The Worm Eaters, a review by Jimmy
MOVIE / DVD INFO:
Title: The Worm Eaters (1977)
Director: Herb Robins (The Brainsucker)
Subtitles: No Subtitles
Herb Robins (Sinthia, the Devil's Doll)
Lindsay Armstrong Black
Herman Umgar (Herb Robins), an eccentric club-footed hermit with a fondness for night crawlers, lives in an old windmill house on the banks of a dried-up lakebed. Upon learning that only Herman stands in the way of a new condominium development, the town mayor and several businessmen conspire to get rid of this human obstacle by having him committed to the local loony bin. However, Herman's worm breeding pays off when he unleashes hordes of his wriggling friends to infiltrate the town's food and water supply - and soon the entire population goes worm crazy!
My Thoughts:My God this film is bad! Usually a feature produce by Ted Mikels is not the best one in the world, but it had some entertainment value. Where to start... No one in the cast possess a minimum of acting talent, even Robins who is an experienced actor is bad here (he use a very bad German accent and I can't understand half of what he say). In fact the only reason why everyone is cast is because they don't find it disgusting to eat worms. Talking of worms eating, we see that with a big zoom in on the mouth. It's not beautifull, it's disgusting and I don't find it tastefull to see almost the inside of the mouth of someone who eat (by chance I was not eating at the same time). The story is not important, if the director doesn't care why would I? This film exist to be gross and that's all... Not everything is completly bad : the theme song is funny (that's why I add the opening title for your enjoyment. Don't worry all we see is cartoon, no worm eating).
I can't recommand this at all! Except if you want something to use when you want your guest to get out of the house.
(From The little known movie review depot on February 25th, 2008)
The Ladykillers, a review by Jon
5 out of 5
A criminal mastermind rents a room from an unassuming landlady, intending to use her house as base to operate the perfect crime from. He and his gang seriously underestimate her...
When reviewing The Man In The White suit, I suggested that Alexander MacKendrick had a screenplay so clever it smartly demonstrated the rules of traditional narrative. The wonderful and devilish plot of The Ladykillers (by William Rose and Jimmy O’Connor), four years later, goes further still, by being a perfect execution of the same rules and yet is far more entertaining and watchable. Add MacKendricks consummate grasp of genre and the ease with which The Ladykillers unfolds is so brilliant it is almost rude.
This is one of the finest British films ever made and the irony is MacKendrick and Rose were Americans. Well, MacKendrick had lived most of his life in Britain, but still, maybe their viewpoint was essential, because The Ladykillers is as English as can be, especially in character. Each one is a clear individual, yet they gel together beautifully. Location is also important, with the lonely house seemingly isolated from the town in almost a Western fashion, especially considering the railway that is so essential to the final act.
The blackly comic story, with tinges of horror at odds with the comedy, is about a criminal mastermind, executing the perfect crime, yet failing to account for a frail, elderly landlady who nevertheless will be a formidable, if naive, nemesis. The film introduces Mrs. Wilberforce as an eccentric, amusingly tolerated by the local police (headed by Jack Warner, who else?) as she comes in with all sorts of tall tales about potential crimes. Obviously a regular, you can probably guess how it will end up, but being a little predictable actually helps a film like this, because the central idea is so daft!
The gang of crooks are great fun. Peter Sellers and Herbert Lom are especially so, with able support from Cecil Parker and Danny Green as faithful, dumb, but succinctly named One Round. Leading this motley crew is Alec Guinness as Professor Marcus. It is an astonishing performance and ranks amongst his very best, simply because it is such a complete makeover, yet he engages with the viewer (unlike White Suit) and doesn’t steal the film from anyone. Actually in a nice reflection of the story, he absolutely fails to take anything away from Katie Johnson as the eponymous Mrs. Wilberforce. What a wonderful character! Sums up the Great British little old lady, utterly dotty yet with such elegance (apart from when she deals with her pipes!), as she quietly and quite unknowingly, unravels the successful heist away from the helpless gang, who all come to realise they are utterly powerless to deal with her. It’s a fantastic conceit that gives us some laugh out loud moments. While all the dialogue is as witty and sharp as you’d expect from an Ealing production, Katie’s lines are especially funny (catch the reference to the taxi driver refusing a fare!). Much as I enjoy the Coen brothers’ work, their remake can be considered an absolute failure just based on their versions of these characters.
Marcus should have known though. He is introduced with a passing nod to Hitchcock’s The Lodger (“I understand, you have rrrooms to let”) yet his looming, scary presence is lost on Mrs. Wilberforce and he immediately becomes bothered by her little house that’s as wonky as its owner! Professor Marcus is all about regimented order and his plan to disguise the gang to his landlady as a group of musicians is no accident. Everything he does has a rhythm (Guinness can even be caught almost dancing while performing) and the film follows his beat, apart from Mrs. Wilberforce of course, who is responsible for at least two hilariously farcical set pieces, one involving Frankie Howard! While great use is made of Boccherini’s Minuet –Marcus even hums it when timing the heist- it should not detract from the inventive score that keeps up with the continual changes in mood and genre.
The regimented rhythm allows a light touch and immense scope from the director. It’s a delightful film that should be essential for anyone interested in how films are structured or just simply want a bloody good laugh.
(From A Feeling for Ealing... on April 25th, 2010)
Smallville Marathon #2, a review by DJ Doena
VelocitySynopsis: Jonathan has had an heart attack and Martha and Clark have brought him to the hospital. When they return from there, they nearly get hit by a car that is participating in illegal car races. The driver of this car is Pete who tries to emerge from Clark's shadow. Clark tries to warn him about the danger but when Pete realizes this danger, it's too late.
My Opinion: Episodes with illegal street races don't work for me because these "dangerous speeds" they are driving (100 mph in this episode) is my average cruising speed on the autobahn. Granted, I wouldn't drive that fast on a country road (and that would be forbidden even here) but still I am not really impressed. The other reason may be that I never was much into cars, for me they are a means of transportation from A to B.
ObsessionSynopsis: During a visit of a LuthorCorp plant Clark is in an elevator with Alicia when the cable breaks and the elevator starts to fall down. Clark has to ram his hand through the wall to stop it. But Alicia has a secret of her own: She "beams" them out. Clark has finally found someone with whom he can be perfectly honest.
My Opinion: "To good to be true" would be the phrase here. I don't understand why Clark isn't allowed to be happy for more than one episode. I like Alicia and think they should have given her more time before she made her obsessed with Clark. But we will see her again and she will be an eye-opener.
ResurrectionSynopsis: Jonathan agrees to get a tripple bypass when Clark meets his friend Garrett in the hospital. Garrett's older brother is waiting for a new liver but then he dies. He is brought to Metropolis but suddenly reappears in Smallville - alive (sort of). But then he collapses again and Garrett takes hostages to get a liver for his brother.
My Opinion: Parents can be cruel. Garrett's actor's name is James Nichol Kirk. James Kirk. I don't want to imagine the childhood of that man.
As I said during my Stargate SG-1 marathon, I find it funny how you suddenly stumble over actors once you've come to know them. Back in Obscura Aaron Douglas (Chief Tyrol in Battlestar Galactica) played a deputy and now Tahmoh Penikett ("Helo" in BSG) played Garrett's older brother.
When I watched this episode for the first time (and the others before this) I had no idea that the serum could be connected to Clark's blood. Seems I am good at picking up details but making a line between two points is not my strong side.
CrisisSynopsis: Clark receives an emergency call from Lana but when he comes to the rescue she isn't in any danger at all. Clark didn't imagine it, there's a tape that proves that call was made. But who called if it wasn't Lana? Or from when did she call if it was (will be?) her?
My Opinion: None of the four episodes on this disc have impressed me very much. In this one I didn't really understood Adam's motivation to kill Lana.
(From Smallville Marathon #2 on May 31st, 2008)