Fuzzy Navel, Big Eggs, and Coffee in a Can

“Westerners in Japan spend much of their time being confused”

It’s an alien country, unlike anything you’ve ever seen. The transport systems are impossible to use. The cost of living is unbelievably high. The food is hostile. The natives and their language are incomprehensible. The weather is foul. The customs are unfathomable, and any foreigner there is treated like a quaint and distasteful oddity.

The above facts are pretty much a summary of what I had read and heard about Japan before I left England. I’d prepared for this trip, revised harder than I ever did for my exams. Guidebooks, language courses, The Rough Guide to the World. As I stood waiting for a bus at Narita Airport (which is about an hour’s drive from Tokyo itself), I must admit to being a little worried. Still, here I was, and here I was going to stay for the next two weeks. Having no tangible assets whatsoever, I had put myself in debt for a year to pay for this. It was just something I had to do.

It took me one day to realise that guidebooks on Japan can be compared almost universally to a Texas Longhorn: a point here, a point there, and an awful lot of bull in between….

Not only do they lie a lot, they also miss out things that they should really tell you. For a start, I wasn’t expecting the pavement to be full of bicycles. I stepped out of the hotel at eight in the morning on my first day and suddenly I was in the middle of the Tour De France. They were everywhere, and none of them were doing less than thirty. Only a heroic leap sideways saved me from being sliced laterally into about a dozen pieces. The shriek of mortal terror was purely for show. I found myself in a shop doorway, having my legs hosed down by a tiny Japanese woman in a brown kimono and a baseball cap. I was ready to take this personally until I realised that every doorway in the street had water jetting out of it. They were washing the pavement down before business, just like they did every morning.

User Carpkazu on ja.wikipedia, CC BY-SA 3.0 http://creativecommons.org/licenses/by-sa/3.0/, via Wikimedia Commons

While squelching away from this particular revelation I got my first real views of Tokyo from street level. Looking out of the bus window was enough to leave me open-mouthed with wonder, but it’s not the same as standing there and having it all happen around you. Right opposite my hotel was the Korakuen Amusement Park, extending as far up as it did to either side, and containing some of the most sadistic-looking rides I have ever seen. Behind this catalogue of terrors lay the Tokyo Dome, known locally as the Big Egg. They ain’t kidding. It’s a covered baseball stadium and racecourse that makes Wembley Stadium look like a putting green. Using the park’s taller features as a reference point, I got down to the serious business of exploring Suidobashi, the area where I was staying.

Suidobashi’s shops all sell either books or sporting equipment, and they are taller than they look. Within twenty minutes I was more lost than I have ever been in my life, and the park was completely hidden. It had probably retreated below ground, like the base in Stingray. I had my map, given to me back in London by the people at the Japan Travel Centre, but Tokyo city planners obviously don’t like naming their streets in any way that can be read by the human eye. I began to feel pretty stupid, until I realised that there were groups of Japanese people who looked more lost than I did. By the time I spotted the Korakuen big wheel six hours later I had seen a lot of Tokyo. My feet looked like Bruce Willis’ at the end of Die Hard.

I’d seen a lot, but I’d fallen in love and wanted more. I was getting a kick out of the simple things, like the Japanese writing confronting me wherever I looked, the multicoloured taxis, the dozens of vending machines on every street. If you have a 100 Yen coin in your pocket, you can never run out of cigarettes of canned drinks in Tokyo, regardless of the time. I liked the sound of the language, the faces of the people: the open, interested expressions of the girls, without any hint of the smug self-awareness so typical of the western female. Schoolgirls beam and giggle, old ladies nod and smile, their eyes bright and knowing, and businessmen will happily reveal that they speak better English than you do.

That was the last time I got lost in Japan, because the next day I discovered the Tokyo Underground System. It spreads like a vast spiderweb under the city, connecting everything to everything else. Wherever you look there are station entrances, clearly labelled in English and occasionally Japanese. Once inside you can be anyplace in Tokyo within twenty minutes. What surprised me was the state of the trains themselves: I had never seen tube carriages that were clean, comfortable, and free from litter, graffiti, and drunken skinheads. Some of them had computer displays telling passengers which station they were approaching, which they had just left, what the time was and the latest baseball scores, all in the ever-present Kanji with English translation. How long would that last in Britain without some moron’s Doc Martin going through it?

本屋, CC BY-SA 3.0 http://creativecommons.org/licenses/by-sa/3.0/, via Wikimedia Commons

After I’d gotten the hang of that, I decided to hit Ginza and look for some food, since Aeroflot’s in-flight meals had killed my appetite for the past two days. Ginza is Tokyo’s fashionable shopping district. The department stores there (Depatos) all look like half-a-dozen Harrodses in a stack. They’ve got beer gardens on the roof, food halls in the basement, and everything else in between. I’d read all about this, of course. I’d even seen photos of it. But the reality was enough to turn my brains to jelly. I was walking around like a baleen whale feeds, gob wide open and sucking in experience like krill. Eventually I plucked up enough courage to go into a Sushi bar and try some of the stuff. My first real mistake since arriving. It wasn’t just the bones, the eyeballs, the bits of tentacle with the suckers still attached: the whole thing just tasted vile, kind of a cross between lavender soap and Dettol. I crammed as much of the awful stuff down my throat as I could stomach, trying to convince myself that it is practically impossible for octopus tentacles to reconstitute within the human gut and exact a terrible, Alien inspired revenge, then paid up and staggered off.

That little adventure cost me nigh on twenty quid. Since it’s terribly bad manners to count your change in the shop, I was at least able to get outside before I started crying. Let me state now that this was an isolated incident. As long as I steered clear of raw fish, I got on very well with Japanese food. Japanese drink, too. When drunk hot, Sake tastes like Christmas, and couldn’t get into the brain quicker if it was injected. They have soft drinks there called Pocari Sweat, Post Water (advertised by Bruce Willis, no less) and Fuzzy Navel, and you can get tea and coffee in cans, hot or iced. Noodles are delicious, whichever type you try, and a huge bowl (more than I could eat) can be bought for less than a pound. If you know where to look, you can survive in Tokyo for pretty close to nothing.

I didn’t. Get by for nothing, that is. I’m pretty sure I survived, but changed in ways I wouldn’t have thought possible. I was a lot poorer, for one thing. The hotel I stayed in cost nearly forty quid a night, and that was just room, no food. Two people sharing would pay about thirty each. This is using the coupons issued by the Japan Travel Centre in London: if I hadn’t used these, hotel prices went from fifty-six to nigh on two-hundred quid a night!

Schellack at English Wikipedia, Public domain, via Wikimedia Commons

I also spent far too much on stuff to bring back. Being a rabid Anime fan, video tapes were an essential purchase. Unfortunately, there is very little sell-through in Japan, and my copies of Dominion 3+4 and Adventure Iczer-3 cost me forty quid a time. All in all, I spent about seven hundred on books I can’t read, videos I can’t watch, and CD’s I can’t listen to (no player). Various conversions cost another hundred when I got back….

Time to go home arrived a lot quicker than I’d have liked. For some reason, I felt more at home in Tokyo than anywhere in England. Maybe it was the feeling of perfect safety prevalent everywhere except the roads and the bicycle-infested pavements: you can ride a Tokyo subway at midnight and be in no danger at all. Even drunk Japanese are totally non-belligerent. They just sing louder and cry a lot. Maybe it was the fact that everything seemed to work. Whatever the reason, it hardly felt any time at all before I was back at Narita airport with a suitcase that exceeded my weight limit by ten kilos and a young Japanese lady telling me that I couldn’t board the plane home because I had not reconfirmed my flight.

This was something else I hadn’t been told about, and it put me at a bit of a loss. Not to mention screaming panic. I had spent all my remaining money on Pachinko the night before, and now I was being told that I would have to stay in the airport for another twenty-four hours….It would have been okay if I could have afforded another night in Tokyo. Thankfully (miraculously!) an English guy turned up at the same time and offered to swap flights with me: he had a reconfirmed ticket but had lost his passport, and would have to return to Tokyo to get it. While I rained burning kisses on his shoes the Japanese lady gave me his ticket home. Fourteen hours in a Russian-built jalopy of an airliner and the grubby lights of Heathrow swung pestilently into view.

When I landed, it was raining. It was cold. The train home was full of morons and the wheels for my suitcase had come adrift somewhere over Moscow. This was supposed to be home. I didn’t like it. I still don’t. The English have got no bloody manners and the shops shut too early. But give me a year to clear the debt and I’ll be back in Tokyo, doing it all over again. I’ve just heard that the Japanese hire about three hundred Brits a year to teach conversational English to pretty little High School girls. I think I may be making some enquiries soon….

P.J. Evans

Violent Anime

Since the beginning of the 80’s, the West has slowly been discovering the popular culture of Japan, a country hitherto known only for ‘The Seven Samurai’, a handful of similar art-house features (often by directors disliked in their native Japan) and vast numbers of dire monster movies.

I’d like to say it began in Britain earlier, but probably it was indeed Clive James’s look of pained disbelief as Japanese salarymen willing tied themselves to tractors, in order to be dragged half-naked over sunbaked gravel, that revealed to the British public at large the truth about this little known island. We loved it. Gradually, better (and more horrendous) forms of entertainment were discovered so that by the late 80’s and Channel 4’s Japan season, the myth of the Japanese as mild-mannered, Bonsai-trimming car-manufacturers had been totally destroyed.

Despite changes since World War II, Japan is still the same culture it was when the Portuguese and Dutch came in the 16th century. Beneath a surface gloss of civilization runs violence: then, as samurai defending his lord’s honour in battle, and now, as a hero on the silver screen dispatching victims with the precision of a micro-surgeon.

In Japanese film & TV, violence is intrinsic and natural, certainly the only thing holding it back is the cost and difficulty of any special effects. But what live action can’t manage is carried out by animation studios (in Japan, these produce 150 cinema releases per year) to satisfy an eager audience. The obvious advantages of animation are exploited to the budget’s limits when it comes to thinking of new ways to kill people on screen and anime has succeeded in throwing up (literally!) some of the most shocking and creative sequences of designer violence ever, whether in fast paced fight scenes or nightmarish visions of terror.

And so dear readers, here in reverse order, are what your humble author considers the ten ‘best’ examples of extreme violence in anime. Dependent on your personal proclivities, any or all of these are worth seeing…

10 – Black Magic Marionette M66

A good example of violent action in an excellent ‘Terminator’ style movie. The feature contains little more than two set pieces: one is set in a tower block, but the better one for my money has the rogue androids (of female design, no less) attack an army road checkpoint. The androids easily kill most of the soldiers in an impressive display of martial arts and whilst blood and gore are not greatly in evidence, the style of the piece more than makes up for it.

9 – A.D. Police File One

Being largely invulnerable to gunfire will help prolong any violence and the protagonists in A.D. Police, again female robots, are just that. The scene that counts has the police trying desperately to destroy a robot by cutting it’s head off. However, it gets a gun and proceeds to pump enough lead into one guy to sink his corpse, with each round sending either a limb or about two pints of blood flying.

8 – Yoma, Volume One

A single picture stands out in this one, aside from some nice human-spider transformations. The best image is of the spider overlord (who is distinctly human), sitting in his nest eating a human head. If you’ve ever seen pictures of children brought up by wolves to eat raw meat and run wild, then you’ll recognise the look on the creature’s face.

7 – Outlanders

The film of the comic, although heavily condensed, retains the carnage of Kham’s arrival on Earth. Heads lose contact with necks, arms touch the floor without their respective bodies having to bend and death scenes all contain enough blood to paint the town red.

6 – M.D. Geist

This one really is a lot of cobblers, but it does contain a lot of very gory violence. Our hero, M.D. Geist himself, is more than capable of crushing a man’s head with his bare hands. If this show is to be believed, in such circumstances the human eye will merely pop out due to the pressure. Again, blood is much in evidence, one guy at least having a seemingly endless supply.

5 – Megazone 23, Part II

The key sequence here involves a very one-sided space battle. Imagine, if you will, the effect that masonry drill (attached to flexible tubing so that they can go anywhere) would have on your skull. Got it? Good. That’s a pretty good description of what attacks the bridge crew of a space craft. The deaths of the characters are both protracted and very messy – in case you missed any first time round, most of it is repeated later on in the film as a gory captain’s log.

4 – Five Star Stories

Another entry in the Stylish Violence bracket. Again, it’s decapitation and dismemberment but it’s an altogether better class of death and destruction than previously. Choice moment has to be when a knight uses a light sabre to slice through a guy’s head, and the two parts slide apart. Or perhaps the ‘multiple beheading by pole-ax’ is more to your liking…

3 – Akira

There’s no denying it – ‘Akira’ is a very violent film, it’s impact largely coming from it’s realism, the excess of blood being replaced by accurate portrayal of internal organs. Tetsuo’s transformation into the pile of molten flesh being all the more unpleasant for the lack of blood. The film’s ability to shock is outstanding, how this got a ’12’ certificate, I will never know.

2 – Violence Jack

I’m pleased to say that I’ve only seen part of this, but what I did see was highly unpleasant. The nastiest anime generally involves sexual violence and this is no exception. A motorcycle gang attacks and rapes a group of models trapped in parking lot. Help comes their way when Jack intervenes, a man whose idea of justice is to tear the offender in two by grabbing a leg in each hand and ripping. Everything about this was sick. It’s still not as bad as…

1 – Urotsuki Doji

This is sick. Really sick. Also known as ‘Wandering Kid’, it has quite a degree of infamy, as shown by the fact that it had the highest audience of any film at Eastercon ’90 (the national SF convention). It’s plot, what little there is, revolves around an angel, thrown out of heaven for being too brutal, fighting demons on Earth. All this is just an excuse for three set piece sexually violent sequences. By far the worst, in my opinion anyhow, is when the young ‘hero’ (a pervert who enjoyed watching his girlfriend get raped), killed in a car accident but resurrected as a demon, literally fucks a nurse to death. His penis then extends to well over a hundred metres long and tears it’s way through the hospital, trapping the souls of countless victims. Not only is this the most violent anime I’ve ever seen, it’s the most extreme piece of any sort. Indeed, it is a relief to know it’s “only a cartoon”, but leaves me with one thought: what sort of people are the animators?

[Editor’s note: I agree that it’s no.1, but for me the worst section is where a schoolgirl is molested by her female teacher, who then turns into a many-tentacled demon which rapes said schoolgirl. In every orifice. Simultaneously. In close-up…]

Just for Kicks…

The films of Jackie Chan have a far greater fascination for me than those of his Western counterparts in the martial arts genre, such as Jean-Claude Van Damme. I find ninety minutes of sadistic nastiness of limited interest and greatly prefer Jackie’s brand of spectacularly enjoyable violence where no-one, not even the bad guys, ‘really’ seems to get hurt. I use quotes deliberately because he has probably suffered more injuries while doing his own stunts (still the case, even though he’s now a star) than most Western stunt-men (never mind actors!), most notably a fractured skull during filming in Yugoslavia on ‘Armour of God’. When Jackie limps, it’s probably for real.

Jackie Chan, real name Chan Kong-Sang, was born on April 7th, 1954 in Hong Kong. When he was seven, his parents sent him to the Peking Opera -perhaps the best way to describe this venerable institution, responsible for producing some of the best Oriental martial artists, is to call it a cross between a stage school, a circus and an SAS training camp. There, under his master Yu Chan Yuan, he spent ten years learning acting, gymnastics, singing and, naturally, martial arts – his teachers remember him as not outstanding, but he always gave 100%.

Just like Bruce Lee, Jackie started his career as a child actor and he then worked as a stuntman for several years before getting any major breaks. His first film, ‘Master with Cracked Fingers’ shows a very different JC to the one we know today, not least because he’s since had cosmetic surgery to Westernise his eyes. It has to be said that a lot of his early movies, which he merely acted in rather than directing, were low-budget hack-jobs, churned out under tight budgets and schedules. His later fame also meant that any film in which he’d appeared suddenly became ‘starring Jackie Chan’ – not that this means they are automatically worthless of course (‘Half a Loaf of Kung Fu’ has it’s moments) but you’re advised to view with some caution.

The first turning point in Jackie’s career came with ‘Snake in the Eagle’s Shadow’ (below), made in 1978 under director Yuen Wo Ping, later responsible for ‘In the Line of Duty 4’, one of my all-time favourites. The same duo virtually remade this movie as ‘Drunk Monkey in the Tiger’s Eyes’ -different fighting style (this one roughly translates as ‘Eight Drunken Fairies’, and requires the participant to drink a lot of alcohol!), almost the same plot.

Shortly afterwards, Jackie took over directing his films, and has done so on most of his appearances since, though after a couple of movies, he made a brief excursion to America for ‘The Big Brawl’ directed by Robert “China O’Brien” Clouse. This was followed shortly afterwards by a small part in ‘The Cannonball Run’: Jackie also appeared in the sequel, but that’s not his fault.

Opportunity knocked, and Jackie left from a first floor window to meet it. The result, and the second turning point, was ‘Project A’. The rest, as they say, is history. Big box-office followed and Jackie was firmly established as the biggest star in Hong Kong, although his fame here has been mostly limited to video, with cinema releases of his films being distressingly few and far between,

Humour plays a vital role in Jackie’s films, a pleasing contrast to the unremitting seriousness that affects most of the Western output (‘Blind Fury’ being a notable and worthy exception). Learning much from masters of physical slapstick such as Buster Keaton, Jackie Chan has become adept at using humour to provide an outlet for the energy his movies generate, without detracting in any way from the tension. Credit for this must also be given to Samo Hung, acknowledged as the master of “funny kung-fu”, and with whom Jackie has worked on many movies. These two are master craftsmen and if either of them are directing a film, you’re virtually guaranteed a good time. And ‘a good time’ is what sums up Jackie Chan’s films more than anything else – here are my personal favourite five, all directed by him except where noted:

5. Snake and Crane Arts of Shaolin (Chen Chi-Hua) – This one’s my favourite early Jackie Chan, perhaps because while it’s less spectacular than his later efforts, it’s 96 minute running-time seems to be almost entirely fight sequences! Jackie plays the only surviving master of the titular fighting technique who’s carrying the manual describing the style and who thus becomes a target for virtually every clan in existence. All is not quite what it seems, however. This is a ‘classical’ kung-fu movie, and so may not appeal to everyone, but I like the feel of it and the ease with which it slotted a relatively complex plot into the small gaps between the battles.

4. Project A – Jackie’s first big directorial hit is set at the turn of the century, when pirates ruled the waves because the police and coastguard were too busy bickering with each other to fight crime. An impressive opening bar-brawl and the best bicycle chase since the days of silent movies are capped by perhaps JC’s most amazing stunt ever, when he falls fifty feet or so from a clock tower onto solid ground – admittedly, there are a couple of awnings in the way, but all they seem to do is ensure he falls on his head. If after this, the film’s pace does slacken a little, it’s understandable! [If the sequel is less spectacular, it’s higher in humour and still decent viewing]

3. Dragon Lord – This provides a great example of the indeterminate time in which many Oriental films are set – it looks like turn-of-the-century China, yet at one of the sporting events there are cheerleaders, complete with pom-poms. Hell, it’s good fun, even though it’s more humourous than martial for the first hour as Jackie and his cousin vie for the affection of a girl and play some amazing pastimes – I especially liked the football -badminton cross. When the kung fu comes, it’s a bonus but is easily up to standard as he takes on a bad guy trying to illegally export antiques. I guess it’s a variation on the old drug smuggler theme!

2. My Lucky Stars (Samo Hung) – Great mix of comedy and action, as might be expected given the director. Jackie appears mainly at the start and end as a cop sent to Japan, who has his partner kidnapped and sends for help from his old orphanage buddies. These include Samo Hung and Yuen Biao, and the party is accompanied by the delectable Sibelle Hu, to whom everyone gets tied during a sequence that’s among the funniest in any film I’ve seen (especially if watched after a couple of pints of Guinness!). The mass brawl at the end is incredible, even if on the small screen you get the feeling you’re missing half the action out the edges.

1. Police Story – Any movie that starts off by destroying an entire village clearly has a severe disregard for property. And when two people plunge head-first onto concrete from the top deck of a bus shortly afterwards, it’s clear this attitude extends to human life. Jackie’s a cop protecting a reluctant drugs witness but this is nearly irrelevant, especially in the UK version which loses 20 minutes of plot, and things move inexorably towards the best end sequence in any martial arts movie. Easily the most violent ’15’ rated movie I’ve seen, you wonder how the stuntmen and Jackie can walk off the set. Then, under the end credits there is a sequence of out-takes and you realise that quite often, they don’t. [The sequel, disappointingly, takes about 70 minutes to get going -an oddly deviant section where three cuties engage in nasty interrogation techniques is a highlight of an otherwise dull movie, though the final battle just about recovers things]

FILMOGRAPHY

Deep-breath time again. The following contains ‘significant’ roles only, excluding films in which he acted as a child or was “only” a stuntman. For an exhaustive rundown, see ‘Eastern Heroes’ No.12 (details in 3-Pin Plugs).

  • 1971 – Master With Cracked Fingers (very, very, barely starred!)
  • 1976 – New Fist of Fury
  • 1977 – To Kill with Intrigue
    Snake & Crane Arts of Shaolin
    Killer Meteor
    Eagle Shadow Fist
    Hand of Death
    36 Crazy Fists (dir)
    36 Wooden Men aka Shaolin Chamber of Death
  • 1978 – Drunken Master aka Drunk Monkey in the Tiger’s Eye
    Half a Loaf of Kung Fu
    Magnificent Bodyguards
    Snake in Eagle aka Eagle Shadow Fist
    Spiritual Kung Fu aka Karate Ghost Busters
    Dragon Fist
  • 1979 – Fantasy Mission Force
    Fearless Hyena (+ co-dir)
    Fearless Hyena II (see Master with Cracked Fingers!)
  • 1980 – The Young Master aka Young Tiger
    The Big Brawl
  • 1981 – Cannonball Run
  • 1982 – Dragon Lord (+ dir)
  • 1983 – Cannonball Run 2
    Project A (+ dir)
    Winners and Sinners
    Kung Fu Girls
  • 1984 – Meals on Wheels
  • 1985 – My Lucky Stars
    The First Mission aka Heart of the Dragon
  • 1986 Police Story (+ dir)
    Armour of God (+ dir)
  • 1987 Dragons Forever
    Project A Part II (+ dir)
  • 1988 Police Story II (+ dir)
  • 1989 Miracles (+ dir) aka Mr.Canton and Lady Rose
  • 1991 Project Condor (+ co-dir) aka Armour of God II
    Island on Fire

Film Blitz

The Borrower (John McNaughton) – Anyone expecting ‘Henry II’ (“After Henry”?) is in for a shock. This is totally different in style and tone, resembling ‘The Hidden’ more than anything, with bits of ‘Re-Animator’ as well. An alien, exiled to Earth in human form, wanders round taking people’s heads (hence the title) and using them for it’s own, to the perplexment of policewoman Rae Dawn Chong. She has another problem too, a rapist she caught has escaped and is out for revenge. There’s the crux: the film is almost two different ones joined at the hip, and the strands always seem disparate. Although only normal length, it also feels about 20 minutes too long as the alien wanders rounds without doing much. Still, Antonio “Huggy Bear” Fargas makes a delightful wino! 6/10.

Cyrano de Bergerac (Jean-Paul Rappeneau) – Curious how both Gerard Depardieu’s best known roles have been deformed, tragic heroes at the mercy of other people. If anything, Depardieu’s even better here than he was in ‘Jean de Florette’, and the first half of CdB is sheer magic, almost a one-man show as the character is established as a cross between Robin Williams and Indiana Jones, helping his cousin to woo a girl, whom he desperately loves himself. However, squint beyond Depardieu’s dazzling performance and the rest of the cast look distinctly average, and the film grinds gently to a near-halt by the end. Definite contender for performance of the year to date though. 8/10.

Deathstalker: Match of Titans (Howard Cohen) – Don’t confuse this with ‘Deathstalker’, or ‘Deathstalker II: Clash of the Titans’, as according to the end credits this is ‘Deathstalker 4: The Darkest Hour’. Now we’ve got that out of the way, I can tell you that the movie itself is astonishingly naff. Whatever happened to real sword and sorcery, with blood and bosoms? Rick Hall, the hero from the first movie, has returned to the role, and he brings a similar self-effacing humour to it as John Terlesky did in number 2. This helps a bit, as do the warrior women also competing in a tournament at a castle where the plot unfolds (the usual: evil princess and magic). And while it might be hard to dislike a film with an exchange like “A toast!”. “No, just some coffee…”, this movie almost manages to make you do it. 5/10.

Edward Scissorhands (Tim Burton) – The modified version of the 20th Century Fox logo which opens this film promises a magical, weird experience and Burton finally delivers in spades what’s been visible in flashes through the rest of his career, It’s one of the most beautiful films I’ve seen, right up there with ‘Legend’, and quite restores my faith in Hollywood. Johnny Depp, to my surprise. is very good in the title role, a Quasimodo/Frankenstein type with shears instead of hands, rescued by an Avon lady from his castle home. He then takes up topiary and hairdressing, although things go wrong when he’s led astray by the girl he loves (Winona Ryder, finally hitting puberty at 18 and filling out nicely!). The first half is generally comic, with most attempts at subtlety sharply cut off by amusing but annoying humour. Complemented by Danny Elfman’s score, the second part cuts the comedy and is superb, containing perfect moments such as Edward’s sculpting of an ice angel which sent a shiver down my spine. The story-telling isn’t faultless – important elements are thrown in almost casually – but everything else, right down to the set design, is nearly without flaw. 9/10.

Film Gore (various) – A vaguely interesting but largely pointless collection of film clips, hosted by the cultish but rather boring Elvira. The films are variously gory but yawn inducingly dull (Blood Feast), ungory but nasty and even scary (Texas Chainsaw), gory and effective (Driller Killer), totally ungory and totally boring (Dr.Jekyll’s Dungeon of Doom) and a bit gory but barely interesting (Astrozombies). Put together by Ken Dixon, who later followed this with ‘Zombiethon’ (containing the same Astrozombies footage and music), this was one of the first compilation tapes in America, soon to be followed by ‘Best of Sex and Violence’ and other cut ‘n’ paste videos. Elvira is far from being a highlight – she constantly interrupts the clips offering offensively unfunny jokes, remarks and puns. Load in, press play and keep your finger ready for fast forwards. (AM)

Hamlet (Franco Zeffirelli) – I must be one of the few people who’d have gone to see this even without Mad Mel, Helena Bonham-Carter (Britain’s answer to Winona Ryder?) being sufficient justification. Having said that, Mel’s not a bad Lethal Hamlet, especially when he goes into Shakespearean Psycho mode. the first twenty minutes or so are almost incomprehensible as you struggle to find the verbs in iambic pentameter verse but as you get used to it, it becomes a tense thriller. Mel’s backed up well by a good cast, notably Ian Holm and (naturally) HB-C, who looks about 12, sounds about 25 and goes insane, singing to herself. It all builds to an effective climax before everyone dies (damn, I’ve given away the plot – I was slightly worried the studio execs might have insisted on a happy ending!), While it’s no classic interpretation, half the play vanishing in a struggle to get a realistic running-time, it’s a lot better than it could have been. 7/10.

In Broad Daylight (James Sadwith) – Supposedly based on fact, this film neatly reverses the “one vigilante against a million scum” theme, by having an entire town take on one redneck after his assault on a shopkeeper seems to be going unpunished by the law, thanks to legal legerdemain. This provides 80 or so minutes of highly effective menace, courtesy of Brian Dennehy as the villain, definitely not the sort of guy you’d want to meet down any alley, dark or otherwise. That’s really about it; a long, slow-burning fuse, with more a whimper than a bang at the end. Such is the price of docudrama, since the same can probably be said for most of real life itself (even when transformed into cinema). Still, Dennehy delivers enough frisson to carry the film as a whole, even if it all feels not unlike a TV movie, albeit a grimy, well-done one. 8/10.

The Hard Way (John Badham) – Yet another buddy-buddy cop movie, except this time, one cop is really an actor, Nick Lang, pretending to be a cop to prepare for a part. This spoilt brat is played by Michael J.Fox – you will not be surprised to hear he is quite good at this. However, the REAL cop is James Woods and you will not be surprised to hear he is VERY good, combining manic tension, hyperactivity and self-doubt as he searches for the Party Crasher, a serial killer who calls the cops before each murder. He’s taken off the case to babysit Lang – does this stop him? You will not be surprised, etc, etc. This predictability runs through the movie but the joy to be had watching Woods struggling to call Fox “Susan” more than makes up for this. Keep an eye out for one glaring continuity error – the finale takes place on an enormous billboard head, whose eyes move when seen in close-up but in long-shot they’re embarrassingly static… 7/10.

A Hazard of Hearts (John Hough) – Avoiding the usual TC film accompaniment of a can of Guinness, a box of choccies was considered more appropriate for this Babs Cartland inspired melodrama. Taken in the right spirit, it’s fun – a thoroughly evil villain (James Fox) menacing poor orphaned heiress (and part-time gambling stake) Helena Bonham-Carter, Gareth Hunt as a highwayman for very little reason and Diana Rigg spitting poison and chewing scenery, some time before “Mother Love”. Though not quite Gothic enough (it needed a “Gone, and never called me Mother!” scene) and with some stultifyingly inept performances – we won’t mention names – it wasn’t as sugary as I expected given the author and any sick feeling can be blamed on an overdose of Milk Tray. Pass the soft centres. 8/10.

Mermaids (Richard Benjamin) – Every so often a film appears that confounds all expectations. On the other hand, this is exactly how I expected it to be, ruined by the plastic surgery disaster called Cher. Too much rhinoplasty means she has no alternative but to look down her nose as if the rest of the characters smelt funny. A shame, as you CAN empathise with them, whether it’s Bob Hoskins as a Jewish shoe-salesman or Winona as the daughter who wants to be a nun, but whose hormones aren’t listening (another shower scene & on-screen loss of virginity for her). She wanders round with eyes like saucers (this, I can cope with!) and gets pleasantly more screen time than her billing would suggest. The soundtrack is hideous 60’s crap, the only redeeming feature being that Cher’s “Shoop Shoop Song” is played over the end credits so you can avoid it. Two off for Cher, 6/10.

The Most Dangerous Woman Alive (Christian Marnham) – Such a title promises a fair amount of sleaze, and certainly this isn’t short on female flesh. It’s also more subversive than you might expect: a female Army cadet is raped by her C.O. and, after he’s acquitted by a court-martial, she recruits other women-with-grudges, and starts extracting her revenge on those she regards as responsible. Marete van Kamp plays her with the right degree of insanity, and Robert Lipton gets bonus points for cool as the covert operations man sent to investigate the disappearances. While there’s the usual cliches such as the bad girl who isn’t really, and the last half an hour is totally predictable, overall, it’s a pleasant surprise. 7/10.

Night of the Living Dead (Tom Savini) – If you liked the original, you’ll probably hate this remake but I’m not really a fan of Romero’s first zombie pic – a milestone film that looks badly dated and cheap now – so found this fun. Savini drags NotLD into the 80’s: not quite the 90’s, but significantly further on. The original plot needs no description, and is almost exactly reproduced, though tweaked (especially towards the end) to keep your interest going. ‘Barbara’ is beefed up to almost Sigourney Weaver standard and the gore is too, though it’s well short of ‘Dawn’ or ‘Day’. About the only change that I felt didn’t help was the removal of 95% of the TV scenes, which for me were one of the original’s strong points. 7/10.

Vigilante (William Lustig) – Surprisingly decent movie from the man behind the ultra-sleazy ‘Maniac’, here Lustig restrains himself well to good effect, avoiding both excessive sadism and glorification of the vigilante squad, led by Fred Williamson, who are the main characters. They gain a recruit in the husband of a woman attacked by a gang, after the leader gets a minimal sentence, but he discovers that violence has two sides. Good, believable acting from the cast (including the late Joe Spinelli) and Lustig, much like Abel Ferrara, has an eye for the grimier side of urban life. 8/10.