"CATCH YOU FUCKERS AT A BAD TIME?"

Posts Tagged ‘punk’

The Little Rascals (plus Suburbia [1983])

Monday, August 12th, 2024

August 5th, 1994

My friends, I hope you know me well enough to understand that I’m being sincere here, I’m not trying to show off with a wild take. The truth is I recently watched and enjoyed the movie THE LITTLE RASCALS. It kind of rules.

This was not an outcome I expected, or even considered. For the 30 years this movie has existed I’ve scoffed at it, assumed it was crap. Yes, it comes from director Penelope Spheeris, she of excellent punk rock documentaries. But I’m gonna have to pull out the Shaquille O’Neal “I wasn’t familiar with your game” quote here. I wasn’t showing the proper respect. I had some idea she lost it after WAYNE’S WORLD, because I thought BLACK SHEEP was kinda cheesy and all the rest seemed like things I wouldn’t like. I assumed this was some pablum for kids from an era where pablum for kids was extra bad. (See: 3 NINJAS KICK BACK.)

But here I am trying to watch most of the major movies of summer ’94, it was about the only situation where I was gonna give THE LITTLE RASCALS a shot, and almost immediately I realized I was probly gonna like it. It’s silly, it’s for kids, it might creep some people out by having children woo each other like they’re Popeye and Olive. But it made me laugh a whole bunch, it’s daring in the way it straight up does old Hal Roach shit and doesn’t try to conform to ‘90s expectations, it actually makes sense as part of the Spheeris filmography, and (most surprising to me) it’s artfully crafted. I guess mostly in the way that she could piece together a sensible movie with 95% of the cast being 5-7 year old non-actors, but also it’s a great looking movie! Credit to the transfer, which has a good level of film grain. I did not expect to watch THE LITTLE RASCALS 1994 and think “They don’t make ‘em like this anymore!” But here we are.

(read the rest of this shit…)

Burst City

Monday, February 7th, 2022

BURST CITY (1982) is more of an immersive experience than a movie. It’s very light on plot, and I couldn’t tell you any of the characters’ names, and only what a couple of them were up to. But I thought it was great as sort of a travelogue to a dystopian near future as imagined by the early ‘80s Japanese punk scene.

It’s about the gangs and punk bands in a very filthy and crowded slum. They live in wrecked buildings and abandoned factories, covered in graffiti, strewn with junk, wreckage, the occasional mannequin. They sit around on the floor, playing instruments, watching a TV, giving commentary through a megaphone. One such place is presented with a title card that says “BATTLE ROCKERS SECRET BASE.”

Some of them have drag races and work at garages, but quit that job because they’re “much too artistic” for it. (read the rest of this shit…)

The Return of the Living Dead (35th anniversary revisit)

Monday, August 24th, 2020

August 16, 1985

THE RETURN OF THE LIVING DEAD is a movie that I already reviewed thoroughly for Halloween 2015, but it’s such a classic I felt it would be wrong to exclude from this retrospective. So feel free to click on that link for a straightforward piece about some of the reasons I love the movie, but this one will zero in on a few aspects I feel are interesting in context with other movies we’ve discussed from the Summer of 1985 movie season.

As a horror-comedy that’s more of a real horror movie than a parody, RETURN arguably has a kinship with FRIGHT NIGHT. But obviously its closest comparison is its brother from another producer, George Romero’s DAY OF THE DEAD. Earlier in the summer I wrote about some of the ways DAY fit the specific moment of 1985. RETURN does it in a totally different way. Romero’s takes a grey, grim approach to railing against the Reagan era, while RETURN writer-director Dan O’Bannon does the EC Comics and punk rock version. Like so many of the movies we’ve been looking at, it’s a very soundtrack-oriented movie, embracing music of the time. But it’s not Huey Lewis, Cyndi Lauper or even Oingo Boingo – it’s punk rock bands like T.S.O.L., The Cramps, The Damned and The Flesh Eaters. (read the rest of this shit…)

The Ranger

Wednesday, March 20th, 2019

THE RANGER is a pretty solid, pretty simple little horror movie about some punks in a remote cabin running afoul of a psychotic forest ranger. It’s a little more serious than that sounds, but in an interesting way, not a pretentious one. I believe it takes place some time in the ’80s, because there’s a Walkman but no cell phones, but otherwise it could take place any time in the last 35 years or so. Punks are timeless.

The story centers on Chelsea (Chloe Levine, The Defenders), whose family owns the cabin. She was there as a little girl when her uncle (Larry Fessenden, the Stan Lee of indie horror) died under grisly and not-yet-fully-explained-to-us circumstances. Now she gets pushed into bringing her friends there to hide out after her shithead boyfriend Garth (Granit Lahu) stabs a cop during a police raid at a punk show. (read the rest of this shit…)

Traitors

Thursday, February 2nd, 2017

tn_traitorsTRAITORS is the story of Malika (Chaimae Ben Acha), a young Moroccan woman who fronts an all-female punk band called Traitors (no ‘The’). In the opening scene we see her looking like Joan Jett as they practice their song “I’m So Bored With Morocco.” Like any other nationality’s punk music she’s complaining about asshole cops beating and murdering people, the empty promises of politicians, living in poverty while part of the country is rich. But also roadblocks, having your papers checked, a General’s son getting away with running over a farmer.

We see that at least some of this comes from their daily life. Stopped at a roadblock, they get scared, but clearly they’ve been through this before. They know how to give the cop a bribe. Or more like a tax.

Despite this oppressive society they’re very creative people. They drive around in a van projecting footage of themselves onto things and filming that. She edits the footage on her laptop as they go. (read the rest of this shit…)

Green Room

Monday, April 25th, 2016

tn_greenroomGREEN ROOM has a pretty good spin on a classic setup: a touring punk band in a siege movie. This shitty young band called The Ain’t Rights, living out of their van and crashing with strangers, spending more on beer than on gas, going out of their way for questionable gigs in The Middle of Nowhere, Oregon, end up locked in the dressing room of a scary skinhead club because one of them walked in on a murder. The Punks Who Knew Too Much.

If there’s not already an ad that says “it’s ROMPER STOMPER meets ASSAULT ON PRECINCT 13!!!” then here it is available to cut and paste, A24 Films.

I have very little experience in the world of punk rock, but from my ignorant perspective this comes off as a more authentic depiction than any of the other movies I’ve seen about it. That includes RETURN OF THE LIVING DEAD. And I don’t consider Cherry Bomb from HOWARD THE DUCK to be punk at all. Anyway I’ll be interested to find out if my musician friends find more fault with it than I did. To me it feels like writer/director Jeremy Saulnier might’ve come up with the idea while playing in a band like this, or if not he must’ve known people in this life. Like his first movie MURDER PARTY (a horror comedy in the world of Brooklyn hipster artists) it seems to be inspired by subcultures and people he knows from life, not movies. And like his second movie BLUE RUIN (an indie revenge drama) it goes out of its way to make violence messier, uglier and more difficult than in most movies. Like, what if it wasn’t Bruce Willis, but a regular dude like you who had to fight his way out of a corner using sharp objects he finds laying around?

But it comes a little closer than the other two movies to straight up embracing its genre. It even uses the always enjoyable action movie move of one of the band members getting referred to as “Jiujitsu” and then it turns out he really is a practicioner of said martial art. His armlocks and chokeholds come in handy. (read the rest of this shit…)

The Return of the Living Dead

Thursday, October 29th, 2015

tn_rotldThere are a bunch of movies that I consider among my very favorites, that I refer to all the time, and then when I try to make a link to them in another review I realize what in God’s name, how have I not officially reviewed the greatest zombie movie ever made by somebody who is not named George Romero? And what does this say about me as a person?

Not being made by Romero was actually kind of the whole point of this one. NIGHT OF THE LIVING DEAD co-writer (and infamous 30th Anniversary Edition maker) John Russo disagreed with Romero about how to do a sequel. Romero thought it should be one of the best movies of all time and Russo wanted to go a different direction. So Romero made DAWN OF THE DEAD and Russo wrote a book called THE RETURN OF THE LIVING DEAD which apparently starts with a bus crash in a small town where the locals aren’t able to impale the brains of the dead like they usually do. (The book is very rare and pricey so I haven’t read it for myself).

The film rights ended up with Tobe Hooper with DARK STAR star/Jodorowsky’s DUNE would-be effects guy/ALIEN writer Dan O’Bannon working on the script. When Hooper left to do LIFEFORCE instead O’Bannon took over as director and rewrote the whole thing to be more humorous and have nothing to do with the book. (Russo got a story credit along with Rudy Ricci, another Romero buddy who wrote THERE’S ALWAYS VANILLA and was one of the bikers in DAWN OF THE DEAD. In the end Russo wrote the novelization of the movie that came out of the book that he wrote in order to make into a movie.) (read the rest of this shit…)

Fat Kid Rules the World

Monday, February 4th, 2013

tn_fatkidrulestheworldThe only reason I heard of this indie teen movie is because it was filmed in Seattle. That’s kind of novel to us because most Seattle-based movies are really filmed in Vancouver (BATTLE OF SEATTLE, HOLLOW MAN 2, TRUE JUSTICE) or even, in the case of CHRONICLE, Cape Town, South Africa. Kelsey Grammer wanted to film Frasier in Cape Town, but he moved it to protest the end of apartheid. That’s a joke, Kelsey, I’m just busting your balls. Thanks for reading.

Anyway this is good for Seattle people to spot recognizable locations, and it’s not supposed to be Everytown, USA like WORLD’S GREATEST DAD, so they mention or make visual reference to Seattle clubs (Neumo’s, Comet Tavern) and institutions (Seahawks, Sounders, SIFF, Easy Street Records [R.I.P. Queen Anne location]). But the great thing is that it’s also a real movie, a sweet underdog story with real emotion and surprising nuance. And it’s directed by Matthew Lillard of SCREAM and SCOOBY-DOO fame. I’m impressed.
(read the rest of this shit…)

Important Book Alert #1: DESTROY ALL MOVIES

Friday, November 19th, 2010

tn_DAMI want to tell you guys about a new book I got called DESTROY ALL MOVIES: THE COMPLETE GUIDE TO PUNKS ON FILM, edited by Zack Carlson and Bryan Connolly. I guess you might’ve already heard about it because some of the other movie websights beat me to posting about it, but you know what? The tortoise ate the hare, the boy who cried on the wolf, etc. Anyway I’ve been looking through it for a few days and I want to discuss it with the ladies and gentlemen of the outlaw community or whatever, because this is one of those passion project books printed with special blood sweat and tears based inks, and those deserve recognition.
(read the rest of this shit…)