Posted in: by Ken Eisler, Contributors, Film Reviews

Review: Shaolin Martial Arts

[Originally published in Movietone News 41, May 1975]

Is the making of many potboilers a prime way to fashion an auteur? If so, a veritable Pantheon of those critics’ darlings must have matriculated by now at the humming factories of Run Run Shaw and Raymond Chow. Plenty of scope over there for that magical tension between a director’s “personality” and the miserable formulaic projects he keeps getting saddled with by his producers. I sample the product occasionally at Vancouver’s two chief outlets for Chinese movies, but my experience so far is that any new movie directed by, say, Lo Wei (and nine out of ten new Chinese movies do seem to have been directed by Lo Wei) resembles the last movie directed by Lo Wei only insofar as both are unimaginative and totally predictable hack jobs. English critic Tony Rayns, who has made “the labyrinth of Hong Kong cinema” his special province, performs prodigies of genre analysis, structuralism, semantic reading upon these movies; if only seeing them proved half as much fun as reading about them! Still, I’m grateful that Rayns steered me to Chu Yuan’s Intimate Confessions of a Chinese Courtesan (MTN 35), which combined genre conventions and sheer outrageousness in surprising ways. And having recently caught two-thirds of Chang Cheh’s epic martial-arts trilogy (Men from the Monastery / Heroes Two / Shao Lin Martial Arts), I can now share some of Rayns’s enthusiasm for this director.

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Posted in: Blu-ray, by Sean Axmaker, Contributors, DVD, Science Fiction

Starcrash: Space Opera Designer Knockoff, Italian Style, plus Crippled Avengers Unite! – DVDs of the Week

Starcrash (Shout! Factory)

This shamelessly and fabulously derivative Italian space opera is both the most ridiculous and the most irresistible of all the Star Wars knock-offs of the late seventies and eighties. Caroline Munro spends much of the film in a black latex bikini as the great outlaw starship pilot Stella Star, who is arrested by space speed cops, sentenced to life in a slave planet, masterminds an escape and is pardoned by the Emperor (Christopher Plummer) in exchange for traveling to the Haunted Star to find the Phantom Planet of the rebellious Count Zarth Arn (a chubby Joe Spinell). And that’s just the first few minutes.

Caroline Munro is Stella Star

The introductory shots echo the opening of Star Wars, with the camera caressing cut-rate space ship miniatures against a galactic backdrop lit up like Christmas tree lights. There’s an android sidekick with a Texas accent (not a Black Hole reference—that came out a year later—merely a lucky coincidence), alien civilizations (“Look! Amazons on horseback!”) and barbarian planets, holographic messages, hyperspace travel and a light saber, not to mention stop-motion robot guards animated with more love than talent and a Death Star substitute with five flaps that look like fingers on a steel glove and fold down into a fist to fire. But the set designs, costumes and psychedelic color are right out of sixties Italian genre cinema. Marjoe Gortner is prissy and unnaturally cheerful as her alien navigator, a mix of Luke Skywalker, Obi-wan Kenobi and Mr. Spock, and David Hasselhoff makes his entrance in a gold mask that looks borrowed from Zardoz, but Plummer brings dignity and gravitas to his part (even when booming the line “Imperial Battleship, stop the flow of time!”) and John Barry contributes a romantic-tinged score, less epic and adventurous than the John Williams but quite lovely.

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