SHE IS CONANN, original title CONANN, is the recently-released-on-disc third film from French director Bertrand Mandico. I previously reviewed and loved his second film AFTER BLUE (DIRTY PARADISE), which I described as being a little bit like if Alejandro Jodorowsky made BARBARELLA. This one is sort of Mandico’s take on Robert E. Howard’s Conan. Very sort of. But the Jodorowsky comparison is even stronger here – it reminded me of the full range from FANDO Y LIS to HOLY MOUNTAIN. This is a crazy one.
Some (including Wikipedia) have described CONANN as “a feminist take on CONAN THE BARBARIAN,” which honestly sounds wonderful, but I don’t think it’s very accurate. Though obviously alluding to the famous barbarian, I don’t see how you can possibly take it as an adaptation of those stories or a genuine attempt at participating in the sword and sorcery genre. It merely brushes against some of that iconography as it leaps out into the cosmos. I laughed when I saw the angry IMDb user reviews – one was titled “Content Fails to Connect to Source material” – because obviously they went in expecting something from the title and couldn’t adjust their take when it turned out it was something else. But I’m not one to talk. I was pretty annoyed at Jean-Luc Godard using Richard Stark’s The Jugger as the supposed basis of MADE IN U.S.A.(read the rest of this shit…)
You know, ever since at least THE NICE GUYS, the world has gotten to fall in love with funny Ryan Gosling. He’s a favorite SNL host, he was unmatchable in BARBIE, it looks like he’ll be fun in THE FALL GUY. Even though he’s done serious broody guy movies in between (BLADE RUNNER 2049, FIRST MAN) I think of him as that funny guy now. And sometimes I forget that’s maybe the third or fourth incarnation of Gosling.
I never knew of him in chapter 1, Canadian Child Star Ryan Gosling, but yeah, in the ‘90s he was on The All-New Mickey Mouse Club, he was on episodes of Kung Fu: The Legend Continues and Goosebumps, and did you know he played the title role in a spinoff of Hercules: The Legendary Journeys called Young Hercules? Lasted one season. Otherwise the career went better than Old Hercules.
After the turn of the millennium he was reborn as Adult Actor Ryan Gosling. I never saw THE BELIEVER, but it gave him a grown up career. He did various respectable indies, but he blew up so big in THE NOTEBOOK that there’s arguably a separate chapter of Heartthrob Ryan Gosling.
From director Ryan Gosling
Admittedly I was a late adopter, I didn’t really start paying attention until Quiet Tough Guy Ryan Gosling was unleashed in DRIVE and continued in THE PLACE BEYOND THE PINES and ONLY GOD FORGIVES. It was during that period, in 2014, that he made his writing/directing debut, LOST RIVER, which is in kind of a similar dreamy dark art movie vein. (read the rest of this shit…)
When I first encountered the trailer for INFINITY POOL I spotted Mia Goth, who gave one of my favorite performances last year in PEARL, so I knew I would be seeing it. Then I noticed Alexander Skarsgård, star of one of my other favorite 2022 movies, THE NORTHMAN. And at the end I learned it was the new one from writer/director Brandon Cronenberg, whose 2020 film POSSESSOR really knocked me on my ass, so this was a first show opening day kind of deal for me. And it lived up to my hopes.
It’s the story of novelist James Foster (Skarsgård, 13, BATTLESHIP, THE LEGEND OF TARZAN, GODZILLA VS. KONG) and his wife Em (Cleopatra Coleman, STEP UP REVOLUTION, IN THE SHADOW OF THE MOON) on vacation at a resort in the exotic foreign land of Latoka. It’s a beautiful place on the sea, but it’s creepy – fenced off with guards, tourists aren’t allowed to leave, so the closest thing to visiting the locals is going to restaurants in the resort’s fake downtown area. James is already thinking he was an idiot to believe this trip could break his six year lack of inspiration since publishing his one obscure and poorly reviewed novel. (read the rest of this shit…)
Holy shit you guys, I never really thought I’d see EGGSHELLS! It’s the weird psychedelic movie Tobe Hooper made in 1969 – five years before THE TEXAS CHAIN SAW MASSACRE. According to Hooper it only really played about fifty times, and only in Texas. It had never been on video until 2013, when it was included as a bonus disc for Arrow’s Region B limited edition of THE TEXAS CHAINSAW MASSACRE 2. I didn’t know about it in time to get it.
But recently a copy of that disc was donated to the collection of Scarecrow Video, so I checked it out. It’s a beautiful restoration and the disc includes a Hooper commentary track, which I’m glad I listened to, because it sure gave me a better idea what was supposed to be going on. You wouldn’t necessarily know this was the work of a future Master of Horror, because it hadn’t yet occurred to him that the horror genre was a good hook to get your movie played in drive-ins. There’s possibly a supernatural force in it, but it’s not used for scares – just trippiness, I’d say. (read the rest of this shit…)
Friends, I am here to announce that I have officially transitioned from guy who intellectually respected and sort of liked THE WITCH to card carrying Robert Eggers Fan Club member and honorary district captain. The dominos that fell were first viewing of THE NORTHMAN —> second viewing of THE NORTHMAN —> second viewing of THE WITCH —> finally getting it together to watch THE LIGHTHOUSE. Eggers has a unique style and approach and I’m tuning more and more into his frequency. This one is interesting because it’s clearly the work of the same director, except his sophomore movie here has some humor in it. Actual laughs. And I’m not counting the farts.
The time and location for this one is 1890s New England, on a tiny lighthouse island, and mostly inside the lighthouse. Ephraim Winslow (Robert Pattinson, THE ROVER) is a young rookie contractor just starting a four week gig as a lighthouse keeper with veteran “wickie” Thomas Wake (Willem Dafoe, LIGHT SLEEPER, SPEED 2). The style is black and white, square 1.19:1 aspect ratio, appropriate for a movie set in a claustrophobic vertical structure. I’d seen pictures and it looks so old-timey with Pattinson’s giant mustache and Dafoe’s upside down pipe that I pictured it as one of those stylized retro movies mimicking old silent film techniques. But no, it’s all very raw, filmed largely in remote locations with harsh climates, and a lighthouse they constructed. Looks fuckin stunning. (read the rest of this shit…)
Just as the Weird Summer of 1992 was wrapping up, New Line Cinema gave us arguably the season’s weirdest wide release. Sure, it played half as many screens as its fellow August 28, 1992 releases HONEYMOON IN VEGAS, PET SEMATARY II and FREDDIE AS F.R.O.7., but I think it’s fair to call it mainstream. There was awareness, it was based on a recently popular TV show, and it at least opened bigger than FREDDIE. As far as per screen averages it came in 4th place for the weekend.
TWIN PEAKS: FIRE WALK WITH ME is, of course, David Lynch’s big screen prequel to his pop-culture-phenomenon TV series Twin Peaks. I’ll get into my history with the show later, but for now I’ll just note that I’m unfamiliar enough that I watched this as pretty much an outsider, looking at it almost as a stand alone movie.
And at first it really does fit into the indie releases of ’92 – it makes sense as a contemporary of NIGHT ON EARTH, ONE FALSE MOVE, RUBIN & ED, and JOHNNY SUEDE. It tells the story of FBI Regional Bureau Chief Gordon Cole (David Lynch, ZELLY AND ME) teaming up stoic veteran Special Agent Chester Desmond (Chris Isaak, MARRIED TO THE MOB) and nerdy bow tie wearing rookie Sam Stanley (Kiefer Sutherland, RENEGADES) to investigate the murder of a teenager named Teresa Banks (Pamela Gidley, CHERRY 2000, HIGHWAY TO HELL) in the small town of Deer Meadow, Washington. (read the rest of this shit…)
TITANE is the ferociously unbridled, Palme d’Or winning second film from RAW director Julia Decournau. It’s bizarre and it’s intense and if you’ve heard anything about it you probly heard about an outlandish thing involving a motor vehicle that happens early in the movie. But regardless, if it’s something you’re expecting to see I recommend not reading anything about it, including this review, until afterwards.
If you should be turning back but haven’t yet, here’s the vague version. I’ve seen it called a horror movie, but it fits existing horror templates considerably less than even RAW did. I would describe it as more like a relationship drama in a surreal world, with a lead character who is intensely flawed, strange, and yet human. It has that transgressive non-literal adult situation that the Bible would be against had the technology existed at the time, some horrific violence, and some nightmarish violations of existing biological function. (I think the term “body horror” has become too much of a cliche so I’m trying to come up with new ways to say it when necessary.) But it settles down (sort of) into a story about extremely broken people finding each other and the miracle of unconditional love.
Seriously, just go watch the movie because if you don’t I’m about to ruin it by giving you the plot in the form of a TV Guide listing. (read the rest of this shit…)
It used to be that August was a time for studios to release a bunch of movies they thought were bad or didn’t have high expectations for. You know, they release ROBIN HOOD: PRINCE OF THIEVES and T2 early in the summer, hoping young people and families will go repeatedly throughout the summer. Once it gets closer to school starting up again there’s less chance for that, so that’s why in the year in question we were seeing weird rooster cartoons and weird dog cartoons and weird dog live action movies and weird Mickey Rourke movies.
Many things in the world of pop culture were shifting that month. While on the Lollapalooza tour, long-time goth fixtures Siouxsie and the Banshees actually actually made it onto the Billboard charts for “Kiss Them For Me.” (By the next summer they’d have a song in a Batman movie.) Pearl Jam released their first album. LaKeith Stanfield was born. But also Bryan Adams’ “Everything I Do” love theme from ROBIN HOOD was still the #1 song!
This particular August ended with kind of a whimper – CHILD’S PLAY 3 (still the weakest Chucky movie four sequels later) was released on the 30th. But I thought I should end this review series on the August 21, 1991 release that happens to be one of the weirdest but also best regarded movies of the season. If I had to compare it to another ’91 movie I’d have to say it reminds me most of THE DARK BACKWARD, of all things. Well, and I case some fire stunts reminded me of BACKDRAFT. But those are stretches. This one stands alone. (read the rest of this shit…)
TAKING TIGER MOUNTAIN – not to be confused with Tsui Hark’s THE TAKING OF TIGER MOUNTAIN – is a surreal post-apocalyptic experimental black and white art film, shot in 1975, screened in 1983, and never released on video until Vinegar Syndrome’s recent blu-ray. It’s most notable as the first performance by the late great Bill Paxton, who is the lead as well as the production designer.
Like many people, I’m sure, I most associate Paxton with his funny whiny guy roles, especially Hudson in ALIENS. Game over, etc. And he stayed strongly associated with James Cameron as not only the lead in the present day section of TITANIC, but the real life friend who told Cameron, emerging from an actual expedition to the Titanic wreckage, about the 9-11 attacks (as seen in the Imax documentary GHOSTS OF THE ABYSS). They both came out of the Roger Corman school – Paxton worked as a set decorator on EAT MY DUST, BIG BAD MAMA and GALAXY OF TERROR, where the two first met. Though we all know Paxton ended up making it as both a leading man in blockbusters and a reliable character actor, remember that he directed the 1980 novelty music video “Fish Heads,” the 2001 supernatural religious thriller FRAILTY, and the 2005 golfing drama THE GREATEST GAME EVER PLAYED. He was a filmmaker. But as a 19 year old working as a set dresser for the educational films of Encyclopedia Brittanica Features he befriended director Kent Smith (writer: MASSAGE: THE TOUCH OF LOVE; composer: VENEREAL DISEASE: THE HIDDEN EPIDEMIC), who thought he’d make a good star for an independent movie. (read the rest of this shit…)
I’m not too well-versed in the films of Gaspar Noe. I still haven’t seen his early films like I STAND ALONE and IRREVERSIBLE that gained him a following and a reputation as a nihilistic wipe-your-nose-in-it gloom merchant. I have seen ENTER THE VOID, which taught me that he’s also a great stylist with incredible technical mastery in the area of long takes and seemingly impossible camera moves. I knew this one also had dancing, so I checked it out.
Here’s my pitch: STEP UP 3 meets mother! on acid. Literally on acid – it’s about a French dance troupe having a party in an empty school building and realizing somebody dosed the sangria. Everybody gradually goes from joyfully celebrating their progress on a new routine to getting paranoid, agitated and violent. The few who didn’t drink it are suspected of spiking it, and become targets for the others. Everybody is trying to fuck everybody else while also trying not to be fucked by everybody else. It turns into a dark, horny fever dream where the rooms keeping getting darker and redder and the camera more disorienting, eventually even upside down (shout out to the massage parlor robbery scene in TOO MANY WAYS TO BE NO. 1). I noticed that there was a whole lot of screaming and wigging out, but actually didn’t catch that 42 minutes of it was one unbroken take. (read the rest of this shit…)
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SHE IS CONANN, original title CONANN, is the recently-released-on-disc third film from French director Bertrand Mandico. I previously reviewed and loved his second film AFTER BLUE (DIRTY PARADISE), which I described as being a little bit like if Alejandro Jodorowsky made BARBARELLA. This one is sort of Mandico’s take on Robert E. Howard’s Conan. Very sort of. But the Jodorowsky comparison is even stronger here – it reminded me of the full range from FANDO Y LIS to HOLY MOUNTAIN. This is a crazy one.
You know, ever since at least 
When I first encountered the trailer for INFINITY POOL I spotted Mia Goth, who gave one of my favorite performances last year in 
Holy shit you guys, I never really thought I’d see EGGSHELLS! It’s the weird psychedelic movie Tobe Hooper made in 1969 – five years before 
Friends, I am here to announce that I have officially transitioned from 
Just as the Weird Summer of 1992 was wrapping up, New Line Cinema gave us arguably the season’s weirdest wide release. Sure, it played half as many screens as its fellow August 28, 1992 releases 
And at first it really does fit into the indie releases of ’92 – it makes sense as a contemporary of 
TITANE is the ferociously unbridled, Palme d’Or winning second film from 
Many things in the world of pop culture were shifting that month. While on the Lollapalooza tour, long-time goth fixtures Siouxsie and the Banshees actually actually made it onto the Billboard charts for “Kiss Them For Me.” (By the next summer they’d have a song in a Batman movie.) Pearl Jam released their first album. LaKeith Stanfield was born. But also Bryan Adams’ “Everything I Do” love theme from ROBIN HOOD was still the #1 song!
TAKING TIGER MOUNTAIN – not to be confused with Tsui Hark’s THE TAKING OF TIGER MOUNTAIN – is a surreal post-apocalyptic experimental black and white art film, shot in 1975, screened in 1983, and never released on video until Vinegar Syndrome’s recent blu-ray. It’s most notable as the first performance by the late great Bill Paxton, who is the lead as well as the production designer.
Like many people, I’m sure, I most associate Paxton with his funny whiny guy roles, especially Hudson in 
I’m not too well-versed in the films of Gaspar Noe. I still haven’t seen his early films like I STAND ALONE and IRREVERSIBLE that gained him a following and a reputation as a nihilistic wipe-your-nose-in-it gloom merchant. I have seen 
