Was I wrong to look at the cover of Everybody Says I’m Fine!, with its pictures of a handsome man and a pair of scissors near blood splatter and the quote “When private thoughts turn deadly,” and assume that this was going to be a horror film? I don’t think that I was, although that genre confusion is the least of the film’s problems. Continue reading “Everybody Says I’m Fine! (2003)”
In Shock Value, author Jason Zinoman discusses the fact that The Exorcist was surprisingly popular with black audiences in 1973, so it was only natural that a blaxploitation follow up would appear relatively quickly. Appearing on screens for only a month in 1974, Abby, written and directed by William Girdler (who had previously scripted and helmed cult classics like Three on a Meathook and Asylum of Satan, and who would go on to direct Pam Grier in Sheba, Baby), raked in an astonishing four million dollars before attracting the attention of Warner Brothers. WB sued American International Pictures for copyright infringement and won, leading to virtually every extant copy of the film to be destroyed, with only the film negatives thought to still exist. Until a long-forgotten copy of the film was discovered at the bottom of a box of 35 mm trailer reels at the American Genre Film Archive, that is. It’s unclear what will happen with the film now and whether it will see a new home media release (a very low quality 16 mm print was converted for DVD release in 2004, but it’s just awful), but it definitely deserves one.
Six years after the release of Basket Case, Frank Henenlotter unleashed a new “boy and his monster” movie onto the world with Brain Damage, a film with a similar conceit to his first work but with even more disgusting special effects, a slicker production style, a new villainous creature, strong metaphorical subtext, and homoeroticism to spare. Though less well remembered than the cult classic that preceded it, Brain Damage is nonetheless a lot of fun, and may be objectively better than its predecessor.
In the annals of delightfully bad horror films, few can hold a candle to Frank Henenlotter’s 1982 freshman film Basket Case. Following the bloodthirsty trail of revenge left by a monstrous flesh sack and the (formerly conjoined) twin brother from whom he was untimely ripped, the film is weirdly disjointed but utterly charming, minus a tonally bizarre sexual assault that happens in the final moments. Continue reading “Basket Case (1982)”
Hailed as the first “ramen western” (a play on the term “spaghetti Western”), Tampopo takes that designation to it’s most extremely literal end, focusing on the title character’s ramen shop as the location of metaphorical quick-draws and high noon showdowns, as well incorporating a variety of loosely connected comedy sketches about food.
The main narrative concerns the arrival of truck driver Gorō (Tsutomu Yamazaki) and his sidekick Gun (a young Ken Watanabe) at the barely-afloat ramen shop, Lai Lai, that widowed single mother Tampopo (Nobuko Miyamoto) inherited from her husband. Under Gorō’s tutelage, Tampopo resurrects her shop along with help from a motley crew of unlikely allies: Shōhei (Kinzō Sakura), a chauffeur who has a way with noodles; “The Old Master” (Yoshi Katō), a former surgeon reduced to vagrancy, but possessing a nearly-magical skill with noodle making; and Pisuken (Rikiya Yasuoka), a formerly antagonistic contractor who redesigns the interior of the shop, now renamed “Tampopo” in honor of its proprietress.
2017 is turning out to be a banner year for horror. After the absolutely stunning Get Out, which was so richly steeped in both metaphor and lived experience, Julia Ducournau’s beautiful and haunting Raw has just hit American audiences like a ton of bricks, or buckets of grue dropped from a great height. It’s a well-worn topic of discussion within the intersection of horror fandom and social criticism that the monsters that we create are reflective of our political climate: zombie movies are more popular during republican presidencies, while vampire films abound during democratic ones. The conclusions drawn from this generally tend to focus on how zombies (rampantly consumerist, at least in Romero’s films; horde-like; unthinking in their consumption; mindless and easily led) represent progressive view of conservatives, while vampires (often foreign, sexually deviant, parasitic) represent the conservative view of progressives. It annoys me that Raw is already identified as a “cannibal movie” in much of the press since that spoils so much of the surprise, but the cat’s out of the bag now; on this political spectrum, I’m not sure where films about cannibalism lie, especially when we’re seeing great zombie flicks coming out of Asia (like Train to Busan) and Raw itself is a Belgian/French co-production.
This was originally posted on Swampflix.com as part of that site’s “Movie of the Month” feature, in which one contributor makes the rest of the crew watch a movie they’ve never seen before, and the staff discusses it afterwards. For April 2017, I made Alli, Britnee , and Brandon watch Head Over Heels (2001).
Boomer: Let’s get this out of the way right off the bat: Head Over Heels is not a good movie. Objectively, it’s actually kind of awful. It’s a nineties holdover of a specific kind of romantic comedy that paid for Meg Ryan’s house and every meal she will eat for the rest of her life. There’s a silly voice-over at the beginning about growing up in [small Midwest location] but now the protagonist lives in [major metropolitan city] with [impossibly perfect job], but gosh darn it she’s just so unlucky in love! It’s so dumb, and I love it so, so much.