At some point in the last decade or so the movie-discussers really latched onto the term “body horror.” They kinda act like if you can identify a movie as body horror that means it’s legit. But also when they say it they almost always mean one thing: it has some David Cronenberg-inspired New Flesh type stuff at some point. I kinda wonder how many of the people comparing any vaguely misshapen flesh to Cronenberg bothered to see his last movie, but I suppose that’s irrelevant.
THE SUBSTANCE definitely fits the category, and there are reasons to compare it to Cronenberg, but tonally, I gotta say, this is way more Frank Henenlotter and Brian Yuzna. Picture a movie that’s a descendent of SOCIETY and the BASKET CASE trilogy and makes you wonder what Screaming Mad George is up to these days, but that also boasts an acclaimed lead performance by Demi Moore, won Best Screenplay at Cannes and is distributed by MUBI. That’s what THE SUBSTANCE is.
For me it was a must-see because it’s movie #2 from Coralie Fargeat, writer/director of REVENGE (2017). It sucks that it took her 7 years to do another feature (with only the serial killer convention episode of The Sandman in between), but thankfully she struts into her delayed sophomore outing like she has diplomatic immunity. She brings along her stylish design, blood-smeared rich people homes and mythic battles between beautiful women with star-shaped earrings and awful men, but this time in a sci-fi vein and much broader, sillier and more indulgent. I’m not sure if I would’ve noticed it was 141 minutes if I didn’t know it going in, but I love Fargeat’s dedication to overdoing absolutely everything, beginning with its narratively redundant (but all the more beautiful for it) time lapse sequence about the lifespan of a star on the Hollywood Walk of Fame. (read the rest of this shit…)
INFESTED (Vermines) is a very good French giant spider movie I watched on Shudder a while back and I’m happy to recommend it for your October viewing (or otherwise). It’s a movie with tons of style, energy and personality as well as, you know, spiders. The opening has almost an INDIANA JONES, adventure movie kind of feel, as we follow a pick up truck of Arab smugglers into the desert where they smoke a swarm of rare spiders out of a hole to capture in plastic containers. These things are so deadly that when one of their crew gets bit they have to put him out of his misery with a machete, but they still pack some of them up. And one of them will end up in Paris.
As I write this there’s a terrible sickness going around. All the world’s authoritarian assholes have agreed it’s time to whip out the ol’ “immigrants are scary” cliche to rile up the dumbest motherfuckers on earth. In my country there’s a specifically idiotic one where the two sweaty goblins running on the Keep Trump Unaccountable For His Crimes ticket purposely spread a racist myth about Haitian immigrants in a specific town in Ohio, leading to weeks of chaos, harassment and bomb threats. And of course they’ve refused to apologize, doubled down on the lies, and promised to deport these (legal!) immigrants if they manage to take power again.
KNOX GOES AWAY is, somehow, the second movie I watched in a week where a professional killer is diagnosed with the fatal neurocognitive disorder Creutzfeldt-Jakob disease. In 
A sequel to BEETLEJUICE was first announced when part 1 was still in theaters. Director Tim Burton started developing it in earnest, went through a couple different ideas, it seemed like it was really gonna happen in the early ‘90s until he and Michael Keaton shifted their focus to 
A while ago I reviewed 
You bet your ass I’m gonna go see a theatrically released Dave Bautista vehicle directed by action legend J.J. Perry. THE KILLER’S GAME came out during the week I was traveling and it’s already down to limited showings but I got in there in time. I’m glad I did, but I gotta admit I can already feel it dissolving from my memory as I type this. I didn’t know it was based on a book and that it’s been in development since the ’90s (more on that later), but coming now it’s very well-worn material within the familiar Wacky Assassins mode of action filmmaking (think 
REBEL RIDGE is the latest from writer/director Jeremy Saulnier, who’s now five for five in my book. He did the gory art world satire 
I’m going on a week long trip for family stuff, so I will not be posting any new reviews next week, and possibly the week after that (depending on how fast I get rolling again). So consider this my end of summer break and/or your break from me. But I promise after I get back I’ll catch up on new releases I miss like Jeremy Saulnier’s REBEL RIDGE and Hot Topic’s BEETLEJUICE2, and hopefully I’ll get in some time to enjoy the freedom of September, when I’m out of summer mode but not fully in Halloween mode and can just review whatever random things catch my interest for a bit. Have fun everybody, be respectful, no parties, I left some money on the table to get pizza and rent videos.
STRANGE DARLING is a lower budget horror-adjacent thriller currently playing in theaters. It’s one of those movies that premiered at Fantastic Fest, it had a cryptic trailer and some buzz, so I checked it out without knowing much, and that went well for me.
