I’ve written about CUJO before, but that was 15 years ago. Since there aren’t that many horror movies in this summer of ’83, it seemed worth revisiting now. Cujo the book was formative to me because I read it when I was in third grade. It might’ve been my first Stephen King book, maybe even my first horror book besides Scary Stories to Tell in the Dark and Alfred Hitchcock short story collections. The part I remember vividly, of course, is something about Donna’s sex life with Steve. That seemed grown up and mysterious. The dog attacking people just seemed cool.
The movie wasn’t as important to me, and though I saw it on VHS at some point it wasn’t until rewatching it for that 2008 review that I realized it’s a real gem. It’s a movie everyone knows about but I’m not sure it’s held in as high of regard as I think it deserves. It’s a simple movie with very strong execution, and some of the elements involved (killer dog, tiny kid, limited location) are of a high enough degree of difficulty that there aren’t many other movies to directly compare it to. (read the rest of this shit…)
This year I celebrated Halloween by taking the day off of work and watching a witch-themed triple feature. This is not something I ever thought I’d do, because I’ve always had that issue with historical witch movies where it kinda bothers me to pretend there’s a such thing as witches, since that’s the superstitious bullshit that real life tyrants used as an excuse to torture and murder many innocent people in this country and elsewhere. But there were a couple witch-related movies I’d been thinking I’d like to rewatch, and at the same time I’d been thinking about my late mother, who loved to dress as a witch every Halloween. She painted her face green and glued on a warty latex nose with spirit gum. Some of the younger kids in the neighborhood were terrified of her, but she got a kick out of it. So I dedicate this witch-a-thon to her.
I chose to view them in order of when they take place: first Rob Eggers’ THE WITCH (1630s), then George A. Romero’s SEASON OF THE WITCH (1970s), and finally Robert Zombie’s THE LORDS OF SALEM (twenty-teens). (read the rest of this shit…)
ALLIGATOR II: THE MUTATION is a surprisingly decent sequel – especially considering it was made for TV! It didn’t register as that when I was watching it (and there does seem to have been some sort of limited theatrical release), but an article that I found in my Fangoria collection while researching T2 quotes director Jon Hess (THE LAWLESS LAND, WATCHERS) as saying “more or less, it was made for ABC-TV.” Fangoria’s David Szulkin speculates that may be because “despite its nonperformance at the boxoffice, ALLIGATOR placed in the top 20 for network airings of theatrical films the year it first aired, outdoing such broadcast premieres as CLOSE ENCOUNTERS OF THE THIRD KIND.” But Hess maintained that returning producer Brandon Chase (THE SWORD AND THE SORCERER) was “a really strong independent producer, so ABC wasn’t looking over our shoulder, examining all the dailes. We shot on a very tight schedule with a feature sensibility, but at the same time, we knew we were going to hand the film in to ABC.”
Now that I think about it there’s not as much gore or especially sex as you would normally get in a ‘90s horror sequel, but like SOMETIMES THEY COME BACK earlier in the summer it has enough severed limbs to throw you off the TV movie scent. More importantly it has a real Larry Cohen sort of indie horror feel to the type of actors and characters that show up, giving it a personality that’s at least in the spirit of the original. (read the rest of this shit…)
Let me give you a behind the scenes on the making of this review series: I had been meaning to revisit HEAVY METAL for a million years, and one day when I had kind of an itch for that weird vibe of early ‘80s animated fantasy I finally did it. Then I thought hey, I should also watch AMERICAN POP again, that would make a good review pairing. And then I thought hey, I’ve always wondered what was up with that ROCK & RULE movie, it could be a series. And then late in the game I thought “Oh shit, that would be funny to end on ROCK-A-DOODLE! I finally have a reason to watch ROCK-A-DOODLE!”
Obviously this one is really different than the others. It turns out it’s not much about rock ’n roll, and I already knew it wasn’t trying to be adult or edgy like the other ones. That’s not why I skipped it in 1991 – I wasn’t opposed to watching G-rated animation. It was the year of ROVER DANGERFIELD, after all! Just kidding, I didn’t watch ROVER DANGERFIELD. Until later. But BEAUTY AND THE BEAST was that year and it was nominated for best picture, so this was pretty much the exact moment in the U.S. when the “adults don’t watch animation” attitude was starting to get pushed back.
It’s directed by Don Bluth, mentioned previously in this series as one of the Disney-influenced alternatives to Disney in the ‘80s. In fact, he was an offshoot: starting as an assistant animator and moving up to directing animator, he worked on SLEEPING BEAUTY, THE JUNGLE BOOK, ROBIN HOOD, THE MANY ADVENTURES OF WINNIE THE POOH, THE RESCUERS, PETE’S DRAGON and THE FOX AND THE HOUND. But later in that run he felt so strongly that the Disney movies weren’t living up to the classical animation legacy of Walt and the generation of artists he’d learned from that he and some of the other animators gathered at his house in their off hours to make an independent short, Banjo the Woodpile Cat, from an idea that the studio had rejected. (read the rest of this shit…)
THE HILLS HAVE EYES is not my favorite Wes Craven movie, but in a certain sense it’s one of his purest. It has that LAST HOUSE ON THE LEFT maniac-college-professor vibe – another raw, seedy gut-punch of a drive-in movie layered with completely sincere themes and social commentary. And it’s a little more fantastical than LAST HOUSE, with less straight up degradation, so I don’t feel as ashamed for liking it.
Instead of a gang of criminals we have a literal tribe of modern primitives – the wicked spawn of Papa Jupiter (James Whitworth, THE CANDY SNATCHERS), born “40 pounds and hairy as a monkey” in Nevada, mutated by nuclear tests and the nearby Air Force gunnery range, grew to adult size too fast, burned down his parents’ home, his dad split his face open with a tire iron and left him in the desert to die, but he survived in the hills and kidnapped some poor prostitute (Cordy Clark) “to raise a passel of wild kids” with. They wear animal parts and pieces of junk as trophies, and like the buzzards in the sky they stay above, keeping watch below, waiting to see what the highway brings them. (read the rest of this shit…)
The psychotic Firefly clan – introduced in Rob Zombie’s HOUSE OF 1000 CORPSES (2003) and made more vivid in THE DEVIL’S REJECTS (2005) are finally back in 3 FROM HELL, another mix of sun-soaked fugitive murder spree and stylized cartoon that’s at least a little bit of a comeback for Zombie after the crowd-funded 31 (2016). That one had nice cinematography and performances but it was such a limp “I guess this is the kind of shit you expect from me?” greatest hits throwaway I couldn’t even muster the enthusiasm to write a review.
Since 3 FROM HELL is not as good as REJECTS, and not as big of a leap from its previous chapter, it doesn’t feel entirely necessary. And that makes it harder to ignore the hollowness of these movies. As far as I can tell they’re not saying much, just trying to be provocatively inappropriate, and they’re less about human beings than about Zombie’s fetishes: weird clowns, redneck chic, tattoos, bushy beards, satanic symbols, Manson Family nostalgia, ’70s rock montages, kitschy western gear over cheeky retro-t-shirts, black and white monster movies playing on old TVs. But I can appreciate most of that stuff, so I can enjoy an occasional dip into Zombie’s distinct mix of uncomfortably fucked up shit, cool visuals, some laughs and some stretches where you realize you’re too invested in these terrible people and feel like an asshole. (read the rest of this shit…)
RED CHRISTMAS is new holiday horror courtesy of Australia. I saw Dee Wallace’s name on the cover and I assumed, quite reasonably I think, that she’d have a small part but was the only big name person to sell the movie. Turns out she is legitimately the lead, and gets to be a full-on heroine who faces off with a deranged killer and also with the lingering memories of traumatic decisions made in her past. She takes charge and barks orders and in a stand out scene she has to tearfully assure her adult son with Down syndrome that she still loves him while she’s creeping through a dark house with a rifle. This is a good role for her!
It’s also a really interesting movie that does enough that’s right and/or unusual to make up for its obvious flaws. Yeah, the opening abortion protest is phony as hell, some of the digital cinematography during daylight is too clean and cheap looking, the family arguments that come up sometimes feel forced and inauthentic, its point-of-view on the touchy subjects it brings up is incoherent enough that it ultimately feels like button-pushing provocation. But in my opinion horror movies are sometimes allowed – even encouraged – to make you feel uncomfortable and maybe a little offended. It’s part of the deal. (read the rest of this shit…)
a survey of summer movies that just didn’t catch on
It was July 19, 1996, and there were four new movies in theaters: the action movie with Laurence Fishburne, the genie movie with Shaquille O’Neal, the clone movie with Michael Keaton, and the ghost movie with Michael J. Fox. That last one did the best of the batch, but more people went to see previous releases INDEPENDENCE DAY, PHENOMENON, COURAGE UNDER FIRE and THE NUTTY PROFESSOR.
Not that surprising. Normal people didn’t know what the hell THE FRIGHTENERS was, or have any reason to give it much thought. Universal couldn’t make that big a deal about BACK TO THE FUTURE’s Marty McFly reuniting with Robert Zemeckis (as a producer) because it’s not that kind of movie. Whiz bang special effects movie, yeah, but rated-R, with some grossness and disturbing flashbacks to a realistic spree killing. Like the one we looked at last week, WOLF, there was no McDonalds tie-in (although the skeletal face imprint on the movie poster would’ve looked cool coming out of the side of those glass mugs!). (read the rest of this shit…)
I didn’t even realize THE LORDS OF SALEM was coming out this week until somebody told me. I never saw an ad or saw the trailer play before another movie. When I saw the Anchor Bay logo at the beginning I thought, “That’s weird, why is the new Rob Zombie movie being distributed by the company that only does barely-released-or-advertised horror like HATCHET or BEHIND THE MASK?” After the movie was over it kinda made more sense.
There are many things I liked about this one. Oddly enough I like that it stars Zombie’s wife, Sheri Moon Zombie. She was a major character in all his other movies, but in this one she’s the center of the whole story and often alone on screen. I like that because it’s unusual to see an adult, tattooed, dreadlocked white lady as a lead. You see ’em around but they don’t usually make movies about them. Nice to have something different sometimes. (read the rest of this shit…)
As I’ve chronicled over the last few years, I have mixed feelings about Hollywood filmatist R. Zombie. On one hand I really like some things in all his movies (especially DEVIL’S REJECTS), on the other I hate things in most of them too (especially HALLOWEEN). On one hand I think he has a unique eye and a distinct vision, on the other hand he’s too undisciplined to know when his Kiss t-shirts and kitschy cartoon white trash aesthetic is fucking up the other things he’s trying to do. One minute he’ll win me back on the team (HALLOWEEN II) and the next he’ll get in my face and dare me to change my mind (HALLOWEEN II unrated director’s cut).
So I decided fine, you want to test my loyalty? Then I’ll watch your cartoon. We’ll se where that gets us. And I rented his DTV cartoon presentation ROB ZOMBIE PRESENTS THE HAUNTED WORLD OF EL SUPERBEASTO, allegedly directed by Rob Zombie (although the cartoonists might disagree, I’m not sure). (read the rest of this shit…)
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Recent commentary and jibber-jabber
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August 12, 1983
The movie wasn’t as important to me, and though I saw it on VHS at some point it wasn’t until rewatching it for that 2008 review that I realized it’s a real gem. It’s a movie everyone knows about but I’m not sure it’s held in as high of regard as I think it deserves. It’s a simple movie with very strong execution, and some of the elements involved (killer dog, tiny kid, limited location) are of a high enough degree of difficulty that there aren’t many other movies to directly compare it to. (read the rest of this shit…)
This year I celebrated Halloween by taking the day off of work and watching a witch-themed triple feature. This is not something I ever thought I’d do, because I’ve always had that issue with historical witch movies where it kinda bothers me to pretend there’s a such thing as witches, since that’s the superstitious bullshit that real life tyrants used as an excuse to torture and murder many innocent people in this country and elsewhere. But there were a couple witch-related movies I’d been thinking I’d like to rewatch, and at the same time I’d been thinking about my late mother, who loved to dress as a witch every Halloween. She painted her face green and glued on a warty latex nose with spirit gum. Some of the younger kids in the neighborhood were terrified of her, but she got a kick out of it. So I dedicate this witch-a-thon to her.
July 5, 1991
ALLIGATOR II: THE MUTATION is a surprisingly decent sequel – especially considering it was made for TV! It didn’t register as that when I was watching it (and there does seem to have been some sort of limited theatrical release), but an article that I found in my Fangoria collection while researching 
Let me give you a behind the scenes on the making of this review series: I had been meaning to revisit 
THE HILLS HAVE EYES is not my favorite Wes Craven movie, but in a certain sense it’s one of his purest. It has that LAST HOUSE ON THE LEFT maniac-college-professor vibe – another raw, seedy gut-punch of a drive-in movie layered with completely sincere themes and social commentary. And it’s a little more fantastical than LAST HOUSE, with less straight up degradation, so I don’t feel as ashamed for liking it.
(I guess I should always say this, but SPOILERS)
RED CHRISTMAS is new holiday horror courtesy of Australia. I saw Dee Wallace’s name on the cover and I assumed, quite reasonably I think, that she’d have a small part but was the only big name person to sell the movie. Turns out she is legitimately the lead, and gets to be a full-on heroine who faces off with a deranged killer and also with the lingering memories of traumatic decisions made in her past. She takes charge and barks orders and in a stand out scene she has to tearfully assure her adult son with Down syndrome that she still loves him while she’s creeping through a dark house with a rifle. This is a good role for her!
As I’ve chronicled over the last few years, I have mixed feelings about Hollywood filmatist R. Zombie. On one hand I really like some things in all his movies (especially DEVIL’S REJECTS), on the other I hate things in most of them too (especially HALLOWEEN). On one hand I think he has a unique eye and a distinct vision, on the other hand he’s too undisciplined to know when his Kiss t-shirts and kitschy cartoon white trash aesthetic is fucking up the other things he’s trying to do. One minute he’ll win me back on the team (HALLOWEEN II) and the next he’ll get in my face and dare me to change my mind (HALLOWEEN II unrated director’s cut).
