The Sound of Music (1965)

In Austria 1938, Captain Georg Von Trapp, a widower, runs his home like the ship he once commanded although, that changes when Maria arrives from the abbey to be his seven children's new governess. She is surprised to learn she's the latest in a long line of governesses seen off by the children, but Maria soon finds that all they need is a little love to change their attitudes. She helps reintroduce them to singing, and through her, music is brought back into the hearts and home of the Trapp family. The Sound of Music is undoubtedly one of the most significant musicals of all time and the most beloved. It has not only firmly remained a classic after all these years but still looks phenomenal now. Its visuals are breathtaking with a superb direction that brings us countless beautiful shots. Whether it be the sweeping shots of the luscious mountain landscapes or even the mere stills of such grandiose locations as the villa and festival stage, this film is inundated with stunning imagery worthy of a theatrical presence. Further shaping the movie are those in the foreground, Maria and the Von Trapp family. We follow Maria who leaves her life in the abbey as a nun to aid the family of Captain Von Trapp. I adored these characters whose interactions and moments together were extremely captivating and brought to such life by their respective actors/actresses. Julie Andrews (Maria) has such a magnificent singing voice that elevates every scene to peak delight which, only blossoms greater when combined with the children, Liesl, Friedrich, Louisa, Kurt, Brigitta, Marta, and Gretl. There are a plethora of songs throughout in which to hear their exquisite voices with so many memorable classics from 'My Favourite Things', 'The Sound of Music', 'Do-Re-Mi', 'The Lonely Goatherd', 'Sixteen Going on Seventeen', 'So Long, Farewell' and more. The songs have even surpassed the movie becoming so universally known that people who haven't even seen it likely know them. Plus, there are plenty more songs featured like those from the Nuns and Mother Abbess with 'Maria' and 'Climb Ev'ry Mountain'. However, the ones I was most captivated and surprised by were from that of Christopher Plummer (The Captain). He has such a voice I was simply blown away by his performance and subsequent songs, with my favourite being the somewhat emotional 'Edelweiss'. As well as being so captivating in terms of the music, each was equally so in the story. Now, the movie is based upon the real story of the Von Trapp family singers, however, naturally, there have been alterations to the cinematic telling, which comes in at a pretty lengthy timestamp. Although, when I watched it again recently I hardly noticed. There wasn't any feeling of it dragging or taking too long. So it comes as no surprise when I say I loved the story. I most enjoyed watching Maria attempt to connect with the children who make the matter difficult as they try scaring her off like previous governesses as they hope to gain their father's attention. However, she finally gets through to them rejuvenating that sense of joy as they come to share an unbreakable bond that also befalls the Captain, who had suffered the worst from the incident. However, the Captain is now engaged to the Baroness, which causes some conflict inside Maria who, without meaning to, has grown a liking to him also. One of the most noteworthy aspects of this movie is its setting. Anyone who noticed the year would immediately make the troublesome connection. Underlying a constant background feeling of dread with the imminent takeover by the Nazis looming. There are hints of this change throughout with it being a topic brought up gradually until it consumes the picture leaving the family to make a difficult decision. Overall, The Sound of Music is a production I and many others consider to be flawless. It manages to convey countless emotions through varying elements like its songs, acting and story, which is tremendously visceral. It is a feature perfect for the whole family certain to captivate you, make you sing and warm your heart. An integral movie to the world of cinema, everyone should experience.

Runtime: 2h 52m

Director: Robert Wise

Genre: Biography / Drama / Family / Musical / Romance

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Indiana Jones and the Great Circle (Video Game 2024)

Archaeologist Indiana Jones is hurtled into a mysterious globetrotting adventure when one of his artefacts is stolen, which may have held more significance than previously observed. As he follows the thief he is drawn into yet another entanglement with the Nazis, who now seek to harness a power connected to the Great Circle. This title has to be one of the best video games I have played in recent memory, particularly for the year. I was pleasantly surprised by this project, which managed to do the impossible: create an authentic Indiana Jones adventure whilst emulating the style and aesthetic of the original trilogy. Set in 1937, between the events of Raiders of the Lost Ark (1981) and The Last Crusade (1989), we are treated to a new glimpse of the classic Indiana Jones during his prime, hot off the heels from his last adventure with Marion in securing the Ark. Being a video game allowed for the possibility of seeing a younger Indy again, which the later two films were unable to achieve to this standard and boy was it awesome to have him back. The most surprising element of this product was the voicing of Indy. Despite not using Harrison Ford, substitute Troy Baker, surpasses all expectations delivering a performance practically mistakable for the real thing. From the get-go, I was instantly sold on it being Indiana Jones merely from his outstanding voice acting. One of the more controversial aspects was the choice of a forced first-person perspective, with many (including myself, initially) wanting third-person like in the Uncharted series. However, having finished the game, I stand with the choice for first-person as it quite literally makes you feel like Indy, putting you in his shoes, showing a perspective never before experienced by fans, through his eyes. It further gives this game a unique style that vastly differentiates itself from other adventure games. Plus during traversal and cutscenes, you get to see Indy from those other perspectives. The combat has to be the most fun mechanic in the game. You will never find a more satisfying experience than cracking the whip, which is fitted with its iconic sound, as you battle Nazis equally equipped with your trusty gun and fists. It is unbelievably entertaining to just beat down Nazis by the dozen in a plethora of ways with pickupable items all around to aid your fight. The whip not only helps in combat but also with traversal and puzzles, which there are plenty to uncover and solve throughout. The story sees Indy thrown into an unexpected journey where he must reacquire an artefact from his exhibition, which spirals into travelling to a wide array of locations. From exploring the Vatican City, scouting dig sites in Gizeh to navigating the waters of Thailand, there are plenty of luscious locations to lose yourself in. Whilst being a linear narrative story we are still treated to semi-open world areas fully explorable with lots of collectables. My favourite, however, is one of the smaller locations, the Himalayas, which offered a superb spectacle segment in the story. Each location was full of outstanding graphics that just blew me away, which are present throughout the game. It's a visually breathtaking masterpiece. On this adventure, Indy meets many friends who guide him in his quest and each holds some brilliant interactions and feels like they have always belonged in this world. He is mainly accompanied by Gina, an Italian investigative reporter who gets more than she bargained for in search of her story. She has some great chemistry with Indy, filling the role of potential love interest perfectly. Gina is searching for her lost sister whose disappearance, she believes to be connected to Voss, a Nazi archaeologist who is the main antagonist. Voss equally fits this world, standing out alongside older villains. He is a worthy match for Jones' intellect and uses his skills of psychological manipulation against his enemies. Indy has his work cut out for him, but can he come out on top? Overall, I adored The Great Circle. I simply couldn't put it down and didn't want to. I was utterly engrossed in its story, characters and gameplay that, to me, made it a perfect classic Indy experience for fans that we never knew we were missing. 

Platforms: PlayStation 5 / Xbox Series X/S / Windows

Developer: MachineGames

Publisher: Bethesda Softworks

Genre: Action / Adventure

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Quantum Leap (TV Series 1989-1993)

Theorising that one could time travel within his own lifetime, Dr. Sam Beckett stepped into the Quantum Leap Accelerator and vanished. He awoke and found himself trapped in the past, facing mirror images that were not his own and driven by an unknown force to change history for the better. His only guide on this journey is Al, an observer from his own time, who appears in the form of a hologram that only Sam can see and hear. And so Dr. Beckett finds himself leaping from life to life, striving to put right what once went wrong, and hoping each time that his next leap will be the leap home. Quantum Leap is an exceptionally creative series, which built such a limitless potential premise. A time-travelling scientist who becomes random people of the past with a problem (or has the potential to help with someone else's issue), which he tries to put right. I was instantly sold on the show from its time travel aspect and matched with the idea of someone jumping into other people's lives to change history was a fascinating concept. We follow Sam Beckett, the man behind the Quantum Leap project, who upon activating is now confined to leaping between lives until he can make his way home. Throughout these travels he finds himself hurtled into a vast array of peculiar predicaments, becoming people of any profession, age, colour, culture, religion, background and even the opposite sex. It opens the floodgates of possibilities as he is thrown into situations he couldn't have comprehended or prepared for. From a test pilot, priest, singer, boxer, hit man, archaeologist, reporter, secretary, vet, chauffer, detective, magician, stuntman to a DJ, the list goes on as to the many special situations Sam will find himself leading. I especially love how with each leap Sam's reflections aren't his own, but those he has become since after all it's their body he is in. The best part of this detail would be during the end of an episode where he leaps and we get a peek into the next adventure. It led to plenty of intriguing cliffhangers, leaving viewers to theorise what wacky situation would follow from the snippet of his new life. Aiding Sam in these difficult tasks is Al, a friend from the 'present day' who can communicate with Sam by means of a hologram only he can witness. By far, Al is my favourite character mainly due to his comic relief and his fashionable dress sense. I equally love the effects used as he passes through objects or people due to his holographic state, which was both funny and useful in the situations at hand. Despite being a hologram and viewable to only Sam, there is a small set of occasions where other people could see him (mainly little children and animals), which delivered some highlight moments in the series. He has Sam's back through all his hardships and uses his gadgets to communicate with Ziggy (a computer A.I. built by Sam to run the project) to access history records as well as theorise how best to guide Sam to accomplish his task. However, Al doesn't always have the stomach for some of the leaps especially being very superstitious, scaring easily when things turn spooky. Their relationship was a stand-out element to the series, because whilst they may have very contrasting personalities and views they care deeply about one another, working together through thick and thin. Personally, I found the earlier part of the show to be its best particularly the first season, which explored the potential of the show and delivered some poignant character-driven stories that would carry onward to the rest of the series. The later seasons would feature some ambitious and unusual episodes that were quite interesting but none more so than its finale entry. Despite being somewhat controversial it gives the series a definitive conclusion that many shows of the time wouldn't have usually gotten. Overall, Quantum Leap is yet another quality series from the 80s and 90s. It delights in transporting us, alongside Sam, into a wide variety of stories and adventures with each episode. Its ability to take us through different decades and see into a plethora of lives is as equally fascinating as entertaining. I highly recommend this unique classic to all TV enthusiasts.

Seasons & Episodes: 5 Seasons - 97 Episodes

Creator: Donald P. Bellisario

Genre: Action / Adventure / Drama / Mystery / Sci-fi

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The Legend of the 7 Golden Vampires (1974)

In 1904, Professor Van Helsing ventures to China on a lecture tour, where his lessons about the legends of 7 golden vampires are dismissed by his students. However, a local family believe him, knowing full well of their existence and where to find them. They join forces, which leads Helsing to get caught up in a battle between good and evil as the gang of sword-wielding vampires rise from their graves. The Legend of the 7 Golden Vampires marked the 9th and final entry in Hammer's extensive Dracula series. Each picture progressively got more unique (and somewhat peculiar) with each addition, though none went nearly as far or was as ambitious as this one. Following The Satanic Rites of Dracula (1973), we yet again disconnect from any form of continuity, delivering a stand-alone story. This movie was a collaborative piece between Hammer Film Productions and Shaw Brothers Studio, which would bring forth an unimaginable product, a martial arts horror flick. A mix of genres one wouldn't expect to work out, however, it does more than that, it excels and is simply put, awesome. Who would relish in the idea of epic flashy fights against vampires and an army of undead? Naturally, the slight genre shift of this movie can make it feel out of place in the series (despite the last two doing similarly for different reasons), but I was able to look past it once I was hooked on the adventure at hand. We open in 1804 at Castle Dracula who sadly isn't reprised by Christopher Lee finally having enough of the series and refusing to return. The Count would instead be played by John Forbes-Robertson whose portrayal is sufficient but unfortunately doesn't come close to rivalling the great Lee. Plus, the overwhelming amount of make-up does his appearance no favours. Dracula is approached by Kah (or as my family calls him 'Reg' after mishearing Dracula's remark 'wretch' to him), who requests his help in resurrecting the seven vampires and the power of the temple. Dracula agrees, but on his terms, possessing Kah's body and setting off to China. Cutting to 1904, we are reunited with leading protagonist Lawrence Van Helsing (and his portrayer Peter Cushing) for one final explosive escapade. I thoroughly enjoyed Cushing's Van Helsing in all of his iterations in the series and this outing was no exception. I also love that this version wears the exact outfit of his character, the Doctor from Dr. Who and the Daleks (1965). Helsing's knowledgeable background in these adversaries makes him a powerful asset in the mission at hand. He is met by student, Hsi Ching, who believes Helsing's teaching recruiting him to free the village from its horrors. He offers him protection, bringing his six brothers the twins Sung and San, Ta, Kwei, Jin How and Bao Kwei, alongside his one sister, Mai Kwei, each capable in multiple martial art forms. The company is also joined by Helsing's son Leyland and rich widow, Vanessa Buren, who finances the trip. I loved this idea of following an entire expedition on a perilous task and quickly became attached to each member with their unique personalities. Our group encounter many oppositions along their journey filled with extensive action and visually stunning displays of excellently choreographed battles. My favourite had to be the fight in the cave where our unexpecting group was resting and quickly had to leap into action. Needless to say, the highlight of the production was the final act where our crew began preparations to hold the village from the amassing army. The entire segment was marvellous with an immense display of accelerating scrimmage, full of chaos with fire blazing and foes at every turn that our heroes are pushed to their limits, which takes its toll. You will be glued to the screen with bated breath from the first to the final blow. Overall, I cannot help but adore this cult classic mix-match genre epic. I was left in a constant state of awe at the flowing action and was captivated by the characters and actors, especially Cushing. It may not be the best of the series, sadly being its last, but it is a fun and exciting film sure to bring joy to any who watch. This concludes my review of Hammer's Dracula series, and I hope you have enjoyed it as much as me.

 

Runtime: 1h 29m

Directors: Roy Ward Baker, Cheh Chang

Genre: Action / Horror

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The Satanic Rites of Dracula (1973)

Secret Service and Scotland Yard police investigators believe they have uncovered a case of vampirism in London. They call in expert vampire researcher Professor Lorrimer Van Helsing to help them stop these hideous crimes. It becomes apparent that the culprit is none other than Count Dracula, disguised as a reclusive property developer, secretly plotting to unleash a fatal virus upon the world. The Satanic Rites marks the 8th entry in Hammer's Dracula series, following on from the events of Dracula A.D. 1972 (1972). Its continuation of the story allowed for many returning characters, locations and recalling of events, which cemented the pair's shared continuity. I found this to be the film's strongest attribute, developing every element further in exciting and interesting ways. I particularly loved the reprisal of figures who originally had meagre parts step into the limelight, such as Inspector Murray. He was a fun side character in A.D. but ultimately didn't get anything crucial to do, until now, playing a pivotal role, aiding Helsing and getting in on the action. Even Helsing's granddaughter, Jessica, would make a return, although now recast, which I'm still unsure how I feel about. Naturally returning prior characters meant another showdown was set in place for returning stars, Peter Cushing and Christopher Lee in their respective roles as Van Helsing and Dracula. Their ceremonious reunion was a huge highlight of the last title and would be an equal driving force here. Lee's Dracula plays a much more prominent role than in the previous, having plenty more to do, say and finally, a bigger vendetta to pursue rather than his personal revenge missions of the past. His presence continues to be grand in all his scenes, featuring his demanding, booming voice with plenty of dialogue. Cushing's Lorrimer Van Helsing equally receives plenty to do, becoming the focal protagonist who must once more use his cunning to unearth the dark mysteries and expose the truth. I also love how he would later arm himself for a confrontation with Dracula, bringing a cross and so on, including a gun, which made for a fantastic image of him wielding the two. Any opportunity to see the duo together makes for required viewing as their chemistry elevates the production, even if this is the most confusing and weakest movie in the series. Many would argue this derived from the film's juggling of a plethora of genres, which come across as less of a 'Hammer Dracula' production and more as a spy, thriller or crime flick. One that just so happens to have vampires present. Its mix-matched genre styles can be quite puzzling, almost as though the film itself isn't sure what it's meant to be. I'm not sure espionage, car chases, and police investigations were high demands for a Dracula film but, it has the luxury of never being done before or since. All being said, amidst its flaws, I still found much to enjoy and certainly don't hate the film. Whilst it has been deemed the weakest movie by viewers, it has evolved in its perception by fans, much like A.D. 1972 has. We definitely see a departure from some of its more 'campy' themes, moving away from its hippie focus and taking a seemingly more serious and darker tone. There are plenty of aspects using more violence, mainly including shoot-outs, as well as upping the horror, best seen through the twisted farm of chained-up vampiric brides in a basement. Furthermore, Dracula's plan is just as horrifying, aiming to destroy the population with a manufactured plague whilst it could be argued as making little sense for him to do so, it would practically be his ultimate revenge. I also liked the detail of the headquarters of the evil goings-on being the original grounds of the condemned church, where Dracula died in the last film and would feature one of the best sequences with the mortal enemies talking face to face. Overall, The Satanic Rites is a pretty basic Dracula film, in my opinion. It has plenty of redeemable qualities but still falls flat as it loses its identity in attempting to do too much. I think Cushing and Lee's involvement makes this worth watching, especially to see Lee's final portrayal as the definitive iteration of Dracula. Check out the final production The Legend of the 7 Golden Vampires (1974) for more.

 

Runtime: 1h 27m

Director: Alan Gibson

Genre: Horror

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Dracula A.D. 1972 (1972)

London has become a small town for a handful of jaded psychedelic-era hipsters. Except, Johhny Alucard has a groovy new way for his pals to get their kicks. A particular ritual will be the living end, he insists, but little do they know how deadly serious he is. Whilst the act comes to fruition, the now resurrected Dracula must still face the descendant of his archnemesis, Van Helsing. Whilst a sequel to Scars of Dracula (1970), it equally chose to depart from the rest of the series, starting a fresh in probably the most ... unique way. Dracula A.D. 1972 decided to do something new and, in doing so, departed from its Gothic period settings in favour of bringing this ancient evil to the realms of today, modernising the series. The period aspect had always been at these film's core but even this production couldn't totally cast it aside. The film opens with a climactic confrontation between Lawrence Van Helsing and Dracula in 1872 aboard a moving coach, travelling at high speeds. Their animalistic fight is a gripping opening to the picture displaying Helsing's triumph over his sworn enemy before his ultimate demise. However, a follower of the Count collects the ashes for safekeeping. This introduction is absolutely fantastic, instantly pumping you with adrenaline before the title card has even been played. I further adored the transition from the 19th Century setting being panned up to the sky as funky music blares out with a plane crossing the screen, transporting us to 1972. That adrenaline is carried on through the entire sequence by this killer soundtrack that has the grooviest theme in any Dracula film! The soundtrack is a tremendous highlight and one I can honestly say is worth owning. Mike Vicker's composed theme alone is a stand-out track and one that's permanently stuck in my head. Viewers will be quick to notice the reprisal of actor Peter Cushing as Van Helsing or rather, both versions as he plays Lawrence during the opening and his descendant, Lorrimer, our main protagonist. I loved the return of Cushing to this franchise after all, his last appearance with Christopher Lee's Dracula was way back in the first film, Dracula (1958). Naturally, the pair steal the spotlight, bringing outstanding scenes at the abundance, elevating the picture tenfold. Their inevitable reunion during the finale is a phenomenal segment that will have fans on tenterhooks. During the year 1972, Lorrimer Van Helsing leads a standard life looking after his granddaughter, Jessica who on the other hand, spends her time hanging out with her hippie-like friends who like to have fun crashing parties and doing wild things for kicks. Jessica and her friends are one of the main focuses of the movie and are easily one of the reasons this film was classed as dated. Even my Dad joked "The film was dated when it came out", which I find hilarious. Despite all this, it has weirdly improved with age and is favourably looked at now by more people revisiting it. Jessica is undeniably the most intriguing member of the group to follow, with her ties to Van Helsing and how she would become an ideal target for a revenge plot. Among her group, member Johhny Alucard proposes an experience like no other, suggesting a black mass. Reluctantly agreeing under peer pressure, they do so in a condemned church. However, when the situation becomes increasingly realistic, they all scatter moments before Dracula makes his dramatic revival. Now with his vampiric turned servant, Johhny, Dracula hunts each member. However, when the police get involved and seek the Helsings for questioning, Lorrimer begins investigating the matter, equally hunting Dracula and his spawn. Overall, Dracula A.D. 1972 is a fascinating step in the series, taking the age-old tale in a new direction. This is a guilty pleasure for me and my Dad as we found plenty to enjoy from its ambitious and outright groovy style. Plus it was my introduction to the Hammer Dracula series. It's a so bad it's good film that also manages to deliver a brilliant soundtrack as well as the reuniting of Cushing and Lee in their iconic roles. Movie-goers will find plenty to be entertained by from this unusual flick. Check out the continuation in The Satanic Rites of Dracula (1973).

 

Runtime: 1h 36m

Director: Alan Gibson

Genre: Horror

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Scars of Dracula (1970)

After coming back to life from the ashes, Count Dracula begins spreading his evil once again from his mountaintop castle. When passer-by Paul Carlson spends the night, he witnesses the horrors of Dracula first-hand, resulting in his disappearance. His brother, Simon, and his girlfriend, Sarah, trace him to the area, where they discover a terrified populace. Thrown out of the inn, they make their way, like Paul, towards the sinister castle and its undead host. Scars of Dracula is one of the more intriguing entries in the Hammer Dracula franchise. Viewers of the series will be quick to notice the featured resurrection sequence holds no continuity to the last entry, Taste the Blood of Dracula (1970). Therefore, breaking up a line of sequels with connected stories since the initial production back in 1958. Scars was planned to be a reboot of the franchise in the case of Christopher Lee not reprising as the titular vampire going forward. The idea of this being a reboot is honestly crazy, considering the fact Taste the Blood only came out some months earlier in the very same year! The film opens with a large bat (that unfortunately hasn't aged particularly well), which hastily begins regurgitating blood upon a pile of ash remains, reforming into Dracula. Although breaking all continuity, I was a fan of the choice to bring Dracula back from the minute go. All previous instalments made us wait nearly forty minutes just to see him, making for a welcomed change. An interesting choice too was to open with the uprising of the villagers who gather at the castle in an attempt to destroy him forever, burning the structure. However, these actions do more harm than good as we're treated to the first of many horrifically gory and bloody depictions of Dracula's wrath ever shown. Scars is a brutal film and features an unbelievably violent Dracula, unlike any prior portrayals. Furthermore, as the story progresses, we are subjected to sights, actions and ideas never before attempted by Hammer in their realm of horror. We are subsequently introduced to our main protagonists, Simon and Sarah, during her birthday, where Paul (not to be confused with either version of the last two films) competes against his brother for her hand. Whilst I like Simon and Sarah's chemistry, it's not of the same standard as Hammer's earlier movies that had brilliantly crafted relationships on display. However, Paul's attempts are cut short when his mischief-ridden lifestyle catches up with him and he must escape the authorities, leading him further than he anticipated, arriving at a mysterious castle. Naturally, he is welcomed in by the icy charming host who allows him to stay but, he shortly falls victim to the fury of the Count in a dramatic display. Worried for his brother, Simon and Sarah follow suit, finding themselves in a similar predicament staying at the castle. Some attributes of this film hark back to elements from the original works of Bram Stoker's novel, much like Dracula (1958) did. My favourite lift from the book was the scene of Dracula scaling the wall from his secluded coffin, cut off by a sheer drop. Seeing him crawling up the wall with ease was an awesome inclusion. Another highlight was the character Klove, Dracula's servant, although not the Klove of Dracula: Prince of Darkness (1966). This time, played by Patrick Troughton, who is a contrasting character to that of the previous, who showed unwavering loyalty, whereas, this version occasionally displeases his master and is tortured for such. His growth and motivation remain one of the best aspects of this story, and his scenes with Dracula are the finest in the production. The ruthless nature of the movie carries over to the final confrontation, which entails possibly my favourite death of the villainous beast in an explosive spectacle of effects. Overall, despite stopping the series' overarching narrative, Scars of Dracula is still a fantastic stand-alone movie for fans to enthral in. It is a bit of a cult classic and one I can enjoy, especially my Dad, who loves it. With an opportunity to see an unnaturally violent Dracula, it makes ideal viewing for movie-goers who want a lesser-seen adaptation of the iconic vampire. Also, see the next picture with yet another fresh start to the series in Dracula A.D. 1972 (1972).

 

Runtime: 1h 35m

Director: Roy Ward Baker

Genre: Horror

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