Chase_Witherspoon

Bittersweet tale of divorced couple who re-examine their relationship amid the streetscapes of Venice where they've briefly reunited after Musante learns he has a terminal illness.

Such a picturesque backdrop to an otherwise morose story of missed opportunities and enduring regret, Bolkan initially (understandably) distant becomes more drawn to Musante in his time of need, himself attempting to conduct a major orchestral symphony whilst managing the progression of his symptoms, and the emotional burden they inflict.

The pair are well-cast, and whilst neither is Italian, both still look very much native within their surroundings, displaying ease and thoughtfulness in what is essentially a two-hander outdoor play.

Obviously Stelvio Cipriani's soaring piano-driven musical score is a highlight, and when allied with the photogenic Venice postcard, moving performances and at its core, a painfully bittersweet plot anchored in loss and complex grief, it all equates to a sincere melodrama worthy of attention (and a decent DVD release).

Fairly entertaining, modest made-for-TV shocker about academic (Forster) who's cloned in a clandestine experiment by his brilliant but twisted scientific mentor (Milland) with unintended consequences.

Interesting premise has Forster essentially playing dual roles (which he handles capably being the terrific actor he was), whilst pretty Barbeau plays his confused wife being unwittingly seduced by his increasingly brazen clone, whilst David Sheiner is another familiar face playing his academic nemesis.

Typical of the halcyon era for TV-made thrillers, well-paced, moody, atmospheric aesthetic and just as compelling as theatrical films. 'Medical science' horror movies were briefly in vogue (e.g. Coma, Embryo, Scalpel) at the time, of which DSOT is a neat little exponent.

Despite being well beneath his Hollywood legacy (though not as low as 'The Sea Serpent'), Milland makes anything more watchable and his presence here is quality casting that should reach a wider audience.

Director Trikonis has crafted a taut, scary thriller headlined by a high quality cast of distinction, and worthy of attention - that is, if you can locate it; I managed to find an ex-rental VHS copy on the Video Classics label many years ago, but it seems to be rather obscure.

Notable for its climax amongst the sand dunes, the Baby Cart at the River Styx entry makes expansive use of different landscapes but in my opinion misses an opportunity to set up a riveting climax with the female assassins sent to end his exile violently after the Shogunate backtracks on its deal not to pursue him or his son following the events of the first instalment.

The scene in which the acrobatic girl team demonstrate their agile kill-skills is spectacular, the clinically brutal dissection they inflict on the hapless Ronin choreographed with chilling precision. But whether they can achieve the same dominance with the eponymous pair is another level of skill so far unproven.

So after some unforeseen distractions aboard a stricken vessel (in which certain plot details are rather clumsily revealed) we finally get to see Itto & son meet the feared three brothers collectively known as 'the gods of death', notorious for their deadly accoutrements - a gauntlet, a spike-studded club, and the tiger claw - but yet to encounter the superhuman sword skills of the Lone Wolf and his resourceful toddler.

As with the first film, there's a little bare flesh on display, and more than a little claret spurting to keep the censors occupied.