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Showing posts with label dragons. Show all posts
Showing posts with label dragons. Show all posts

Saturday, June 7, 2025

ORC WARS (aka DRAGONFYRE)

 
Publicity picture depicting Rusty Joiner as John Norton alongside one of the orcs from Orc Wars (© Kohl Glass/Uncorkd Entertainment/Arrowstorm Entertainment – reproduced here on a strictly non-commercial Fair Use basis for educational/review purposes only)

My movie watch on 4 June 2025 was Orc Wars (aka Dragonfyre), a low-budget but very entertaining action/fantasy movie in which the monstrous orcs inhabiting a parallel dimension threaten to invade and conquer our own world via a magical gateway linking the two.

Directed and also co-written by Kohl Glass, and released in 2013 by Arrowstorm Entertainment, Orc Wars features as its lead character a shell-shocked, traumatised American ex-Special Forces operative, John Norton (played by Rusty Joiner), who buys a ranch out in some remote American wilderness many miles from anywhere (the movie is shot on location in Utah) where he hopes to find peace and seclusion. Some hope!

For instead, what he does find is that, firstly, he is in fact the latest in a long line of world sentinels born to guard gateways to eight other parallel worlds that periodically open when our moon and theirs overlap in the sky; and, secondly, one of these gateways, situated inside a cave on his own land and near to his new home, is presently releasing from their world into ours hordes of savage, sword-wielding, arrow-shooting orcs. In addition, they are empowered but also subjugated by an insubstantial, floating witch-like entity, Anathema (great name!), veiled and shrounded in white but irrevocably evil. Anathema is played visually by Samantha Law, but with Clare Grant providing this weird character's ear-piercing, banshee-like shrieks (which occur often, albeit for no apparent reason in most cases!).

Gravity-defying but in grievous need of a manicure, this airborne multi-taloned terror is seeking to capture a fair elven princess named Aleya (played delectably by Masiela Lusha) who has fled into our world to escape Anathema's stiletto-nailed clutches, because the shrieking one plans to sacrifice the regal elf in order to gain supreme power, or something like that. Anyway, the witch has also weaponised a fire-breathing winged dragon of colossal size and seemingly unstoppable power, to add to her planned devastation of our world and ensure that the orcs recapture Aleya.

For his part, Norton can rely only upon three (briefly four) brave helpers. Aleya herself is one, a fairly diminutive but feisty long-eared lady who is immensely skilled as an archer. Another is Katie (Clare Niederpruem), the estate agent who had recently arranged Norton's purchase of the ranch and soon after his moving in there calls around to see how he is settling in, only to become an unwitting but willing – yet tragically short-lived – ally in his bid to conquer the orcs.

Then there is a blind Native American warrior named Whitefeather (Wesley John), whose family was slaughtered by orcs during an earlier incursion into our world when he was a child. Moreover, although sparing his life, they gouged out his eyes. As a result, however, Whitefeather developed mystical powers, not to mention some highly effective martial arts moves, and thereafter, as a means of avenging his family and himself, he devoted his life to helping the then sentinel of the world gate to defend it from invading orcs, before the sentinel was eventually slain by them. So now, Whitefeather has transferred his allegiance to the new sentinel, Norton.

Last but not least is Scooter (Maclain Nelson, who also served as one of this movie's co-producers), a stereotypical good ol' boy from Hicksville. Originally one of three such characters who at the movie's beginning encounter a group of Aleya-seeking orcs, he is the only one to survive that meeting. However, although he may be dumb, Scooter is also heroic and loyal, unlike his two compatriots who were nasty pieces of work (so their respective but equally gory orc-engineered demises are guaranteed not to be grieved about by the film's viewers!).

But can Norton and his small, oddly-matched band of supporters nullify the grandiose schemes of Anathema and a seemingly limitless contingent of ornery orcs? What do you think??

 
The full cover of my official UK DVD of Orc Wars (© Kohl Glass/Uncorkd Entertainment/Arrowstorm Entertainment/High Fliers – reproduced here on a strictly non-commercial Fair Use basis for educational/review purposes only)

For a low-budget movie like this one, the orc costumes, especially the facial masks used, are very impressive, and I'm guessing that they may have been inspired by those from Peter Jackson's mega-budget LOTR movie trilogy. Speaking of which, the sentinel's sword is claimed by some reviewers to be a dead ringer for the sword utilised as Sting in this same trilogy. (Quite frankly, however, as I have more to do in my life than spend it conducting pedantic, ultimately unimportant comparisons like this, I cannot pass any opinion regarding such claims.) As for the CGI-rendered flying dragon, this is very well designed, and delivers satisfactorily too, engaging my attention whenever it appears on screen.

Although they all perform their roles well, the cast members are for the most part virtual unknowns. Indeed, prior to this movie I hadn't even heard of or seen anything featuring its lead actor, Rusty Joiner. So I looked him up online, and learnt that he is one of a growing number of former male fashion models who have since moved into the acting profession, including such now-famous screen stars as Channing Tatum, Kellan Lutz, and, perhaps most successfully of all, Mark Wahlberg. Joiner's filmography contains a fair list of film and TV credits from 2004 onwards, with perhaps his most famous role being that of Eddie in Resident Evil: Extinction (though I haven't watched this movie).

In Orc Wars, Joiner plays his Mad Max-like role very serviceably, albeit a tad heavy at times on the taciturn, laconic persona, as he seeks to rescue Aleya specifically and save the world in general, In theory,, Aleya serves as Norton's love interest. but in practice they never even share as much as a kiss – no time for romance when you're decapitating orcs by the dozen, I suppose…

The concept of this movie is potentially interesting – a fantasy world and our real world clashing in open warfare. Yet in spite of their far greater numbers, the sword-slashing, bows-and-arrows brigade of orcs never really stand a chance against Norton and his literal armoury of guns, rifles, pistols, bazookas, grenades, etc etc, all of which have been left behind by his late sentinel predecessor, Indeed, so superior are these weapons to any technology familiar to the orcs in their own world that they consider them to be magical and the sentinels, now including Norton, to be wizards. Needless to say, however, such a mismatched set-up somewhat reduces the suspense and tension that this move's frequent and full-on battle scenes might otherwise have generated.

There is also a highly dramatic event that is frequently shown during this movie but which yields a major plot hole needing to be circumnavigated if attempting to suspend disbelief regarding the movie's storyline. The gateway between the orc world and ours opens briefly whenever our moon and theirs overlap, an event that can be readily seen in our sky, and which culminates in fiery lightning flickering upon their surfaces when the two moons are perfectly aligned. So how come such a readily observable, spectacular astronomical event has never once been documented by any of the countless professional and amateur sky-watchers throughout our world's long history??

Never mind, watching Orc Wars was a fun way to pass 90 minutes or so, which after all is what a movie is all about, or should be. So I'm readily able to recommend it to anyone who can enjoy fantasy without taking it seriously.

 If you would like to watch an official trailer for Orc Wars, please click here to do so on YouTube, where you can also currently watch the entire movie free of charge if you click here.

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 somewhat busy publicity poster for Orc Wars, featuring its alternative title of Dragonfyre (© Kohl Glass/Uncorkd Entertainment/Arrowstorm Entertainment – reproduced here on a strictly non-commercial Fair Use basis for educational/review purposes only)

 

Monday, August 1, 2022

MONSTER HUNTER (2020)

 
Publicity poster for Monster Hunter (© Paul W.S. Anderson/Constantin Films/AB Digital Pictures/Tencent Pictures/Toho/Sony Pictures/Screen Gems – reproduced here on a strictly non-commercial Fair Use basis for educational/review purposes only)

On 27 February 2022, my movie watch, which had been recommended to me a few days previously by Facebook friend Thomas Finley, was the fairly recent movie Monster Hunter (not to be confused with various earlier, entirely unrelated films of the same title), a live-action/CGI big-screen sci fi/fantasy extravaganza based upon the eponymous series of Capcom video games.

Directed, written, and co-produced by Paul W.S. Anderson, and released in 2020 through Screen Gems by Sony Pictures, Monster Hunter is all about a squad of U.N. soldiers who are seeking some missing troops in an unnamed desert but become  caught up in a bizarre lightning storm that acts as a space-time portal, instantaneously transporting them to another world in another dimension. There, all but one are swiftly killed by various terrifying monsters, including a ferocious and unutterably ginormous sand-dwelling horned horror aptly called the diablos (depicted in the Monster Hunter publicity poster opening this present review of mine), and an immense cave-dwelling horde of hideous gigantic arachnid-like monstrosities called nerscyllas that skin-crawlingly combine the worst features of spiders and scorpions, which is really saying something!

The squad's sole survivor, U.S. Army Ranger Captain Natalie Artemis (played by Milla Jovovich), teams up with a lone indigenous warrior, Hunter (Tony Jaa), and they duly help each other survive the terrrors that this (very) strange new world contains before eventually reaching Hunter's home.

Just before they do, incidentally, Artemis and Hunter encounter a placid herbivorous herd of very sizeable but thoroughly delightful beasts named apceros that resemble highly improbable hybrids of giant tortoises and ankylosaur dinosaurs. Also making an appearance is a far less placid plesiosaur-like water monster that lunges ferociously at an unsuspecting Artemis when she approaches the deceptively tranquil expanse of water in which it is concealed. Despite being highly amused by her shock reaction, Hunter swiftly uses one of his arrows to good effect to save the day – and Artemis!

Once inside the shelter of Hunter's abode, Artemis makes the grudging acquaintance of (after being temporarily imprisoned by) a non-nonsense hunter leader known as The Admiral (Ron Perlman), plus his humanoid feline cook (Aaron Beelner), who is a member of the sentient Palico species. Together with Hunter, this odd couple endeavour to set things right by assisting Artemis to defeat a monstrous dragon-like fire-breather called a rathalos that loses no time in threatening their very existence.

This daunting winged monster is the guardian of an immensely tall, mysterious edifice in the desert known as the Sky Tower, which was built long ago by the first civilization to develop the technology for travelling between worlds via the portals.

Unfortunately, however, the rathalos not only survives their attempt to slay it, but also actually manages to enter our own world via an open portal. Trouble! Fortunately, Artemis and Hunter are able to pursue it into our world too via the same portal, and successfully dispatch it – but then a second, black dragon, known as Gore Madala, appears!

Monster Hunter boasts some spectacular special effects, especially those showcasing its array of very unusual and highly original monsters (except for the rathalos, which looks very like the wyvern Smaug from The Hobbit movie trilogy). However, no sooner has it presented its climactic rathalos confrontation and the arrival of Gore Madala than the movie abruptly ends! Clearly, therefore, this is intended as the first film in a future movie franchise.

For me, Monster Hunter is great fun, and no doubt for other creature feature fans too, as long as you are not arachnophobic, that is – those nerscyllas truly are the stuff of nightmares, especially as they rear their young by impregnating living humans with them, in best/worst Alien tradition (and graphically shown in the film). You have been warned!

If you can stomach it (sorry!), be sure to click here to watch an action-packed official trailer for Monster Hunter on Y0uTube – or (if you hate spiders, scorpions, or both) don't!

To view a complete comprehensive 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.

 
Photographic still depicting a nerscylla, from Monster Hunter (© Paul W.S. Anderson/Constantin Films/AB Digital Pictures/Tencent Pictures/Toho/Sony Pictures/Screen Gems – reproduced here on a strictly non-commercial Fair Use basis for educational/review purposes only)

 

Sunday, August 22, 2021

47 RONIN (2013)

 
Publicity poster for 47 Ronin (© Carl Rinsch/H2F Entertainment/Mid Atlantic Films/Moving Picture Company/Stuber Productions/Relativity Media/Universal Pictures – reproduced here on a strictly non-commercial Fair Use basis for educational/review purposes only)

On 27 April 2021, after having viewed a number of excerpts from it previously, I finally watched in its entirety the 2013 movie 47 Ronin (there have been at least six earlier versions).

Directed by Carl Rinsch, and released by Universal Pictures, 47 Ronin is a fictionalised, fantasised version of a real event featuring 47 ronin (masterless samurai) seeking revenge for the murder of their daimyo (feudal lord). It stars Keanu Reeves as Kai, a half-Japanese half-English outcast first seen here as a mysterious boy discovered in a Japanese forest several centuries ago after having secretly been raised there by the supernatural tengu spirits, who have taught him knowledge and skills not known to humans.

Kai is found and reared by Lord Asano Naganori (played by Min Tanaka), the Ako Domain's kindly daimyo, and he helps to avenge the daimyo's subsequent death via shogun-enforced ritual suicide (seppuku). This fatal ploy had been deftly engineered by Lord Kira of Nagato (Tadanobu Asano), a treacherous usurper of Asano's domain, who was assisted in his murderous machinations by a wily, evil kitsune (fox maiden) named Mizuki (Rinko Kikuchi).

Speaking of which: 47 Ronin certainly contains plenty of spectacular Oriental monsters and non-human entities. These include a rampaging kirin (see below), a golem, the tengu, and Mizuki – the afore-mentioned beguiling but wholly malign kitsune. She can transform herself into a white fox, a white spider, and even an enormous white dragon, as well as assuming the exact form of any human she chooses. However, she is always betrayed in her varied guises by her eyes, if close enough attention is paid to them, because they do not match – one eye is red, the other is blue.

My favourite monster was the ferocious, carnivorous kirin or Japanese unicorn, although this latter name is something of a misnomer. With its savage meat-eating proclivity, its scaly body, and its paired antlers, this Far-Eastern mythical beast looks and behaves nothing like the gentle horse-like single-horned unicorn of the West. The particularly sizeable, ornery kirin that Kai does battle with in 47 Ronin had been sent by Mizuki in an early attempt to kill Lord Asano, but is foiled from doing so when Kai single-handedly slays it.

Most of the movie follows Kai and the accompanying ronin, led by Asano's former principal counselor, Oishi (Hiroyuki Sanada), as they tenaciously persevere through all manner of hardships and confrontations in their determined quest for revenge, seeking to destroy Kira. They are also determined to rescue Mika (Ko Shibasaki), Lord Asano's daughter. Mika loves Kai, but she has been claimed and carried away by Kira, who intends to make her marry him instead, in order to ensure his status as Ako's ruler.

The culmination of their valiant endeavours sees Kai boldly return to the tengu who raised him, in order to elicit their assistance in conquering Kira and Mizuki by supplying Kai and the ronin with magical tengu-hewn blades for use in battling Kira's troops. But such assistance is offered neither readily nor unconditionally when the tricky, daunting tengu are involved, especially as no sword must ever be drawn while inside a tengu temple. Consequently, Kai and his companions face a grueling, mind-warping, weapons-bereft test of bravery and skill against their superhuman opponents if they are to succeed in procuring the latter's much-needed blades.

 
47 Ronin publicity poster featuring the late Rick Genest (aka Zombie Boy) as Foreman (© Carl Rinsch/H2F Entertainment/Mid Atlantic Films/Moving Picture Company/Stuber Productions/Relativity Media/Universal Pictures – reproduced here on a strictly non-commercial Fair Use basis for educational/review purposes only)

Incidentally: as seen, for example, in the poster opening this Shuker In MovieLand review and the one immediately above this paragraph, as well as in the opening seconds of the trailer linked to below, a lot of the early marketing and pre-release publicity for 47 Ronin prominently featured a very distinctive Canadian sideshow performer/fashion model/actor named Rick Genest (d. 2018, aged 32), who played Foreman, a character whom Kai encounters on a slave ship in this movie. Beyond 47 Ronin, Rick was famously known as Zombie Boy, because he had purposefully chosen via countless lengthy sessions to become intricately (and permanently) tattooed all over his entire body in a manner that grotesquely transformed his appearance into that of a rotting, living skeleton – a veritable zombie.

Due to various changes in vision concerning the route that this movie should take, however, Rick's Foreman character was almost entirely deleted. Sadly, only a few brief shots of him remain in the final cut, which in my view was a great shame, as Rick's unique appearance and presence would have added greatly to the movie's appeal (and is presumably why its publicity and marketing featured him so extensively in the first place). But if you click here, you can watch a fascinating interview with him on YouTube instead. RIP Rick.

47 Ronin contains dazzling CGI and other special effects, and held my rapt attention throughout, but is far greater than a mere showcase for visual spectacle. It is a movie based upon vengeance, but above all upon honour, which means that I should not have been surprised by what for me was its unexpected ending – I was, but I shouldn't have been. Anything else would have been out of character, not fitting to its intrinsic theme.

Something of a rarity among modern-day fantasy-incorporating films, which all too often possess plenty of pazazz but all too rarely contain much in the way of emotional substance or depth, 47 Ronin is a movie that truly moves its viewers – and how!

If you would like to view a thrilling official trailer for 47 Ronin on YouTube, please click here; and Kai's courageous conflict with the kirin (plus a glimpse of Mizuki in her white fox guise) can be viewed 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.

 
Illustration of a kirin (=qilin in China) (© RootOfAllLight/Wikipedia CC BY-SA licence)


Saturday, April 24, 2021

LORD OF THE ELVES (aka CLASH OF THE EMPIRES)

 
Publicity poster for Lord of the Elves aka Clash of the Empires (© Joseph Lawson/The Asylum – reproduced here on a strictly non-commercial Fair Use basis for educational/review purposes only)

Earlier tonight I watched my recently-purchased DVD of a movie that I'd only learnt about a few days previously. I know of at least three different titles for it (more about which later), but its most famous one, and which featured on its official DVD, is Lord of the Elves.

Directed by Joseph Lawson and released in 2013, Lord of the Elves is somewhat of a curiosity in terms of slotting comfortably into any well-established movie genre, because it seems unsure of whether to be a prehistory-themed docu-drama or a swords-and-sorcery fantasy. Instead, it opts to be both, at the same time, which makes for very unusual viewing to say the least. Suspension of disbelief is very highly recommended here, that's for sure!

Set 12,000 years ago on the Indonesian island of Flores (but actually filmed in Cambodia), this movie is nothing if not novel in that it focuses upon that island's fairly recently-discovered species of fossil mini-human Homo floresiensis, Flores Man, but which on account of its diminutive stature has become popularly known colloquially as the hobbit. Also represented here are the rock men, the name given in this movie to a second, larger species of fossil human, Homo (formerly Pithecanthropus) erectus or Java Man, plus a third species, the so-called giants, which in reality is our very own Homo sapiens or Modern Man. These species in turn represent three separate human empires that as far as this movie's plot is concerned are traditionally in conflict with each other, thus explaining its alternative title of Clash of the Empires. So far, so prehistoric.

But then we very swiftly and entirely unexpectedly switch from watching a film about competing fossil hominins to one that plunges headfirst into epic fantasy (or as epic as this low-budget Asylum-produced movie can stretch to) when we discover that the rock men ride around on giant winged monitor lizards that except for not breathing fire are basically dragons, and are even referred to as such by various characters in the film. And somewhere midway between fossils and fantasy straddle the likes of some earthbound but no less gargantuan monitor lizards that could chew up a real-life Komodo dragon with a single bite from their venomous teeth, plus a rampaging hairy rhinoceros that was clearly inspired far more by the woolly rhinoceros of Ice Age Eurasia than by this tropical southeast Asian region's native hairy rhino species, the Sumatran rhinoceros. There are also two immense, venom-spraying, cannibalistic spiders that are not recommended viewing for anyone with an aversion to arachnids.

The basic storyline for Lord of the Elves tells how the peace-loving, plant-eating, earth goddess-worshipping hobbits (in the H. floresiensis usage of this name, but which are also, confusingly, the elves referred to in one of this movie's titles) are regularly hunted down and seized as food by the rapaciously-carnivorous dragon-riding moon-worshipping rock men. (Incidentally, these latter entities exhibit a most unsightly, ill-fitting dentition of long pointed teeth that are decidedly unlike any human chompers that I've ever seen, and which make them look far more like vampire extras from Salem's Lot than anything known from the fossil record!)

Anyway, following one such incident, three brave hobbits are able to convince some of the equally carnivorous but rather more civilised sky-worshipping giants to join them on a hazardous quest into rock man territory in order to locate and free their recently-kidnapped hobbit kin - during which the afore-mentioned leviathanesque lizards and mega-spiders make their prodigious presence well and truly felt.

The only famous name to appear in Lord of the Elves is Christopher Judge (of Stargate SG-1 TV fame), who plays noble warrior Amthar, one of the giants who assist the hobbits in their bold quest. In terms of acting ability, Judge stands head and shoulders above the others metaphorically speaking too. The CGI monsters are by and large effective - the spiders a little too effective, to be honest - but overall this movie in my opinion never recovers from its fundamental identity crisis.

This in turn may possibly stem from the fact that Lord of the Elves was originally intended to be entitled Age of the Hobbits, the term 'hobbit' succinctly conveying both prehistoric and fantasy connotations. In 2012, however, Warner Brothers, who at that time was promoting its forthcoming trilogy of official Tolkien-sanctioned hobbit movies, was not best pleased about this title, and eventually commenced legal action against The Asylum on the grounds of trademark infringement, which resulted in the release of Age of the Hobbits being temporarily blocked. Following a title change, however, albeit to one that was still decidedly Tolkien-reminiscent, it was released in 2013.

Lord of the Elves is certainly a strange little movie (under 90 minutes long) in my view. Yet for me this is actually part of its charm, together with just enough action and sufficient monster moments to entertain.

If you'd like to watch an official Lord of the Elves trailer to visit the warring Flores folk and the ferocious fauna confronting them, be sure to click here.

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!