Showing posts with label Studio: Prism Leisure. Show all posts
Showing posts with label Studio: Prism Leisure. Show all posts

REVIEW: DVD Release: Dagon























Film: Dagon
Release date: 2nd February 2004
Certificate: 18
Running time: 94 mins
Director: Stuart Gordon
Starring: Ezra Godden, Francisco Rabal, Raquel Meroño, Macarena Gómez, Brendan Price
Genre: Fantasy/Horror/Mystery/Thriller
Studio: Prism Leisure
Format: DVD
Country: Spain

Even at its peak, Dagon was the sort of movie one could only get in bargain bins. There is little risk when buying a DVD for £1 that it won’t provide at least that amount’s worth of entertainment. It is one of a rare breed of horror film that really goes for it; cashing in on shock value and mixing it up with big themes and ideas, despite being made on an impossibly tight budget. Dagon is hard to ignore, because not only is it from the makers of the acclaimed Reanimator series, and based on a cult H.P. Lovecraft story, but, most importantly, it’s about evil fish-men.

The Story follows Paul and Barbara, a recently wealthy couple who have gone sailing to Spain with some friends in their yacht. After a freak storm causes them to hit a rock, they are forced to seek help in a nearby village.

The couple are separated and Paul finds himself running for his life from the mysterious fish-men that inhabit the village. As his flight for survival takes him from one terror to another, he unravels the secret of the Cult of Dagon…


The most notable thing about Dagon is that it whizzes by with a really kinetic pace to it. After a short introduction, we panic through the film with Paul, scrambling to get to the next scene and, at times, left quite short for breath.

Despite being a primarily action based film, there is still a coherent and involving story. From the film’s inception, there is a strong foregrounding of dreams and nightmares. This is both expressed through visuals and dialogue. The central theme of Dagon is the idea that dreams and nightmares are one and the same, a vision of our deepest primal desires. The things we truly desire can be something we fear on the surface. This is explored throughout, and echoes of the short stories that the film is based on.

Dagon is a very loose adaptation of both Dagon and The Call of Cthulu by H.P. Lovecraft. The details of the plot have changed, although the themes and atmosphere are still intact. The works of Lovecraft are notoriously difficult to adapt to film, however Stuart Gordon and Brian Yuzna are brave enough to try time and time again, playing with Yuzna’s own concept of a plastic reality. As with Reanimator and Necronomicon, Dagon is littered with Lovecraft references, such as Paul’s ‘Miskatonic University’ sweater (the university from Reanimator and many other Lovecraft stories).

The main role of Paul is played by Ezra Godden, who has also appeared in numerous TV shows, and recently lent his voice to the computer game Dragon Ages: Origins. His performance in Dagon could be said to be a little wobbly. Nevertheless, overall he conveys a believable character in an impossible situation, and draws the viewer to root for his survival. Paul is a relatively everyday man, with little in the way of heroics and easily overwhelmed. We see him frequently retreat within his own mind, leaving the viewer faced with a trembling shell, adding gravity to the moments where poor effects would otherwise make us laugh.

The supporting cast also play a valuable role. Raquel Morono’s performance as Barbara contributes to Paul’s character by highlighting just how passive and spineless he is with her Hispanic fire. The late Francisco Rabal, to whom the film is dedicated, plays a drunken tramp. His awkward incoherence, and the way he wanders aimlessly between Spanish and broken English presents us with an impeccably accurate portrayal of a chronic alcoholic hobo.

The scenery of the village conjures an outstanding atmosphere of unseen peril. Once the rain begins to pour down, every surface becomes ominously dark and reflective. Shadows constantly flicker and move. The entire village transforms from the sundrenched drenched idyll in to a large scale haunted house, but the horrors in this haunted house are real.

The fish-men make for great monstrous villains, sometimes appearing like an aquatic zombie horde there are so many of them. More than zombies, the fish-men are a diverse bunch of monsters that come in many forms. Some are mostly human, others are mostly fish. Some talk, some walk and some are muscle-bound titans. They talk in their own crazy language, which sounds like dolphins shouting abuse at each other with its eerie clicks and squeaks. The makeup and effects used for the fish-men are really effective at instilling both fear and disgust, far surpassing anything you might have seen in old Dr Who episodes.

Since it’s a true diehard horror film, there are numerous gory set pieces, and there are a lot of special effects in play throughout Dagon. These special effects achieve mixed success, with much of it laughable, and some of it truly impressive. For the most part, Dagon features gore that is done with prosthetics and fake blood; however, there are some creature effects that have been added by some embarrassing CGI. The pinnacle of the gore involves a man’s skin being peeled from his face whilst he is still alive and screaming, so do be prepared if you are squeamish!


Dagon really is a film that puts the ‘bargain’ in ‘bargain bin’, but it will give you more than a pound’s worth of fun. It may not change your life, and it does have some failings, but it certainly has an interesting story, and thrills that will not be easy to forget. DOB

REVIEW: DVD Release: Taxi























Film: Taxi
Release date: 14th October 2002
Certificate: 15
Running time: 86 mins
Director: Gérard Pirès
Starring: Samy Naceri, Frédéric Diefenthal, Marion Cotillard, Manuela Gourary, Emma Sjöberg
Genre: Action/Comedy/Crime
Studio: Prism Leisure
Format: DVD
Country: France

As the ‘80s passed us by and the ‘90s emerged, we entered a new age in cinema. The postmodern slowly developed into the post-postmodern, an age of remakes and intertextuality. The old adage that, “Anything that can be invented, has already been invented” now seems to have been accepted as an unwritten rule of cinema. Taxi is a perfect example of intertextual postmodern film, and was written and produced by one of the finest exponents of the art: Luc Besson.

Daniel is a taxi driver who drives a super-taxi at the highest speeds possible. He drives so fast, in fact, that his car is a blur when captured on any speed cameras. One day he is caught by Emilien, a very unlucky policeman, and Daniel is faced with having his license taken away.

The Mercedes Gang, from Germany, are so good at robbing banks that they always announce where and when they plan to strike next. So far the gang have eluded capture and now they are targeting Marseilles. Desperate for a lucky break, Emilien offers Daniel a chance to keep his taxi license. Daniel, who despises the police, reluctantly agrees to help Emilien catch the Mercedes Gang…


This crime/comedy was an instant classic upon its release in 1997 and has since been remade by Hollywood, with Queen Latifa taking over the lead role. However, Taxi takes more from Hollywood than it does from its apparent French influences and perspectives.

On the surface, Taxi presents the viewer with a distinct homage to Hollywood crime movies. In fact, the music in the opening titles is the song Mirsolu from Pulp Fiction (the rest of the soundtrack is mostly French hip-hop). Mirsolu has become so iconic that it tells the audience exactly what to expect from the rest of the film. There are also numerous references to Tarantino and other big budget crime movies throughout Taxi, such as the Reservoir Dogs style bank robbery scenes, and the ending, which is visually reminiscent of Heat.

However, this relationship with Hollywood goes even deeper than its face value. When watching Taxi there is a strong sense of hyper-masculinity, which triggers memories of Alain Delon and French crime thrillers of the ‘50s and ‘60s, such as Le Samourai, Borsalino and A Bout de Souffle. Daniel is not just a taxi driver; he is the greatest driver alive. The Mercedes Gang are not simply bank robbers; they are super bank robbers. Even the cars they drive are fantastical and encased in their own folklore. It is also worth noting that the quintessentially French city of Marseilles is the typical setting of any French heist movie or gangster film.

The most striking aspect of this movie is the way the stunts and driving scenes are shot. Many of the action sequences act as set pieces to the plot, driving (no pun intended) it forward to the spectacular finale. The story begins with Daniel being ‘saluted’ by a troop of pizza delivery bikes, who put on an impressive display of tricks and stunts. This is then taken to new heights when Daniel unleashes his modified taxi. The way in which the cars are shot makes them look incredibly fast, but without any CGI glossiness. The cinematography and soundtrack build upon the visual style to further enhance the ever present coolness to great effect.

Despite the driving and stunts being central to the plot, these set pieces are interspersed with cleverly constructed comedy, which is best enjoyed with subtitles, as jokes sound very corny in the London gangster-style dubbing. Many of the characters come across as being caricatures of themselves, particularly when coupled with their exaggerated hyper-masculine abilities and traits. Daniel is a cool, suave diamond in the rough. Emilien is the accident prone, pathetic nice guy who brings the bulk of the comic relief.

This odd combination of prodigy and spoof adds further charm and complexity to the double act without infringing on either the action or the humour. There is also the sense that Daniel is the hero and Emelien is a sidekick who is there to bring credibility to Daniel’s prowess, as with most action films. So, the duo act as both a Laurel And Hardy-style comedy act and the Leathal Weapon-style buddy team.

Luc Besson supposedly wrote the script for Taxi in just thirty days, which is particularly impressive given the film’s success and popularity. The acting is capably portrayed, with Samy Naceri playing a laid-back, yet smooth lead, indicative of a modern Jean-Paul Belmondo in A Bout de Souffle crossed with a French version of Sean Connery’s Bond (complete with a gadget packed Peugeot!).


Taxi has much to offer the discerning viewer with its unique mix of action and comedy. It embroiders a textured intertextual tapestry and, at the same time, carves its own niche far beyond these roots. It’s easy to see how this endearing film has spawned a further three sequels and a US remake in little over a decade. DOB