I saw Joshua Kennedy's House of the Gorgon...

There are Hollywood directors who aspire to recapture a distinct, old-school flavor in their endeavors, but somehow fall short in the process: perhaps because as much as they wish to recapture the past, their egos dare to redefine it. 

With Joshua Kennedy, there is no such threat, for the humble but commanding writer/director/producer continues to hit the mark with each homage he spins. 

Kennedy's latest accomplishment is another tribute to Hammer's "The Gorgon" (his favorite film), entitled "House of the Gorgon". The filmmaker's first "Gorgon" homage was "The Night of Medusa" (see May '16 post); prior to such, he dispatched the succulent, Hammer salute, "Dracula: A.D. 2015" (see Oct '15 post). "House of the Gorgon" tells the terrifying, turn-to-stone tale of a young woman haunted by sinister, spectral sisters with a legendary link, thanks to her spouse's supernatural abetting.

Even beyond its bewitching premise, "House of the Gorgon" is notable for including such Hammer headliners as Christopher Neame, as Father Llewellyn; Caroline Munro, as Baroness Bartov; Martine Bestwick, as Euryale; and Veronica Carlson, as Anna Banning. That these attractive, talented stars have been teamed so many years after Hammer's heyday is astounding in its own right. To see them again at the top of their game (never once missing a beat) is a full-fledged, historic treat. 

Accompanying the veteran ensemble is Georgina Dugdale, as Isobel Banning and Jamie Trevino, as Christine, with Kennedy as demented Dr. Julian Pritchard; Gus Kennedy as brassy Bailey; Tom Pearson as haughty Hans; and Marco Munoz as kindhearted Karl (along with a nifty cameo by famed Femforce writer, Mark Holmes). For the Kennedys and Munoz, this marks a "Theseus and the Minotaur" reunion, which Gooey Film followers will appreciate.

"House of the Gorgon" also benefits from Kennedy's inspired direction, which flows in the sumptuous style of Terence Fisher. The skillful execution ensures that the story stays doleful, eerie and refined, as any proper Hammer salute should.  

To supplement the latter, "House of the Gorgon" features awesome, period-piece art direction by Lauro S. Hinojoso; fantastic, Freddy Francis-tailored cinematography by Martin Torres; luscious lighting by Rosa Cano; and a brooding, Bernard-esque score by Reber Clark. These important additives prove cozy yet edgy, keeping the film's aesthetic and emotional aspects high, no matter what the scene. (For all intents and purposes, "House of the Gorgon" looks as though it was made in the late '60s/early '70s: precisely the point. The result may, in fact, be Kennedy's most polished production to date.)

By the time the credits roll, one will have found "House of the Gorgon" a glorious, gorgeous love letter to Hammer's filmmakers and their faithful fans.

Though other films in release this year may draw more hype, "House of the Gorgon" is the one to see: the one that proves beyond any doubt that classic, Gothic, movie-making still holds a precious place in cinema's expressive heart. 

I saw Joshua Kennedy's Theseus and the Minotaur...

Writer/director/producer Joshua Kennedy has proven himself one of the most versatile filmmakers on the scene today, and with his latest Gooey Film production, "Theseus and the Minotaur", he takes his imaginative skills to even greater, spellbinding heights.

This magnificent, sword-and-sandal/peplum homage caters to (as the title more than implies) the great, Greek myth of Theseus, the Athenian who came to slay the mighty hybrid beast in its labyrinth lair. The Minotaur, as most know, was conceived as a result of an intricate (and rather perverse) path, thanks to dear ol’ King Minos' meddling ways. Out of spite, he even sacrificed warriors to the bloodthirsty creature. This legend refashioned in the film, wisely placing emphasis Minos' quest for the Sword of Zeus; his use of the dreaded Minotaur to maintain his sadistic control; and ultimately, Theseus’s journey to defeat the power-hungry despot and his mighty monster to become Athens' king. 

The cast is ideal and credible in its execution of the myth, with Marco Munoz as the charismatic and courageous Theseus; Jamie Trevino as the feisty yet coerced Ariadne; Brian Warren as the comical Backhos; Tom Pearson as his equally comical companion, Kastor; Bo Elizondo as the combative but redemptive Deimos; Michael Alebis as the doomed King Aegus; Ana Kennedy (Joshua's mom) as the maternal Aethra; Gus Kennedy (Joshua's dad) as the warm and wise Gregorios (who at one significant point does a remarkable job channeling the great Patrick Troughton); and bestowing his fans with another crisp, grandiose performance, the writer/director/producer, himself, as the crafty King Minos. (I must say, Kennedy does an amazing job, giving his character the ideal air of magical, entitled petulance, worthy of any past, peplum nemesis.) 

Story-wise, Kennedy's script covers ground well beyond the Theseus myth, giving his audience aspects of Silvio Amadio's "Minotaur, Wild Beast of Crete"; Ray Harryhausen/Charles H. Schneer's "Jason and the Argonauts" and "Clash of the Titans"; Steve Reeves and Reg Park's Hercules adventures; and all those gutsy (and for the sake of English-speaking audiences), renamed Maciste outings. Kennedy not only mimics the look and feel of those epic endeavors, but does so in such a way that his story falls flawlessly among them. In other words, "Theseus and the Minotaur" isn't just a wannabe; it's the real deal. 

To further elaborate, there's an inherent warmth (both in spirit and pigment) in Kennedy’s creations, ideally suited for the sword-and-sandal genre. Sword-and-sandal films are generally ripe in their golden-orange and purplish-crimson hues, to the point where one can't help but fall under their spell. Whether their budgets are of the Italian shoe-string sort or a Kubrick "Spartacus" stature; that sense of warmth (along with the accompanying sweat, blood and fancy decor) prevails in all instances, as does their corresponding, ethical essays on right and wrong. In this regard, the best sword-and-sandal films have no time for pretentious shades of gray or silly, school-room sorcery when a strong arm, a hefty sword and blazing cinematography can do the trick. “Theseus and the Minotaur” respects and incorporates these distinguishing elements with supreme care, and I believe that's why the film emerges as such an incontestable and successful labor of love. (BTW: From a photographic perspective, the enchanting, Siren sequence captures classic peplum in ways that no fantasy film has in years.)

What also heightens Kennedy’s throwback style is the film's use of stop-motion animation, rendered by Ryan Lengyel. Watching the Minotaur and his titanic costars move about with such tender-loving expression is something that no CGI (and that means even the best of the big-budget best) could ever hope to capture. If Hollywood weren't so marred by snobbery, Lengyel would receive an Oscar for his efforts, and in the same vein, so would Kennedy for permitting this splendid technique into his film. No doubt, stop-motion masters Willis O'Brien, Ray Harryhausen; Peter Peterson; Jim Danforth; and Dave Allen are looking down upon "Theseus and the Minotaur" with immense pride and pleasure. 

As I've said before (and I’ll undoubtedly say it again), Kennedy acknowledges the hallmarks that make movies special (or at least used to), and that’s why his films succeed in delighting those of us who know and love cinema. I thank him from the bottom of my heart for making "Theseus and the Minotaur" part of his prolific legacy and allowing it now to be part of my heroic-fantasy library. I'm happily fated to watch the titular warriors duke it out on limitless occasions, and if that's not a sign that I've gained a new, all-time favorite, I don't know what is. 

“Theseus and the Minotaur” can be purchased at oldies.com: https://www.oldies.com/product-view/1112D.html?c=gbase&gclid=Cj0KCQiAmITRBRCSARIsAEOZmr41kU-0qET3J-xE8G41ENtBiEAG_gJh4PphZEk99gnFzheMA-wU5p8aAqDoEALw_wcB.  

BTW: The DVD release also includes Lengyel's brilliant, stop-motion short, "The Night of the Beast (from Twenty Zillion Years Ago)". It brims of fun, excitement and creepy cheer: a perfect supplement for the main feature.