LIKE A BAT OUTTA HELL (aka BAT OUTTA HELL aka NOWHERE ELSE)

 

Publicity poster for Like A Bat Outta Hell (aka Bat Outta Hell aka Nowhere Else (© Danial Donai/Forescene Films/Tricoast Worldwide – reproduced here on a strictly non-commercial Fair Use basis for educational/review purposes only)

On 17 October 2024, my movie watch was the Australian cryptozoology-themed horror film Like A Bat Outta Hell (aka Bat Outta Hell aka Nowhere Else, the last-mentioned being its original title).

Directed and written by Danial Donai, and released in 2013 by Tricoast Worldwide, Like A Bat Outta Hell is all about a team of four young surfing film-makers – Randy (played by Marco Dapper), Jack (Dan Balcaban), Bianca (Rachael Murphy), and Chris (William Wensley) – sent by their bosses/funders into a vast barren region of South Australia's Outback to film a new but unspecified subject; they'll only be told what it is once they reach their remote location. So far, so sinister…

And indeed, one of the four team members, Chris, is secretly serving as an inside man for the team's bosses, so he does know what the subject is that the team is to film – a scientifically-unrecognised form of human-sized carnivorous bat indigenous to this wasteland and exceedingly dangerous, ripping off the faces of human victims. This is why the other three film-makers were not told about it, as they would never have agreed to set out if they had known

 

One of the giant humanoid bats from this movie (© Danial Donai/Forescene Films/Tricoast Worldwide – reproduced here on a strictly non-commercial Fair Use basis for educational/review purposes only)

But as any clear film footage that proves this mystery beast's reality will net the team's bosses a fortune, they are most anxious for the team to locate and record these monstrous entities, regardless of what terrible fate may await them. The usual mayhem and carnage typically depicted in monster movies like this one duly ensues, but the viewer has to wait an agonisingly long time before some full. clear views of the voracious man-bats (created for the movie via CGI) are finally shown.

They resemble an unsettling hybrid of the giant moths from The Blood Beast Terror and the vampiric Mr Kurt Barlow from the original TV mini-series version of Salem's Lot, but are presented as corporeal cryptids rather than supernatural bloodsuckers or suchlike. Indeed, when the team reach in the afore-mentioned barren Outback a ghost town named Nowhere Else and find it  inhabited by only one elderly man, Simson (Vernon Wells), they also find that he is equipped with some decidedly physical, tangible weaponry and also that he is a closet cryptozoologist, not a private paranormalist.

Moreover, director Donai has stated that he was inspired to write and direct this movie after being informed in the real-life South Australian outback town of Nowhere Else he was visiting that a team of documentary film-makers had lately claimed that while filming in that area they had been attacked by a human-sized bat. Yeah, right – if so, how come the notably rich vein of Australian cryptozoology is entirely dry regarding mystery man-sized Australian bats?

 

Publicity poster for the movie Chiroptera(© Danial Donai/Forescene Films/Tricoast Worldwide – reproduced here on a strictly non-commercial Fair Use basis for educational/review purposes only)

After running for 92 minutes, Like A Bat Outta Hell finally reaches an ending but one that comes unexpectedly and is very disappointing, as it provides no resolution whatsoever to the plot. However, in 2019 a much longer version, containing a lot of additional footage, yielding a total running time of 130 mins, was released, and retitled Chiroptera. I have not seen that version, but it apparently includes several fully-shot scenes that were only spoken about in the 2013 movie.

Like A Bat Outta Hell is an interesting but decidedly odd, offbeat flick, and it doesn't even feature a cameo or any song tracks from the now late but always great Meat Loaf. Shame.

Please click here if you'd like to go batty watching an official trailer on YouTube for this movie, or here to watch the entire movie free of charge, again on YouTube.

Finally: 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.

 

Close-up shot of one of the giant humanoid bats from this movie (© Danial Donai/Forescene Films/Tricoast Worldwide – reproduced here on a strictly non-commercial Fair Use basis for educational/review purposes only)

 

CRYPTOZOO

 

Publicity poster for Cryptozoo (© Dash Shaw/Fit Via Fi/Electro Chinoland/Washington Square Films/Low Spark Films/Cinereach/Magnolia Films – reproduced here on a strictly non-commercial; Fair Use basis for educational/review purposes only)

What if someone well-meaning but ultimately misguided decided to create a Jurassic Park-like establishment, yet populated it not with dinosaurs and other prehistoric animals, but instead with mythical monsters and cryptozoological mystery beasts – on the idealistic yet somewhat ingenuous assumption that because they should at least in theory be safer behind bars, albeit ensconced within this veritable crypto-utopia, than risking capture or even worse out in their natural wild habitats, they would therefore actively prefer to be in captivity?

That is the basic premise of an extraordinary adult-oriented animated movie set in San Francisco's late 1960s hippy 'Flower Power' period that I watched on 7 August 2024 – just a day after watching Mad God (click here to read my review of it) and two days after watching The Primevals (click here to read my review of it), thereby concluding my long-planned viewing of these three wholly independent but equally exceptional yet by no means widely-known animated or semi-animated movies. Directed and written by Dash Shaw, and released in 2021 by Magnolia Pictures, this now duly-watched third movie is entitled – what else in light of its premise but? – Cryptozoo.

Unfortunately, however, the US military see these entities (which are all termed cryptids in this film, irrespective of each example's respective scientifically undiscovered vs wholly mythological status) as being potential bio-weapons. Think what could be achieved with a platoon of petrifying gorgons, or a phalanx of flying horses, a herd of harpoon-horned unicorns, or, above all else, a small yet potentially invaluable dream-devouring baku that could be trained to consume anyone's dreams that were anti-governmental?

Sure enough, the military duly hire a talented but merciless cryptid hunter named Nicholas (voiced by Thomas Jay Ryan) who utilises a traitorous faun, Gustav (Peter Stormare), to track down and capture the baku. Opposing their plans, however, are the staff of the Cryptozoo, especially its elderly owner Joan (Grace Zabriskie) and her principal assistant Lauren Grey (Lake Bell), a veterinarian cryptozoologist, plus a friendly gorgon named Phoebe (Angeliki Papoulia). But when meddling trespasser Amber (Louisa Krause) releases all of the zoo's cryptids, total havoc swiftly ensues.

How will all this chaos resolve itself, will the baku evade capture, and in the final analysis could it be that the zoo's staff need the cryptids more than they need them?

Winning the Innovative Award at the 2021 Sundance Film Festival that aptly hosted its global premiere on 29 January (aptly because that was the birthday of my late mother, Mary Shuker, who had always supported and shared my lifelong cryptozoological interests), Cryptozoo took four years to animate, from 2016 to 2020. And whereas the traditional hand-drawn mode utilised has yielded a relatively simplistic style (especially with regard to how the human characters are depicted), it is exceedingly colourful, exhibiting a very distinctive beauty and imagery wholly unlike the full-length CGI-laden animated movies more frequently released nowadays. Indeed, both in visual terms and in its philosophical approach, Cryptozoo is certainly influenced by the 'peace and love' ethos of the specific time and place in which it is set.

Its cryptids are portrayed very effectively, in particular the flying horse, camoodi, griffin, and tengu (no Mongolian death worm as far as I could see, sadly). Having said that, they were given far less screen time than I'd have liked or expected for a cryptozoology-themed film, especially as there are several slow-paced conversation-heavy sequences that warranted editing in favour of more cryptid content, I felt, when watching this movie.

Speaking of conversations, however, I should mention that quite apart from those already named above, Cryptozoo's impressive vocal performers also include the likes of Michael Cera and Zoe Kazan.

Needless to say, cryptozoologists and zoomythologists are likely to love this film, as will animation traditionalists, but I'm sure that its appeal will extend beyond those specific categories of movie viewer if given a chance.

So why not do that? For Cryptozoo can currently be watched in its 95-minute entirety free of charge here, on DailyMotion. Or if you'd prefer to view a couple of trailers for it first, please click here (for a general one) and here (for a baku-themed one) to do so on YouTube.

Finally: 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.

 

And just in case you were wondering what it looks like, here is the baku as it appears in Cryptozoo (© Dash Shaw/Fit Via Fi/Electro Chinoland/Washington Square Films/Low Spark Films/Cinereach/Magnolia Films – reproduced here on a strictly non-commercial; Fair Use basis for educational/review purposes only)

 

THE PRIMEVALS

 

A publicity poster for The Primevals, highlighting the yeti (© David Allen/Castel Film Romania/Full Moon Entertainment – reproduced here on a strictly non-commercial Fair Use basis for educational/review purposes only)

The stop-motion monster/sci fi movie that I watched on 5 August 2024 was a staggering 55 years in the making from original concept to eventual release last year. Thankfully, however, it took me less than a day from discovering it online on 4 August to watching it on 5 August, and what an incredible treat it was!

Directed and co-written by the veteran stop-motion film and TV animator David Allen (who had also created in 1968 the short presentation film Raiders of the Stone Ring from which this feature-length movie ultimately evolved), and released in 2023 by Full Moon Entertainment, The Primevals opens with the killing in Nepal of a huge and highly aggressive yeti by a group of sherpas, assisted by a timely avalanche. But after its enormous carcase is successfully smuggled into the United States, and as a spectacular mounted specimen is publicly displayed to great acclaim, a scientific expedition led by anthropological expert Prof. Claire Collier (played by Juliet Mills) is swiftly assembled.

Its team includes one of her ex-postgraduate students, Matt Connor (Richard Joseph Paul), whose controversial PhD thesis had lately been rejected because it had dared to propose that the yeti was a real, undiscovered species (as this new discovery has now sensationally confirmed), not a myth (as mainstream zoologists had always traditionally deemed it to be). And when the exotically-named Rondo Montana (Leon Russom), a both burly and brainy Indiana Jonesian ex-big-game hunter, is hired as their guide, tracker, and bodyguard, the team duly treks through the Nepalese Himalayas in the hope of observing and possibly even capturing a living yeti.

They also wish to discover an answer to the riddle of why their preserved yeti's brain contains a deep, mysterious lesion, as if something – or someone – had cut through it but without killing the creature.

What they do discover, however, is beyond their wildest dreams – and nightmares. Namely, a hidden prehistoric realm populated not only by yetis as well as by primitive hairy pithecanthropine hominids but also by a race of reptilian aliens whose spacecraft had crash-landed here 100,000 years ago, when they were much more advanced in form and benevolent in behaviour than they are now. For due to their subsequent experiments here on Earth with gene splicing in a bid to improve their form in order to survive more effectively in this chilly montane climate, they inadvertently transformed themselves into the cruel, savage, retrogressive reptiles that they are today.

So much so, in fact, that they capture yetis, subject their brains to laser-like rays that turn them hyper-belligerent, and then stage horrific gladiatorial bouts in a specially-constructed arena for their own sadistic entertainment, in which a brain-frazzled yeti is pitted against captured pithecanthropines – the poor doomed proto-humans only lasting as long as it takes the yeti to smash them into pulp with one fist, i.e. not very long at all.

But what happens to the scientific team when they too are captured by these loathsome lizard-men and released into the arena as a maddened yeti's latest opponents? I'll say no more, so that you can enjoy finding out for yourself when you watch – as watch you must! – this marvelous movie.

 

A second publicity poster for The Primevals, highlighting the reptilian aliens (© David Allen/Castel Film Romania/Full Moon Entertainment – reproduced here on a strictly non-commercial Fair Use basis for educational/review purposes only)

Its plot is certainly fantastical, but equally it provides plenty of adventure and escapist fun. Also, it is one of the very few sci fi movies that I can recall in which extraterrestrial aliens and cryptozoological creatures both appear, making it doubly interesting to connoisseurs of the controversial. Happily, therefore, the stop-motion reptilian aliens and yetis (supplemented by some animatronics and puppetry in certain scenes) are absolutely superb throughout – Ray Harryhausen would have definitely approved. Indeed, the entire movie is redolent of his own much-loved First Men In The Moon and The Valley of Gwangi stop-motion film classics.

Tragically, however, David Allen, who had originally conceived this movie back in the late 1960s, and had tenaciously weathered as its director its seemingly unending gestation period throughout the remainder of his life, never lived to enjoy his cinematic labour of love finally being officially released in Canada during 2023, and a year later in the United States. Instead, he had died from cancer in 1999, aged just 54, but he had completed filming the live-action scenes in Romania and most of the stop-motion ones in 1994, so he'd at least been able to see the movie in virtually finished form.

What caused such a huge delay to the movie's progression after Allen's death were finance problems and seeking a company sufficiently interested in it to provide the extensive backing and publicity that such an ambitious, enterprising project required, resulting in it being shelved, beginning a production-hell hiatus that winded up lasting roughly 20 years. But after fellow producer/director Charles Band's Full Moon Entertainment stepped into the breach (Band was a longstanding friend and admirer of Allen's work, and in the 1990s had agreed to become this movie's producer), these issues were ultimately resolved, with the final stop-motion scenes being filmed in 2022 following a successful online fundraising campaign launched by Band in 2018 raising US $40,000 to finance their production – overseen by this movie's original special-effects expert, Chris Endicott.

Worth noting, incidentally, is that in addition to the standard version of this movie, a special extended director's cut, 'The David Allen Version', containing an extra seven minutes of footage, has also been produced. Of particular interest is that various additional prehistoric animals that were storyboarded but did not finally appear in the standard version are animated into this extended one, which includes, fot example, a scene featuring the team fleeing from a dinosaur-like monster.

The Primevals has only just been officially released on DVD and Blu-Ray, but for those wishing to view this movie immediately there are actually two separate full uploads of it presently on DailyMotion that you can watch and download free and legally for personal viewing if you use DM's own downloader. Click here, therefore, to access one of these uploads, the one that I watched and thoroughly enjoyed. Or, for a tantalizing taster, click here to watch on YouTube an official trailer for The Primevals.

Certainly, if you adore as I do the superb stop-motion monsters from the golden Harryhausen-led era of cryptozoology-/mythology-themed creature features, you will definitely not want to miss watching this glorious homage to those timeless, iconic movies, that's for sure!

Finally: 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.

 

A third publicity poster for The Primevals, featuring both the yeti and the reptilian aliens (© David Allen/Castel Film Romania/Full Moon Entertainment – reproduced here on a strictly non-commercial Fair Use basis for educational/review purposes only)

 

CARNIFEX

 

Publicity poster for Carnifex, showing the characters gazing up in awe at some formidable claw marks left upon a  tree trunk by a large unknown animal of seemingly arboreal ability (© Sean Lahiff/Dancing Road Productions/Arclight Films/Universal Pictures Content Group – reproduced here on a strictly non-commercial Fair Use basis for educational/review purposes only)

Thanks to longstanding Australian FB friend and crypto-enthusiast Tim Morris kindly making it available to me - thanks Tim! – my movie watch on 26 October 2023 was the fairly recent Australian cryptozoology-themed creature feature Carnifex.

Directed by Sean Lahiff, and released just a year ago in December 2022 by Universal Pictures, Carnifex takes its name in a general sense from the Latin word for 'butcher' or even (during the Roman era) 'executioner'. However, wildlife enthusiasts, especially cryptozoologists, will also be aware of its more specific, zoological meaning.

Consequently, if you're of the latter persuasion, you will have no doubt guessed straight away from this movie's title that while conservationists Ben (Harry Greenwood) and Grace (Sisi Stringer) accompanied by documentary camerawoman Bailey (Alexandra Park) are uncovering and recording deep within the Australian outback the vast wildlife devastation caused there by some recent, unprecedented bushfires, they also make the startling, totally unexpected, and truly terrifying discovery of a living marsupial lion Thylacoleo carnifex. For once they do, they also discover – very swiftly – just how hyper-aggressive and rapacious the creature is, forcing them into a desperate bid for survival against this mega-belligerent blast from the past, their thoughts echoing only too emphatically the film's tagline: "Some species should remain extinct".

This ferocious species was – or is? –  a predatory pouched mammal of feline form, leopard or lioness stature (opinions vary), and possibly arboreal capabilities, but officially deemed extinct for many millennia. However, some cryptozoologists feel that its putative reclusive survival into the present day may explain occasional reports of an Aussie mystery beast known as the yarri or Queensland tiger. It may even have inspired the spoof killer koala called the drop bear (koalas and marsupial lions were actually quite closely related). Most of this pertinent background information, however, is never alluded to in the movie, sadly.

 

Yarri or Queensland tiger, based upon eyewitness descriptions (© Dami Editore srl – reproduced here on a strictly non-commercial Fair Use basis for educational/review purposes only)

Speaking of which: its build-up to this very dramatic discovery, although very lengthy (see later), is engrossing, and features a trio of lead likeable characters that interact well together, interspersed with plenty of breathtaking shots of genuine Aussie Outback Nevertheless, Carnifex suffers from two very significant, crucial problems.

Firstly, once the story truly gets going, it consists almost entirely of night-time scenes, resulting in actual sightings of the creature (with totally black pelage, thereby rendering it even more difficult to see against the darkness)  being as shadowy and brief as they are seldom and inconclusive, i.e. plenty of growling and flesh-tearing sounds, but visually all but non-existent.

Secondly, when in this 90-odd-minute movie's last 10 minutes we finally - finally! - get to see two blink-and-you'll-miss-them close-up full-face shots of the (very) anatagonistic animal in question (so fleeting in fact that after seeing them I then had to rewind and laboriously seek them out via freeze-frame in order to be sure of what they actually revealed – something, incidentally, that cinema audiences for this movie would not have had the luxury of being able to do), guess what?

The film makers had only gone and got their Thylacoleo carnifex fundamentally wrong – and after having kept their increasingly impatient viewers waiting so long to see it properly too!

 

A selection of photo-stills from Carnifex depicting the latter beast's brief appearances and, especially, its dentition – click picture montage to enlarge for viewing purposes (© Sean Lahiff/Dancing Road Productions/Arclight Films/Universal Pictures Content Group – reproduced here on a strictly non-commercial Fair Use basis for educational/review purposes only)

All placental carnivores have fangs consisting of enlarged upper canine teeth (and so too, for that matter, does, or did, the thylacine or Tasmanian marsupial wolf Thylacinus cynocephalus, officially deemed extinct in 1936 but which may still linger on in this island's more remote regions). In stark contrast, conversely, the tusk-like fang counterparts of Thylacoleo were actually greatly-enlarged upper incisors (it also sported a pair of extremely enlarged lower incisors, but its upper canines were only very small and stubby). Yet in this movie, its Thylacoleo has been given enlarged upper canines, not incisors, thereby rendering their Carnifex dentally deranged!

Moreover, the two close-up shots of its front paws also revealed a telling absence of the huge thumb claw constituting another morphologcal characteristic of this unique predator.

Judging from these major morphological discrepancies, I can only assume that someone apparently hadn't done their zoological homework when researching T. carnifex for this Carnifex-entitled movie. Needless to say, this is a great shame, especially as otherwise it is a most enjoyable film, with engaging characters amid the savage beauty of the Australian bush, and it would have been a wonderful showcase for a truly original animal antagonist never previously represented in a cinematic role.

Then again, it is fair to say that many viewers are unlikely to have in-depth knowledge of thylacoleonid dentition anyway. So they will simply not notice or recognize the inaccuracy of the latter's depiction in this movie (particularly as it has no effect upon the plot itself), thereby enabling them to enjoy the movie as an otherwise very watchable, well-presented conservation-minded creature feature, especially one produced by a small independent film company as opposed to a mega-bucks Hollywood studio. Also on the positive side, it does mean that a morphologically-accurate 'living Thylacoleo'-themed monster movie is still waiting to be made.

 

Thylacoleo carnifex model produced by Jeff Johnson and owned by Rebecca Lang, two longstanding Facebook friends of mine (© Jeff Johnson/Rebecca Lang – reproduced here on a strictly non-commercial Fair Use basis for educational/review purposes only)

Incidentally, a novel written by Australian horror author Matthew J. Hellscream (I'm guessing that this may be a pseudonym…) that was published in 2016, i.e. 6 years before the present movie under review here was released, was also entitled Carnifex, and also featured some visitors to a remote area of the Australian bush encountering living but scientifically-undiscovered marsupial lions. According to various Adelaide Advertiser articles, Hellstream took legal advice when the movie came out because of perceived title and plot similarities, but that is not what I am concerned with here. What I am concerned with is that the very striking illustration of one such beast present on the front cover of Hellstream's novel depicts it with totally accurate dentition – click here to view it, and take note of the greatly enlarged incisors, and all but absent canines, plus the shearing blade-like carnassials further back.

I don't own a copy of this novel (yet), but I've heard tell that the cover artwork was prepared by acclaimed horror artist Frank Walls, who created the front cover for Hellscream's previous novel, Metro 7, but I can't confirm this. Whoever did design it, however, clearly made the effort to portray accurately the unique dentition of this truly unique mammalian predator.

Anyway, if you'd like to peer through the darkness of the Outback at night in search of the toothy terror lurking in this movie, be sure to click here to watch an official Carnifex trailer on YouTube.

Finally: 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.

 

My book Still In Search Of Prehistoric Survivors (2016), which contains a very comprehensive coverage of the yarri or Queensland tiger, and featuring prominently in the bottom-left portion of its front cover an artistic representation by cryptozoology artist William M. Rebsamen of what this elusive, mysterious creature may look like if it is indeed a surviving representative of the marsupial lion Thylacoleo carnifex, complete with accurate dental depiction for the latter species (© Dr Karl Shuker/William M. Rebsamen/Coachwhip Publications)

 

WARBIRDS

 

My official UK DVD of Warbirds (© Kevin Gendreau/New Symphony Pictures/Clockwork Planet/Curmudgeon Films/Sci-Fi Channel/GEM Entertainment/Optimum Home – reproduced here on a strictly non-commercial air Use basis for educational/review purposes only)

My film watch on 11 July 2023 was the wartime-themed monster movie Warbirds, which I'd owned on DVD for ages but had never previously got around to watching.

Directed (and co-written) by Kevin Gendreau, and released as a TV movie in 2008 by the Sci-Fi Channel, Warbirds is set in the closing weeks of WW2, when a team of American WASPs (Women's Airforce Service Pilots) is commissioned to transport via B-52 bomber plane some American soldiers on a top-secret mission carrying a highly classified cargo. However, they are forced to land on a tiny uncharted Pacific island when their survival is threatened by an immense storm. There they encounter three Japanese aviators, the last survivors of a company whose members have been killed by supposed 'dragons'.

Far from being mythical, however, these monsters swiftly reveal themselves to be giant pterosaur-like creatures (the movie's titular warbirds), albeit armed with toothy jaws and long tails that only the most primitive pterosaurs sported, according to the fossil record. They are also a fetching shade of royal blue; but as far as fetching is concerned, their sole intent is to fetch prey for themselves and their offspring, by swooping down upon the stranded humans and carrying them aloft.

Much tedious bickering ensues throughout the film between the three parties – the female pilots, the male American soldiers, and the male Japanese aviators – plus, in typical monster movie fashion, their numbers grow ever more depleted as, one by one, they are abducted or slaughtered by the pterosaurs.

The two American parties attempt to repair their bomber plane, assisted by the Japanese aviators – but these latter have wily plans, to steal and escape on it once repaired. By the time that the bomber has been rendered airborne (together with the Japanese's own downed Zeros to serve as its protective flankers) and free from a veritable phalanx of pursuing pterosaurs, however, the only survivors are two of the women pilots – and that is only because the bomber's top-secret cargo has been inadvertently jettisoned down onto the island, entirely obliterating it and all of its living flying fossils.

Yes indeed, the cargo was an atom bomb (one supposedly pre-dating the Hiroshima example), and which was planned to be dropped upon Japan in order to end the war – but you'd already guessed that. I know I had, from about 10 minutes into the movie.

The CGI pterosaurs are visually impressive, especially for a low-budget movie like this one, albeit equipped with the decidedly unrealistic ability to catch up with aircraft flying in excess of 300 mph! Conversely, the plot is entirely predictable, and I'm informed by those who are au fait with such matters that there are various military-themed errors present (not an area of expertise for me, however, so I'll have to take their word for it). Having said that, even I did wonder how and where the Japanese aviators had managed to obtain on this remote, uncharted, hitherto-uninhabited island a readily-identifiable US military truck, and why the atom bomb hadn't had its fuse removed for obvious safety reasons before being stowed aboard the bomber plane (yet it clearly hadn't, which is why it exploded over the island).

Also, the cast list includes no major names (Brian Krause of Charmed fame being the biggest, playing the American soldiers' terse, authoritarian leader, Colonel Jack Toller). Nevertheless, Warbirds makes entertaining if unchallenging viewing, or at least it did for me – an easy-going, popcorn & cryptozoology, creature-feature way to pass 85 minutes.

If you'd like to experience a very close feature-length encounter with the titular monsters of  Warbirds, please click here to view this entire movie free of charge on YouTube.

Finally: 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.

FIRE SERPENTS, SAND SERPENTS, AND A SERPENT KING – A TRIO OF CRYPTO-CREATURE FEATURES UNCOILING ON-SCREEN!

 

Publicity posters for Fire Serpent, Sand Serpents, and Basilisk: The Serpent King (© John Terlesky/CineTel Films/Kandu Entertainment/Outrage Productions/Premiere Bobine/S.V. Scary Films/Sci-Fi Channel/Lionsgate Home Entertainment // Jeff Renfroe/Media Pro Pictures/Muse Entertainment/SyFy/RHI Entertainment // Stephen Furst/BUFO/Curmudgeon Films/Sci Fi Pictures – all three posters reproduced here on a strictly non-commercial Fair Use basis for educational/review purposes only)

It's always a pleasure to watch creature features in which the monsters in question are far removed from the usual cinematic stereotypes (e.g. ferocious man-beasts, werewolves, sea monsters, gargantuan insects, prehistoric survivors), and the three examples appearing in the trio of movies reviewed here are definitely out of the ordinary, that's for sure! They display a vermiform similarity, but their respective origins could not be more dissimilar – cast down to Earth from the scorching surface of the sun, rudely awoken from deep subterranean desert dreaming, and resurrected from a very lengthy petrified past.

 

 

A second publicity poster for Fire Serpent (© John Terlesky/CineTel Films/Kandu Entertainment/Outrage Productions/Premiere Bobine/S.V. Scary Films/Sci-Fi Channel/Lionsgate Home Entertainment – reproduced here on a strictly non-commercial Fair Use basis for educational/review purposes only)

FIRE SERPENT

My movie watch on 25 August 2022 was a highly original sci fi/monster movie entitled Fire Serpent.

Directed by John Terlesky, created by celebrated Star Trek actor William Shatner, and originally screened in 2007 by the Sci-Fi Channel, Fire Serpent has as its central concept the notion that every so often throughout history, one of these eponymous fire-embodied serpentine entities is shot forth via solar flares from the sun's scorching surface down to Earth, where it commits all manner of mayhem, inducing large-scale blazes, forest fires, etc in its search for fuel to revitalise it.

In so doing, this ophidian flame-spreader will even take over humans in its bid to destroy anyone who stands in its path before incinerating them internally yet without leaving a mark on them externally. Needless to say, spontaneous human combustion instantly comes to mind here, but sadly – and strangely – this extraordinary yet still-unexplained fiery phenomenon is neither mentioned by name nor incorporated in any way within the movie.

The existence of fire serpents is known to the US government but is kept a closely-guarded secret until maverick firefighter Dutch Fallon (played by Randolph Mantooth), whose girlfriend was killed by one of these flying furnaces, decides to devise a means of destroying them. This does not go down well with one mysterious government agent in particular, however, a religious fanatic and covert arsonist named Cooke (Robert Beltran) who believes that they are fiery angels sent by God to cleanse the world by fire in order to renew it.

Can Dutch and a couple of semi-believing associates put a stop both to the fire serpents and to the fire-preaching maniac Cooke who seeks to harness them in his mad bid for catastrophic global conflagration?

The CGI fire serpents are well executed, and, as I say, this movie's theme is unusual enough to keep even a hardened seen-it-all creature feature fan like me interested and entertained.

If you'd care to gaze from the flame-retardant safety of your sofa at the coruscating creatures featured in this incandescent movie, be sure to click here to watch an official Fire Serpent trailer on YouTube that won't leave you feeling hot under the collar!

 

 

Close-up of a giant sand serpent in Sand Serpents (© Jeff Renfroe/Media Pro Pictures/Muse Entertainment/Syfy/RHI Entertainment – reproduced here on a strictly non-commercial Fair Use basis for educational/review purposes only)

SAND SERPENTS

On 29 June 2022, my movie watch was the crypto-themed Canadian film Sand Serpents.

Directed by Jeff Renfroe, and released on the Syfy Channel in 2009, Sand Serpents is definitely one of the better entries in the long-running made-for-TV 'Maneater' series of sci fi/horror creature features produced by RHI Entertainment for Syfy and released from 2007 onwards.

Think Tremors, but set in Afghanistan (although filmed in Romania), Sand Serpents centres upon a small US special forces military squad led by Lieutenant Richard Stanley (played by Jason Gedrick) and seeking to elude the Taliban, but also facing an even deadlier and far more unexpected foe – 60-ft-long predatory worms disturbed from their subterranean realm by a massive explosion and now hunting down and devouring or destroying anything that betrays its presence to them via loud sounds or other vibrations. Not even helicopters flying overhead are safe from these voracious vermiforms that rear up into the sky and swallow the whirlybirds in a single gulp. Gulp!

The squad's only hope is to make its way through a series of underground tunnels to a location where yet another helicopter will attempt to rescue them, but the worms seem intent upon picking them off, one by one... Make sure that you watch this movie right to the very end, because the closing scene contains a very dramatic and unexpected albeit somewhat unnecessary twist.

For a low-budget movie, its CGI mega-worms are excellent, with Sand Serpents a worthy homage to the Tremors franchise, and an equally worthy addition to my crypto-cinema collection.

Moreover, if what I've read in various reviews of it elsewhere is true, this movie's portrayal of the US military in action in Afghanistan is a decent, relatively accurate representation (though apparently there are various authenticity issues concerning the soldiers' outfits and insignia – as someone not well-informed on military matters, however, I couldn't say).

For a spectacular taster of what to expect down deep in the desert where the giant sand serpents dwell, be sure to click here to view a trailer of sand serpent excerpts from this movie on YouTube.

 

 

A French publicity poster for Basilisk: The Serpent King (© Stephen Furst/BUFO/Curmudgeon Films/Sci Fi Pictures – reproduced here on a strictly non-commercial Fair Use basis for educational/review purposes only)

BASILISK: THE SERPENT KING

Viewed on the UK's Horror [now renamed Legend] TV Channel, my movie watch for 18 June 2022 was the creature feature Basilisk: The Serpent King.

Directed by Stephen Furst, filmed in Bulgaria, and released in 2006 on the Sci Fi Channel, Basilisk: The Serpent King opens with a modern-day discovery in the Middle East of what appear on first sight to be a series of stone statues of soldiers dating back two millennia. These are brought back to the States by the archaeological team that has discovered them, led by Dr Harrison 'Harry' McColl (played by Jeremy London), together with their most extraordinary find there – namely, what again seems to be a stone statue, but this time of an enormous serpentine dragon, plus a very ornate serpent-ornamented sceptre containing a beautiful precious stone.

However, it's not long before the terrifying truth emerges – these 'statues' are actually petrified humans. Moreover, when the giant serpentine dragon 'statue' is put on display in the Colorado university museum sponsoring Harry's archaeological dig, and sensationally comes to life during a major reception there for the museum's wealthy patrons via an unexpected photo-reaction involving the sceptre and a solar eclipse, it turns out to be a basilisk, which spits forth a deadly white liquid that when activated by its incandescent gaze promptly turns to stone a fair few of its awe-struck audience. Not only that, it's pregnant! (Not so much a Serpent King as a Serpent Queen, therefore, or are there aspects of basilisk reproduction that I have yet to learn about??)

Anyway, much mayhem results, especially when the basilisk lays waste to a multi-story indoor shopping centre (whose property & contents insurance is unlikely to cover wholesale destruction caused by a mythical mega-monster!), and the U.S. army is brought into play in a desperate bid to nullify this Medusa-mouthed Middle Eastern mall-wrecker.

Meanwhile, Harry and friends (one of whom, Carlton, is played by director Furst) no less desperately attempt to regain possession of the sceptre that has been stolen by a wily and wealthy albeit decidedly wacky villainess named Hannah (Yancy Butler). She plans to use it to uncover a priceless cache of treasure, uncaring that it also happens to be the only object in existence that can counter the basilisk.

Notwithstanding its ostensibly incongruous, spindly little legs (even though some traditional basilisk depictions do indeed supply it with limbs), the CGI basilisk is very acceptable, and whereas there is an emphasis upon wisecracks and goofy characters, this monster movie still boasts its fair share of thrills along the way too. Basilisk: The Serpent King was a film hitherto unknown to me but one that I certainly enjoyed, and also recorded in order to add it to the crypto-themed section of my movie collection, as I have so far been unable to locate it on DVD.

Incidentally, for the benefit of zoomythology zealots, I must point out two intrinsic discrepancies between this movie's basilisk and traditional ones. Firstly: although the basilisk is indeed referred to in classical legends as the king of the serpents, it is usually represented as being quite small, certainly nothing remotely as sizeable as this film's gargantuan representative. Secondly: and according once again to legends, should a basilisk direct its gaze or its venom upon anyone (or any other living thing), the latter is instantly killed, not turned to stone – that more specialised slaying ability is instead reserved for the trio of  gorgons in Greek mythology.

Nevertheless, here and here, to petrify you, but, happily, not in a gorgonesque manner, are a couple of Basilisk: The Serpent King clips on YouTube.

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.

 

A close encounter of the basilisk variety in Basilisk: The Serpent King(© Stephen Furst/BUFO/Curmudgeon Films/Sci Fi Pictures – reproduced here on a strictly non-commercial Fair Use basis for educational/review purposes only)