TV-Series: Spider-Noir

I don't often watch television series. Even when I do, I don't write about them in my blog. I've made a few notable exceptions, such as "Smallville" and "The Sopranos", but even with those two series I didn't have the energy or the patience to continue until the end. The reason is that I have so many films I want to watch, and let's face it, may passion is films, not TV series.

However, when "Spider-Noir" was announced, I knew straight away that I had to watch it. The main reason was that Nicolas Cage was playing the title character. That guarantees quality, in my eyes.

I'll just tell you what the series' premise is. Ben Reilly was an American soldier who gained super-powers in Germany at the end of World War One. He acted as a super-hero called the Spider in New York for ten years. Then he retired after his girlfriend died, and he became a private detective. The series takes place in 1933. While investigating a case he's reluctantly tempted to use his super-powers again. He's out of practise. He's neither as strong nor as skilful as he used to be.

The series was filmed in black and white, but an alternate version has been made in full colour. As I understand it, the producers want the series to be watched in black and white; the colour version is only intended for younger viewers who need colour. I started watching in black and white, then switched to colour for comparison. Black and white is better. Believe me. Here are some comparison shots.

I deliberately picked this scene as something where the colour version might look better. But check the night-time scene below.

The BW version is far superior. But it's not just about the picture quality, it's about the atmosphere. The series is based on the film noir films of the 1940's and 1950's, even though it takes place earlier. Nicolas Cage may be a reluctant super-hero, but he plays a detective in the style of Humphrey Bogart. To get the full impression of the series, it has to be watched in black and white.

I watched all eight episodes in three days. It's worth a binge.

The Supercop (4 Stars)

"Supercop" (1980) is a delightful piece of Italian-American cinematic absurdity that works far better than it has any right to, largely thanks to the electric chemistry between its two leads. The film itself is a silly, low-budget superhero comedy about a Miami police officer who gains superpowers after being exposed to radioactivity, but it's the dynamic between Terence Hill and Ernest Borgnine that elevates it from forgettable fluff to a genuinely entertaining odd-couple romp.

Hill, as the title character David Speed, brings his trademark charm and physical comedy to the role. His character is goofy, good-hearted, and utterly bewildered by his newfound abilities, which include super speed, telekinesis, and the power to deflect bullets. Hill's performance is all about wide-eyed innocence and comedic timing, whether he's accidentally stopping a bank robbery or trying to hide his powers from his superiors.

Borgnine, as Sergeant Willy Dunlop, is the perfect foil to Hill's manic energy. He plays the gruff, no-nonsense police sergeant who's both exasperated by and secretly fond of his partner. Borgnine brings a gravitas and warmth to the role that grounds the film's more ridiculous elements. His deadpan reactions to Hill's antics are comedy gold, and you can tell he's having a blast playing the straight man to Hill's zaniness.

What makes their chemistry so special is the contrast between their styles. Hill is all about physical comedy and boyish charm, while Borgnine is a master of subtle facial expressions and world-weary grumbling. Together, they create a dynamic that feels both familiar and fresh. There's a genuine affection between their characters that comes through in every scene, whether they're bickering about donuts or teaming up to take down the bad guys.

"Supercop" isn't a masterpiece by any stretch – it's dated, cheesy, and often nonsensical – but the chemistry between Hill and Borgnine makes it worth watching. They're the heart and soul of the film, and their partnership elevates the material beyond its B-movie origins. It's a testament to the power of good casting and the magic that can happen when two actors click, even in the silliest of circumstances.

The Phantom Gunslinger (3 Stars)

This is a film I would never usually have watched. I only have it on my shelf because it was released on the same Blu-ray as "Fanny Hill". If I have it I might as well watch it. It might be a hidden treasure, waiting for me to discover it and say Wow!

Not quite. It's a notoriously silly slapstick comedy that's at least funnier than "Fanny Hill". The story takes place in the small town Tucca Flats, which has a population of 52, including dogs, cats and Indians. A gang called the Terrible Seven rides in and takes over the town. The sheriff flees after nominating the young theological student Phil Phillips as his successor. The trouble is that Phil has never touched a gun in his life. Even when someone in town gives him a gun, he's not very good with it.

Phil is called a phantom gunslinger, because he's killed in gunfights more than once, but every time he goes to Heaven he begs God to let him return to Earth to save Tucca Flats from the Terrible Seven.

The film made me chuckle a few times, but I won't watch it again.

Fanny Hill (2 Stars)

For years I've known that Russ Meyer made a film called "Fanny Hill" that was supposedly nothing like his other films. I assumed that it was lost, but now it's been released on Blu-ray. My curiosity took over; I had to have it.

The film is based on an 18th Century novel that was initially banned because it was too sexual. It's strange that the film is so unsexual, especially since it was directed by a man like Russ Meyer. Sexually, it's even tamer than the British Carry On films.

The story follows the title character, Fanny Hill, as a young woman who moves from the country to London to find work. She's hired by Mrs. Brown, a woman who runs an elite brothel for the richest men in London. She tells Fanny that the other girls are all her nieces. Throughout the film, Fanny never realises that it's a brothel. This is the whole foundation of the film's humour. It's funny for the first 15 minutes, but after 90 minutes it's tiresome. There's nothing to laugh about.

Summing up the film, it's an erotic comedy that's neither erotic nor funny.

Daughters of Darkness (4 Stars)

Harry Kümel's "Daughters of Darkness" (1971) remains one of the most distinctive vampire films ever made. Loosely inspired by the legend of Countess Bathory, the film follows newlyweds Stefan and Valerie as they arrive at a nearly deserted Belgian seaside hotel and fall under the spell of the enigmatic Countess Elizabeth Bathory and her companion Ilona. What begins as a gothic horror story gradually transforms into something stranger; a dreamlike exploration of sexuality, power, manipulation and identity.

What makes "Daughters of Darkness" a cult film is the way it refuses to behave like a conventional horror movie. Rather than relying on shocks or explicit violence, Kümel creates an atmosphere of elegance and unease. The film combines art-house sensibilities with erotic horror, wrapping its vampire mythology in stylish cinematography, surreal imagery and an unforgettable score. Over the decades, its reputation has steadily grown from obscure Euro-horror curiosity to acknowledged genre classic.

The film's greatest asset is the mesmerising performance of Delphine Seyrig as the immortal Countess. Seyrig dominates every scene, projecting glamour, intelligence and menace in equal measure. Her Countess is less a monster than a force of seduction, making the film feel closer to a decadent European fairy tale than a traditional vampire story.

Andrea Rau from Münchingen

The importance of Andrea Rau cannot be overstated. At the time, Rau was a young German actress and model who'd appeared in a number of light European productions but hadn't yet found the role that would define her screen image. As Ilona, the Countess's beautiful and increasingly jealous companion, she became one of the film's most memorable visual presences. Director Harry Kümel deliberately styled Rau after silent-screen icon Louise Brooks, giving her a distinctive look that contributed enormously to the film's dreamlike atmosphere. Although Rau continued acting afterwards, "Daughters of Darkness" remains the performance for which she's best remembered and is generally regarded as the high point of her international career.

More than fifty years later, "Daughters of Darkness" still feels unique. It's sensual without being exploitative, intelligent without becoming inaccessible and beautiful without sacrificing its dark heart. Few vampire films have matched its combination of sophistication and erotic menace, which is why it continues to attract new admirers and remains a cornerstone of cult cinema.

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The Furious (5 Stars)

Today I saw the German premiere of "The Furious". My short spoiler-free review can hardly do it justice. The film is amazing. In trailers it's been compared with "The Raid" (I assume they really mean "The Raid 2"). To me that sounded like typical promotional hype, but within a few minutes I had to admit that the comparison is valid.

The film follows two men who join forces to fight a people trafficking gang. One is Wang Wei, a man whose daughter has been kidnapped. The other is Navin, the husband of a reporter who disappeared while investigating the gang.

That's all I'm telling you. Now sit back and enjoy the action.

Passenger (2 Stars)

This is a stylish but confusing film. At least, it's confusing if you try to explain it.

A young couple give up their apartment in Brooklyn and drive westwards in their mobile home. They refer to their journey as a road trip, but I don't think that this description applies. When you go on a road trip you intend to return home, don't you? Tyler and Maddie have dropped out. They haven't just given up their permanent place of residence, they've also given up their jobs, if they ever had jobs. Do they have a sizable inheritance they can rely on?

The couple attract the attention of a supernatural creature that stalks them. He's called a Passenger. He's always with them, but he's only active at night. He doesn't kill them, he just travels with them so he can kill people around them.

What's the Passenger's motivation? That's the smallest question. There are infeasible elements that are more difficult to understand. The Passenger's weakness is St. Christopher's amulets. They burn him. That's sort of logical in the context of the film; St. Christopher is the patron saint of travellers. Does that mean that the Passenger is someone who adheres to the old religious myths and superstitions? That's confusing, and it makes no sense.