Tamara
TAMARA may or may not be obscure enough to qualify for Slasher Search, but it’s harder to define now that I’m doing 21st century movies. Its hook is that it’s from Jeffrey Reddick, writer of FINAL DESTINATION. Apparently it had an unprofitable theatrical release in 2005, a time of terrible fonts and faux-distressed poster art. I recognized the cover from the video store, but only when I found it on Tubi did I wonder what its deal was and click on it.
The part that piqued my curiosity is that the title character is played by former Janet Jackson backup dancer Jenna Dewan a year before she starred in the first STEP UP movie. Tamara is, as described in the IMDb plot summary, “an unattractive girl who is picked on by her peers,” and it plays like kind of a CARRIE ripoff for a while. She’s a shy, awkward girl, is mercilessly bullied by the (cartoonishly obnoxious) popular kids, and isn’t helped by a crushingly miserable home life with a terrible single parent. In her case it’s her dad (Chris Sigurdson) who’s still around, and he’s a sleazy, molesty drunk. And instead of going home and being made to pray to Jesus, she secretly practices witchcraft. (read the rest of this shit…)
Sakra
SAKRA is Donnie Yen’s 2023 passion project, which he stars in and co-directed (with Kam Ka-Wai, second assistant director of IP MAN 1 and 2). It’s a wuxia story based on a famous novel with the tough-sounding title Demi-Gods and Semi-Devils by Jin Yong.
Yen stars as Qiao Feng, an orphan raised by a couple in the Song Empire. He grows up to become the leader of the powerful Beggar Gang, whose legendary badassness is introduced in one of those classic scenes where somebody is being an asshole in public and our guy is quietly listening for a while and then gets inolved (see also: Blue Eye Samurai). A monk (Tsui Siu-Ming, KUNG FU KILLER) comes to this restaurant dragging a cage he says contains an “unruly” person he’s going to sacrifice, and Qiao Feng is sitting at a table on the balcony of a whole different establishment across the way when he starts loudly talking shit without even looking at him. The monk is like “What the fuck – is that guy talking to me?” (read the rest of this shit…)
Mekko
I take any chance I can to tell people about the show Reservation Dogs. If you get Hulu it’s on there – just 3 seasons, a total of 28 half hour episodes, not heavy on continuity, not a huge time commitment. In a way it’s comparable to my other favorite recent show, Atlanta, in that it’s just this incredible cast where every character is really hilarious to me in a different way, and also because the writers and directors are narratively playful and free. They’re willing to leave their teenage protagonists to do an episode all about the elders, then later one all about the elders when they were teenagers, then an episode where one of today’s teenagers meets a weirdo recluse who we start to realize was one of the kids in that flashback episode who has become estranged from the others. Things like that. But also it’s a very potent show about friendship and dealing with loss, so it’s the funniest show that I always find myself trying not to cry at.
They ended it this year and I already miss it, so it’s a good time for me to track down the handful of indie movies creator Sterlin Harjo did in the pre-Rez Dogs part of his career. I previously reviewed his debut feature FOUR SHEETS TO THE WIND, sort of a romance. Now I’ve skipped to his third one, MEKKO (2015), which Wikipedia describes as a thriller. That wouldn’t have occurred to me but yeah, I guess it makes sense to call it that. Mostly it’s just a slice of life following this big quiet guy named Mekko (Rod Rondeaux, MEEK’S CUTOFF, HOSTILES, THE BALLAD OF BUSTER SCRUGGS) getting out of prison after 19 years and trying to survive on the streets of Tulsa. (read the rest of this shit…)
Hack!
As I promised before Halloween, I’ve continued scouring Tubi for potential Slasher Search material. It’s been a struggle so far. Most of the things I’ve clicked on turn out to be hard to get through and easy to give up on. For example I tried to watch one called HAUNTED TRAIL because it was directed by A RAGE IN HARLEM star Robin Givens and I thought that was interesting that she directed a horror movie, but I lost patience before anything happened. When I don’t have to pick out a finite number of tapes or discs and carry them home my remote finger is itchier.
So for now here’s one that I actually found on DVD, and it’s not available streaming, but it’s an obscurity from the aughts that seems very Tubi-appropriate to me. HACK! (2007) fits squarely and stupidly into the meta-slasher tradition even though it’s a full eleven years after SCREAM. The characters keep talking about horror movies, and the killer(s) is/are trying to make one. But please note the scene where a guy swears he saw a scary clown in the woods and they ask if he looked like Captain Spaulding, explaining that that’s a character from HOUSE OF 1,000 CORPSES and then explaining that that’s a Rob Zombie movie. It’s a reminder that this is, what – three horror cycles after SCREAM? But they don’t seem to have learned anything substantial from any of them. (read the rest of this shit…)
Thanksgiving
Throughout the 16 (!) years since GRINDHOUSE, there’s been talk about Eli Roth turning his fake trailer THANKSGIVING into a real movie. Now it’s finally here and the unexpected thing about it that might not have happened if he’d made it earlier (like when he was talking about it as a double feature with Edgar Wright’s DON’T) is that he didn’t repeat the grimy faux-‘80s style of the trailer. Instead he took the premise, a couple of kills and the climax and adapted them into a straight-faced, contemporary horror movie, almost like it’s the modern remake of the movie in the original trailer. And I’m thankful for that it’s sweeter than pumpkin pie How do you like them sweet potatoes? I think it was a good choice.
It’s a holiday slasher movie in the year 2023, obviously it knows you know it’s silly, but it’s acting in good faith. It’s less of a comedy than JACK FROST or MACHETE. There’s kind of a post-SCREAM feel to it but it’s ‘80s in its construction. It asks okay, if this is the slasher movie for Thanksgiving then what are the things we gotta do? Pilgrims, turkeys, corn on the cob, potato mashers? As in the trailer, it’s set in Plymouth Massachusetts, there’s a killer in a pilgrim hat, there’s a parade where a guy in a turkey costume gets beheaded, people are tied up at a table and served a human cooked like a turkey. But now there’s also a story and characters and what not. (read the rest of this shit…)
The Killer (2023)
Yeah, I know, I agree – John Woo’s THE KILLER is what we mean when we refer to “THE KILLER.” Where my KILLER tape at, etc. If we mean the Henry Silva one we say “that Henry Silva movie THE KILLER.” But now we also have to say “David Fincher’s THE KILLER.” And that’s okay. I never thought I’d be able to deal with there being two totally different Steve McQueens, but now I’m out there doing it every day. I believe we can get past this.
The title comes from Le Tueur, the name of the French comic book it’s based on. I don’t know it but it’s 13 volumes from 1998-2014, written by Matz and illustrated by Luc Jacamon. Matz (a.k.a. Alexis Nolent) also wrote Du Plomb Dans La Tete, which became Walter Hill’s BULLET TO THE HEAD. And he did another one called Cyclops that James Mangold was supposed to adapt in 2008, so that’s probly not happening anymore, but then again Fincher was first announced for this one way back in 2007. Anyway, it’s adapted by Andrew Kevin Walker, his first credited collaboration with Fincher since SE7EN, though he’s done rewrites on a bunch of them. (read the rest of this shit…)
Tiktik: The Aswang Chronicles
TIKTIK: THE ASWANG CHRONICLES is a Filipino monster movie I came across on the medium of digital video disc. The box also calls it THE MONSTER CHRONICLES: TIKTIK. I had to watch it because I noticed it was written and directed by Erik Matti, whose 2018 action movie BUYBUST I loved (it’s the closest thing to a “Filipino THE RAID” that I know of) and then I watched his excellent crime drama ON THE JOB (2013).
TIKTIK came out the year before ON THE JOB, but it was well into Matti’s career – looks like it’s his twelfth film. Though it’s not nearly as broad, it reminds me a little of some of the Hong Kong horror comedies I’ve seen, because it’s about a relationship problem and a family and then a bunch of monster shit happens at the same time.
Makoy (Dingdong Dantes) is a cocky young man from Manila who comes to the boonies of Pulupandan wearing sunglasses, smoking cigarettes, talking abrasively, offending everybody. He came to try to make up with his pregnant girlfriend Sonia (Lovi Poe) after a fight. She went to stay with her parents, who he’s never met, and when he shows up Sonia’s mother Fely (Janice de Belen) hits him with a pan and chases him off. But he later runs into her father, Nestor (Joey Marquez, ON THE JOB), who is more welcoming and brings him along to buy a pig to roast for Sonia’s birthday party the next day. (read the rest of this shit…)
Meg 2: The Trench
MEG 2: THE TRENCH is the silly followup to the silly first movie I casually enjoyed in 2018. Neither seems interested in reaching the status of “actual good movie,” which would be preferable, but both involve Jason Statham battling giant prehistoric sharks, among other dumb pleasures, so of course there is gonna be some amusement involved. And maybe it’s good to keep this kind of bullshit alive on a big screen budget. To me that’s way more fun than the SyFy Channel version.
In the first movie Statham’s character Jonas Taylor was an elite rescue diver, but this one opens with him infiltrating a boat to try to bust people for dumping radioactive waste (?). He fights some people and says some funny things to them and jumps off the boat (Statham trademark). I’m unclear what he was trying to accomplish, or if he succeeded, and I don’t believe this mission is connected to anything else in the movie. But I’m not complaining. I’m always up for a gratuitous action tangent. (read the rest of this shit…)
Boudica: Queen of War
I think it’s safe to say that Olga Kurylenko is one of our reigning Queens of Action. She’s been in the trenches for many years, in many different sizes of roles and films (HITMAN, MAX PAYNE, QUANTUM OF SOLACE, SEVEN PSYCHOPATHS, OBLIVION, THE NOVEMBER MAN, SENTINELLE, THE PRINCESS, EXTRACTION II), and she only seems to get better and better, especially when she’s headlining.
Like some of her male counterparts she has unattainable looks but such a strong screen presence she can still read as tough and/or relatable. She’s often required to portray a wider range of emotions than the fellas usually are, while also looking good kicking and stabbing and scowling. And in the tradition of Scott Adkins and others, when they finally put her in one of the big super hero movies (BLACK WIDOW) they gave her kind of a ho-hum character unworthy of her abilities. So she’s definitely one of our people. (read the rest of this shit…)
Priscilla
As a movie viewer and person interested in the topic of Elvis Presley, I feel spoiled that within a year and a half we’ve gotten two really good Elvis movies from two very distinct directors. Sofia Coppola’s PRISCILLA doesn’t feel at all redundant coming after Baz Luhrmann’s ELVIS, because the perspective and approach are so different. Adapted from Priscilla Presley’s 1985 memoir Elvis and Me, it follows her from the time she met Elvis until the time she divorced him. Most of that shit Luhrmann had to do montages about is happening off camera while she’s left at Graceland waiting for him. (Also Colonel Parker, the narrator and magical puppet master of Luhrmann’s film, is just a guy on the other side of the phone in Coppola’s.)
Cailee Spaeny (young Lynn Cheney, VICE) plays Priscilla Beaulieu, 14-year-old American girl just minding her own business in a diner on the military base in Germany where her stepfather (Ari Cohen, BRUISER, IT, MOLLY’S GAME) is stationed when a soldier named Terry West (Luke Humphrey, John Bobbit in I WAS LORENA BOBBITT) introduces himself. He says he arranges the music on the base so he’s friends with Elvis, and he could introduce her to him because Elvis misses home and likes to meet other Americans. It takes some doing, but he convinces stepdad and mom (Dagmara Dominczyk, BOTTOMS) to let the kid go to a party. (read the rest of this shit…)
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