I’LL SLEEP WHEN I’M DEAD is from GET CARTER director Mike Hodges three decades later, and kind of about the same thing, and it’s amazing how much of a similar tone it has in such a different era. It could almost be a remake. But not the one with Stallone.
Having starred in CROUPIER for Hodges five years earlier, Clive Owen plays Will Graham, a mysterious beardo guy who lives in a van out in the woods, pissing in a bucket. He has a younger brother, Davey (Jonathan Rhys Meyers, TITUS, MATCH POINT), who still lives in London. He’s a guy who goes to parties and sells coke to rich girls. We watch him doing his thing one night and watch somebody else watching him, and we wait for whatever bad somebody to do whatever they’re obviously gonna do to him.
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Just when the night crew is closing up at the Walnut Lake Market, cashier Jennifer (Elizabeth Cox, NIGHT OF THE CREEPS, THE WRAITH) gets assaulted by crazy ex-boyfriend Craig (David Byrnes, WITCHCRAFT 7 and IX). Most of the staff get in a big brawl with him and he runs off. They think he’s still hiding in the store somewhere, but they’re not sure, and the police come and prove to be incompetent.
That’s a solid slasher movie set up. It has that all important sense of time and place – a limited location with all kinds of possibilities for horror gimmicks and gags, a set of characters doing their duties in different parts of the building where they can be picked off, a reason why other people aren’t around and the cops are no help. The few minutes of searching for Craig near the beginning sets up the geography of the store and all the potential hiding places that will become important locations. Though not necessary, INTRUDER also sets up a mystery, because we have the easy-to-jump-to conclusion that this abusive asshole is the murderer, but not showing his face gives us the unsettling feeling that we’re being tricked. (read the rest of this shit…)
a.k.a. ROGUE ONE: A STAR WARS STORY
ROGUE ONE is the new Star Wars picture, but not episode VIII, but also not new exactly because it’s what happens before part IV, which is the first one. I look forward to explaining that to the first casual viewer I meet who thinks this little British heroine is the same one from THE FORCE AWAKENS.
She’s a new character though, Jyn Erso, played by Felicity Jones from THE THEORY OF EVERYTHING. She’s supposed to be some kind of criminal or something who’s snatched from a prison transport by the budding Rebel Alliance because they’re looking for her father (Mads Mikkelsen, VALHALLA RISING), a scientist who was abducted by the Empire when she was young and is helping them build a spherical planet-destroying space weapon (see also episodes IV, VI and VII). So like most STAR WARS leads she’s an orphan, then she was raised by a legendary guerrilla named Saw Gerrera (Forest Whitaker, BLOODSPORT) although the raising happens offscreen. (read the rest of this shit…)
There have been many types of Christmas TV specials over the years: the beloved cartoons like A Charlie Brown Christmas and How the Grinch Stole Christmas, the stop motion ones like Rudolph the Red-Nosed Reindeer, the musical variety shows like the ones Johnny Cash did, the very special episodes of sitcoms. December 1988 brought us Christmas episodes of China Beach, L.A. Law, Thirtysomething, The Wonder Years, Day By Day, It’s Garry Shandling’s Show, Just the Ten of Us, 227, Amen, Dear John, Full House, Murphy Brown, Night Court, Perfect Strangers, Punky Brewster, The Tracey Ullman Show (including the Simpsons short), Who’s the Boss, Wiseguy, Beauty and the Beast, and Pee-wee’s Playhouse (still a perennial classic), plus the specials The Care Bears Nutcracker Suite, Christmas in Tattertown (directed by Ralph Bakshi), Bob Hope’s Jolly Christmas Show (special guests Orel Hershiser, Don Johnson, Florence Griffith Joyner and Dolly Parton) and the famous TV movie reunion A Very Brady Christmas.
But do you think it’s weird that there was also a special Christmas movie based on Alex Haley’s acclaimed 1977 slavery mini-series ROOTS? I thought it was kinda weird so I decided to watch it and see what the deal was. (read the rest of this shit…)
Fangoria Magazine is important to me. I’ve been reading it since some time in the ’80s. It covered not only all the great horror movies that have come out during all those years, but also the less great ones. I like that you could read detailed coverage of, like, DOLLY DEAREST or some shit when it came out. I have boxes of old issues and sometimes I’ll remember to go back and see their interviews about, say, HELLRAISER: BLOODLINE, or something and find more details than I could find browsing the internet. It’s great.
Back when people read magazines and loved horror movies enough to read about how they were made, Fangoria had enough money to try crossing over and making some movies of their own, including MINDWARP. To be honest I don’t remember ever hearing of it until I came across it recently on a nice Twilight Time blu-ray. I remember Fangoria Films as a distributor of low budget movies (don’t think I ever watched any of them) but I didn’t realize that before that they had tried to finance one movie per year, starting with this in 1990 (not released until ’92 though), followed by CHILDREN OF THE NIGHT (vampire movie from HELLRAISER II director Tony Randel) and SEVERED TIES (horror comedy with Oliver Reed, Elke Sommer and Garrett Morris in the cast). (read the rest of this shit…)
MANCHESTER BY THE SEA is the heavily critic-worshipped third film by writer-director Kenneth Lonergan (YOU CAN COUNT ON ME, MARGARET*). It’s a story about loss and family and people trying to salvage their fucked up lives. It’s not as devastating as some people make it sound, but also not as ultimately-uplifting or inspirational as maybe you would hope. It’ll probly make you tear up a few times and laugh a few times in its 2+ hours. It captures the ways family, friends and beer can bring you both solace and pain.
*[Please note that it is not one movie called YOU CAN COUNT ON ME, MARGARET. It is one movie called YOU CAN COUNT ON ME and then another totally separate one called MARGARET. And if I had written it as MARGARET, YOU CAN COUNT ON ME I would’ve had the same problem.]
*[Also please note that Lonergan wrote THE ADVENTURES OF ROCKY AND BULLWINKLE and an episode of the cartoon Doug, but it wouldn’t be appropriate to mention those at all because right now we are focusing on his directorial work.] (read the rest of this shit…)
Brian Yuzna’s SOCIETY is about a nefarious, perverted secret among the rich, and how it’s discovered by a high school jock dude. I think Yuzna (who was making his directivational debut after producing RE-ANIMATOR, FROM BEYOND and DOLLS) is going for kind of a BLUE VELVET type thing here – the weirdness that tips him off to a creepy conspiracy beneath the thin veneer of All-American wholesomeness.
Specifically, this takes place among the students and parents of Beverly Hills Academy. Bill Whitney (Billy Warlock, son of HALLOWEEN II‘s Michael Myers Dick Warlock) almost seems like some kind of lab-created ’80s hero: mild mullet, polo shirt under letterman’s jacket, Emilio Estevez swagger with a slight Michael J. Fox vulnerability. He plays basketball, dates a cheerleader, acts like a tough guy and nerd-shames his snooty opponent in the debate for class president, but he sees himself as an outcast in his community of rich country club white people. We know from the opening scene that he’s seeing a psychiatrist (Ben Slack, SILENT NIGHT DEADLY NIGHT 4) and has nightmares about his mom (Connie Danese, HUNTER’S BLOOD) and dad (Charles Lucia, the killer in HOSPITAL MASSACRE – playing the father of the son of Michael Myers!), who clearly favor his sister Jenny (Patrice Jennings). He thinks he’s adopted. He’s told he’s paranoid. (read the rest of this shit…)
some discussion points after the jump
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A CHRISTMAS HORROR STORY is a misleading title because 1) it’s not a horror version of A CHRISTMAS STORY and 2) it’s more than one Christmas horror story. It’s an anthology of several but it jumps around between them like CLOUD ATLAS or something.
This one is made by the Canadians. As a country they know their shit, in my opinion, having given us at least two of the Christmas genre classics, BLACK CHRISTMAS and THE SILENT PARTNER. This will not be added to that list, but it’s worth a watch.
The story begins on Christmas Eve at a spooky North Pole, where a ragged looking Santa Claus (George Buza, THE CHRISTMAS SWITCH, THE CASE FOR CHRISTMAS, A CHRISTMAS WEDDING, SNAKE EATER II: THE DRUG BUSTER) is preparing for his flight. Something seems wrong, and when he turns around there’s a bloody slash across his face. Then it skips to 12 hours earlier. (read the rest of this shit…)
TOY SOLDIERS is a kid’s movie clashing with an action movie. It’s rated-R and surprisingly legit, opening with chaos in Colombia, where Luis Cali (Andrew Divoff, WISHMASTER), the son of a captured narco-terrorist, has a court room held hostage. Within the first four minutes of the movie they throw a woman out of a high window and a judge out of a helicopter (an impressive skydiving stunt). Later they will take over a boarding school full of the children of American politicians and super-riches, and being that Columbine has not happened they will have no compunction about shooting the place up.
But when we meet our young protagonists jogging into The Regis School and spray painting it to say “The Rejects School”, Robert Folk (POLICE ACADEMY)’s score goes from sounding like a Chuck Norris movie to an episode of Amazing Stories or The Young Indiana Jones Chronicles. Oh, youth. They have self-owned themselves as rejects because they’re supposed to be the fuckup rich kids who got kicked out of every other prep school. Now they will endure the gauntlet of action-movie-scenario to prove their true worth. (read the rest of this shit…)