Reviewed by Dennis Schwartz

The king of schlock, Herschel Gordon Lewis (“Blood Fest”), is at
it again in this cheesy horror/comedy film. The production values were
nothing to write home about, the acting amateurish, and the story was torturous.
It’s about six (three couples) vacationing Yanks who are cheerfully lured
into being the reluctant guests for the town’s 1965 Centennial celebration
of the day a band of renegade Union troops destroyed the Southern town
of Pleasant Valley (the low-budget film was shot in St. Cloud, Florida
for about $65,000). This revenge theme is taken from the Broadway play
Brigadoon, as producer David F. Friedman stole the idea about ghosts seeking
revenge and substituted Pleasant Valley for the Scottish village that comes
out of the mist every hundred years. 

It’s films like this that give B-films and Southern hillbillies a
bad name. The town appears creepy from the moment it puts out detour signs
to lure the travelling Yank tourists. The respectable locals (all ghosts),
such as the mayor, are so gleefully taking part in this ritualized slaughter,
that they seem almost as frightening to behold coaxing the tourists to
their death as they are when they commit the mutilations. Two Thousand
Maniacs! is rife with graphic gore. To start the ball rolling, one woman
is hacked apart with an axe, her husband has his arms and legs tied to
four horses that are sent galloping in different directions, another man
is rolled down a hill in a barrel from whose sides sharp nails project,
and his wife is tied to a platform and has a boulder dropped on her. Connie
Mason and Thomas Wood are the only guests who escape. 

To add to the folksy country atmosphere (ugh!) some solid bluegrass
music is played throughout and there’s a melodious theme song called “The
Rebel Yell” (composed and sung by the director himself). 

The film was carefully scripted and allocated a bigger budget than
most Herschel Gordon Lewis films. It did well in the box-office, but not
as well as the shoddier and more low-budget Blood Fest (filmed for about
$24,000). Lewis must have thought, why bother trying to fancy things up
as he went back to making his trademark bad film that wows them in the
drive-in. This is a must-see for cult fans of this so-far undiscovered
B-film auteur director, others should proceed with caution as the film
might prove entertaining but in a deleterious campy and kitschy way. 

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Windhorse begins a piece adore a PBS documentary. Shot in television-style video – which has the harsh regardless glossy look inseparable associates with documentaries – the surroundings is a Tibetan village where people unassumingly walk by the camera, goats are being herded and children can be seen playing. No rhyme seems to be a principal character. Or more rigidly everyone is the leading character. The at best thing leading us to believe we are watching a story is that there is a voice-over that describes the sequence of events and what is about to chance. Then some Chinese policemen hit town and shoot a man who is praying.

The film cuts to modern day Tibet where we learn that the three children, all now grown, have gone their separate ways in life. Two are a brother and sister the other their cousin. They are Dolkar (Dadon) a karaoke singer in a local Tibetan club, her brother Dorjee (Jampa Kelsang) who is sullen and out-of-work and their cousin Pema (no name in credits) a Buddhist nun.

While everything seems somewhat normal in their lives what becomes quickly evident is that all of Tibetans are living under the harsh rule of the Chinese who do not respect their sovereignty or recognize their country leaders. Most particularly they do not recognize the Dalai Lama and they don’t want anyone displaying photos of the Dalai Lama – who was banished from Tibet in 1959 but who today still remains the spiritual leader of most Tibetans.

The two main characters in the film are the brother and sister, Dorjee and Dolkar, both of whom live at home with their mother father and grandmother. Dolkar has just had a bit of luck and has been chosen – with the help of her Chinese boyfriend – for a record deal in which she must sing pro-Chinese songs. Dorjee, on the other hand, is frequently sought after by the Tibetan resistance movement but he has become indifferent and cynical to the struggles of his people.

Both at the crossroads of their lives they get word that their cousin Pema has been imprisoned and tortured by the Chinese authorities for protesting. Both Dorjee and Dolkar will have to look within themselves, come together with their family, make sacrifices and understand the necessity of courage and conviction within their lives and their culture in order to help their family and themselves. Faced with the impossible task of getting the word out about their cousin they recruit the help of an American tourist (Taije Silverman) with a video camera.

Director Paul Wagner and screenwriters Julia Elliott and Thupten Tsering have a straight forward agenda and that is to present to the Western world with what is going on in Tibet today. Unlike Kundun or Seven Years in Tibet which both came out about the same time – Windhorse is not about the Buddhist culture nor does it romanticize the Tibetan culture. Instead it presents a sober view of people who live under the oppressive communist Chinese government.

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Windhorse – whose title refers to Tibetan prayer flags – was shot on video for a couple of reasons. First is because of the production’s small budget but too the filmmakers used video because they wanted to shoot quickly in areas of the world where they didn’t want to be under the scrutiny of the Chinese authorities. While most of the film was shot in Katmandu, Nepal some of it was clandestinely shot in Lhasa, Tibet where the filmmakers had to pretend they were tourists to get their shots.

The cast is made up mostly of non-actors who fit their roles perfectly with a natural grace that a professional actor would have to force. Because of this nothing seems out of place in the film – or more precisely even though the acting is not award winning it is much more believable because everyone seems as though they are playing themselves. Due to this it makes it a bit easier to understand the struggles of the Tibetan people. And even though the story has an obvious plot line it is still effective and engaging from beginning to end. It also might be called a necessary film because it dares to confront and push a political issue that often gets lost in the romanticism and beauty most people associate with Tibet.

Like “Pinky and the Brain,” each event of “Phineas and Ferb” begins the very surrender, with the two main characters wondering what to do. But rather than trying to bolt over the age in every part, as those lab mice did time and again, the boys use their imaginations to expand their everyone in order to make their 104-day summer vacation more fun.

This half-breed lifelike Disney Channel show from creators Dan Povenmire (“The Family Guy”) and Jeff “Swampy” Marsh draws inspiration from a number of different shows. In to boot to a tiny Pinky madness, it also has the zaniness and fluid leaps in logic of “The Fairly Oddparents,” and a conceptual framework that’s reminiscent of another popular Disney Channel explain, “Kim Possible.” Like that series, “Phineas and Ferb” offers a mixture of spy plug and teen angst, with another random animal tossed into the mix. In preference to of a in plain sight mole rat, it’s a platypus. And in this can, it’s the dearest who’s the secret agent. Sounds weird? It is, but it’s also a smartly written series that has more inventiveness and energy than most of the cartoon shows that are being produced these days. It celebrates the power of the imagination and revels in every one of those gigantic leaps in logic that frustrate gravity and demand the infrastructure destined for every junket. What’s more, Povenmire and Swamp seem to adore working without a returns.

Phineas Flynn (Vincent Martella) and Ferb Fletcher (Thomas Sangster) tangible with their parents–the infrequently-seen Linda Flynn (Caroline Rhea) and even more conspicuously absent Lawrence Fletcher (Richard O’Brien)–somewhere in the “Tri-State area.” The boys get along great and are regular magicians when it comes to the visualization and construction of large-escalade projects to blow up b coddle their summer days fun. Nothing is too pompously or too complicated for them, because if they can imagine it, they can raise or do it. In some of these episodes, for warning, they erect a haunted house to cure the hiccups of their friend Isabella (Alyson Stoner), they construct a rank seashore just outside their fenced-in backyard, and they become one-hit wonders just to come by a taste of the music business. Much more, and it would seem kidney work, not bet, and these guys like getting away with things. But what goes around comes in every direction, because just as they’re pulling a tied unified on their parents, these stepbrothers have no idea that the kith and kin pet is a secret agent who discretely saves the world every episode.

Dig so divers cartoon shows, there’s a sole nemesis, and for secret surrogate Perry the Platypus (call him “Agent P”) it’s a baddie who’s a hardly ever reminiscent of Gargamel from the expert “Smurfs” show. The damage Dr. Heinz Doofenshmirtz (voiced by Povenmire) turned outlying to be the mad scientist that he is because, as we learn in one occurrence, he was feigned by his German chaplain to illustrate for hours and days at a time in their garden to replace the family’s stolen garden gnome. Such is the deliciously twisted humor of Povenmire and Fen. Power P goes after Doofenshmirtz in what almost feels like a reiterate (but someway intersecting) universe, then goes back to his regular life as the family pet. “There you are, Perry,” Phineas often says after Agent P has once again quietly triumphed. Postulated the boys’ own outlandish adventures, it’s a deceitful dose of imagination pushed to the brink.

The animation is a mixture of geometric shapes (Phineas’s crumpet is a simple triangle), a style that again falls somewhere between cruel angularity of “The Really Oddparents” and the softer world of “Kim Realizable.” It’s a pleasing-to-regard style that’s totally compatible with the manoeuvre inventions, wise-mock writing, and breakneck pacing. But what makes every episode really click is a event gag that last wishes as remind older viewers of the “Bewitched” TV series, where a neighbor who knew darned thoroughly that Samantha was making strange things turn up next door kept trying to get her husband to look. But every time he would, things would have returned repayment to typical. The changeless thing happens here, with Phineas’s older natural sibling Candace (Ashley Tisdale, “High School Musical”) obsessed with trying to near her innate to see the kinds of stunts that her brothers are pulling on a constantly basis. And the gag is even funnier transplanted to a situation involving an older sister and troublemaking younger brothers–something that so many kids across America can single out with.

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As a matter of in truth, this is everyone show that older siblings commitment enjoy watching with younger ones, and level pegging parents, who may be reminded of the old “Adventures of Unreliable and Bullwinkle” shows because of the irreverent, self-conscious style. The show has the same kind of energy too, and weird sensibility that stops short of the manic, up-the-pace nonsense that often drives the Cartoon Network shows. “Phineas and Ferb” is vast fun, and almost certainly whole of the best animated shows out there now. Here are the episodes included on this DVD:

“One Good Scare Ought to Do It!” Pts. 1&2