SUITABLE FLESH is the latest from Joe Lynch, a director who has a certain credibility in my book because his debut was a DTV sequel. I was mixed-positive on WRONG TURN 2: DEAD END (2007) and wrote some things in the review that I now consider out of line, but I definitely respect its joyful spirit toward sequelizing and in many ways outdoing a studio movie I really wasn’t that into. Since then Lynch has directed a comedy that got taken away from him, the Salma Hayek action vehicle EVERLY, the gory outbreak-in-an-office-building movie MAYHEM (which I liked but apparently didn’t review) and the Frank Grillo/Anthony Mackie car chase buddy movie POINT BLANK. But now he’s returned to horror with a sacred task: to manifest an unfinished project of the late great Stuart Gordon.
I didn’t realize it from the name, but it’s one of those unfulfilled ambitions we read about for years – here’s an example of Gordon talking it up while promoting STUCK in 2008, but using the title of the H.P. Lovecraft story it’s based on, “The Thing on the Doorstep.” The script is by Gordon’s regular collaborator Dennis Paoli (RE-ANIMATOR, FROM BEYOND, THE PIT AND THE PENDULUM, CASTLE FREAK, DAGON) and it’s produced by RE-ANIMATOR/FROM BEYOND/CASTLE FREAK star Barbara Crampton. (read the rest of this shit…)
BILL & TED’S EXCELLENT ADVENTURE (1989) is one of those beloved comedies you take for granted. I hadn’t seen it in 20+ years, so I was kinda afraid it might not hold up. It’s kind of hard to put your finger on why it works so well, and it would be hard to explain why it’s funny if somebody asked. I’m not sure if you had to be there or not.
GRAND PIANO is a tight little thriller, the kind of thing I would have to call snappy, crackling, popping or perhaps krispy if I had the vocabulary. It’s a cool premise, well-executed, and then it gets the fuck out in around 80 minutes not including credits. And get this: it’s THE PIANO on speed! Picture that. Great idea, right?
As you know I can enjoy a good neo-noir type picture every once in a while. It’s almost not fair to include THE MAN WHO WASN’T THERE in this pantheon because it’s so spectacular and successfully retro that it makes the other ones look kinda lame. But other than that one it’s been a while since anyone succeeded at the modern film noir. I guess most independent filmatists trying to start out with a low budget crime movie have moved on from trying to make a BLOOD SIMPLE or a RED ROCK WEST to trying to make a RESERVOIR DOGS and then a PULP FICTION and then a LOCK, STOCK AND ET AL.
