I’ve just reviewed Snapshot that was cheekily renamed ‘The Day After Halloween’ to capitalise on the success of John Carpenter’s masterpiece.
I remember the first time I saw this was on a copy of the soundtrack that I saw whilst browsing for soundtracks in the mid 90’s when I had moved to London to study film. ‘Well, I’ll be damned!’ I thought as I saw the title of the film and the same font used as for the original film. I was also amazed to see Sigrid Thornton on the album’s sleeve art. I had known and admired Ms Thornton’s work in the TV series Prisoner Cell Block H.
Now rewind a few years. It’s the late 80’s. I’m in Leeds after taking the bus from York to visit a brilliant film memorabilia shop called Movie Boulevard.
It’s here that I buy a quad poster for the film Halloween 2. I wondered why it said ‘All New’ on it.
”I remember when that came out, the ads eventually had a banner that said Not a Sequel to Halloween but it wasn’t in theaters for very long…”
So is this why the posters for Halloween 2 had the words ‘All New’ written on them? Had this small (but perfectly formed) film from Australia which had tried to market itself as a sequel to Halloween perplexed the makers of the real sequel to the film to such an extent that they had to tell audiences that this was the real deal, the real sequel? It would appear so.
This ‘All New’ addendum was added to both the American and British posters for the film (the British poster is earlier in this article)-
This also extended to the British and American/Canadian newspaper ads for the film-
I first learnt of this film as it was called The Day After Halloween and marketed as a sequel to John Carpenter’s classic. It isn’t. But it’s still a really interesting movie.
Angela (played by Prisoner Cell Block H’s brilliant Sigrid Thornton) is persuaded to ditch her low paid hairdressing job and enter the world of modelling. Nude modelling.
This could have been a generic ‘nice girl gets led astray’ film but it isn’t. Theres too many genuinely unexpected twists and turns for it to be predictable. An example- Angela is stalked throughout the film by her creepy ex-boyfriend- who just so happens to drive a pink ice-cream van!
There’s an air of unease and menace that runs through the whole film that gives it a truly unsettling feel.
Watch out for the ending- it’s very unsettling indeed.
This is such a great documentary about Ozploitation films (exploitation films made in Australia).
All the great films and sub-genres are here- the bawdy Ocker comedies, the slasher movies, the films for petrolheads.
The main players are all interviewed and show that making these insane films was just as insane in real life.
I’m so glad that so much attention was devoted to Brian Trenchard-Smith. I think Turkey Shoot is the greatest Aussie film ever (take that Picnic at Hanging Rock).
But it’s not just Aussies who are interviewed. Jamie Lee Curtis and others are interviewed as they starred in prominent Ozploitation movies. Quentin Tarantino features as he’s a massive fan of the genre.
This doc is great for beginners and the already initiated alike. Theres so many films named that I hadn’t heard of that I’ll now be hunting down. Job done.
I loved Greek mythology as a kid and this film blew me away when I first saw it.
It still more than holds up when I watch it today. This really is a brilliant adventure that the audience is taken on as Jason sails in search of the Golden Fleece.
This is the crowning glory of Ray Harryhausen’s stop motion action sequences. The skeleton fight scene is one of the most brilliant pieces of film I’ve ever seen but the Harpies and Talos are just as impressive. Betsy Palmer’s movements at the end of Friday the 13th reminds me of one of the skeletons from this sequence. I wonder if this was conscious on the part of Sean S Cunningham.
The scale of the film is suitably epic. It must have been mind-blowing to watch this film on the big screen back in the day. This film doesn’t feel dated in anyway through the brilliant crafting of the film. This must have been a labour of love for the filmmakers and cast alike.
With any film in which theres scantily clad men within an all male cast theres also a sense of homoeroticism that underlies the whole film especially regarding the character of Hercules. If his toga had been any shorter this film would have earned an X certificate.
The Bernard Herrmann music score is similarly epic. In fact there are parts of this soundtrack that reminded me of his later score for Taxi Driver.
This was actually an Anglo-American production and so we get the great contributions of Honor Blackman and Patrick Troughton in the cast which is always a great thing.
This film really does capture in abundance a childlike sense of adventure and awe that leaps from the screen. Brilliant.
This is basically Never Sleep Again but for the Friday the 13th films. And that’s perfect. Each film gets talked about by cast and crew regarding how it was made, the ongoing battle with the MPAA that blighted the series later on and how well the films fared when released.
It’s always a joy to hear legends like Betsy Palmer and Tom Savini speak about their experiences. Corey Feldman (aka Tommy Jarvis) narrates and does a brilliant job.