Ikarie XB 1 (1963)

Starring Zdenek Stepanek, Frantisek Smolik, Dana Medricka, Irena Kacirkova, Radovan Lukovsky
Directed by Jindrich Polak
(actor & director credits courtesy IMDB.com)

A spaceship with a 40 member crew sets off on a journey to Alpha Centauri, but their lives are all threatened when they encounter a dark star during their voyage.

We have here a very impressive Czech science fiction film, with fantastic well-designed sets, good special effects, and dramatic criss-crossing human stories, presented with the utmost seriousness.  Released in this country as Voyage To The End Of The Universe, it's easy to see how it could have had quite the effect on the development of a number of science fiction films and franchises.  At times I think it's almost a little too serious, with only some brief comic moments and a joyful dancing sequence to provide relief, but even though I knew none of the cast before watching the film, I soon became engaged with their characters and relationships.  The photography is also quite accomplished, as is the electronic-tinged music score, and Polak should be lauded for his steady hand assembling and balancing all the elements.

Sin You Sinners (1963)

Starring June Colbourne, Dian Lloyd, Derek Murcott, Beverly Nazarow, Charles Clements
Directed by Anthony Farrar
(actor & director credits courtesy IMDB.com)

A young woman wants to leave her mother and her criminal and hedonistic lifestyle, but finds she cannot, which her mother attributes to a voodoo medallion she wears around her neck.

This is a very amateur-looking production, with a loopy story and a low budget.  Some of the performances are decent, but most of the plot is waylaid by Colbourne's burlesque dance sequences and numerous makeout scenes.  The most interesting part of the film is the voodoo connection, connected to Colbourne's character's trip to Haiti, and her relating of a voodoo ritual she witnessed.  Of course, we only hear about it and don't see it, and most of the film centers around multiple women competing for Murcott's affections, whose character is a drunken gambler and not worth the trouble.  The print I viewed had a sharp picture but vertical age lines throughout the film, and was haphazardly edited with a number of jump cuts, which I wasn't able to verify was due to scenes edited out or just poor filmmaking.  Needless to say, I can't recommend this one.  

Mandrake The Magician (1939)

Starring Warren Hull, Doris Weston, Al Kikume, Rex Downing, Edward Earle
Directed by Norman Deming & Sam Nelson
(actor & director credits courtesy IMDB.com)

Stage magician Mandrake and his friends try to spoil a scheme of a villain known only as The Wasp, who has kidnapped a scientist and his powerful radium machine.

Fans of the Mandrake comic strip this serial is based on may be disappointed with the lack of elements from the strip included.  Many of the supporting characters are missing, and Mandrake himself is not as powerful, relying only on stage magic and sleight of hand on occasion.  Although Mandrake's partner, the African Lothar, is in the serial, he's played by actor Al Kikume, who is not black but of Hawaiian descent according to Wikipedia.  Kikume made his career playing various exotic natives in a number of different films.   However, Hull is a very pleasant and likable lead, and even though his Mandrake uses less magic and more fisticuffs to battle the Wasp's minions, I found his performance engaging.  The cliffhanger endings to each chapter don't really stand out, and the masked Wasp doesn't make an especially memorable villain, but there was enough action and adventure to entertain this serial fan.

Unearthly Stranger (1963)

Starring John Neville, Philip Stone, Gabriella Licudi, Patrick Newell, Jean Marsh
Directed by John Krish
(actor & director credits courtesy IMDB.com)

After a leading space research scientist dies mysteriously, his replacement tries to continue their work, but begins to notice his new wife has characteristics that make her something other than human.

This is a really well-done British science fiction thriller, very finely acted and directed, with some terrific cinematography from Reginald Wyer.  What is doesn't have is any visual effects to speak of, but it doesn't need them, and is very much in the thinking person's sci-fi milieu.  It's main subject concerns the idea that scientists across the world have hit upon a formula to allow humanity to project themselves into outer space via the power of thought, and if that seems far fetched, both cast and crew do a good job of selling its possibility within the structure of the film.  Neville is very good here and Licudi is nicely showcased as something otherworldly through her performance and through some well-designed and edited sequences where we see how others react to her.  It's intelligent entertainment and very thought provoking.

Girl In His Pocket (1957)

Starring Jean Marais, Genevieve Page, Jean-Claude Brialy, Agnes Laurent, Jean-Paul Moulinot
Directed by Pierre Kast
(actor & director credits courtesy IMDB.com)

A scientist develops a formula for shrinking living creatures into tiny immobile statues, and ends up using the formula to facilitate an affair with his beautiful young assistant.

We have here a very charming and likable science fiction comedy from France, which doesn't utilize much in the way of special effects, but is well-written and well-acted by the talented cast.  Turning other shrinking movies on their head, the intent is not to explore a new giant world, but instead Marais uses the formula to shrink the beautiful Laurent and carry her in his pocket to rendezvouses for trysts, while detectives are following him at the request of his jealous and possessive fiancee.  This leads to a number of natural comic situations, and although I wouldn't say the film is uproariously funny, there's still chuckles to be had.  Marais may be best known for playing the Beast in Jean Cocteau's 1946 adaptation of Beauty And The Beast, and Fantomas in a series of films, and gives a good performance, but in my opinion Laurent is the star of this film, so appealing as the professor's student whose infatuation with the man turns into a believable love affair.

Die Nibelungen (1924)

Starring Paul Richter, Margarete Schon, Theodor Loos, Hanna Ralph, Hans Adalbert Schlettow
Directed by Fritz Lang
(actor & director credits courtesy IMDB.com)

The mighty hero and king Siegfried seeks the hand of the sister of King Gunther of Burgundy, but is persuaded in return to help Gunther win the hand of a warrior queen, a choice that will lead to his doom.

This is another silent masterpiece from director Fritz Lang, based on an epic Norse poem, and lavishly filmed and released at a length of nearly five hours, although the story is divided into two parts.  The first part tells the tale of Siegfried, and is enhanced with remarkable special effects, as the hero battles a convincing dragon, wins the treasure of the Nibelung, and a gains a cap which can make him invisible or grant him the appearance of anyone he chooses.  Without spoiling anything, the second part focuses on Siegfried's queen Kriemheld and the blood feud that takes her to the kingdom of the Huns, where she sows the seeds for a deadly battle that will take place there.  As Siegfried, Richter is an ebullient hero, full of joy and freedom and signified by his wild mop of hair.  As Kriemheld, frequently wrapped in her cape, and often using only a hand gesture or her eyes to communicate, Schon may make the greatest impact in the film, showing off regalness and a brooding heart.  Thea von Harbou's script tells the tale straightforwardly and is very easy to follow, and massive sets and a cast full of extras bring an epic scale to the film's concluding battle.  A real asset to the production is the original score by Gottfried Huppertz, with majestic and emotional themes that drive the picture through its entire length, and helps the story flow throughout its entirety.

X The Unknown (1956)

Starring Dean Jagger, Edward Chapman, Leo McKern, Anthony Newley, Jameson Clark
Directed by Leslie Norman
(actor & director credits courtesy IMDB.com)

An atomic scientist discovers a radioactive monster has emerged from beneath the Earth's crust, that has a lethal effect on anyone who gets near it.

Hammer Films delivers an entertaining science fiction film in the mold of its Quatermass thrillers, but coming from an original screenplay by Jimmy Sangster, his first for the studio.  There's some fine actors on display, with Jagger, who won an Oscar over a decade before, still effective and kindly and thoughtful as Professor Royston, whose research ideas don't always jibe with his hard-line boss, played by Chapman.  However, the crisis at hand eventually unites the two men, with good support from McKern as an energy commission investigator who quickly comes to trust in Royston.  The monster of the film can lay claim to being the first oozing creature in a horror film, predating The Blob and Caltiki, and the special effects are still reasonably acceptable, and chilling when it comes to the creature's attacks on humanity.  I've heard Norman became director after Joseph Losey was dismissed due to Jagger's protest over his link to HUAC investigations, but whoever was behind the camera designed some taut and suspenseful scenes, augmented by James Bernard's driving score, particularly during the film's climactic confrontation between men and monster.

Master Of The World (1961)

Starring Vincent Price, Charles Bronson, Henry Hull, Mary Webster, David Frankham
Directed by William Witney
(actor & director credits courtesy IMDB.com)

In the 19th century, Robur, who's created the first flying airship, seeks to make the nations of the world disarm themselves or face reprisals from explosive missiles launched by his ship.

Screenwriter Richard Matheson based his screenplay on the two Robur novels by Jules Verne, and uses characters and situations from both, but also borrows the anti-war crusade of Captain Nemo from Verne's 20,000 Leagues Under The Sea, to give Robur a mission for the film.  That makes the movie somewhat reminiscent of Disney's adaptation of 20,000 Leagues, although it can't possibly compare to that film in budget or spectacle.  Nevertheless, Robur's airship is well-realized by the production design and special effects departments, and Price gives a worthy performance as Robur, with Bronson, Hull, Webster, and Frankham giving distinguished turns as the people he takes hostage.  Bronson plays John Strock, an agent of the U.S. government, and silently lies in wait for a moment to take control of the situation, while Frankham's stuffed shirt rallies against him with contempt for his inaction and for the growing attraction between Bronson and Webster, his character's beautiful fiancee.  Hull is a munitions dealer who vehemently combats verbally with Robur, while the villain tries to point out his own hypocrisy.  I think these are winning elements, and I enjoyed the actor's portrayals, and overall it's a charming film, but for me it still remains a pale imitation of the triumph of Disney's Verne adaptation, which it obviously tries to capitalize on.

Lost City Of The Jungle (1946)

Starring Russell Hayden, Jane Adams, Lionel Atwill, Keye Luke, Helen Bennett
Directed by Ray Taylor & Lewis D. Collins
(actor & director credits courtesy IMDB.com)

An agent for a peace foundation is sent to the Himalayan city of Pendrang to track down a warmonger who has financed an archaeological expedition to find a rare element.

This serial from Universal is probably best known for containing the last screen appearance of refined character actor Lionel Atwill, playing the evil and ruthless Sir Eric Hazarias.  Per Wikipedia, Atwill died during the production of the serial, and was ill for some time while he was filming.  As a result, actor John Mylong, who plays Atwill's secretary in the film, had his part rewritten to  make him the power behind Hazarias, replacing Atwill in many dialogue scenes throughout the serial.  This can't help but diminish the serial, as Atwill is the key attraction despite Mylong's best attempts, and with additional scenes of exposition added to further explain his absence, there's less time for action scenes- there isn't a fistfight, long a staple of action serials, until the 5th chapter!  There are a couple of good cliffhangers, although borrowed from past serials, and scenes where the characters go underground in search of the lost city are interesting and atmospheric, although there aren't enough of them.  However, the production's saving grace is when Atwill is on screen- he has some fine exchanges with nefarious dialogue directed at hero Russell Hayden, and the final chapters put him front and center.

The Headless Ghost (1959)

Starring Richard Lyon, Liliane Sottane, David Rose, Clive Revill, Jack Allen
Directed by Peter Graham Scott
(actor & director credits courtesy IMDB.com)

A trio of exchange students visit a British castle reputed to be haunted, and by staying the night at the castle after everyone has left, they discover the ghosts are genuine.

A fun and charming light horror movie made by producer Herman Cohen in Britain as a co-feature to his more grisly Horrors Of The Black Museum, (per Wikipedia), I've always been fond of this film and it still holds up well with some limited but well done special effects.  The young trio of stars portray engaging characters, and are well supported by the more refined actors playing the ghosts, including Revill and Alexander Archdale.  The picture has a fine and memorable musical score by Gerard Schurmann, and best of all, it doesn't overstay its welcome, clocking in a just about an hour.

The Fabulous Baron Munchausen (1962)

Starring Milos Kopecky, Rudolf Jelinek, Jana Brejchova, Karel Hoger, Eduard Kohout
Directed by Karel Zeman
(actor & director credits courtesy IMDB.com)

After encountering an astronaut on the moon, the famed Baron Munchausen takes him back to Earth where they have adventures together and compete for the attentions of a beautiful princess.

Zeman once again utilizes live-action, animation, and intricate design to bring a famous fantasy story to life, adapting the stories of Munchausen, which, per Wikipedia, were reportedly based on a real German nobleman's propensity for relating tall tales.  Most of the film is lensed in black and white, but Zeman experiments quite a bit with color, tinting most of the scenes, and adding imagery like orange billowing smoke.  Kopecky cuts a fine figure as Munchausen, mustachioed in full uniform, but I found him to be not quite as dynamic in the role as I had imagined, although a definite highlight is his riding of a cannon ball over a battlefield, a direct reference to the character's literary origins.  There's also a great naval vessel conveyed by winged horses, all manner of sea creatures including a giant whale, and vibrant battle scenes with Munchausen typically taking on a whole army single-handed.  It's a fine tribute masterfully directed by Zeman, and well-executed by his team of craftsmen, but I found Kopecky and the rest of the cast somewhat limited in their ability and opportunities to perform.

Teenage Monster (1957)

Starring Anne Gwynne, Stuart Wade, Gloria Castillo, Chuck Courtney, Gilbert Perkins
Directed by Jacques R. Marquette
(actor & director credits courtesy IMDB.com)

In the old West, a widow tries to protect her teenage son, who has mutated into a murdering monster.

This isn't a good movie, but it's still a lot of fun due to the outlandish plot and the casting of 50 year old Gilbert Perkins playing the title role under an extremely hairy costume, with makeup by Universal stalwart Jack Pierce.  His character is still capable of speech but unintelligibly whines and mumbles most of the time.  It's good to see Universal horror starlet Anne Gwynne in another role, as the widow, and she elevates the material whenever she's on screen, while Castillo is a hoot as the scheming waitress who manipulates Perkins to get what she wants.  The film has several problems including poor pacing, a weak script, and a very low budget feel to it, but Walter Greene's music score adds some punch, and the sheer ridiculousness of it all is for this movie an asset.  Marquette was an established cameraman who had a long career, but this was the first and only film he ever directed.