Wednesday, July 14, 2010
Tuesday, July 13, 2010
'Revolt of the Zombies' is a non-event
(I like the poster though.)Revolt of the Zombies (1936)
Starring: Dean Jagger and Dorothy Stone
Director: Victor Halperin
Rating: Two of Ten Stars
At the height of World War I, a French officer (Jagger) brings to his generals the ultimate weapon: the secret to creating impervious zombie soldiers! Unfortunately, before the Cambodian monk can be made to share this secret with the Europeans, he is murdered by a sinister enemy agent. A military expedition is sent to the darkest heart of Cambodia's jungles to see if the secret can be recovered.
"Revolt of the Zombies" actually has a really interesting plot at its heart. Too bad the filmmakers completely botched this movie, with awful dialogue and pacing that is at once too slow and too fast--important events happen off-screen and are then relayed to the viewers by the characters in boring exposition. Worse, the movie ultimately chickens out in regards to both its use of zombies in the story AND in regards to what seemed to have been its message about the negative impact of European colonialism with an "absolute power corrupts absolutely." What's more... there ain't no damn zombie revolt in the film (but that's because there aren't any real zombies, either).
I probably would have shrugged my shoulders at this one--it's just another low-budget, crappy horror film--but it was made as a follow-up to the fabulous "White Zombie." I expected more of "Revolt of the Zombies" because "White Zombie" is a dyed-in-the-wool classic horror film, one of the best zombie movies ever made (and perhaps even the *first* zombie movie ever made), and it was as low-budget as "Revolt."
Click here to read my review of "White Zombie" at The Bela Lugosi Collection.
Appeasement Doesn’t Work
In case you haven't heard, Seattle-based artist Molly Norris is under death threat from the worshipers of Mohammed--for NOT drawing their idol. Although she sparked the "Everybody Draw Mohammed Day" idea, she disavowed it when OTHERS made it a reality, and she did everything she could to apologize for expressing an idea, short of offering to pay for the gay sex the mullahs and members of al-Qaeda so desperately crave.
You know... she apologized left, right, and center for something that Americans should consider one of our inalienable right. The free and open expression of ideas.
Novelist Edward Cline has written a column at Big Hollywood on the matter: Appeasement Doesn’t Work--Fatwa Issued Against ‘Draw Mohammed Day’ Cartoonist
As for me, as promised, here's a Mohammed cartoon, in observance of the latest Mo-toon controversy.
(This cartoon from 2005 was the first installment in the weekly adventures of Bestest Prophet Pals, Jesus and Mo. You can see many more of them at www.jesusandmo.net.)
You know... she apologized left, right, and center for something that Americans should consider one of our inalienable right. The free and open expression of ideas.
Novelist Edward Cline has written a column at Big Hollywood on the matter: Appeasement Doesn’t Work--Fatwa Issued Against ‘Draw Mohammed Day’ Cartoonist
As for me, as promised, here's a Mohammed cartoon, in observance of the latest Mo-toon controversy.
(This cartoon from 2005 was the first installment in the weekly adventures of Bestest Prophet Pals, Jesus and Mo. You can see many more of them at www.jesusandmo.net.)
Sunday, July 11, 2010
Wedding delayed again... by murder.
Bulldog Drummond's Secret Police (1939)
Starring: John Howard, Heather Angel, E.E. Clive, Reginald Denny, H.B. Warner, Loe Carroll, Forester Harvey, and Elizabeth Patterson
Dirrector: James Hogan
Rating: Six of Ten Stars
Just as it appears Hugh Drummond (Howard) and Phyllis Clalvering (Angel) are finally going to make it to their own wedding, a cooky historian (Harvey) shows up on the doorstep and says he comes to search for a massive treasure hidden in the catacombs below the Drummond family's ancestral home. A treasure hunt isn't enough to disrupt the wedding plans--Drummond thinks that can wait until the day after he and Clavering married--but the murder of the historian is. Drummond, his friend Algy (Denny), his faithful servant Tenny (Clive), house-guest Colonel Nielsen of Scotland Yard (Warner), and even Miss Clavering are soon searching the long-abandoned tunnels in search of a treasure and a deadly killer. But it's a deadly hunt, because the killer is one step ahead of them.
"Bulldog Drummond's Secret Police" is another strong entry in the series. The physical humor is strong in this one, and the action is fast-moving, entertaining, and downright suspenseful at times. In fact, there's a scene where several of our heroes are in ancient death trap and it actually feels like they might not escape.
The regular cast is excellent as usual, and they have Reginald Denny is funnier in this installment than he as ever been before, and Clive gets some excellent zingers off as well, with Tenny's signature "I rather like it" line being used to great effect on multiple occassions. Howard and Angel once again display excellent on-screen chemistry, and the viewer can easily understand why the two characters keep trying over and over again to get married, despite Fate continuially getting in their way. (In fact, Angel is perhaps the best I've ever seen her in this film--she lights up the screen in every scene she appears in, and she ends up as one of the feistiest "damels in distress" to ever make the bad guy regret taking prisoners.)
To add to the quality, this film can even serve as a jumping-on point for those who don't want to watch from the beginning. As it unfolds, the film manages to give a quick introduction of the characters and the ongoing "Road to the Wedding" subplot that's been running through the series since "Bulldog Drummond Comes Back" without boring those of us who have watched all the previous installments.
As good as it is, this episode is not exactly perfect. First, there is a very annoying, very stupid comic relief character that makes Algy look like a genius. Second, there's a problem with the villain of this episode. He's written in a very sinister fashion, he's got some good lines, and he proves to be a real threat to Our Heroes... but he's played by an actor who's nearly a non-entity compared to the high-energy performers he's surrounded by. Leo Carroll isn't exactly bad, but he's out of his league with the "Bulldog Drummond" ensamble.
I've said it before, and I'll say it again: This series of "Bulldog Drummond" films reminds me more of the "Indiana Jones" series than any other films from the 1930s I've seen. Heck, there's even a death-trap scene in this one that brings part of "Indiana Jones and the Temple of Doom" to mind... and in this installment Drummond and the gang are hunting for a lost treasure in an ancient castle!
Starring: John Howard, Heather Angel, E.E. Clive, Reginald Denny, H.B. Warner, Loe Carroll, Forester Harvey, and Elizabeth Patterson
Dirrector: James Hogan
Rating: Six of Ten Stars
Just as it appears Hugh Drummond (Howard) and Phyllis Clalvering (Angel) are finally going to make it to their own wedding, a cooky historian (Harvey) shows up on the doorstep and says he comes to search for a massive treasure hidden in the catacombs below the Drummond family's ancestral home. A treasure hunt isn't enough to disrupt the wedding plans--Drummond thinks that can wait until the day after he and Clavering married--but the murder of the historian is. Drummond, his friend Algy (Denny), his faithful servant Tenny (Clive), house-guest Colonel Nielsen of Scotland Yard (Warner), and even Miss Clavering are soon searching the long-abandoned tunnels in search of a treasure and a deadly killer. But it's a deadly hunt, because the killer is one step ahead of them.
"Bulldog Drummond's Secret Police" is another strong entry in the series. The physical humor is strong in this one, and the action is fast-moving, entertaining, and downright suspenseful at times. In fact, there's a scene where several of our heroes are in ancient death trap and it actually feels like they might not escape.
The regular cast is excellent as usual, and they have Reginald Denny is funnier in this installment than he as ever been before, and Clive gets some excellent zingers off as well, with Tenny's signature "I rather like it" line being used to great effect on multiple occassions. Howard and Angel once again display excellent on-screen chemistry, and the viewer can easily understand why the two characters keep trying over and over again to get married, despite Fate continuially getting in their way. (In fact, Angel is perhaps the best I've ever seen her in this film--she lights up the screen in every scene she appears in, and she ends up as one of the feistiest "damels in distress" to ever make the bad guy regret taking prisoners.)
To add to the quality, this film can even serve as a jumping-on point for those who don't want to watch from the beginning. As it unfolds, the film manages to give a quick introduction of the characters and the ongoing "Road to the Wedding" subplot that's been running through the series since "Bulldog Drummond Comes Back" without boring those of us who have watched all the previous installments.
As good as it is, this episode is not exactly perfect. First, there is a very annoying, very stupid comic relief character that makes Algy look like a genius. Second, there's a problem with the villain of this episode. He's written in a very sinister fashion, he's got some good lines, and he proves to be a real threat to Our Heroes... but he's played by an actor who's nearly a non-entity compared to the high-energy performers he's surrounded by. Leo Carroll isn't exactly bad, but he's out of his league with the "Bulldog Drummond" ensamble.
I've said it before, and I'll say it again: This series of "Bulldog Drummond" films reminds me more of the "Indiana Jones" series than any other films from the 1930s I've seen. Heck, there's even a death-trap scene in this one that brings part of "Indiana Jones and the Temple of Doom" to mind... and in this installment Drummond and the gang are hunting for a lost treasure in an ancient castle!
Friday, July 9, 2010
Leave your brain off for this one....
The Brain That Wouldn't Die (aka "The Head That Wouldn't Die") (1961)
Starring: Herb Evers, Virginia Leith, Leslie Daniels, Adele Lamont, Marilyn Hanold, and Bruce Brighton
Director: Joseph Green
Rating: Four of Ten Stars
Bill Cortner (Evers) is a surgeon and research scientiest who has developed new techniques for reviving dead flesh, techniques he knows will revolutionize surgery and transplants not only of organs but of limbs. After his fiance Jan (Leith) is decapiated in a car accident, he uses his techniqaue to keep her head alive while he prowls strip-joints and bikini contests for the perfect body to transplant it onto.
I promise to refrain from any "she gave great head" jokes while reviewing "The Brain That Wouldn't Die" (wait... I think I may have just broken that promise), because while this low-budget cross between "Frankenstein", "Donovan's Brain", and a cheesy exploitation flick may be exceedingly goofy, it does feature some genuinely terrifying moments.
The car accident that claims Jan's life, the scene where the Monster in the Closet gets its hands on Cortner's assistant Kurt (Daniels) and delivers a gory and ironic death to him, and Cortner's luring and poisoning of the owner of Jan's new body (Lamont), and the full revelation of the Monster--which I almost gave away with a still here, but then thought better of it--are all top-notch horrific moments. Unfortunately, they are almost without fail followed up by unintentional comedy (such as Kurt's never-ending death scene).
The film features actors who give better performances than I expected from a film like this, but they are undermined by a terrible script. To describe the dialogue in "The Brain" as stilted and flowery is being kind--some of the lines are so overblown and pompous that it's shocking that any actor could deliver them with a straight face. And just about ever single line uttered by Cortner after he starts prowling the city for a woman to serve as the recepient of Jan's head should be followed with a "bwahahahaha!" they're so pregnant with "Aren't I evil?" references and dual-meanings.
A bigger problem is that the film is padded. The exploitation parts--cat-fighting strippers, prancing bikini-babes, and the private model session given by Lamont's character--mostly detract from the narrative instead of adding to it, causing the film to drag. The purple prose that is the film's dialogue also helps drag it down below average. The good parts are good enough to keep it sinking into the depths of complete and total awfulness, but "good" is stiil not the word that should come up while giving an overall opinion on "The Brain That Wouldn't Die."
(Oh, here's a curious fact, only tangentially related to the movie. The version I viewed--included in Brentwood Video's "The Dead Walk" multi-DVD pack--has a couple of quirks about it. First, there a couple of instances where the reels aren't transferred right and we are treated to what I assume are film leads; instead of a test pattern and beeps, these leads are white and feature a male voice reciting part of a prayer, or reading lines from the Bible. The first time it happened, I had a "WTF" moment... but the second time, I realized it was a problem of some sort with the transfer to DVD. Second, the filmmakers apparently couldn't get the name of their own movie straight: It's called two different things between the opening ald closing titles, with both of the titles listed at the top of this review actually appearing on the film--one at the main title credits, and one at the end title credits.
Starring: Herb Evers, Virginia Leith, Leslie Daniels, Adele Lamont, Marilyn Hanold, and Bruce Brighton
Director: Joseph Green
Rating: Four of Ten Stars
Bill Cortner (Evers) is a surgeon and research scientiest who has developed new techniques for reviving dead flesh, techniques he knows will revolutionize surgery and transplants not only of organs but of limbs. After his fiance Jan (Leith) is decapiated in a car accident, he uses his techniqaue to keep her head alive while he prowls strip-joints and bikini contests for the perfect body to transplant it onto.
I promise to refrain from any "she gave great head" jokes while reviewing "The Brain That Wouldn't Die" (wait... I think I may have just broken that promise), because while this low-budget cross between "Frankenstein", "Donovan's Brain", and a cheesy exploitation flick may be exceedingly goofy, it does feature some genuinely terrifying moments.
The car accident that claims Jan's life, the scene where the Monster in the Closet gets its hands on Cortner's assistant Kurt (Daniels) and delivers a gory and ironic death to him, and Cortner's luring and poisoning of the owner of Jan's new body (Lamont), and the full revelation of the Monster--which I almost gave away with a still here, but then thought better of it--are all top-notch horrific moments. Unfortunately, they are almost without fail followed up by unintentional comedy (such as Kurt's never-ending death scene).
The film features actors who give better performances than I expected from a film like this, but they are undermined by a terrible script. To describe the dialogue in "The Brain" as stilted and flowery is being kind--some of the lines are so overblown and pompous that it's shocking that any actor could deliver them with a straight face. And just about ever single line uttered by Cortner after he starts prowling the city for a woman to serve as the recepient of Jan's head should be followed with a "bwahahahaha!" they're so pregnant with "Aren't I evil?" references and dual-meanings.
A bigger problem is that the film is padded. The exploitation parts--cat-fighting strippers, prancing bikini-babes, and the private model session given by Lamont's character--mostly detract from the narrative instead of adding to it, causing the film to drag. The purple prose that is the film's dialogue also helps drag it down below average. The good parts are good enough to keep it sinking into the depths of complete and total awfulness, but "good" is stiil not the word that should come up while giving an overall opinion on "The Brain That Wouldn't Die."
(Oh, here's a curious fact, only tangentially related to the movie. The version I viewed--included in Brentwood Video's "The Dead Walk" multi-DVD pack--has a couple of quirks about it. First, there a couple of instances where the reels aren't transferred right and we are treated to what I assume are film leads; instead of a test pattern and beeps, these leads are white and feature a male voice reciting part of a prayer, or reading lines from the Bible. The first time it happened, I had a "WTF" moment... but the second time, I realized it was a problem of some sort with the transfer to DVD. Second, the filmmakers apparently couldn't get the name of their own movie straight: It's called two different things between the opening ald closing titles, with both of the titles listed at the top of this review actually appearing on the film--one at the main title credits, and one at the end title credits.
Wednesday, July 7, 2010
Action almost unknown in 'Unknown World'
Unknwon World (aka "To the Center of the Earth") (1951)
Starring: Victor Kilian, Bruce Kellogg, Marilyn Nash, and Otto Waldis
Director: Terry O. Morse
Rating: Four of Ten Stars
A group of obnoxious scientiest and their boorish, wealthy patron hop in their nifty drilling, amphibeous under-earth ATV--the Cyclotram!--to explore deep underground, hoping to find a place where humankind can retreat to in case of a nuclear disaster.
Never has so little happened during a "let's go looking for the underground world"-type movie. I think I can safely say that, despite the high bodycount among expedition members, the enterprise undertaken by the characters in "Unknown World" is the least eventful, most uninteresting, and ultimately pointles journey to "inner-earth" that any fictional characters have ever undertaken.
There's no much here, exept a slighly more scientific take on what explorers might find deep underground--as in, no monsters, no nubile, scantily clad queens of Atlantis, no nothing. And, frankly, if you're going to make a movie about guys drilling their way to the center of the Earth, you better damn well give me some monsters and nubile barbarian queens at the far end! ("The Core" would have been better if there had been babes in loinclothes and little else at the end of that trip, too.)
Starring: Victor Kilian, Bruce Kellogg, Marilyn Nash, and Otto Waldis
Director: Terry O. Morse
Rating: Four of Ten Stars
A group of obnoxious scientiest and their boorish, wealthy patron hop in their nifty drilling, amphibeous under-earth ATV--the Cyclotram!--to explore deep underground, hoping to find a place where humankind can retreat to in case of a nuclear disaster.
Never has so little happened during a "let's go looking for the underground world"-type movie. I think I can safely say that, despite the high bodycount among expedition members, the enterprise undertaken by the characters in "Unknown World" is the least eventful, most uninteresting, and ultimately pointles journey to "inner-earth" that any fictional characters have ever undertaken.
There's no much here, exept a slighly more scientific take on what explorers might find deep underground--as in, no monsters, no nubile, scantily clad queens of Atlantis, no nothing. And, frankly, if you're going to make a movie about guys drilling their way to the center of the Earth, you better damn well give me some monsters and nubile barbarian queens at the far end! ("The Core" would have been better if there had been babes in loinclothes and little else at the end of that trip, too.)
Picture (Im)perfect Wednesday
(The menu screen from "Ski Troop Attack," as found in BCI's budget collection The Cult Films of Roger Corman.)
Tuesday, July 6, 2010
Fine romantic comedy presented in comics
Maison Ikokku, Vols. 1-14 (original Viz English language edition)
Story and Art: Rumiko Takahashi
Rating: Nine of Ten Stars
"Maison Ikkoku" is a romantic comedy that focuses on Godai, a young man who falls in love with the manager of his apartment building (the building is what the series is named for). The manager is Kyoko, a young widow who is still recovering from the loss of her husband, her first and (so far) only true love.
The series follows the development of Godai and Kyoko's relationship, as it is threatened by romantic rivals, the general weirdness of the other residents of Maison Ikkoku, and misunderstandings that, if featured on sit-coms, might actualy make them worth watching. The readers also get to follow the emotional growth of Godai and Kyoko, both of whom really have a lot of maturing to do when the series starts. Although the supporting cast and much of the comedic antics are pure slap-stick, Godai and Kyoko are very real characters in whom you will become emotionally invested... and for whom you may well feel yourself misting up when their story comes to an end.
"Maison Ikkoku" consists of 14 volumes. As with all of Takahashi's work, the art is pleasing to the eye, the characters are all likable, and the humour is genuinely funny. Some elements of the story grow out of Japanese culture, but the characters are developed enough that the reader can nonetheless relate to all their reactions, viewpoints, joys and heartbreaks.
A quick search tells me that this series is currently out of print in English. That's a shame, because it truly is one of the better comic books/graphic novel series to ever have been penned. (Yeah, yeah... it's not a comic book, it's manga--blah-blah-blah. It's got panels, it's got speech bubbles, it's got sound-effects drawn in... it's a comic book.)
However, I think if you go to the library, eBay.com, or Half-Priced Book for a cheap second-hand copy of Vol. 1 of the series and follow it through to the end, you'll agree with me that it's an amazing bit of work. You'll also get to watch Takahashi's style evolve. "Maison Ikkoku" was one of her first long-running series; her style clearly developes and improves as it goes along, but even those rough first volumes are far and above superior to run-of-the-mill comics both back then and today.
(Note: This review and the Nine Star-rating is based on the original Viz editions. The current printing is in the "non-flipped" mode, and the books read right to left, back to front. The more recent editions gets Five Stars for Viz's butchering of what was a fine translation of this Japanese series. For my commentary on the obnoxious, cheap way Japanese comics have been increasingly presented in English since 2005,click here.)
Story and Art: Rumiko Takahashi
Rating: Nine of Ten Stars
"Maison Ikkoku" is a romantic comedy that focuses on Godai, a young man who falls in love with the manager of his apartment building (the building is what the series is named for). The manager is Kyoko, a young widow who is still recovering from the loss of her husband, her first and (so far) only true love.
The series follows the development of Godai and Kyoko's relationship, as it is threatened by romantic rivals, the general weirdness of the other residents of Maison Ikkoku, and misunderstandings that, if featured on sit-coms, might actualy make them worth watching. The readers also get to follow the emotional growth of Godai and Kyoko, both of whom really have a lot of maturing to do when the series starts. Although the supporting cast and much of the comedic antics are pure slap-stick, Godai and Kyoko are very real characters in whom you will become emotionally invested... and for whom you may well feel yourself misting up when their story comes to an end.
"Maison Ikkoku" consists of 14 volumes. As with all of Takahashi's work, the art is pleasing to the eye, the characters are all likable, and the humour is genuinely funny. Some elements of the story grow out of Japanese culture, but the characters are developed enough that the reader can nonetheless relate to all their reactions, viewpoints, joys and heartbreaks.
A quick search tells me that this series is currently out of print in English. That's a shame, because it truly is one of the better comic books/graphic novel series to ever have been penned. (Yeah, yeah... it's not a comic book, it's manga--blah-blah-blah. It's got panels, it's got speech bubbles, it's got sound-effects drawn in... it's a comic book.)
However, I think if you go to the library, eBay.com, or Half-Priced Book for a cheap second-hand copy of Vol. 1 of the series and follow it through to the end, you'll agree with me that it's an amazing bit of work. You'll also get to watch Takahashi's style evolve. "Maison Ikkoku" was one of her first long-running series; her style clearly developes and improves as it goes along, but even those rough first volumes are far and above superior to run-of-the-mill comics both back then and today.
(Note: This review and the Nine Star-rating is based on the original Viz editions. The current printing is in the "non-flipped" mode, and the books read right to left, back to front. The more recent editions gets Five Stars for Viz's butchering of what was a fine translation of this Japanese series. For my commentary on the obnoxious, cheap way Japanese comics have been increasingly presented in English since 2005,click here.)
Sunday, July 4, 2010
Happy Fourth of July to my U.S. readers!
Here's an image from a 1918 Independence Day parade.
I wish everyone a happy and safe celebration of America's birthday.
I wish everyone a happy and safe celebration of America's birthday.
Saturday, July 3, 2010
Nancy Drew: Trouble-shooter
or Trouble-maker?
or Trouble-maker?
Nancy Drew: Trouble Shooter (1938)
Starring: Bonita Granville, Frankie Thomas, John Litel, Eville Alderson, Charlotte Wynters, Willie Best and Aldrich Bowker
Director: William Clemens
Rating: Six of Ten Stars
When a family friend (Bowker) is accused of murder, celebrated attorney Carson Drew (Litel) travels to a small country town to defend him at trial. As Carson builds his case and finds romance with a local lady (Wynters), his teenaged daugther Nancy (Granville) and her long-suffering friend Ted (Thomas) set about to prove his client's innocence by finding the real killers.
"Nancy Drew: Trouble Shooter" is a fast-movie action/comedy with a fairly simply mystery thrown in for good measure. Its pacing and general story thrust reminds me of some of the juvenile mysteries I read as a kid, so I found it quite entertaining. (Someone who's actually read some of the original Nancy Drew books tells me that everyone is behaving very much out of character, but if taken on its own merits, this is a fun little movie.)
While the thrills I'm positive this film generated for its young target audience in 1939 were far greater than those they will inspire in kids today, I think this is a film that modern youngsters might enjoy, particularly if they're readers who are interested in mysteries. The story moves fast enough and the situations that Nancy and Ted end up in are dangerous enough that I think they will be drawn into the action. It can also serve as a great conversation piece between parents and kids who may be studying American history or who just have an interest in history. It is a clear illustration of how much society has changed in the seventy years since the film's release--all the main characters featured in the film are wealthy, yet the country house the Drew's stay in doesn't have gas or running water or a phone. That's just the most obvious "study guide" element present in this film,
If you like old time detective films and comedies, I think you'll be entertained by "Nancy Drew: Trouble Shooter", no matter what your age.
Starring: Bonita Granville, Frankie Thomas, John Litel, Eville Alderson, Charlotte Wynters, Willie Best and Aldrich Bowker
Director: William Clemens
Rating: Six of Ten Stars
When a family friend (Bowker) is accused of murder, celebrated attorney Carson Drew (Litel) travels to a small country town to defend him at trial. As Carson builds his case and finds romance with a local lady (Wynters), his teenaged daugther Nancy (Granville) and her long-suffering friend Ted (Thomas) set about to prove his client's innocence by finding the real killers.
"Nancy Drew: Trouble Shooter" is a fast-movie action/comedy with a fairly simply mystery thrown in for good measure. Its pacing and general story thrust reminds me of some of the juvenile mysteries I read as a kid, so I found it quite entertaining. (Someone who's actually read some of the original Nancy Drew books tells me that everyone is behaving very much out of character, but if taken on its own merits, this is a fun little movie.)
While the thrills I'm positive this film generated for its young target audience in 1939 were far greater than those they will inspire in kids today, I think this is a film that modern youngsters might enjoy, particularly if they're readers who are interested in mysteries. The story moves fast enough and the situations that Nancy and Ted end up in are dangerous enough that I think they will be drawn into the action. It can also serve as a great conversation piece between parents and kids who may be studying American history or who just have an interest in history. It is a clear illustration of how much society has changed in the seventy years since the film's release--all the main characters featured in the film are wealthy, yet the country house the Drew's stay in doesn't have gas or running water or a phone. That's just the most obvious "study guide" element present in this film,
If you like old time detective films and comedies, I think you'll be entertained by "Nancy Drew: Trouble Shooter", no matter what your age.
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