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Reviews Page 4 / Reviews Page 5 |
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Jack Brooks: Monster Slayer Killer’s Moon Nude For Satan Rodan/War of the Gargantuas |
The Wizard of Gore Igor Saw V Burn After Reading |
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Lips of Blood (1975, Redemption) Directed by Jean Rollin | |
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French director Jean Rollin is best known for making plotless erotic vampire movies that offer up great visual moments and plenty of atmosphere, but not much in the way of story. Lips of Blood is a rare exception in that there is a coherent plot in here somewhere. Frederic (Jean-Loup Philippe) has little memory of his childhood. All he can recall is something about staying the night at a castle with a pretty red haired girl (Annie Briand), a memory Frederic’s mother (Nathalie Perrey) has convinced him is only a dream. But when Frederic sees an advertisement that uses the castle as its backdrop, he embarks on a dangerous quest to learn the truth about his past. This being a Jean Rollin film, it should come as no surprise that Frederic’s quest involves sexy female vampires in various states of undress, great imagery like a coffin used as a boat, and an underlying theme of the youth/counter culture (represented by the vampires) being persecuted by the ignorant forces of authority. |
| The thematic and visual elements still rule the day, but with a more traditional narrative structure than most of Rollin’s films this is a more accessible movie than works like The Nude Vampire or Requiem For a Vampire. As such, it makes a good entry point for those unfamiliar with Rollin’s work, as well as being a high point in the director’s career. (Bob Ignizio) | |
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Jack Brooks: Monster Slayer (2008, Anchor Bay) Directed by Jack Knautz | |
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It’s obvious everyone involved with Jack Brooks: Monster Slayer has a true love for goofy eighties horror. The titular hero is an obvious descendent of Bruce Campbell’s Ash from the Evil Dead films, and the rubbery monsters he fights would be right at home in one of Charles Band’s Empire or Full Moon movies from the era. The movie even boasts Robert “Freddy Kreuger” Englund in one of the best roles he’s had in years. All the ingredients are here for good cheesy fun, but director/co-writer Jack Knautz’ recipe is just a bit off. The biggest problem is that the hero, Jack (Trevor Matthews), just isn’t very interesting or charismatic. I think Matthews would have been up to the task, as he seems a decent enough actor, but the script doesn’t give him much fun to do. Instead it wastes far too much time with Jack going to see a shrink (Daniel Kash) to deal with his anger management issues. At least Englund as Jack’s night school Professor |
| provides some much welcome comic relief, but he’s pretty much the only bright spot in the tedious first hour of the movie. Finally, in the last thirty minutes we get some monsters and the movie gets to live up to its title. If only the ratio of set-up to action had been reversed, this could have been a lot of fun. I’d say it’s still worth a rental for fans of eighties schlock, but I can’t help but feel disappointed. (Bob Ignizio) | |
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Killer’s Moon (1978, Redemption) Directed by Alan Birkinshaw | |
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A busload of choir girls breaks down in the middle of the English countryside. Luckily for the girls the local Inn, though closed for the season, agrees to let them stay the night. On the downside, there’s a quartet of escaped maniacs on the loose. Oh, and did I mention that said maniacs are all tripping their balls off on LSD? The psychedelic psychotics rape, terrorize, and murder their way through the movie, with only two of the most ineffectual heroes in screen history on hand to help. As for the girls, they all act like the sort of frightened and incompetent damsels in distress one would expect to find in some cheesy gothic horror film from the fifties. Perhaps the most noteworthy aspect of Killer’s Moon is a completely bizarre and cavalier attitude towards rape. This is a movie in which a girl who has just been violated is told by another girl that as long as she never tells anyone, then it’ll be no big deal. I suppose I should be offended on some level, but it’s all done so poorly |
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that it plays more as campy humor than anything disturbing or edgy. Oddly enough, the dialog was written by a woman. It’s all very British and very seventies, and for undiscriminating viewers who like cheesy horror flicks and aren’t bothered by the rape aspects it’s an okay time killer, but I can’t really give it much more praise than that.
(Bob Ignizio)
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Nude For Satan (1974, Redemption) Directed by Luigi Batzella | |
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Nude For Satan is a bizarre mix of sex, metaphysics, and pulpy gothic horror made in Italy during the psychedelic seventies. Dr. William Benson (Stelio Candelli) and a girl named Susan (Rita Calderoni) are involved in an automobile accident. Upon awakening, each goes separately to a nearby castle looking for help. This leads to a convoluted plot involving doppelgangers, lesbianism, whippings, cheesy giant spider attacks, and the odd bit of Satanic philosophy. The movie teeters right on the edge between camp and something a little more substantial. At times it reminds me of Lisa and the Devil, one of my favorite Mario Bava films. At other times I’m reminded more of cheesy Euro horror schlock like Blood Pit of Horror, but either way Nude For Satan is never dull and never less than entertaining. |
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As befits a movie called Nude For Satan, the film’s star Ms. Calderoni spends a good portion of the film without clothes and looks quite stunning while doing so. But beyond that, this movie offers up some genuinely erotic scenes, and also seems to have some actual understanding of real occult ideology rather than the usual dime novel Satanism found in most horror films of the era. Writer/director Luigi Batzella may not be quite on a par with Bava, but neither can his efforts here be dismissed as mere hackwork. If you’re a fan of the genre, I would feel no hesitation in recommending you buy this one. (Bob Ignizio)
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Rodan/War of the Gargantuas (1956/1966, Classic Media) Directed by Ishirô Honda | |
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Rodan was the first of what would soon be steady stream of giant monster movies to come out of Japan in the wake of Gojira/Godzilla’s success, and it follows a similar formula. A prehistoric creature, in this case a Pterodactyl, is awakened in the present day and goes on a rampage. There’s some attempt to link Rodan to H-bomb testing, but the anti-nuclear subtext is played down compared to the original Gojira. I used to love when Rodan would come on TV as a kid, but I have to say watching it again I was somewhat bored. It’s by no means a terrible film, but Rodan has neither the genuine grimness of the original Godzilla nor the fun silliness of the later giant monster flicks. Classic Media offers the film in both its original Japanese version and in its American dub. There isn’t a huge difference between the two versions of the film, but this is a rare case where I’d probably go for the American cut over the Japanese version. It just moves better. |
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Retaining somewhat more of its nostalgic entertainment variety is War of the Gargantuas. In its original Japanese version this is actually a sequel to Frankenstein Conquers the World, but I can’t say that additional bit of information does much to affect one’s enjoyment of the movie. It’s not like the giant hairy beasts of the title bear much resemblance to what most people think of as the Frankenstein monster, anyway. Whether you watch this in its original Japanese cut or in the Americanized version, you’re still gonna’ get guys in goofy monster suits smashing stuff and eating people while American actor Russ Tamblyn picks up a paycheck as a mostly inept scientist. It’s all good cheesy fun, and despite Rodan’s historical significance, for me this is the real reason to buy this two-disc set. Sadly, while Classic Media provided audio commentaries on all their Godzilla films (even lesser entries that could have done without), they have not provided such for these two films. There is an entertaining and informative documentary on the Japanese monster film genre in general, but nothing specific to the two films included here. I also have to mention that some of the subtitles are poorly translated, something that was not the case with Classic Media’s Godzilla films. Still, for the price you can’t go wrong. (Bob Ignizio) | |
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Satanic Sluts Volumes 1 and 2 (2008, Redemption) | |
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Are the Suicide Girls too vanilla for your tastes? Then the Satanic Sluts just might be for you. Formed as sort of an adjunct to British horror and exploitation DVD label Redemption, the Sluts perform in vignettes involving nuns, Nazis, lesbianism, bondage, torture, crucifixion, surgery, bloodletting, vampires, Satanism, and I’m sure at least one or two other outré fetishes I’m forgetting. As far as the sexual content is concerned nothing goes beyond softcore, but the level of (mostly) simulated violence will no doubt push the boundaries of some viewers. And the bloodletting scene in volume 1 is absolutely real. Of the two discs, volume 1 is the slicker, shot professionally on various sets by Redemption head honcho Nigel Wingrove. Volume 2 features videotaped live performances from the Black Mass events Redemption put on at various British clubs. Both discs include a fair amount of interview material with the girls, so if you want to know how your favorite Satanic Slut feels about the death penalty, religion, drug use, and other burning issues you won’t be disappointed. Like all fetish material, it’s kind of hard to get into if this isn’t your thing - while watching, my emotions ran the gamut from amused to disturbed to bored. But if this sounds like your cup of tea it’s all shot very well, the scenarios cover a wide range of twisted territory, and it ain’t like there’s a ton of this stuff out there, anyway. (Bob Ignizio) |
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The Wizard of Gore (2008, Dimension Extreme) Directed by Jeremy Kasten | |
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It’s not like the original Wizard of Gore was a great movie to begin with, so you would think a remake would be a pretty safe bet. You would be wrong. There’s no doubt that Crispin Glover’s performance as Montag is fun, the gore effects aren’t bad, and I like the decision to incorporate elements of the modern fetish scene (including the Suicide Girls, who play the victims of Montag’s sadistic illusions), and as usual Brad Douriff is fun in a small role. That’s about all I can say in this film’s favor, though. The original Wizard was trashy fun, even if it wasn’t very good. This remake starts out that way, but when it takes a turn into “what is reality?” territory the screenplay by Zach Chassler just can’t support the weight of its metaphysical ideas. It’s also a shame to see Jeffrey Combs wasted in an almost unrecognizable role as “the geek”. If you’re a Glover fan you’ll want to check this out, but otherwise I’d say give it a pass. (Bob Ignizio) |
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Igor (Metro-Goldwyn-Mayer Pictures, 2008) Directed by Anthony Leondis | |
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I'm really surprised that none of the people who worked on Igor worked on Tim Burton's Nightmare Before Christmas or The Corpse Bride. The character design is, to say the least, similar. The three films also share a morbidly comic sensibility, although Igor has a subtext of anti-Bush political satire that would be out of place in a Burton film. It would be unfair to call Igor a rip-off, but it certainly shows the influence of Burton's films. John Cusack voices one of many "Igors", poor souls doomed to assisting evil scientists because they were born with hunchbacks. But Cusack's Igor isn't content merely to assist the inept Dr. Glickenstein (John Cleese). He has evil dreams of his own. When Glickenstein falls victim to one of his own experiments, Igor puts his plan to create life into action, aided by an immortal rabbit who keeps trying to kill himself (Steve Buscemi) and a rather dim witted brain in a jar (Sean Hayes). |
| Igor succeeds, but his creation Eva (Molly Shannon) doesn't want to be evil. She just wants to act. Meanwhile Dr. Schadenfreude (Eddie Izzard) plots with his female assistant Jaclyn (Jennifer Coolidge) to steal Igor's experiment for his own. Not only does he want to use Eva to win the Evil Science Fair, he also plans to user her to overthrow King Malbert (Jay Leno). Of course we get the standard kid vid message about how it's better to just be yourself, everyone has worth and all that junk. Still, I'm pretty sure 10 year old Bob would have enjoyed this, and even present day old man Bob didn't mind it too much. Hell, I'll go so far as to say I liked this better than the extremely overrated Nightmare. At least there's no crappy songs to suffer through, and there are some good jokes scattered throughout the film, though not quite enough to make Igor a must see. But hey, you could do worse, especially if you're looking for a movie to take the little boils and ghouls to see. 6 ½ out of 10. (Bob Ignizio) | |
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Saw V (Lionsgate, 2008) Directed by David Hackl | |
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The Saw series painted itself into a corner with its third installment by killing off evil mastermind Jigsaw (Tobin Bell). It's a problem faced in the past by another long running horror franchise, Friday the 13th. The solution the producers of both series came up with is the same: bring in a scab bad guy. In this case Costas Mandylor's police officer Mark Hoffman, who first appeared in part Saw III, was revealed at the end of Saw IV to have been Jigsaw's partner in crime. Of course Friday fans hated the fake Jason, so in the next movie he got struck by lightning and came back from the grave as a zombie. The Saw series seeks to avoid anything so drastic by having Bell keep appearing via flashbacks, often within other flashbacks. When it isn't trying desperately to keep Bell on screen, Saw V does occasionally remember its minimal obligations as a horror film. Even in that respect it falls short, though. This time around Jigsaw's victims are even less interesting than usual, |
| and their part of the film feels almost like an afterthought. I know Jigsaw was on his death bed when he came up with these traps, but it's definitely not his best work. Despite all the cries about "torture porn", what made the first two Saw films successful was their cleverness and mystery. At this point cleverness has left the building, and the only mystery is how anyone can keep all the plot threads from the previous films straight. Even zombie Jigsaw couldn't salvage the series at this point. 4 out of 10. (Bob Ignizio) | |
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Burn After Reading (Focus Features, 2008) Directed by the Coen Brothers | |
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The world is populated mainly by stupid, selfish people. Despite all the plotting and scheming of its inhabitants, this is a world shaped mainly by random chance. The innocent often get punished and the guilty are sometimes rewarded. The forces of order can only look on with horror and confusion, clueless as to how such things could happen or how they might be avoided in the future, hoping only to cover their asses from any responsibility. It's such a dim state of affairs that the only way to cope is to find the humor in it, however dark. That pretty much sums up the world view of Burn After Reading, the new film from Joel and Ethan Coen. Of course you could say almost the same about many of the Coen's films. But even at their darkest, as in last year's No Country For Old Men, they've always given the audience at least one decent, likeable character to identify with, some shred of hope that there is good in the universe. Not so here. So despite being marginally |
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a comedy, Burn After Reading just may be the Coen's bleakest, most misanthropic film. And yet I had probably the most genuine fun I've had at the movies all year watching this. Go figure.
For what it's worth, here's the plot. Osbourne Cox (John Malkovich) quits his job with the CIA rather than take a demotion. He plans to subsidize his retirement by writing his memoirs (or memwahs as he calls them). What he doesn't know is that his wife Katie (Tilda Swinton) is cheating on him with Harry (Geoge Clooney), a bodyguard who builds sex toys in his spare time. Katie puts together a CD containing all kinds of information on Osbourne to use in the divorce, and the disc accidentally finds its way into the hands of air headed personal trainer Chad Feldheimer (Brad Pitt). Chad consults with his friend Linda (Frances McDormand), who advises him to blackmail Osbourne, hoping to use some of the money to finance her plastic surgery. But the plot isn't really that important. It's just the framework the Coens have built to show the inherent stupidity and greed of mankind and the random chaos that rules the universe.
It's not just that, for all its darkness, Burn After Reading is a genuinely funny film. It's also that this movie continually does the unexpected. Nothing happens the way things usually happen in the movies. I would hope most of what happens in this movie doesn't happen in real life, either, but that said even the most outrageous of plot twists feel believable to me. A lot of critics have taken this film to task for not having any likeable characters. Personally I give the film extra points for presenting such a horrible collection of humanity and yet still holding my interest. I think this is every bit the masterpiece that No Country for Old Men or Fargo is, and over time I predict Burn After Reading will grow in esteem just like that other initially misunderstood Coen Brothers film The Big Lebowski. But why wait for the rest of the world to come around? If you already have a dim view of the world and like your humor pitch black, check this one out now. 10 out of 10. (Bob Ignizio) | |
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