"CATCH YOU FUCKERS AT A BAD TIME?"

A Star Is Born (from director Bradley Cooper)

A STAR IS BORN, from director Bradley Cooper, is a very good adaptation of the trailer that played before every single movie I saw in a theater for the last three months. I saw that trailer so many times I would try to act it out and could sing the two songs (one with correct lyrics, even). I would get just those song fragments stuck in my head for days. So it’s exciting to discover that they have second verses.

I don’t know if it’s as good as an adaptation of the 1937 film starring Janet Gaynor and Fredric March, or the 1954 one starring Judy Garland and James Mason, or the 1976 one starring Barbra Streisand and Kris Kristofferson, or the 1998 made-for-cable one starring Brandy and Casper Van Dien, because I haven’t seen any of them and made up the last one. I have to assume it’s closest to the ’76 because actor Bradley Cooper (THE MIDNIGHT MEAT TRAIN) definitely seems to be channeling Kristofferson’s rugged country poet vibe. I even contemplated whether or not he should be allowed to play Whistler if they ever do a new BLADE. Then I realized that really the voice he’s doing is Sam Elliott, so I was delighted when the actual Sam Elliott (ROAD HOUSE) showed up, playing his older brother/road manager. I wondered if that was awkward between the two actors, and then I found a Good Morning America interview where Elliott says Cooper (THE MIDNIGHT MEAT TRAIN) warned him “this is gonna be a little weird” before playing him a tape of the voice he was working on. “And it was a little weird.”

What if Elliott hadn’t been available? If they ended up casting, like, Don Johnson or Willem Dafoe or somebody, would they have to imitate Sam Elliott too? (read the rest of this shit…)

November 12th, 2018 | 28 Comments »

Heavy Metal Massacre

I’d like to end this not-as-rockin-as-I’d-hoped Slasher Search Rocks! mini-series with an extreme obscurity I never could’ve seen if not for the maniacs at Bleeding Skull! Video, who for some reason love shot-on-VHS movies. Though “never distributed properly on home video” (the director just sold it through ads in the back of heavy metal magazines), Bleeding Skull! gave HEAVY METAL MASSACRE (1989) a limited edition 250 copy, VHS only re-release in 2016.

This is the mostly-filler-about-a-killer story of an unnamed (as far as I noticed) loner who looks like he could be in Poison with his long, bleach blond, meticulously teased hair and studded bracelets and what not. He goes to one small brick wall bar where he picks up big-haired leather-jacket-wearing women. He sometimes uses the promise of cocaine, but very few words, and when he does talk it’s more of a working joe kinda voice than I expected to come out from behind that makeup.

He brings them to his place, which is one small room full of posters, but it supposedly connects to a series of industrial hallways and garages where he takes them to handcuff them up and then hit them with a sledge hammer.

Despite the overall ickiness of it it’s not very graphic at all – not much in the way of FX. (read the rest of this shit…)

November 8th, 2018 | 19 Comments »

Strictly Bozness: The Fiery Majesty of STONE COLD

Another one from the Vern Vault: I have written about STONE COLD many times, but this was the only time I thought to title it STRICTLY BOZNESS. Originally posted October 15, 2015 on One Perfect Shot.

STRICTLY BOZNESS: THE FIERY MAJESTY OF ‘STONE COLD’

There is a certain type of action movie I love where it’s more important to be awesome than grounded; where the knowing use of cliches, absurd physics and extreme exaggeration are part of the agreement between the film and the audience. These are movies that are almost impossible to truly make fun of, because their ridiculousness is not a drawback, even when it’s an accident. They make you laugh but you’d be lying if you said you were only enjoying them ironically. Classics of this type include Schwarzenegger’s COMMANDO, Van Damme’s HARD TARGET and Seagal’s HARD TO KILL. (read the rest of this shit…)

November 7th, 2018 | 20 Comments »

The Black Klansman (1966)

Spike Lee’s BLACKkKLANSMAN is out on video today. Back when I saw it in the theater it made me curious about the 1966 movie of the almost same title. THE BLACK KLANSMAN was also released as I CROSSED THE COLOR LINE, and it’s from exploitation director/mustache aficionado Ted V. Mikels (THE ASTRO-ZOMBIES, THE CORPSE GRINDERS, BLOOD ORGY OF THE SHE-DEVILS, THE DOLL SQUAD, ANGEL OF VENGEANCE, APARTHEID SLAVE: WOMEN’S JUSTICE, PARANORMAL EXTREMES: TEXT MESSAGES FROM THE DEAD, etc.)

It all starts when a young black man in Turnerville, Alabama, fed up with the bullshit, decides to exercise his right to go into a still-segregated coffee shop and order some coffee. The white customers stare, then insult him, then all get up and storm out. That night the Klan – led by one of the guys who was in the restaurant – murder him, then firebomb a black church, killing a little girl. She was the daughter of Jerry Ellsworth, a singer in L.A. He’s introduced showing up late to his job at the club because, he claims, he was out heroically helping people during the riots (not pictured). (read the rest of this shit…)

November 6th, 2018 | 4 Comments »

Suspiria (2018)

SUSPIRI… uh…

Luca Guadagnino’s SUSPIRIA (2018) is technically a remake of Dario Argento’s SUSPIRIA (1977), because it’s about an American named Susie Bannion going to a dance academy in Germany in 1977 where other students are turning up dead and weird shit is happening because it’s run by a coven of witches led by Mother Suspiriorum, The Mother of Sighs. But don’t expect to see any of the things you think of when you think of SUSPIRIA, like the colorful lighting, the maggots dropping from the ceiling or that room full of razor wire. Guadagnino (CALL ME BY YOUR NAME) doesn’t use the same look or any specific scenes or story points, he just plays with the basic idea. Now there’s more intra-coven political stuff going on, as well as news coverage of Baader-Meinhof bombings and the hijacking of Lufthansa Flight 181 by the Popular Front for the Liberation of Palestine, and a subplot about an old therapist looking for a patient who disappeared after telling him the school was run by witches, and also his wife (played by o.g. Susie Bannion Jessica Harper) disappeared during the war and he keeps thinking about her, and…

I mean it’s 52 minutes longer than the original so there’s alot more stuff going on. It bills itself as “Six Acts and an Epilogue in a Divided Berlin” (spoiler: actually should be Six Acts, an Epilogue, and a Brief, Uneventful Tag Near the End of the Credits). I appreciated the act breaks. (read the rest of this shit…)

November 5th, 2018 | 75 Comments »

CANDYMAN and the racial divide

FROM THE VERN VAULT: Don’t worry friends, I’m not about to start doing reruns all the time, but there are two pieces that were written for One.Perfect.Shot that disappeared after they were bought out by Film School Rejects. Prompted by Rumsey Taylor I located them on Internet Archive and I’m reposting them for posterity.

Maybe I’m full of it but it seems to me this piece from October 26th, 2015 was a little ahead of the curve. At the time I knew of no one else who considered CANDYMAN the best horror movie of the ’90s and I didn’t think people talked enough about its exploration of the legacy of slavery in America. I’m proud of this as well as my 2005 take on the movie. (It’s not dangerous until I review it five times, is it?)

P.S. I am responsible for the headline but that term “the racial divide” bugs me now – I wish I called it “WE’RE NOT COPS – WE’RE WITH THE UNIVERSITY.”

‘CANDYMAN’ AND THE RACIAL DIVIDE: WHY ONE OF THE BEST HORROR FILMS OF THE 90S IS EVEN MORE RELEVANT TODAY

“These stories are modern oral folklore. They are the un-self-conscious reflection of the fears of urban society.” –urban legends lecture by Professor Lyle (Xander Berkeley)

“What if a person had this thing done to him and what if he had the opportunity to come back and say, ‘Watch out!’ to the world that created this person and the conditions?” –Tony Todd to Fangoria Magazine, March 1995

American horror movies have played off of all manner of primal and societal fears: tensions between social classes, the invasion of the sanctity of the home, the dangers of trespassing in forbidden places. But leave it to a couple of British artists – writer/director Bernard Rose and executive producer/short story author Clive Barker – to explicitly tie those themes to the racial atrocities of our history, creating a truly American horror story. (read the rest of this shit…)

November 1st, 2018 | 14 Comments »

The Texas Chain Saw Massacre

I think this was the cover art when I first fell in love with THE TEXAS CHAIN SAW MASSACRE

Happy Halloween, everybody! As is sometimes my tradition, I have managed to do a write-up of one of my all time favorite movies that I haven’t done an official piece on. In 2016 I finally got the balls to do THE THING, and in 2017 I did INFERNO. I guess when I did DAWN OF THE DEAD it was a month after Halloween, but that’s the type of review I’m going for here.

One Halloween I just compared the Fresh Prince unofficial Freddy Krueger song to the official Fat Boys one. You can only do that once though I think.

These reviews of the classics are intimidating because there’s such a risk of saying the same shit that’s already been said, but I’m tired of linking to my Ain’t It Cool News review of a DVD release every time I mention it, which is inconvenient when I seem to compare half the movies I watch to THE TEXAS CHAIN SAW MASSACRE. I remember I even compared the Kathryn Bigelow racism drama DETROIT to it. Incidentally, even though I’ve been thinking about HALLOWEEN movies all month the world is feeling more TEXAS CHAIN SAW to me these days.

In other words, be warned: this is one of the ones where I relate the movie to the politics of today, so if you hate that, please don’t read, and go have a happy Halloween. If not, please do read, then have a happy Halloween.

* * *

THE TEXAS CHAIN SAW MASSACRE. One of the greatest horror movies since they started makin’ ’em. Not sure if I’ve mentioned that before, but it’s true.

It’s a movie that has grown on me and with me. When I first saw it I was probly 13 and I thought it was dumb. Just some crappy footage of a dude chasing people around in the dark. I was a Freddy guy. Saw it again in my twenties and it became pretty much my favorite movie. Back then it was VHS (not sure if it was even letterboxed) and I really believed that the raw quality of the footage was part of its magic. That it felt like a documentary, one made by crazy people.

After believing that for years I got that remastered edition that Dark Sky Films released, the one in the steel case (which I took these screengrabs from). It looked so much cleaner I wasn’t sure if I should accept it at first. Now I watch the way-more-pristine-than-that Blu-Ray and I love the movie even more as the controlled, artful craftsmanship it had always secretly been. For the moment, forget “drive-in” or “grindhouse” and think “great American film of the ’70s,” even if it’s all of those things. (read the rest of this shit…)

October 31st, 2018 | 28 Comments »

Absurd

a.k.a.
ROSSO SANGUE
HORRIBLE
ZOMBI 6: MONSTER HUNTER (!?)

ABSURD is a pretty standard Italian take on a HALLOWEEN-ish slasher plot – outrageous gore, decent Goblin-esque prog-rock score by Carlo Maria Cordio (PIECES, MIAMI COPS, CURSE II: THE BITE, TROLL 2), thin characters, lots of boring scenes of people standing around dryly talking about what’s going on, crazy ending.

It begins with two men running: a priest (Edmund Purdom, the dean in PIECES) and a bearded Ron Silver looking guy in jeans and a manly belt buckle (George Eastman, EROTIC NIGHTS OF THE LIVING DEAD, STAGEFRIGHT). The bearded guy climbs over a tall wrought iron fence and shows up on some rich people’s doorstep with a big glob of intestines dripping out of a belly wound. (read the rest of this shit…)

October 30th, 2018 | 12 Comments »

Slumber Party Massacre III

SLUMBER PARTY MASSACRE III is less crazy than part II, and has less going on thematically, but to me it was a little more fun to watch this time through. I don’t think this one is connected by any characters, though the killer has a backstory that I didn’t quite follow, so maybe there’s something there.

Like the other two SLUMBER PARTY MASSACREs, this is directed by a woman, Sally Mattison this time. This was her only time directing – she was a casting director and associate producer for Concorde, including for BLOODFIST and SILK 2. Screenwriter Catherine Cyran (credited as “Bruce Carson”) also wrote BLOODFIST II, FUTURE KICK and HONEY 3: DARE TO DANCE. As a director she’s responsible for three sequels in the THE PRINCE & ME franchise, among other things. (read the rest of this shit…)

October 29th, 2018 | 4 Comments »

The Shape of Evil: confronting darkness through the ‘Halloween’ series

A new publication called Drugstore Culture recruited me to write some stuff for them, so over the past month or so I rewatched the entire HALLOWEEN series (including the two Rob Zombie ones) and wrote about it as a whole.

This is pretty different from my usual approach. I tried to dig non-judgmentally into the symbols of each chapter (even RESURRECTION!) to find deeper meaning we can apply to our current world or to things I’ve been going through in my life. I was surprised how much I found in III and 6, actually. It’s kind of a weird piece I think but perhaps obsessive in an unusual way, and hopefully some of you will like it.

By the way, I filed this before seeing the new one, so the bad news is I should’ve added a few lines about it, the good news is there are no spoilers for that particular one. Just ten other movies.

READ “THE SHAPE OF EVIL: CONFRONTING DARKNESS THROUGH THE ‘HALLOWEEN’ SERIES” ON DRUG STORE CULTURE

UPDATE:

They ran out of money before paying me and the websight isn’t even there but here it is on archive.org:

https://web.archive.org/web/20190121034337/https://drugstoreculture.com/halloween-movies/

 

October 26th, 2018 | 16 Comments »

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