sinister forces.

This new director cut, turns a flawed but accomplished film into one that reaches its full potential. The detective story soon gives way to the dark plot elements and then becomes Gothic in its vision, finally revealing its other worldly denouement. To say more would spoil the plot for those who have yet to see it. The production design is striking mixing expressionism with art nouveau and 50's Americana. The story is reminiscent of Philip K. Dick work and has a hint of Kafka about it.

The cast is very eclectic (and international), featuring the talents of Ian Richardson, Richard O' Brien, Colin Friels, Bruce Spence and even John Bluthal (Frank Pickles from "The Vicar Of Dibley). Trevor Jones provides an evocative soundtrack. Proyas directs stylishly with a good grasp for story and character. This new cut, removes the voice over at the beginning and places a little more focus on the initial mystery. The theme of awaking from a perceived reality into a bleaker and more sinister one, as mentioned earlier draws comparisons with "The Matrix". However, the messianic allegory of that film is exchanged here for a more Nietzschian subtext.

"Dark City" by its very nature was always destined to become a cult film. Yet it actually is more than that, working on several levels. It can be viewed as a baroque science fantasy film or as a deeper commentary on the shallow and contrived nature of modern society. It is certainly a visually arresting and thoughtful (if sombre film). It is not excessively violent, though it is somewhat grotesque and brooding. The ending may spark a minor debate when you consider the implications.

XoD.

I last saw this film in 1974 when it was initially released. I was seven at the time. Going to the cinema was a real event and films such as this were always a spectacle that left a marked impression on a young mind. Special effects were radically different than they are today and not so ubiquitous. So it was an interesting experience to return to the film after 34 years and view it as an adult.

Wealthy industrialist Sir Anthony Ross (Donald Sinden) cajoles historian and archaeologist Prof. Ivarsson (Phil Hartman) into helping him find his son, lost in the Arctic. He may well have gone in search of the legendary graveyard of whales. Using his business connections, Sir Anthony hires an experimental French airship, “The Hyperion”, flown by Captain Brieux (Jacques Marin), to take the quickest route to the frozen North. Along the way, they find an Inuit named Oomiak (Mako) who was the last person to travel with Sir Anthony's son. After many adventures our protagonists find themselves marooned on an island shrouded in cloud. Volcanic activity has allowed a secret valley to remain warm and fertile. Furthermore it is populated by Vikings, who have remained isolated from the outside world and entrenched in their ways and customs.

What stands out the most is the “family friendly” screenplay. The protagonists face danger often through the hostile environment or extreme weather and not through violence. The evil high priest is a caricature who never gets an opportunity to do any real harm. At one point comic relief character, Oomiak, appear to be killed whilst escaping. But simply evades death by swimming away under water. The film also rather clumsily endeavours to educate the viewer by introducing various aspect of Viking culture. Time is taken out every five minutes or so from plot exposition, to focus on village architecture, the famous longboat or the social structure of the community. Of course Disney was already famous for its live action documentaries.

Anyone over the age of thirty will remember the time when there were no computer generated special effects. The industry and its skilled experts relied on optical effects, namely filming elements separately and then combining them. Miniatures were used along with intricate matte paintings on glass sheets. These skills had been in use since the very start of cinema and could often produce excellent results. Disney at the time had a reputation for producing effects work of the highest quality. It is not surprising that the work on display in “Island At The Top Of The World” is very good. However, those viewing with an un-objective modern eye will not grasp this.

Director Robert Stevenson handles the material in a competent fashion and the film does not out stay its welcome. After 36 years, I still found “Island At The Top Of The World” entertaining. It does belong to a category of film that seems to have died out of the world. It’s simplicity, educational agenda and lack of brutality would not necessarily endear it to a contemporary audience. File under nostalgia.

XoD.

After the commercial success of "The Exorcist" in 1973, the independent horror films of Hammer and American International fell into decline. The major studios all started to finance big budget, high concept genre products. Twentieth Century Fox reinforced this with "The Omen" in 1976. The devil and the forces of darkness were never so financially viable. During this period a few independent financiers realized that they'd have to invest in bigger budget productions if they wished to compete. Which explains William Girdler's 1978 adaptation of the best selling horror novel, "The Manitou".

"The Manitou" is one of those books that you'd pick up and read the plot synopsis and happily accept the outrageous premise. It falls into light holiday reading (which is exactly how I discovered it). Pulp horror at it's best (and that's meant with affection to author Graham Masterton). However, when you consider adapting such work for the cinema you have to stop and pause and decide how much an audience is prepared to suspend their sense of disbelief. Bear this is mind when I explain that "The Manitou" is about a 400 year old Indian Medicine Man, who is re-incarnated and grows as an embryo in a tumour on a woman's back. Her ex boyfriend, a fake medium then proceeds to find a contemporary Indian Medicine Man to fight the malignant menace. Matters are further complicated by sceptical hospital staff (did I mention this mainly takes place in a hospital) and the fact that the x-rays taken of the tumour have caused the evil protagonist to develop birth defects, resulting in his emergence as a evil, deformed, native American dwarf.

So, despite this facts, Avco Embassy pictures bank rolled this film and managed to snare Tony Curtis in the lead role of Harry Erskine. The supporting cast also includes Michael Ansara as John Singing Rock and Burgess Meredith as anthropologist Dr. Snow. The production although mainly studio bound has some good location work in San Francisco. The soundtrack by the ubiquitous (at the time) Lalo Schifrin ranges from the traditional orchestral to the jazz funk keyboard driven style that defines his work. This film does not appear cheap by the standards of the time.

So apart form the crazy premise, startling 70's fashion, and funky soundtrack, what do we get? A film that is definitely niche market! If you can go with the story, ignore the numerous plot holes, and deal with the retro fashion and technology on display (computers play a big part in this film), you'll be rewarded by a amusing and enjoyable horror film. The infamous “birth” scene created by the Burman studios is suitably ghoulish. The story is never genuinely disrespectful of Indian culture and the charactors although silly, are likeable. You'll also be treated to one of the best liquid light shows this side of "2001" However, if all the above sounds to daft for you, then best avoid "The Manitou".

Finally, I'll end on some "little people" trivia. Two actors were hired to play the evil protagonist Misquamacus. Felix Silla, best known for his role of Twikki in 1980's series "Buck Rogers". Due to his size he was specifically hired for the birth scene. Then Joe Gieb, plays the evil Indian, once he's born, under a substantial amount of face and body prosthetics.

XoD.

Director Douglas Trumball’s background in the special effects industry has given him a unique perspective on film making. It is said that he made “Silent Running” with its humane and environmental message as a direct response to Stanley Kubrick’s “2001: A Space Odyssey”, which he saw as stark, cold and clinical. “Brainstorm” again takes a technological story and adds a very human angle. The production was delayed by the death of lead actress Natalie Wood and the studio was somewhat at a loss as how to sell this product. Everyone else at the time was still making space operas and this cerebral piece of cinema may well have been a little ahead of it’s time.

The plot is somewhat straight forward. Brilliant researchers Lillian Reynolds (Louise Fletcher) and Michael Brace (Christopher Walken) have developed a system of recording people’s experiences, feelings and emotions. Such a break through in the communications industry soon attracts the attention of the military and Michael soon finds himself at odds with his employer. Against this, there is the back story of how his devotion to his research has cost him his marriage. When his colleague suffers a fatal heart attack she manages to record her final experiences. Michael must consider the risks to himself if he is to play back the recording. The Military have other ideas.

“Brainstorm” is a thoughtful and touching film. Despite the technological environment, it deals with the timeless themes of love, death and taking responsibility for our own actions. Walken is ideal as the obsessive and driven scientist who neglects his family’s emotional welfare. Natalie Wood gives a good performance as his estranged wife. The production design also reflects what was considered to be “cutting edge” in the early 80’s. It’s interesting to see the reliance on telephone connections and mainframes in the days before the internet.

Trumball introduces a couple of sub plots that do not seem to be developed. This may be due to the re-editing that had to be done to accommodate Natalie Wood’s death. There is also a rather incongruous sequence where a production line is sabotaged. This descends into slapstick, with security personnel desperately trying to cope with the mayhem while wading around in a sea of fire retardant foam. Yet despite these minor criticisms, “Brainstorm” still manages to engage the mind in a thought provoking manner. The optical effects are outstanding for the pre-digital age. The ending with its glimpses of heaven and hell are intriguing. Apparently a lot more footage was shot and was dropped form the film for possible rating reasons. There is footage in the theatrical trailer that is not in the final cut.

I saw "Brainstorm" on video on it's initial release. It was at that time only available in a 4:3 pan and scan format. The current DVD release shows the film in two aspect ratios. 1.85:1 for the real world scenes and 2.20:1 for the "recording" of others peoples experiences. Trumball wanted to film the entire movie in a new format that ran a 60FPS but for financial reasons the studio vetoed this idea. Despite a difficult production, "Brainstorm" still merits viewing and would appeal to the more thoughtful and discerning viewer.

XoD.

"Black Sheep" is a high concept horror comedy from New Zealand. Featuring FXs by Weta Workshop, this tale of genetically modified killer sheep, animal husbandry and environmentalism requires a very broad sense of humour. It should be noted that the copy I watched for the purpose of this review is the unrated R1 DVD. It would appear that this version is stronger in content than the "R" rated US theatrical release. This version was released at the UK cinemas with only a "15" rating from the BBFC.

The plot is somewhat rudimentary. Two Brothers grow up on a sheep farm. Henry Oldfield (Nathan Meister) becomes a sheepophobic (is that a proper word?) after his brother Angus (Peter Feeney) kills his pet and terrorises him with the carcass. Years later Henry discovers that his successful brother is conducting genetic experiments with sheep. An experimental foetus is then accidentally unleashed after environmentalists (Oliver Driver and Danielle Mason) break into the farm. It's not long before those bitten by the monster sheep transform into sheep/human hybrids. Matters get worse as the killer flocks lust for human prey increases.

Writer/director Jonathan King's debut feature is very matter of fact. You'll either love or hate this film and there is no middle ground. It's gory, crass and obvious. Yet there's some subtle digs at environmentalism, farming and political activism. There is some affectionate homages to the horror genre (one scene is straight out of "An American Werewolf In London") and the whole enterprise is refreshingly unpretentious. There is also great cinematography by Richard Bluck and a wonderfully traditional soundtrack by Victoria Kelly which compliments the film greatly. Despite it's subject matter and a couple of scenes that stray into that subject we'd hope they wouldn't (sheep loving), "Black Sheep" is an amusing night's entertainment for those that approach it with the right state of mind. Best filed under "Potentially offensive to the Welsh".

XoD.