He's charmingly self-effacing here, noting early on that the lines being delivered are "not the world's best dialogue" and later going the whole hog and describing it as "quite a weak script. Also included is a 118-page Book, and if you think after watching the Eiger-sized mountain of special features detailed above you've learned everything there is to know about Michael J. I have little doubt that the do-it-on-the-cheap nature of Murphy's early works will make them easy targets for mockery for some, particularly those who have grown up in the digital age. Quite a few outtakes have been included, all of which and more can be viewed in the collection detailed below.

Far from being shocked, Vicky is relieved to now be free to marry Steve, sell the house, and leave an island she has clearly dreamt of escaping from for years. Having also started out on standard 8 film, moved on to 16mm, then VHS, SHVS, mini-DV and eventually HD, I recognised all of the technical touchstones here. screens of production stills, posters, video and DVD covers, and even competition programme clippings for the films included on this disc. I've already watched the first ten films over the course of three days and I think it's altered my brain chemistry.There is a more detailed breakdo\wn of the restoration details in the accompanying book, but this swallows up two densely packed pages that I'm not about to reproduce here. Not all of the film elements have survived, some titles exist now only as video tape copies, and some whose film elements do still exist are missing sequences and/or parts of the soundtrack, some of which is down to what the booklet describes as Murphy's "frustratingly blasé approach to his early works. Two alternative title and credit sequences for the film, the only real difference being the typography.

I do the Leo di Caprio pointing at the screen thing when I see Tim Morris or Steven Longhurst pop up. Make no mistake, I'm a horror fan, and being old enough to remember when admitting a fondness for low to medium budget horror would invite the scorn of serious cineastes, it's great to see the critical turnaround that sees the genre treated as seriously as any other. A well assembled but spoiler-littered trailer for a film that it's best to go into knowing as little about how things play out as possible. Personally, I'm aching to see the film that Murphy was planning to make next, which was to star Patrick Olliver as an ageing John Holmes style porn star who wanted to become a serious actor, and was set to be titled Pornophobia.screens of photos and artwork for both of the films on this disc, including a French poster for Torment where the title change reveals a later plot twist and a DVD cover for Atlantis. Shirley, meanwhile, has similar doubts about Oliver and Debbie, whom she learns are involved in an incestuous relationship. The influence of Henri-Georges Clouzot's Les diaboliques is evident, and there's a neat whiff of the later Misery to a couple of scenes, and the result is an interesting and intermittently surprising work, handsomely shot by Murphy himself and making evocative use of the sun-drenched Greek locations. Having cut his teeth on a variety of homemade 8mm shorts, he had completed three feature-length productions by the age of eighteen.

In the wonderfully titled essay Balsawood Babylon, he considerably expands on what has been discussed elsewhere in this set and provides a detailed breakdown of Murphy's life and career. I should note that it's one that the interview material in this set tends to suggest that Murphy shared. With more experienced and expressive actors, I have a feeling this could have made a greater impact than it presumably did. Helen is wrestling with some past demons, and politely rebuffs the younger Mark's amorous advances, claiming that she wants to avoid a repeat of the emotional hurt she suffered after a recent breakup, but this doesn't stop her from seducing good-looking Greek actor Andreas (Paulos Charalambidis). By the time they reach the court of King Marc, the potion has done its work and the two are hopelessly in love with each other.And it's not that I'm adverse to such stories, having wiped away tears during the final scene of François Ozon's thoughtful, sensitive and deeply moving 2005 Time to Leave.