BASKET CASE (1982) is one of those cult movies everybody knew about in the ‘80s and ‘90s. It stayed alive by having a couple sequels and being in video stores or being mentioned often in Fangoria. Now it’s on 4K disc and on Shudder with credits saying it was restored by the Museum of Modern Art. But it was genuinely a creature of the grindhouses, a $35,000 exploitation movie conceived in Times Square by twentysomething New Yorker Frank Henenlotter, written on napkins at Nathan’s Famous, and shot in 16mm, partly in front of XXX theaters on 42nd Street. The producer was a hospital administrator whose only other films are Henenlotter’s and two yoga videos.
It opens with a mysterious murder at a house out in Glen Falls, before cutting to Times Square and a strange young man named Duane Bradley (Kevin VanHentenryck), who carries a large wicker basket. He checks into a shitty hotel, the kind where the v-neck undershirt-wearing clerk asks, “Couple of hours, couple of years, what? Give me a hint.” It’s twenty dollars a night up front and the lobby is crowded with residents gossiping about the death of somebody named “Dirty Lou.” (read the rest of this shit…)
ROBOT DREAMS is a lovely and lyrical 2023 animated film from Spain. It has no dialogue, but English signage because it’s set in New York City. It’s some time in the ‘80s and there are no humans, only animals living like humans (in apartments, wearing clothes, having jobs). Nothing too deep, just a cartooning conceit we can easily accept, with the occasional joke like when the main character Dog is reading Pet Sematary and we have to wonder what the hell that book is in this world. The animals seem to have achieved all the same things as human civilization: the Twin Towers, pizza delivery, ALF, “September” by Earth, Wind & Fire, you name it.
A couple months ago I got on a Jean-Michel Basquiat kick. You probly know who that is, but if not, he was a New York City graffiti artist in the early hip hop era, transferred his skills to paintings for galleries, became rich and famous and friends with Andy Warhol and stuff in a brief, prolific life before (like so many bright lights) dying of a drug overdose at 27.
RICKY POWELL: THE INDIVIDUALIST is a 2020 documentary about the late New York City photographer/scenester who documented the golden age of hip hop and the ‘80s New York City art scene. Most of us know of him because of a line in a Beastie Boys song – he grew up with Ad Rock and went with them on their tours for around a decade, hanging out and taking photos. He also took many famous pictures of Run DMC, LL Cool J and Public Enemy.
