Film Reviews by NP

‘Schizoid’ has a definite giallo flavour to it; the members of a therapy group provide some of the potential victims, and of course, with Klaus Kinski in the cast, there are certain expectations as to who the darkly-dressed killer is!

Christopher Lloyd also stars, in one of his earliest appearances, as does Marianna Hill, Donna Wilkes and Craig Wasson.

My problem with ‘Schizoid’ is that, despite all these (and more) performances, the pacing is often leaden. There is little flair to the kills, and the bright red blood for which these slasher films are often known, is in very short supply. Kinski, who when given the right role can be electrifying, seems miscast here as Pieter Fales; his entreaties to his daughter Alison, for example, are repetitive and uncharacteristically lifeless.

As a slasher film, this disappoints, but as a giallo it partially succeeds with a fairly satisfying reveal at the end. My score is 6 out of 10.

Directed by Pat Mills (not the mighty comics writer!) and written by Alyson Richards, this is a fairly straightforward horror/slasher production. Not that there’s anything wrong with that – you’ll have seen the kind of thing before, but at least this is pacey, well made and beautifully acted.

What marks this out as different, is that the protagonists are targeted because of their sexuality. Valeria (Sarah Allen) and Renee (Tommie-Amber Pirie) are a couple, as are Connor (Chad Connell) and Scottie (Munro Chambers) who run the gay B&B where the mayhem begins. I found the characters sympathetic and likeable, whereas the hillbillies (who might well be classed as a victimised minority – when do they get positive imagery in a film of this type?) are brutal, sadistic cowards.

My only problem was in some brief, badly lit scenes in the mid-section of the film, it was impossible to see what was going on. The incidental score, by Steph Copeland, to balance things out a bit, is excellent, and available to buy (although curiously – and disappointingly – the vocal tracks that bookend the film aren’t included). My score is 7 out of 10.

The low-key film won’t be everyone’s cup of tea for precisely that reason, but I really enjoyed it; the grainy images provide a slightly murky realism to the spooky goings-on. The mousy-voiced lead actress (Trista Robinson) gives an eccentric performance, but consistently so. She seems very young and when her partner turned up, I genuinely thought it might have been her dad!

The scares are mainly successful – all physical too, no CGI to be seen.

I found this to be a really good film – I was as concerned about the fate of the mouse apart from anyone else. A good, solid, non-flashy haunted house mystery – filmed in the director’s house, apparently!

From the opening scenes, there is no excuse to look away. Director Eros Puglielli does a brilliant job of dragging the viewer kicking and screaming into this eventful giallo-flavoured thriller. He doesn't shy away from the gratuity either - whereas such films from the classic early '70s era where the blood was paint-shop-bright red, here, it is rather more realistic.

This is the story of a sadistic and highly inventive serial killer. We are given an entertaining array of characters, many of whom could well be the antagonist. We are also given some flawed but compelling protagonists too, all wrapped up in a swirling, atmospheric production that I'm not sure has received the attention it deserves. My score is 9 out of 10.

If I was a writer of any note, this is the kind of horror tale I'd like to write. Character-based, but not in a way that detracts from the very unsettling, often visceral goings-on. It also plays on some very genuine fears - mainly to do with hospitals, of tubes and needles etc.

Nails is a character, and he is a truly horrible piece of work. He's very effectively played (by Richard Foster King) and directed (by Dennis Bartok, who also co-wrote) - sometimes as a spectral figure, sometimes more tangible.

The acting throughout is mainly very good with a few stilted moments, and if I'm pressed to be at all negative, it would be to mention how Nails is perceived, and who can see him. Sometimes, it appears only Dana (Shauna Macdonald) can see him, but later on, it seems he's visible to anyone. Perhaps he is simply gaining power.

Ultimately though, this is excellent - surprising, horrific, genuinely nasty in places and thoroughly entertaining. The very effective score is by Tim Slkade and frequent Gary Numan collaborator Ade Fenton is available and highly recommended. My score is 9 out of 10.

Writer, director and producer Steve Lawson has built up quite a portfolio of these kinds of films. A limited cast, limited sets and plenty of conversation: three things I also liked about his ‘Bram Stoker's Van Helsing’ from the same year as this, are prevalent here.

If you want to concentrate on the modest budget and lack of spectacle, and a lot of reviewers do, that’s one thing; if you want instead to enjoy the performances and go along with a well-written story – complete with many suspects as to who the Ripper actually is – that’s another.

If you love wildly swooping camera shots, CGI, swift editing and a sense of spectacle, this may not be for you. But lower budgeted films are not lesser production because of lack of millions; in fact, I would take ‘Ripper Untold’ over any number of the high-financed crowd pleasers we are bombarded with constantly. Talky this may be, but it’s a good story cleverly told – with a cracker of a twist too. My score is 8 out of 10.

Alice and Luc (Natacha Régnier) and (Jérémie Renier), having committed a murder, (of Said, played by Salim Kechiouche) go on the run. The pair of them are, as you may imagine, perverse, but not always logical in their perversity.

In this French film, the two impetuous youngsters bury the deceased Said in a forest, get lost and take refuge in a cottage, where a hermit called Karim takes a fancy to Luc and has an intense dislike for Alice. From here, events become less and less predictable and more and more grimly enjoyable.

The meaning behind this curious tale is open to interpretation. There is a certain adult fairy-tale quality to it. The location and atmosphere have a story-book flavour. 'Criminal Lovers’ is odd and unfathomable, unyielding and tremendously well-acted.

Everyone's entitled to a lapse of logic, and in horror films, this happens more often than not. Here, Richard (Richard Armitage ) leaves his two young children in the care of troubled Grace (Riley Keough). I mean, you just wouldn't, would you?

If you can get past that miss-step, there is a huge amount to enjoy here. It comes from Hammer films, who just a few years earlier, had a big success with 'The Woman in Black'. 'The Lodge', in comparison, only had a sporadic release, especially in the UK - which is unforgivable.

As is often the case, despite some really strong performances - the juveniles are well played and contain none of the often bratty petulance sometimes seen in this kind of film - and Alicia Silverstone adds a big name to the cast list, the location has to share top billing here. It is wonderfully isolated.

The directors, Veronika Franz and Severin Fiala, do a great job of heightening this bleak setting, and the story's revelations come in a refreshingly restrained way, which makes them even more powerful.

The main twist is very effective, more so because it is revealed in a very unspectacular fashion, and the overall tale is as bleak as anything you might have expected. My score is 9 out of 10.

There were so very many interesting films released in the early 1970s, especially those from in and around Europe, it’s inevitable that some escape the attention they may deserve. As a personal observation, I can’t believe it has taken until 2022 for me to see this extraordinary and decidedly odd little UK/West German coming-of-age production.

Polish director Jerzy Skolimowski gives us an accurate look at London at the tail end of the swinging sixties, even though large portions of the film were shot in Munich. Beautiful people John Moulder-Brown and Jane Asher play Mike and Susan, who appear to be on course for a rocky love affair. Of course, things aren't as simple as that. Diana Dors is also excellent in a sensual role that reinvigorated her career.

Scenes were carried out with only a loose script, encouraging improvisation which gives a raw, sometimes awkward set of performances. The characters also come across as completely naturalistic, even if - as was common practise back then - many of the lines of dialogue were redubbed.

A heady slice of apparently small-time adolescent melodrama, this nevertheless becomes increasingly unsettling as it goes. It never becomes a horror film, but certainly has trappings of that genre. I absolutely loved it.

An out-of-season funfair by the sea makes for a nicely spooky setting for this slow-to-start story. Certainly, the cast don't immediately arrest the attention in a slew of average to amateur performances. Somehow though, as the 93-minute runtime rolls on, the endear themselves.

Like many Norman J Warren films, this is difficult not to like, despite, or possibly because of, its offbeat, low-budget loopiness – however, the never-ending mishaps and madness, with only the vaguest covering explanation, can get somewhat wearisome. The music, however, by Cry No More, is great. My score is 7 out of 10.

This film has prompted the need for a shower after watching, according to some reviews. It's easy to see why. The overall story is grubby and disturbing. The pacing is very very slow. The titular creature, who spends most of its time in Philip's (Sean Harris) holdall, is simple and genuinely frightening. Sometimes it looks real; other times, like the prop it is.

Alongside Harris's non-smiling persona, is Maurice, played by Alun Armstrong. Armstrong has made a career of playing off-the-wall, often quite abrasively lovable, characters. Here, he relishes every filthy, murky, horrific aspect of the character he plays.

Director Matthew Holness doesn't seem interested in a sprawling storyline; rather, he is interested in an immersively murky atmosphere, and this works really well. An almost David Lynch level of horror is grafted onto the story of the shunned Philip's existence, trying to rid himself of a malignancy that refuses to let him go.

The wonderful incidental score is provided by the Radiophonic Workshop, formerly under the umbrella of the BBC, and responsible for - among many other things - the theme music for Doctor Who.

Penny Irving, for many years a sexy maid or secretary in no end of UK sit-coms, here plays French Ann-Marie Di Verney, the unfortunate heroine in this story. Producer, director and co-writer Pete Walker - who made a series of provocative films during the '70s and '80s in order to 'ruffle a few feathers' - has said that Irving needed a lot of direction. The results prove all was worth it - she turns in a terrific performance, and makes me sad she didn't pursue more serious roles.

The question is, did House of Whipcord inspire the mighty Australian drama Prisoner Cell Block H? It stands a chance,; although this is hardly the first 'women in prison' film, it's one of the most powerful. SDadistiuc warders, a corrupt system, innocents being incarcerated, sadism and repressed sexuality in the form of discipline: it's all here.

The cast is excellent, the story simple but powerful, and the writing is tighter than on some of Walker's other projects. All performances are terrific, but special mention should go to Barbara Markham , Patrick Barr, Robert Tayman and Sheila Keith as the wonderful antagonists.

‘This film is dedicated to those who are disturbed by today’s lax moral codes and who eagerly await the return of corporal and capital punishment ….’

Three ex-college associates meet up for a reunion. Two of them (Duller and McFayden) are deeply unpleasant, waspish bullies, and the third (Talbot) is chirpy, upbeat and, after a while, deeply irritating! Vivian MacKerrell, Murray Melvin and Larry Dann play these roles brilliantly.

The stunning location in 1920s England was mainly filmed in India, and many of the cast and crew became unwell during recording. It's directed by Stephen Weeks who also directed the Christopher Lee film ‘I, Monster (1970)’ at the age of only 22.

Marianne Faithful is very impressive as Sophie. Faithful was going through troubled times at this point in her life, which might have fuelled her performance. Leigh Lawson, Penelope Keith and Barbara Shelley are some of the more well-known names also involved.

Apart from Weeks' effective direction, which makes great use of a limited budget, former Pink Floyd collaborator Ron Geesin provides a truly unnerving soundtrack which conveys the horrific nature of events - especially during the shaving scene. You'll know when you get to it!

The enigmatic Hugh (Michael Petrovitch) makes a rather creepy pass at Anna (Susan Hampshire), and rather than walking away, she falls for his stilted charms and they are soon embarking on a relationship. She is married, she tells him, as they stroll through idyllic Jersey, but the marriage is failing. Hampshire is wonderful as Anna, who clearly needs someone in her life. Imagine then, her heartbreak should tragedy come a-calling.

This Tigon film is based on a book by former newsreader Gordon Honeycombe. His story lends itself very well to the horror/romance treatment, but director Fred Burnley seems determined to tone down the chilling aspects of the tale. All we really get is Petrovitch's increasingly robotic performance; this is understandable given the circumstances, but he was hardly animated when we first met him.

Frank Finlay plays Hugh’s repressed brother George, and one-time Doctor Who companion Michael Craze does his best as Collie, but it is a thankless role.

The film's title was changed to ‘The Exorcism of Hugh’, possibly to cash in on the then-current William Blatty film.

After a moody establishing opening, it quickly becomes apparent that this is a low-budget slow burner with a lot of the failings of such productions. Namely - a lot of the acting is very weak. I've seen worse, but a quiet chiller/tragedy like this depends on the performances to sell the emotion, and they just aren't strong enough here, with the exception of Lexi Hulme as Eve Turner .

The location is the winner here, and director Lawrie Brewster achieves some stunning shots that convey both the beauty of the Scottish Highlands, and the isolation too. James (Euan Douglas) inherits a sprawling mansion, and despite being told not to visit, he feels compelled to return, to see if he can identify what troubled him so when he was a child.

Gradually, James learns of the cult of Moloch, and Sarah Daly's story then takes on decidedly MR James turns.

If you're not put off by the slowness of the mood piece, you'll find that the less-than-stellar acting doesn't matter so much. The story, the mood, the atmosphere, the location, the direction and the occasionally glimpsed Owlman are all terrific. The film won two awards at the 2013 Bram Stoker International Film Festival – one, an audience award, and the other for Lexi Hulme’s performance.