RAGING ANGELS, CRYSTAL SKULLS, HUMAN CENTIPEDES, A MONSTER IN URANUS... - ENOUGH ALREADY!

 

The giant cyclopean rat monster that threatens the visiting astronauts in Journey to the Seventh Planet, as portrayed by acclaimed Swedish artist/animator and longstanding friend Richard Svensson aka The Lone Animator (click here to access my review of one of his own movies, and here to visit his fascinating official website) (© Richard Svensson/The Lone Animator)

Continuing my theme of lately-watched movies of the seriously strange kind that I began here, permit me to present without further ado a second six-pack of offbeat cinematic offerings.

 

Publicity poster for Journey to the Seventh Planet (© Sidney W. Pink/Cinemagic Inc/American International Pictures – reproduced here on a strictly non-commercial Fair Use basis for educational/review purposes only)

JOURNEY TO THE SEVENTH PLANET

My movie watch for 25 June 2022, screened on the UK retro TV channel Talking Pictures, was a low-budget but fascinating Danish-American sci fi curio from the early 1960s entitled Journey to the Seventh Planet, which was directed by Sidney W. Pink, and released in 1962 by American International Pictures. The planet in question is of course Uranus, whose name has often led (depending upon how you pronounce it!) to all manner of saucy jokes, thereby explaining no doubt why Seventh Planet was used instead within this movie's title! Anyway, it's all about the first scientific space voyage from Earth to the afore-mentioned planet, where the thoughts of the astronauts (led by Captain Don Graham, played by John Agar) are infiltrated and manipulated by a hidden, subterranean entity that has plans to invade the Earth by possessing their bodies and then controlling the minds of everyone else there. Due to this subliminal mind manipulation, the astronauts see Uranus not as the ice planet that it really is but one that is covered with lush forests resembling those of their homelands on Earth, and incongruously populated by former girlfriends, but also by whatever most terrifies them. In the case of one astronaut, his greatest fear is rats, so a gigantic cyclopean rat looms large to attack him (see the representation of this monstrous mammal by Swedish artist Richard Svensson that opens the present Shuker In MovieLand series of mini-reviews). It's all very redolent of the original Star Trek episode 'Shore Leave', as well as the classic movie Forbidden Planet. The acting is as wooden in some cases as the trees in the imaginary forest, but visually it is colourful and always entertaining. Incidentally, the original monsters created for this movie, which appear on lobby cards and publicity posters like the one presented above, never made it to the finished film, because one of its co-writers successfully lobbied to have them removed and replaced by new creations, such as said one-eyed mega-rat, a stop-motion monster produced by Jim Danforth. Click here to view an official trailer for this movie on YouTube.

 

 

Publicity poster for Little Monsters (© Richard Alan Greenberg/Vestron Pictures/Davis Entertainment Company/Licht-Mueller Film Corporation/United Artists – reproduced here on a strictly non-commercial Fair Use basis for educational/review purposes only)

LITTLE MONSTERS

Did you know that there really are monsters under your bed when you're a child? That is the premise of a very funny and highly inventive fantasy movie from the late 1980 but which I watched for the very first time on 5 January 2023 – Little Monsters. Directed by Richard Alan Greenberg, and released in 1989 by United Artists, it stars Fred Savage as lonely 11-year old Brian Stevenson who befriends the blue-skinned, highly-erratic, and very mischievous but friendly humanoid monster Maurice (Howie Mandel) that he traps under the bed of his younger brother Eric (Fred's real-life younger brother Ben). Maurice takes Brian on several extremely enjoyable visits to the alternate monster-inhabited universe existing beneath the beds of children all over America, but there is a downside to their fun and friendship – Brian discovers to his alarm that he is turning into a monster himself... Little Monsters is family-friendly fantasy at its very best, with imaginative sets for the monster realm, plus a thrilling climactic scene and an ultimately poignant ending marking the passing of childhood dreams and the onset of maturity. I thoroughly enjoyed this movie  and am very surprised at how little it is remembered today (not to mention how difficult it was to obtain in physical format). Click here to view an official trailer for this movie on YouTube.

 

 

A foreign DVD's content menu for Rock Monster, depicting the Monster and major characters (© Declan O'Brien/Syfy Channel – reproduced here on a strictly non-commercial Fair Use basis for educational/review purposes only)

ROCK MONSTER

My movie watch on 14 November 2022, courtesy of Legend TV here in the UK, was one of SyFy Channel's quirkier fantasy-themed creature features – Rock Monster. Directed by Declan O'Brien, and released in 2008 by Syfy Channel, Rock Monster is all about American student Jason (Chad Michael Collins) visiting with some friends an Eastern European village to take possession of an inherited mansion, but while travelling en route through a forest they encounter a sword in a stone – really! – and, yes indeed, Jason pulls it out in best Arthurian tradition. In so doing, however, and initially unknown to any of them, Jason's action has revitalised a gigantic rock monster containing the undead soul of an evil wizard slain by a knight 800 years ago. Said monster soon causes all manner of death and destruction in and around the village, and one of the village's inhabitants, an evil dude named Dimitar (David Figlioli) who clearly buys his clothes at a Matrix cast-off shop and possesses a blood-red keystone, is also determined to possess the sword, at any cost. This is because once the keystone is placed inside the sword's hilt and the latter raised up into the sun's light, its holder will absorb the wizard's soul from the rock monster and become both immortal and invincible. In the meantime, Dimitar controls the rock monster who does his evil bidding. Not looking good for the students – except for the crucial fact that Jason is a descendant of the selfsame knight who originally slew the wizard 800 years ago and he therefore embodies the power to repeat his ancestor's brave feat, as he alone can harness the sword's latest magical capability. Like I said, Rock Monster is a distinct oddity of a movie in which modern-day familiarity and ancient fantasy rub shoulders and share screen time often in a very uncertain, uncomfortable manner. Nevertheless, it is a fun, undemanding watch, and the rock monster is entertaining, albeit more akin to those kinds of entities found in computer games than on the big or small screen. Click here to view an official trailer for it on YouTube.

 

The official UK DVD of Raging Angels (© Alan Smithee/Nu Image/Chako Film International Productions/Vidmark Entertainment – reproduced here on a strictly non-commercial Fair Use basis for educational/review purposes only)

RAGING ANGELS

On 25 February 2022, only a couple of days after viewing the classic 1997 Keanu Reeves/Al Pacino supernatural/horror thriller movie Devil's Advocate (based on Andrew Neiderman's eponymous 1990 novel), I watched a much lesser-known but in some ways comparable fantasy/horror movie, Raging Angels. Directed by Alan Smithee, and released in 1995 by Vidmark Entertainment, Raging Angels features much the same premise as Devil's Advocate, except that this time it is not a firm of lawyers but a world peace organisation that is at the heart of the diabolical activities, fronted by a charismatic rock star named Colin (played by Michael Paré). Oddly, the sinister-looking character on the cover of the DVD here is not the villain (Colin) but the good guy, musician Chris (Sean Patrick Flanery), who never looks sinister like this in the actual movie. Chris has his work out trying to rescue his singer girlfriend Lila (Monet Mazur) when she is lured by Colin into some very grim goings-on, but who will succeed – Chris or Colin? Raging Angels also stars Shelley Winters and Diane Ladd, and features plenty of Heavy Metal/Glam Rock tracks along the way, not to mention a climactic sky-hosted angel-demon battle of truly animated activity, in every sense. Click here to view an official trailer for this movie on YouTube.

 

 

The official UK DVD of Crystal Skulls (© Todor Chapkanov/Origin Releasing/Odyssey Media Inc/BUFO/SyFy Channel – reproduced here on a strictly non-commercial Fair Use basis for educational/review purposes only)

CRYSTAL SKULLS

Arriving home from an appointment earlier than I'd expected on 2 August 2022, I was just in time to catch on the UK's Legend (formerly Horror) retro TV channel the sci fi movie Crystal Skulls, which I'd wanted to watch for some time. Directed by Todor Chapkanov, and released in 2014 by SyFy Channel, Crystal Skulls is all about 13 legendary ancient crystal skulls reputedly hidden in various secret locations around the world. Dying zillionaire William Hadden (played by David Rintoul) has managed to locate and retrieve 12 of them and now seeks the 13th, in the belief that when they are all united, the energy that they will release will cure his cancer. However, all does not go to plan when the 12 that he has already acquired and placed together begin emitting powerful beams of energy, resulting in an enormous electromagnetic pulse that shuts down much of Western Europe's power supplies. And when gung-ho NASA soldier Colonel Bailey (J.R. Esposito) tries to destroy them, events take an even more dangerous turn – as in the onset of the apocalypse! The world can only be saved from imminent annihilation if the 13th skull is found and placed alongside the other 12. So off sets rogue professor John Winston (Richard Burgi), armed with a book of notes that his lost father made when he had – seemingly unsuccessfully – sought the very same skull many years previously. Will he save the day – and all other days to come, for that matter? Indiana Jones trekked much the same movie trail in far greater style and spectacle, but this low-budget alternative, filmed in Bulgaria, is still a very watchable movie, and for me was well worth the wait to see it. Click here to view an official trailer for it on YouTube.

 

 

The official UK DVD of the uncut, uncensored, director's cut of The Human Centipede (First Sequence) (© Tom Six/Six Entertainment Company/IFC Films/Bounty Films – reproduced here on a strictly non-commercial Fair Use basis for educational/review purposes only)

THE HUMAN CENTIPEDE (FIRST SEQUENCE)

And finally: On 8 October 2022 I returned home from a car boot sale with a big bag full of dumped unsorted DVDs. After I went through these very welcome freebies, I discovered several that were new to me and which I decided to keep to add to my own collection. I also found one truly notorious Dutch monster movie, and in its so-labelled "Uncut, Uncensored, Director's Cut" version, no less. So, albeit not without some trepidation, based upon what I knew from having read and heard tell about this film, I watched it later that day. Directed by Tom Six, who also wrote and co-produced it, and released in 2010 by Bounty Films, this truly grotesque "mad scientist creates human monster/body horror" flick was entitled The Human Centipede (First Sequence). Yes indeed, it's that one! In it, said mad scientist, retired surgeon Dr Josef Heiter (played by Dieter Laser), abducts three young people (a male Japanese tourist and two female American tourists), drugs them, then, while they're unconscious, sews them together so that when they awaken they discover to their horror that they're now a three-segment monstrosity, linked to one another in an anus-to-mouth-to-anus-to-mouth human chain so as to yield internally a single continuous gastrointestinal tract! As a zoologist, I was probably less shocked by this notorious film than various friends who've viewed it in the past have been, especially as the infamously repellent aspects involving how this 'human centipede' feeds its three segments mercifully occurs either off-screen or are only implied via deft viewer-shielded camera angles when on-screen. Also, for me its twisted premise is in reality so profoundly ridiculous that I found it impossible to take the movie even remotely seriously anyway. Nevertheless, I shan't be viewing it again – or either of its two sequels (which are said to be far more explicit). If you want to know more about this bizarre movie, you'll have to read it up for yourself, or view the official G-rated trailer for it currently on YouTube if you so wish, but I shan't be providing a link to it here.

To view a complete chronological listing of all of my Shuker In MovieLand blog's other film reviews and articles (each one instantly accessible via a direct clickable link), please click HERE, and please click HERE to view a complete fully-clickable alphabetical listing of them.

ONCE UPON A DEADPOOL

 

The official Region 1 Blu-Ray/DVD dual pack of Once Upon A Deadpool (sadly, it has never been released in Region 2, UK/Europe, format) (© Tim Miller/20^th Century Fox/Marvel Entertainment/Kinberg Genre/The Donners' Company/TSG Entertainment - reproduced here on a strictly non-commercial Fair Use basis for educational/review purposes only)

After inflicting untold and unprecedented misery upon the entire world, 2020 is in dire need of being booted into touch at the end of today – and who better to apply said boot than Deadpool? So here, as the subject of my final Shuker In MovieLand review for this year, is a lesser-known cinematic offering starring him.

After purchasing online several months ago a Region 1 Blu-Ray/DVD dual pack of Once Upon A Deadpool from the States that, sadly, never arrived, getting a refund, then recently purchasing another one of it that, happily, did arrive, on 2 December 2020 I finally managed to watch this interesting departure from the typical pathway trodden by Deadpool movies.

 

My two official Marvel resin Deadpool figurines (© Marvel / photo © Dr Karl Shuker - reproduced here on a strictly non-commercial Fair Use basis for educational/review purposes only)

This is because Once Upon A Deadpool, released in December 2016, is a special toned-down PG-13 version of Deadpool 2, starring Ryan Reynolds as Marvel Comics' irrepressible Wade Wilson/Deadpool – my all-time favourite comic book anti-/super-hero and fourth wall demolisher par excellence.

As a massive Deadpool fan, I had already watched and greatly enjoyed the unedited Deadpool 2 (click here to read my Shuker In MovieLand review of it, plus my review of the first Deadpool movie). Consequently, the reason why I also wanted this milder version is that it is actually much more than just that.

 

Wearing my official Deadpool & Wolverine t-shirt (© Marvel / photo © Dr Karl Shuker - reproduced here on a strictly non-commercial Fair Use basis for educational/review purposes only)

For Once Upon A Deadpool contains several hilarious new segments featuring Deadpool reading the actual story of the movie (which is the same as in Deadpool 2) to an adult Fred Savage, who famously starred many years earlier as an unrelentingly nice, sweet-natured child in The Wonder Years TV show. Moreover, this initially unexpected addition is soon revealed to be a wickedly funny parody of the fantasy movie The Princess Bride (1987), which of course opened with Peter Falk telling a sanitised version of the movie's storyline to a young Fred in bed – even the bedroom in which the Deadpool segments are shot is a direct take-off of the bedroom in The Princess Bride.

Being a Deadpool movie, however, there is naturally a twist, which is that Fred is tied down, so he has to listen to Deadpool reading him the story, whether or not he wants to – which he definitely doesn't at the beginning! Priceless, and well worth the trials and tribulations endured by me in obtaining the DVD of this film.

 

My plastic Deadpool & Wolverine poster that tields three different images depending upon the angle at which it is viewed (© Marvel / photo © Dr Karl Shuker - reproduced here on a strictly non-commercial Fair Use basis for educational/review purposes only)

Additionally, despite the veritable avalanche of expletives and mindless violence that so characterize Deadpool movies, Once Upon A Deadpool still successfully entertains with consummate ease even though these twin trademarks are largely absent – an interesting turn of events. Equally interesting - or, to be precise, ironic - is that here in the UK, Once Upon A Deadpool actually received the very same film classification ratings certificate, 15, as the unexpurgated Deadpool 2 did! As my American friends would say, go figure!

If you're a Deadpool fan, or even just a fan of super-heroes in general, you definitely need to see Once Upon a Deadpool – a wonderful addition to the Deadpool movie canon. So, to whet your appetite, click here to view its official trailer, and here to view the delightfully droll opening scene, in which Fred finds himself to be a captive audience of Deadpool – literally!

 

My official Marvel/Hasbro 12"-tall Deadpool action figure (© Marvel/Hasbro / photo © Dr Karl Shuker - reproduced here on a strictly non-commercial Fair Use basis for educational/review purposes only)

And to view a complete listing of all of my Shuker In MovieLand blog's other film reviews and articles (each one instantly accessible via a direct clickable link), please click HERE! 

 

Photo-still from the highly amusing opening scene in Once Upon A Deadpool (© Tim Miller/20^th Century Fox/Marvel Entertainment/Kinberg Genre/The Donners' Company/TSG Entertainment - reproduced here on a strictly non-commercial Fair Use basis for educational/review purposes only)

 

 

THE BOY WHO COULD FLY

Front cover of my official VHS videocassette of The Boy Who Could Fly (© Nick Castle/Lorimar Motion Pictures/20^th Century Fox)

I have previously noted (when reviewing Hyper Sapien: People From Another Star) that the 1980s saw a profusion of family-friendly movies with fantasy or sci-fi themes, but of which only a relatively small number achieved notable critical acclaim and/or major commercial success, with the remainder soon fading away into the mists of movie obscurity, despite the fact that some of these latter films were greatly deserving of a much more favourable reception. A couple of nights ago, I watched another of these unfairly all-but-forgotten 1980s fantasy movies, and I can say without hesitation that it is one of the most moving, poignant, and thoroughly delightful films that I have ever watched, and I cannot for the life of me understand why it did not achieve all-time-classic status.

Directed (and also written by) by Nick Castle, and originally released in 1986, the movie in question is The Boy Who Could Fly, and was entirely new to me, my reason for purchasing its official VHS videocassette some time ago having been based entirely upon its intriguing title and front cover image, but with no knowledge whatsoever of its plot – which, as I discovered when finally watching it two nights ago, is a very memorable, emotive one, and is as follows.

Charlene Michaelson is a widowed mother with two children, teenage daughter Milly (played by Lucy Deakins) and younger son Louis (Fred Savage), plus their dog Max. They move to a new home and neighbourhood, and discover that their next-door neighbor Hugo is an amiable but seemingly incurable alchoholic (played with a touching blend of humour and pathos by none other than Fred Gwynne, best known as Herman Munster from the popular TV show The Munsters). Moreover, Hugo Gibb is nominally the guardian of his seemingly autistic nephew Eric Gibb (Jay Underwood), who is the same age as Milly but has never spoken a single word, and after the death of both parents in a plane crash has retreated inside himself completely, not associating with anyone and obsessed with pretending to be an aeroplane, walking around with arms outstretched. The authorities are keen on committing Eric to an institution, especially as Hugo seems incapable of looking after him adequately, but on a previous occasion when he was committed, Eric became so ill that he almost died. And so, following the emphatic intervention of one of his school's teachers, Mrs Carolyn Sherman, Eric was reluctantly released back into Hugo's uncertain custody.

Milly becomes very intrigued by Eric and is encouraged by Mrs Sherman to watch over him, as he seems to respond to her, albeit only minimally – but as the weeks go by, Eric's response to Milly gradually increases, first of all by mimicking her and following her around, then by smiling at her of his own accord rather than merely as an act of mimicry, and even on one occasion catching a baseball that was about to hit her on the head. Little by little, almost imperceptibly, Milly begins to fall in love with Eric. But there remains something very strange, very mysterious, about him, inasmuch as he suddenly appears in places where it seems impossible that he could have reached by normal means.

On one such occasion, while Eric is sitting on the windowsill of Milly's second-floor bedroom that faces his own bedroom in his house, Milly turns away from him for just a moment, but when she turns back again she finds to her amazement that he is now sitting on his own second-floor bedroom's windowsill of his own home next door. Yet there is a very sizeable gap between the two windowsills, far too wide for anyone to jump, so how did he get there in the matter of just a moment? Milly begins to entertain the idea, crazy as she knows it seems, that Eric can fly. But an even stranger incident is soon to happen.

During a school trip to a botanical garden, Milly and Eric become separated from the others in the school  party, and Milly stands on a barrier to reach up for a white rose that she would like to pick but is just out of her reach. Attempting to grab it, she loses her footing and falls 50 ft down to the ground below, banging her head on the barrier as she does so, which renders her unconscious. Yet when she wakes up in hospital, her only injury is the bump to her head caused by the barrier, despite having fallen such a distance down onto the ground. As Milly lies there in bed, Eric appears at her window, despite the fact that her hospital room is several floors up. He gives to her the white rose that she had been trying to pick when she fell, and she asks him if he had caught her when she fell and whether, therefore, he can indeed fly. Eric smiles shyly and nods, then takes Milly's hand and flies out of the window with her, taking her upon a wonderful aerial tour of the city before sitting on a cloud with her to watch the sun set and kissing her gently, then taking her back to her room.

Sadly, however, it all proves to have been just a dream, which turns into a nightmare when Milly sees her father lying dead in hospital before waking up in shock, and later learning that although she had always believed that her father had died of cancer, it turned out that in reality he hadn't been able to deal with the cancer and had instead committed suicide. This in turn makes Milly wonder whether her belief in Eric being able to fly is just a trick that her grieving mind has been playing upon her. After being released from hospital, Milly goes back home, only to receive another shock, learning that during her absence the authorities had deemed Hugo unfit to look after Eric any longer and had committed Eric to an institution again. Milly and her family promptly go there to see him, but are not allowed to do so. Nevertheless, Eric sees them through a window, and bangs upon it in a desperate but vain attempt to attract their attention, and has to be restrained by staff as they unsuspectingly drive away.

Somehow, however, Eric manages to escape (it is never revealed how), and Milly finds him back at his home, curled up and shaking with cold and fear in the attic, where he gives her a ring for her finger. The authorities arrive, so Milly and Eric flee to their school, in the hope of finding sanctuary there with Mrs Sherman, but the police have already arrived, and give chase, finally cornering them on the roof of one of the school's tall, multi-storey  buildings. Standing on the edge of the building as a policeman cautiously approaches, and holding Milly's hand, Eric looks at her and slowly but deliberately says "Milly", the first word that he has ever spoken. Milly looks at him and, just like in her dream but this time in reality, asks him if he can fly – and, smiling, Eric nods his head. They look over the edge, Milly grips Eric's hand tightly – and then they jump!

SPOILER ALERT! If you don't want to know how this movie ends, read no further!

Publicity poster for The Boy Who Could Fly (© Nick Castle/Lorimar Motion Pictures/20^th Century Fox)

The route that the storyline of The Boy Who Could Fly has taken so far means that only two outcomes are truly feasible (a third, that it is all just a dream, has already been utilized during the scene with Molly recovering in hospital). Either the whole 'can Eric really fly?' mystery has all been a tantalizing red herring, in which case he and Milly will plunge to their death; or he can indeed fly, which will instantly transform what has hitherto been as much a psychological suspense drama as anything else into a full-blown fantasy movie.

In a sense, whichever option proves to be the one chosen by this movie's creators will be disappointing, because it is the uncertainty of whether Eric really can fly that has been so compelling throughout the movie, making it thoroughly engrossing – but one of them has to be chosen. And if I say that the movie's title and videocassette cover do rather give the game away right from the very start, plus this is a family movie after all, you will not be at surprised to know that, yes indeed, after plummeting downwards for a moment, Eric and Milly suddenly soar up above the crowds of concerned people standing all around watching the rooftop drama unfold, swooping over the local park and over the streets back to their own homes, followed by the excited, unbelieving crowd, and swiftly joined by media cameramen, police, and everyone else in the vicinity.

When they reach Milly's home, Milly sits on her bedroom's windowsill while Eic remains hovering in the air next to her. Slowly, hesitantly, but with great concentration, he speaks to her the word "Goodbye", followed by "I love you". They kiss, then Eric flies away, never to return. Although Milly is immensely sad, she understands Eric's reason for leaving, realizing that once the police and scientists arrived, he would have become the subject of unending studies, medical researches, and continued investigations to discover how he could fly – in short, he would never have been free again.

And indeed, even though Eric escaped, all manner of tests were subsequently performed upon Milly, to see if she held any clues regarding their airborne activity, and also upon Eric's uncle Hugo, as he was a blood relative and may therefore hold vital information concerning this physiological anomaly. However, although Eric was gone, his example of how anything can be conquered if you are brave enough inspired Milly to do well at school, her young brother Louis to confront and dispel the local bullies who had been making his life a misery, Milly's mother to learn how to utilize the office computers that had been holding her back at work, and even Hugo, who gives up alcohol and successfully gains employment in a responsible job.

Sometimes, Milly stares up at the setting sun, remembering Eric, her dream of when they were sitting on a cloud gazing at the sunset, and that electrifying moment when finally they flew together in real life – hoping that somehow, someday, he will come back, and they will be together again, a silent boy and a beautiful girl who loved and will always love him so much. And who knows, perhaps it really is true that if you wish hard enough and love long enough, anything can happen. I for one would certainly like to believe that.

What makes this magical film so affecting and inspirational are the truly moving performances of the two leads. Lucy Deakins as Milly gives a totally believable, evocative rendition as the sympathetic teenager who initially feels merely sadness for the strange unspeaking youth shunned by his classmates but as she comes to know him more and more finds herself drawn ever closer to him, especially when her determined efforts to reach the grieving mind locked away behind his enigmatic eyes, until eventually she realizes that she loves him.

But it is Jay Underwood as Eric to whom this movie belongs. His portrayal of the autistic youth who has additionally suffered ever since a small child from the severe, lasting trauma caused by abruptly losing both parents in a singularly shocking manner and with no-one left in his life to help him deal with these profound issues is nothing short of mesmerizing. We watch entranced as, little by little, his mind is awoken and his spirit given veritable wings of inspiration by the care and love shown to him – for the very first time in his life since his parents' demise – via Milly's tenacious attempts to bring forth the real Eric, as revealed by actor Jay's very expressive face and body language. Plus the tantalizing ever-present question of whether Eric really can fly compels us even further to remain focused upon and fascinated by this truly spellbinding movie.

If you can find The Boy Who Could Fly on DVD, videocassette, or anywhere online, please do take the time to watch it. You will never regret doing so, and it will certainly reinforce how potent and fundamental a force love can be, capable of transforming a mere existence into a vibrant life. And here is a trailer to show you exactly what I mean.

Finally: to view a complete listing of all of my Shuker In MovieLand blog's other film reviews and articles (each one instantly accessible via a direct clickable link), please click HERE! 

Another publicity poster for The Boy Who Can Fly (© Nick Castle/Lorimar Motion Pictures/20^th Century Fox)