https://www.grindhousedatabase.com/index.php?title=Sorceress/Review&feed=atom&action=historySorceress/Review - Revision history2024-03-29T15:12:31ZRevision history for this page on the wikiMediaWiki 1.36.1https://www.grindhousedatabase.com/index.php?title=Sorceress/Review&diff=158551&oldid=prevJKData at 19:16, 28 October 20192019-10-28T19:16:17Z<p></p>
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<tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br/></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br/></td></tr>
<tr><td class="diff-marker" data-marker="−"></td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;"><div>Directed by [[Jack Hill]] ([[Coffy]], [[Switchblade Sisters]]) with rewrites by Jim Wynorski - this troubled production, shot on location in Mexico, is uneven at best. It has all of the necessary ingredients, but its lack of excitement and even more lackluster casting leaves the film quite underwhelming. The premise starts well enough when an evil sorcerer attempts to murder his first-born in hopes of cheating his fate. We’ve heard it before, but the fun twist is that the mother gives birth to twins (girls, no less) and our villain is hesitant to sacrifice the wrong one - thus thwarting his efforts. More fun sexism jokes continue as the girls are raised in isolation, not only oblivious to their destiny but even their gender. It’s this subtle feminism (maybe Wynorksi’s touch) where the movie gets interesting and even fun because our female leads (although dull, reactionary, and nude half the time) still do manage to challenge the male ego throughout. Well, as far as casting real life twin Playboy playmates Leigh and Lynette Harris can get a movie across a female-empowerment finish line. Director Jack Hill has a great track record of strong sexy female characters and Wynorski would go on to work with many characteristic 1980s bimbos, but neither filmmaker seemed to have a strong enough grasp on this project to make it entertaining.</div></td><td class="diff-marker" data-marker="+"></td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div>Directed by [[<ins style="font-weight: bold; text-decoration: none;">:Category: Jack Hill|</ins>Jack Hill]] ([[Coffy]], [[Switchblade Sisters]]) with rewrites by Jim Wynorski - this troubled production, shot on location in Mexico, is uneven at best. It has all of the necessary ingredients, but its lack of excitement and even more lackluster casting leaves the film quite underwhelming. The premise starts well enough when an evil sorcerer attempts to murder his first-born in hopes of cheating his fate. We’ve heard it before, but the fun twist is that the mother gives birth to twins (girls, no less) and our villain is hesitant to sacrifice the wrong one - thus thwarting his efforts. More fun sexism jokes continue as the girls are raised in isolation, not only oblivious to their destiny but even their gender. It’s this subtle feminism (maybe Wynorksi’s touch) where the movie gets interesting and even fun because our female leads (although dull, reactionary, and nude half the time) still do manage to challenge the male ego throughout. Well, as far as casting real life twin Playboy playmates Leigh and Lynette Harris can get a movie across a female-empowerment finish line. Director Jack Hill has a great track record of strong sexy female characters and Wynorski would go on to work with many characteristic 1980s bimbos, but neither filmmaker seemed to have a strong enough grasp on this project to make it entertaining.</div></td></tr>
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</table>JKDatahttps://www.grindhousedatabase.com/index.php?title=Sorceress/Review&diff=155349&oldid=prevPete at 20:22, 14 July 20192019-07-14T20:22:52Z<p></p>
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<td colspan="2" style="background-color: #fff; color: #202122; text-align: center;">Revision as of 20:22, 14 July 2019</td>
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<tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br/></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br/></td></tr>
<tr><td class="diff-marker" data-marker="−"></td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;"><div>The 1980s sword and sorcery genre is near and dear to my heart, largely in part to childhood nostalgia, but also as a time capsule of pop culture. In a politically conservative era of Reaganomics and synthesizer pop music, audiences hungered for the fantasy adventures of half-naked muscular men. Although these type of movies did exist earlier in the 1960s as sword and sandal pictures (Hercules and gladiator films), it was producer Dino De <del style="font-weight: bold; text-decoration: none;">Laurentii’s </del>big screen adaptation of CONAN THE BARBARIAN that clearly influenced the next decade a films to come. In that same year of 1982 were other successful titles already crowding for attention; Don Coscarelli’s Beastmaster, Albert Pyun’s The Sword and The Sorcerer, and Roger Corman’s first entry into the genre [[Sorceress]].</div></td><td class="diff-marker" data-marker="+"></td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div>The 1980s sword and sorcery genre is near and dear to my heart, largely in part to childhood nostalgia, but also as a time capsule of pop culture. In a politically conservative era of Reaganomics and synthesizer pop music, audiences hungered for the fantasy adventures of half-naked muscular men. Although these type of movies did exist earlier in the 1960s as sword and sandal pictures (Hercules and gladiator films), it was producer Dino De <ins style="font-weight: bold; text-decoration: none;">Laurentiis’s </ins>big screen adaptation of CONAN THE BARBARIAN that clearly influenced the next decade a films to come. In that same year of 1982 were other successful titles already crowding for attention; Don Coscarelli’s Beastmaster, Albert Pyun’s The Sword and The Sorcerer, and Roger Corman’s first entry into the genre [[Sorceress]].</div></td></tr>
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</table>Petehttps://www.grindhousedatabase.com/index.php?title=Sorceress/Review&diff=155346&oldid=prevPete at 18:51, 14 July 20192019-07-14T18:51:49Z<p></p>
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<tr><td colspan="2"></td><td class="diff-marker" data-marker="+"></td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div><ins style="font-weight: bold; text-decoration: none;"><center>[[File:Sorceresstop.png|link=Sorceress|800px]]</center></ins></div></td></tr>
<tr><td colspan="2"></td><td class="diff-marker" data-marker="+"></td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div><ins style="font-weight: bold; text-decoration: none;"></ins></div></td></tr>
<tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>The 1980s sword and sorcery genre is near and dear to my heart, largely in part to childhood nostalgia, but also as a time capsule of pop culture. In a politically conservative era of Reaganomics and synthesizer pop music, audiences hungered for the fantasy adventures of half-naked muscular men. Although these type of movies did exist earlier in the 1960s as sword and sandal pictures (Hercules and gladiator films), it was producer Dino De Laurentii’s big screen adaptation of CONAN THE BARBARIAN that clearly influenced the next decade a films to come. In that same year of 1982 were other successful titles already crowding for attention; Don Coscarelli’s Beastmaster, Albert Pyun’s The Sword and The Sorcerer, and Roger Corman’s first entry into the genre [[Sorceress]].</div></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>The 1980s sword and sorcery genre is near and dear to my heart, largely in part to childhood nostalgia, but also as a time capsule of pop culture. In a politically conservative era of Reaganomics and synthesizer pop music, audiences hungered for the fantasy adventures of half-naked muscular men. Although these type of movies did exist earlier in the 1960s as sword and sandal pictures (Hercules and gladiator films), it was producer Dino De Laurentii’s big screen adaptation of CONAN THE BARBARIAN that clearly influenced the next decade a films to come. In that same year of 1982 were other successful titles already crowding for attention; Don Coscarelli’s Beastmaster, Albert Pyun’s The Sword and The Sorcerer, and Roger Corman’s first entry into the genre [[Sorceress]].</div></td></tr>
<tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br/></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br/></td></tr>
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<tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br/></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br/></td></tr>
<tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>Directed by [[Jack Hill]] ([[Coffy]], [[Switchblade Sisters]]) with rewrites by Jim Wynorski - this troubled production, shot on location in Mexico, is uneven at best. It has all of the necessary ingredients, but its lack of excitement and even more lackluster casting leaves the film quite underwhelming. The premise starts well enough when an evil sorcerer attempts to murder his first-born in hopes of cheating his fate. We’ve heard it before, but the fun twist is that the mother gives birth to twins (girls, no less) and our villain is hesitant to sacrifice the wrong one - thus thwarting his efforts. More fun sexism jokes continue as the girls are raised in isolation, not only oblivious to their destiny but even their gender. It’s this subtle feminism (maybe Wynorksi’s touch) where the movie gets interesting and even fun because our female leads (although dull, reactionary, and nude half the time) still do manage to challenge the male ego throughout. Well, as far as casting real life twin Playboy playmates Leigh and Lynette Harris can get a movie across a female-empowerment finish line. Director Jack Hill has a great track record of strong sexy female characters and Wynorski would go on to work with many characteristic 1980s bimbos, but neither filmmaker seemed to have a strong enough grasp on this project to make it entertaining.</div></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>Directed by [[Jack Hill]] ([[Coffy]], [[Switchblade Sisters]]) with rewrites by Jim Wynorski - this troubled production, shot on location in Mexico, is uneven at best. It has all of the necessary ingredients, but its lack of excitement and even more lackluster casting leaves the film quite underwhelming. The premise starts well enough when an evil sorcerer attempts to murder his first-born in hopes of cheating his fate. We’ve heard it before, but the fun twist is that the mother gives birth to twins (girls, no less) and our villain is hesitant to sacrifice the wrong one - thus thwarting his efforts. More fun sexism jokes continue as the girls are raised in isolation, not only oblivious to their destiny but even their gender. It’s this subtle feminism (maybe Wynorksi’s touch) where the movie gets interesting and even fun because our female leads (although dull, reactionary, and nude half the time) still do manage to challenge the male ego throughout. Well, as far as casting real life twin Playboy playmates Leigh and Lynette Harris can get a movie across a female-empowerment finish line. Director Jack Hill has a great track record of strong sexy female characters and Wynorski would go on to work with many characteristic 1980s bimbos, but neither filmmaker seemed to have a strong enough grasp on this project to make it entertaining.</div></td></tr>
<tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br/></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br/></td></tr>
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<tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>Instead this movie keeps things largely juvenile and boring. Juvenile in the sense that the film isn’t intelligent or wholly engaging. There’s an industry story that Corman picked the title alone after it tested well with a high school focus group and this movie is a clear sign of the title coming first, script second. Hell, there isn’t even a sorceress - the villain is a sorcerer. The movie does have the obligatory Tolkien fellowship; an axe-wielding viking Baldar, a half-goat man Pando (David Millbern from Corman’s [[Slumber Party Massacre]] released the same year), and charming barbarian Erlick who the film would have us believe to be the protagonist. The entire cast, mostly Mexican locals, are dubbed despite speaking English for the roles. Pando too, who only makes goat noises, is dubbed with real animal noises which results in a super creepy vibe. That and we are introduced to him aroused while watching the twins bathe together.</div></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>Instead this movie keeps things largely juvenile and boring. Juvenile in the sense that the film isn’t intelligent or wholly engaging. There’s an industry story that Corman picked the title alone after it tested well with a high school focus group and this movie is a clear sign of the title coming first, script second. Hell, there isn’t even a sorceress - the villain is a sorcerer. The movie does have the obligatory Tolkien fellowship; an axe-wielding viking Baldar, a half-goat man Pando (David Millbern from Corman’s [[Slumber Party Massacre]] released the same year), and charming barbarian Erlick who the film would have us believe to be the protagonist. The entire cast, mostly Mexican locals, are dubbed despite speaking English for the roles. Pando too, who only makes goat noises, is dubbed with real animal noises which results in a super creepy vibe. That and we are introduced to him aroused while watching the twins bathe together.</div></td></tr>
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<tr><td class="diff-marker" data-marker="−"></td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;"><div>[[File:Sorceress4.jpg]]</div></td><td class="diff-marker" data-marker="+"></td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div>[[File:Sorceress4.jpg<ins style="font-weight: bold; text-decoration: none;">|1200px</ins>]]</div></td></tr>
<tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br/></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br/></td></tr>
<tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>In summation, the movie is pretty underwhelming. High marks for the nudity and well-timed humor (although both are to brief). There was clearly a lot of time and effort put into the costumes and sets, but the film just seems to be completely unable to not be slow and boring. There is a surprise underground army of the dead in the third act as well as a very cool and ambitious visual effect battle of magic, but I’d still easily recommend Roger Corman’s next entry into the genre Deathstalker (1983) as a far more entertaining and better movie.</div></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>In summation, the movie is pretty underwhelming. High marks for the nudity and well-timed humor (although both are to brief). There was clearly a lot of time and effort put into the costumes and sets, but the film just seems to be completely unable to not be slow and boring. There is a surprise underground army of the dead in the third act as well as a very cool and ambitious visual effect battle of magic, but I’d still easily recommend Roger Corman’s next entry into the genre Deathstalker (1983) as a far more entertaining and better movie.</div></td></tr>
</table>Petehttps://www.grindhousedatabase.com/index.php?title=Sorceress/Review&diff=155344&oldid=prevPete at 18:45, 14 July 20192019-07-14T18:45:50Z<p></p>
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<td colspan="2" style="background-color: #fff; color: #202122; text-align: center;">Revision as of 18:45, 14 July 2019</td>
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<tr><td class="diff-marker" data-marker="−"></td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;"><div>The 1980s sword and sorcery genre is near and dear to my heart, largely in part to childhood nostalgia, but also as a time capsule of pop culture. In a politically conservative era of Reaganomics and synthesizer pop music, audiences hungered for the fantasy adventures of half-naked muscular men. Although these type of movies did exist earlier in the 1960s as sword and sandal pictures (Hercules and gladiator films), it was producer Dino De Laurentii’s big screen adaptation of CONAN THE BARBARIAN that clearly influenced the next decade a films to come. In that same year of 1982 were other successful titles already crowding for attention; Don Coscarelli’s <del style="font-weight: bold; text-decoration: none;">BEASTMASTER</del>, Albert Pyun’s <del style="font-weight: bold; text-decoration: none;">THE SWORD AND THE SORCERER</del>, and Roger Corman’s first entry into the genre <del style="font-weight: bold; text-decoration: none;">SORCERESS</del>.</div></td><td class="diff-marker" data-marker="+"></td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div>The 1980s sword and sorcery genre is near and dear to my heart, largely in part to childhood nostalgia, but also as a time capsule of pop culture. In a politically conservative era of Reaganomics and synthesizer pop music, audiences hungered for the fantasy adventures of half-naked muscular men. Although these type of movies did exist earlier in the 1960s as sword and sandal pictures (Hercules and gladiator films), it was producer Dino De Laurentii’s big screen adaptation of CONAN THE BARBARIAN that clearly influenced the next decade a films to come. In that same year of 1982 were other successful titles already crowding for attention; Don Coscarelli’s <ins style="font-weight: bold; text-decoration: none;">Beastmaster</ins>, Albert Pyun’s <ins style="font-weight: bold; text-decoration: none;">The Sword and The Sorcerer</ins>, and Roger Corman’s first entry into the genre <ins style="font-weight: bold; text-decoration: none;">[[Sorceress]]</ins>.</div></td></tr>
<tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br/></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br/></td></tr>
<tr><td class="diff-marker" data-marker="−"></td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;"><div><del style="font-weight: bold; text-decoration: none;">Directed by Jack Hill with rewrites by Jim Wynorski - this troubled production, shot on location in Mexico, is uneven at best. It has all of the necessary ingredients, but its lack of excitement and even more lackluster casting leaves the film quite underwhelming. The premise starts well enough when an evil sorcerer attempts to murder his first-born in hopes of cheating his fate. We’ve heard it before, but the fun twist is that the mother gives birth to twins (girls, no less) and our villain is hesitant to sacrifice the wrong one - thus thwarting his efforts. More fun sexism jokes continue as the girls are raised in isolation, not only oblivious to their destiny but even their gender. It’s this subtle feminism (maybe Wynorksi’s touch) where the movie gets interesting and even fun because our female leads (although dull, reactionary, and nude half the time) still do manage to challenge the male ego throughout. Well, as far as casting real life twin Playboy playmates Leigh and Lynette Harris can get a movie across a female-empowerment finish line. Director Jack Hill has a great track record of strong sexy female characters and Wynorski would go on to work with many characteristic 1980s bimbos, but neither filmmaker seemed to have a strong enough grasp on this project to make it entertaining</del>.</div></td><td class="diff-marker" data-marker="+"></td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div><ins style="font-weight: bold; text-decoration: none;">[[File:Sorceress3</ins>.<ins style="font-weight: bold; text-decoration: none;">png]]</ins></div></td></tr>
<tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br/></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br/></td></tr>
<tr><td class="diff-marker" data-marker="−"></td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;"><div><del style="font-weight: bold; text-decoration: none;">Instead </del>this <del style="font-weight: bold; text-decoration: none;">movie keeps things largely juvenile and boring</del>. <del style="font-weight: bold; text-decoration: none;">Juvenile in </del>the <del style="font-weight: bold; text-decoration: none;">sense that </del>the film <del style="font-weight: bold; text-decoration: none;">isn’t intelligent or wholly engaging</del>. <del style="font-weight: bold; text-decoration: none;">There’s </del>an <del style="font-weight: bold; text-decoration: none;">industry story </del>that <del style="font-weight: bold; text-decoration: none;">Corman picked </del>the <del style="font-weight: bold; text-decoration: none;">title alone after it tested well with a high school focus group </del>and <del style="font-weight: bold; text-decoration: none;">this movie </del>is <del style="font-weight: bold; text-decoration: none;">a clear sign of </del>the <del style="font-weight: bold; text-decoration: none;">title coming first, script second</del>. <del style="font-weight: bold; text-decoration: none;">Hell</del>, <del style="font-weight: bold; text-decoration: none;">there isn’t </del>even <del style="font-weight: bold; text-decoration: none;">a sorceress - </del>the <del style="font-weight: bold; text-decoration: none;">villain is a sorcerer. The </del>movie <del style="font-weight: bold; text-decoration: none;">does have the obligatory Tolkien fellowship; an axe-wielding viking Baldar</del>, <del style="font-weight: bold; text-decoration: none;">a </del>half<del style="font-weight: bold; text-decoration: none;">-goat man Pando (David Millbern from Corman’s SLUMBER PARTY MASSACRE released </del>the <del style="font-weight: bold; text-decoration: none;">same year</del>)<del style="font-weight: bold; text-decoration: none;">, and charming barbarian Erlick who the film would have us believe </del>to <del style="font-weight: bold; text-decoration: none;">be the protagonist. The entire cast, mostly Mexican locals, are dubbed despite speaking English for </del>the <del style="font-weight: bold; text-decoration: none;">roles</del>. <del style="font-weight: bold; text-decoration: none;">Pando too, who only makes goat noises</del>, <del style="font-weight: bold; text-decoration: none;">is dubbed with </del>real <del style="font-weight: bold; text-decoration: none;">animal noises which results in </del>a <del style="font-weight: bold; text-decoration: none;">super creepy vibe</del>. <del style="font-weight: bold; text-decoration: none;">That </del>and <del style="font-weight: bold; text-decoration: none;">we are introduced </del>to <del style="font-weight: bold; text-decoration: none;">him aroused while watching the twins bathe together</del>.</div></td><td class="diff-marker" data-marker="+"></td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div><ins style="font-weight: bold; text-decoration: none;">Directed by [[Jack Hill]] ([[Coffy]], [[Switchblade Sisters]]) with rewrites by Jim Wynorski - </ins>this <ins style="font-weight: bold; text-decoration: none;">troubled production, shot on location in Mexico, is uneven at best</ins>. <ins style="font-weight: bold; text-decoration: none;">It has all of </ins>the <ins style="font-weight: bold; text-decoration: none;">necessary ingredients, but its lack of excitement and even more lackluster casting leaves </ins>the film <ins style="font-weight: bold; text-decoration: none;">quite underwhelming</ins>. <ins style="font-weight: bold; text-decoration: none;">The premise starts well enough when </ins>an <ins style="font-weight: bold; text-decoration: none;">evil sorcerer attempts to murder his first-born in hopes of cheating his fate. We’ve heard it before, but the fun twist is </ins>that the <ins style="font-weight: bold; text-decoration: none;">mother gives birth to twins (girls, no less) </ins>and <ins style="font-weight: bold; text-decoration: none;">our villain </ins>is <ins style="font-weight: bold; text-decoration: none;">hesitant to sacrifice </ins>the <ins style="font-weight: bold; text-decoration: none;">wrong one - thus thwarting his efforts</ins>. <ins style="font-weight: bold; text-decoration: none;">More fun sexism jokes continue as the girls are raised in isolation</ins>, <ins style="font-weight: bold; text-decoration: none;">not only oblivious to their destiny but </ins>even <ins style="font-weight: bold; text-decoration: none;">their gender. It’s this subtle feminism (maybe Wynorksi’s touch) where </ins>the movie <ins style="font-weight: bold; text-decoration: none;">gets interesting and even fun because our female leads (although dull, reactionary</ins>, <ins style="font-weight: bold; text-decoration: none;">and nude </ins>half the <ins style="font-weight: bold; text-decoration: none;">time</ins>) <ins style="font-weight: bold; text-decoration: none;">still do manage </ins>to <ins style="font-weight: bold; text-decoration: none;">challenge </ins>the <ins style="font-weight: bold; text-decoration: none;">male ego throughout</ins>. <ins style="font-weight: bold; text-decoration: none;">Well</ins>, <ins style="font-weight: bold; text-decoration: none;">as far as casting </ins>real <ins style="font-weight: bold; text-decoration: none;">life twin Playboy playmates Leigh and Lynette Harris can get a movie across </ins>a <ins style="font-weight: bold; text-decoration: none;">female-empowerment finish line</ins>. <ins style="font-weight: bold; text-decoration: none;">Director Jack Hill has a great track record of strong sexy female characters </ins>and <ins style="font-weight: bold; text-decoration: none;">Wynorski would go on to work with many characteristic 1980s bimbos, but neither filmmaker seemed to have a strong enough grasp on this project </ins>to <ins style="font-weight: bold; text-decoration: none;">make it entertaining</ins>.</div></td></tr>
<tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br/></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br/></td></tr>
<tr><td class="diff-marker" data-marker="−"></td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;"><div>In summation, the movie is pretty underwhelming. High marks for the nudity and well-timed humor (although both are to brief). There was clearly a lot of time and effort put into the costumes and sets, but the film just seems to be completely unable to not be slow and boring. There is a surprise underground army of the dead in the third act as well as a very cool and ambitious visual effect battle of magic, but I’d still easily recommend Roger Corman’s next entry into the genre <del style="font-weight: bold; text-decoration: none;">DEATHSTALKER </del>(1983) as a far more entertaining and better movie.</div></td><td class="diff-marker" data-marker="+"></td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div><ins style="font-weight: bold; text-decoration: none;">[[File:Sorceress1.jpg]]</ins></div></td></tr>
<tr><td colspan="2"></td><td class="diff-marker" data-marker="+"></td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div> </div></td></tr>
<tr><td colspan="2"></td><td class="diff-marker" data-marker="+"></td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div><ins style="font-weight: bold; text-decoration: none;">Instead this movie keeps things largely juvenile and boring. Juvenile in the sense that the film isn’t intelligent or wholly engaging. There’s an industry story that Corman picked the title alone after it tested well with a high school focus group and this movie is a clear sign of the title coming first, script second. Hell, there isn’t even a sorceress - the villain is a sorcerer. The movie does have the obligatory Tolkien fellowship; an axe-wielding viking Baldar, a half-goat man Pando (David Millbern from Corman’s [[Slumber Party Massacre]] released the same year), and charming barbarian Erlick who the film would have us believe to be the protagonist. The entire cast, mostly Mexican locals, are dubbed despite speaking English for the roles. Pando too, who only makes goat noises, is dubbed with real animal noises which results in a super creepy vibe. That and we are introduced to him aroused while watching the twins bathe together.</ins></div></td></tr>
<tr><td colspan="2"></td><td class="diff-marker" data-marker="+"></td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div> </div></td></tr>
<tr><td colspan="2"></td><td class="diff-marker" data-marker="+"></td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div><ins style="font-weight: bold; text-decoration: none;">[[File:Sorceress4.jpg]]</ins></div></td></tr>
<tr><td colspan="2"></td><td class="diff-marker" data-marker="+"></td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div> </div></td></tr>
<tr><td colspan="2"></td><td class="diff-marker" data-marker="+"></td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div>In summation, the movie is pretty underwhelming. High marks for the nudity and well-timed humor (although both are to brief). There was clearly a lot of time and effort put into the costumes and sets, but the film just seems to be completely unable to not be slow and boring. There is a surprise underground army of the dead in the third act as well as a very cool and ambitious visual effect battle of magic, but I’d still easily recommend Roger Corman’s next entry into the genre <ins style="font-weight: bold; text-decoration: none;">Deathstalker </ins>(1983) as a far more entertaining and better movie.</div></td></tr>
<tr><td colspan="2"></td><td class="diff-marker" data-marker="+"></td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div> </div></td></tr>
<tr><td colspan="2"></td><td class="diff-marker" data-marker="+"></td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div><ins style="font-weight: bold; text-decoration: none;">{{Josh}}</ins></div></td></tr>
<tr><td colspan="2"></td><td class="diff-marker" data-marker="+"></td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div> </div></td></tr>
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</table>Petehttps://www.grindhousedatabase.com/index.php?title=Sorceress/Review&diff=155339&oldid=prevPete: Created page with "The 1980s sword and sorcery genre is near and dear to my heart, largely in part to childhood nostalgia, but also as a time capsule of pop culture. In a politically conservativ..."2019-07-14T18:35:42Z<p>Created page with "The 1980s sword and sorcery genre is near and dear to my heart, largely in part to childhood nostalgia, but also as a time capsule of pop culture. In a politically conservativ..."</p>
<p><b>New page</b></p><div>The 1980s sword and sorcery genre is near and dear to my heart, largely in part to childhood nostalgia, but also as a time capsule of pop culture. In a politically conservative era of Reaganomics and synthesizer pop music, audiences hungered for the fantasy adventures of half-naked muscular men. Although these type of movies did exist earlier in the 1960s as sword and sandal pictures (Hercules and gladiator films), it was producer Dino De Laurentii’s big screen adaptation of CONAN THE BARBARIAN that clearly influenced the next decade a films to come. In that same year of 1982 were other successful titles already crowding for attention; Don Coscarelli’s BEASTMASTER, Albert Pyun’s THE SWORD AND THE SORCERER, and Roger Corman’s first entry into the genre SORCERESS.<br />
<br />
Directed by Jack Hill with rewrites by Jim Wynorski - this troubled production, shot on location in Mexico, is uneven at best. It has all of the necessary ingredients, but its lack of excitement and even more lackluster casting leaves the film quite underwhelming. The premise starts well enough when an evil sorcerer attempts to murder his first-born in hopes of cheating his fate. We’ve heard it before, but the fun twist is that the mother gives birth to twins (girls, no less) and our villain is hesitant to sacrifice the wrong one - thus thwarting his efforts. More fun sexism jokes continue as the girls are raised in isolation, not only oblivious to their destiny but even their gender. It’s this subtle feminism (maybe Wynorksi’s touch) where the movie gets interesting and even fun because our female leads (although dull, reactionary, and nude half the time) still do manage to challenge the male ego throughout. Well, as far as casting real life twin Playboy playmates Leigh and Lynette Harris can get a movie across a female-empowerment finish line. Director Jack Hill has a great track record of strong sexy female characters and Wynorski would go on to work with many characteristic 1980s bimbos, but neither filmmaker seemed to have a strong enough grasp on this project to make it entertaining.<br />
<br />
Instead this movie keeps things largely juvenile and boring. Juvenile in the sense that the film isn’t intelligent or wholly engaging. There’s an industry story that Corman picked the title alone after it tested well with a high school focus group and this movie is a clear sign of the title coming first, script second. Hell, there isn’t even a sorceress - the villain is a sorcerer. The movie does have the obligatory Tolkien fellowship; an axe-wielding viking Baldar, a half-goat man Pando (David Millbern from Corman’s SLUMBER PARTY MASSACRE released the same year), and charming barbarian Erlick who the film would have us believe to be the protagonist. The entire cast, mostly Mexican locals, are dubbed despite speaking English for the roles. Pando too, who only makes goat noises, is dubbed with real animal noises which results in a super creepy vibe. That and we are introduced to him aroused while watching the twins bathe together.<br />
<br />
In summation, the movie is pretty underwhelming. High marks for the nudity and well-timed humor (although both are to brief). There was clearly a lot of time and effort put into the costumes and sets, but the film just seems to be completely unable to not be slow and boring. There is a surprise underground army of the dead in the third act as well as a very cool and ambitious visual effect battle of magic, but I’d still easily recommend Roger Corman’s next entry into the genre DEATHSTALKER (1983) as a far more entertaining and better movie.</div>Pete