When I turned 40 (I know, I can't believe it myself) last month, I wanted to mark it with a special occasion. I had been itching for a new tattoo for a good 10 years at least, but never actually did anything about it. Turning 40 is a big deal (to me anyway), and not in a good way. I was not looking forward to it at all. So I figured if I was going to literally be turning over the hill, I should take the opportunity to do something I'd been wanting to do for years. I had a hard time trying to settle on an idea. That is until an online friend of mine in Paris got this Cannon Films Logo himself and once I saw it, I knew that this is what it would have to be. No question. I was inspired. If there was any symbol that would describe my childhood growing up in the 80's addicted to cheesy action and horror movies, it's this.
Directed by: Ate de Jong
Category: Cult Classic
Ate de Jong's Highway to Hell is one of those low-budget obscure films I remember seeing often in my local video stores. I remember that terrible cover, and I remember actually renting it a time or two, mainly because I knew the guy who did it also did Drop Dead Fred. My memory is pretty fuzzy on whether I actually liked it or not, but what I do recall was it was littered with an odd assortment of cameo's, with Gilbert Godfriett as Hitler continuously yelling he is not Hitler being burned into my memory for some strange reason. Other than that, I really don't remember anything about this, and I honestly forgot about it. That is until it recently got the DVD/Blu ray treatment, it's first official release in any form other than VHS in the U.S., and the first time being able to see it in it's original aspect ratio.
So I invited a bunch of my movie friends over and threw this baby on. None of them had even heard of this before, and the one that did couldn't remember a thing about it. So we all went into this blind, which is usually the best way to do it.
|Original U.S. Poster Art (TERRIBLE)|
a chaotically fun way. Highly absurd and ridiculous, with a slight hint of tongue-in-cheek humor that's hard to pull off effectively, yet it works here. You won't laugh out loud or anything, but it's silly premise, structure, and end result works better than you expect it to. If you're a fan of films like Hell Comes to Frogtown, then you'll most certainly enjoy this one as well. While there's not a lot of "action" per say, it moves along at a brisk pace with enough "odd" cameo's, and wtf? chaotic moments that it's a helluva lot of fun from beginning to end.
I was most shocked to learn that none other than Brian Helgeland wrote this. If you're not familiar with his work, he's the guy responsible for big Hollywood films like L.A. Confidential, Mystic River, Man on Fire, Payback, and a slew of others. But before this film, he had also written 976-Evil. So I guess you gotta start somewhere. You'd just never guess the same guy came up with this WTF? insanity.
Then there's director Ate de Jong. He's been directing since 1976 (The year I was born), and still continues to direct today. But 1991 was the year he directed this and Drop Dead Fred, which both happen to be his most well known works. With the exception of an episode of Miami Vice, none of his other films ring a bell. He does alright with the material he's given. I think I would have liked to have seen more style, or more of a fluidity in his camerawork, but it's not bad. Just not very inspired visually. But, I will add that that may be in keeping with it's low-budget/post apocalyptic vibe. So it could be deliberate for all I know.
The blu-ray is a must own. I've seen it fluctuate sporadically in price here and there, but honestly, it shouldn't be more than $20 with shipping. It comes with the film in a solid digital transfer and it was nice seeing it in widescreen for the first time. The highlight for us was an interview with makeup/fx artist Steve Johnson. This guy. He's a trip, and his candid interview is well worth the price of the blu ray alone. Do yourself a favor and watch it following the feature. You'll be glad you did.
I'm not saying it's a perfect film, but it sure is a fun one, especially watching with a group and some alcohol. It's highly absurd, silly, sometimes comical, sometimes awesome, and all around fun.
Directed by: Gregory Hatanaka
When I learned that there was a fundraising campaign to bring a sequel to the hilarious cult classic to fruition, I was all kinds of excited. The original SC still remains today one of the best Bad Movies ever made, and one of the most unintentionally hilarious films I've ever seen. With the sequel, I remember reading that the young filmmaker behind it was going to "capture the spirit" of the original film and give fans the film they've been waiting for all these years. 25 years to be exact. So when the film was completed and the DVD/Bluray was announced, I immediately put my pre-order in, so I wouldn't possibly miss out. When we set this film's Bad Movie Night screening date to our group, it was only by sheer coincidence that it would also mark the 1 year anniversary of our hugely successful screening of the first Samurai Cop to a roaring crowd. So a bit of nostalgia set in and we were all really excited.
Where do I begin with this film. It was fucking terrible. SC2 is hands down one of the worst films I have ever seen, and this is coming from someone who loves bad films. In trying to capture the essence of the first film's hilariously bad qualities, SC2 overreaches by a mile, and the result is a mess of a film, one that tries too hard to "try" and be funny, only not succeeding. The constant winks at the camera from pretty much every actor, to the constant silly and purposely over-the-top hammy acting only make you cringe. It's so bizarre, really. The actors, half of which are porn stars, are so terrible that had the film been at least funny, you could forgive them, but when you're bored to tears through a tedious script that literally makes zero sense, you audibly mouth "whaaaat??", and "huh??", or you just roll your eyes and yawn. The nonsense on display here is aggravating, annoying, and an insult to the legacy of that classic first film. I honestly have no idea what director Gregory Hatanaka was thinking while making this. It's so bad that you wonder what parts were on purpose, and what, if any, was purely accidental. I can't tell you, and I doubt anyone else would be able to tell. Everything about this film; the acting, production, effects, camera work, choreography, directing, script, music, is so awful and so far off the mark that we just couldn't finish it. That's right. At 45 minutes in, I just couldn't take any more and shut the damn thing off.
There are ways to take a genre, concept, or even a film and pay tribute to it. There are successful ways to go about it, and honor it while also being 100% self-aware. Hobo With a Shotgun did it, Planet Terror did it, Hateful Eight did it, as well as a handful of others, successfully. Writer/Director Gregory Hatanaka has no clear idea on how to do this, or even make a solid film in general. Even if he had failed at providing us with the spirited homage we had wanted, if the film had been at least genuinely funny or entertaining in the slightest, then that could have been an easy pass. But the fact of the matter is that there is "nothing" salvageable here, not even the inclusion of Tommy Wiseau, which I was really excited about. Stunt casting is the first word that comes to mind. And even then, I could not tell if he was honestly that terrible, or if he was hamming it up on purpose.
Speaking of casting, I will say this, it was great seeing Matt Hannon again. While noticeably older, the guy delivers the goods. It's just sad because the guy literally disappeared from site for 25 years, only to be found, alive and well, with his cult status tarnished with this film. And considering the talent involved in this film's large cast, I'm genuinely surprised to say that porn actress Kayden Kross was actually the best actor in this entire film, no lie. Joe's partner Matt Frazer, who also hadn't appeared in a film since the original, seems to have forgotten how to act entirely. Not that he was a thespian to begin with, but at least in the first film he was passable, and even funny. Everyone else, most notably the endless barrage of cult film icons, were just flat-out awful. Joe Estevez (Soultaker), Laurene Landon (Maniac Cop 1 & 2), Tommy Wiseau (The Room), Melissa Moore (Sorority House Massacre 2, Hard to Die), and worst of all, Bai Ling (The Crow). What the hell was she on? I mean, I know she's not known to be a great actress to begin with, but holy hell was she terrible in this.
This film looks like it was shot on a single weekend, with no script in hand, like everything was made up on the spot. Nothing flows, and the constant transitions from one sequence to the next leave you utterly confused. Is it supposed to be in the future? Present day? What is the story even about? Why is it so ridiculously confusing? There is so much that doesn't make any sense or even lead anywhere that sometimes it feels like you're watching 2 different films at the same time. And what the fuck is up with the horrendous soundtrack? I don't know about you, but I found the original films cheesy synth score to be a huge bonus to the experience, but for some odd reason, they decided to fill this film with R & B tunes that are so bad and seem to belong in a totally different film!
I'm done. I'm exhausted. I can't go on anymore. Save yourself the frustration and skip this one.
Directed by: Antoine Fuqua
After finally watching the excellent Training Day for the very first time, I was immediately struck with the feeling that I need to either see for the first time, or revisit past Antoine Fuqua films. First on that list was The Equilizer, a film that didn't really grab me when it first came out. At least not enough to go actually pay good money to see it in theaters. It may just be the fact that I grew up on the original show starring Edward Woodward in the 80's, and the fact that we have yet another remake that looks to dramatically change the formula again didn't help. So I passed on it initially. After finally seeing it, I wish I hadn't.
In short, Antoine Fuqua's The Equilizer is fucking awesome. In fact, I'd put it right up there with John Wick. It's just as brutal and entertaining as that film was, just without the flashy neon bright colors. Fuqua directs with a slick gritty/noir vibe that was hard to see in the trailers, but it's evident in all it's glory when you see the film. In fact, the more I think about it, Equilizer and John Wick could literally go toe to toe because they both hit virtually all the same beats, even when it comes down to why the two leads come out of retirement to avenge. Same plot, essentially, but both with varying degrees of success that make them both uniquely different.
While first thrown off by the casting of Denzel Washington in the lead, my fears were quickly put to rest because really, he just nails the role and kicks all kinds of ass in this. And you know, he's not trying to be Edward Woodward (obviously), and essentially, this is kind of a prequel to how his character becomes known as The Equilizer. So don't go in expecting to see a sophisticated brit who dons a trenchcoat and you'll be okay. Personally, I enjoyed where the story went, and how his character was fleshed out, albeit rather slowly. But that's a good thing, because it's the mystery that keeps you invested, and let me tell you, the payoff is well worth it.
Director Antoine Fuqua again displays his mastery of action sequences. Seriously, why is his name not right up there with those of say, the early career's of John McTiernan and Renny Harlin? He's just as good as either of those guys, if not better. And unlike McTiernan and Harlin, who I happen to love, he's consistent. That's not something you can say about a lot of today's, or even yesterday's, action film directors, who tend to change up their style and aesthetic with every film project. At least in Fuqua's case, all his films follow a similar stylishly streamlined aesthetic. No half-assed shaky-cam nonsense.
The Equilizer is a reminder that I need to continue to support new action films, that they're not all crap. The majority of them are, but every so often we get a gem like this, that reminds us that they still can make great action films in this day and age. Crazy, right???
As I recently browsed through what Redbox had to offer, I came across this and thought "why not?". Boy I'm glad I took the plunge because guess what? I fucking loved it. No lie. It literally does everything it sets out to do, in a much better way than I expected, which ultimately put my fears to rest. It's the same old story. Guy is going through a divorce, and when disaster hits, in this case in the form of a huge mega-earthquake, he must find a way to get to his teenage daughter and ex-wife to save them. Minor sub-plots aside, what I liked about this is that it starts rather quickly, without all that unnecessary fluff they try to hammer into these films to fill the run time. The set pieces are impressive, and to my surprise, all the harrowing disaster-ness is done really well. Where I found the effects work to be too hacky in the trailers, I found to be quite realistic in the final product. The only time I really noticed it being schlocky was in one particular sequence involving water.
Whether Dwayne Johnson is being in something serious, or silly, I have to give the guy credit; he brings his A Game to every single role he's in. He never half-asses anything, so whether I actually like a film of his or not, I respect the guy as one of the hardest working actors in the business. In this role, he brings his usual swagger, and it seems like a perfect fit for him. And as is the case for these big budget disaster pics, there's a large who's who of supporting actors that all bring that extra something to the table. Unfortunately we don't have that 1 big surprise cameo or bit part from someone big time. That would've been icing on the cake.
While disaster pics were big business more than a quarter century ago, they continue to be made, yet less enthusiastically and less regularly, with 1 every few years or so. Despite this, they still don't seem to be made well. While Roland Emmerich has been called the "King of the Disaster Epics", he doesn't seem to make them all that well, at least when you compare them to some of his stronger films earlier in his career. With films like 2014 and even his version of Godzilla, for example, there's always room for improvement. He's been known to get these made fast and cheaply, but "quality" is never a word used when describing his work unfortunately. I am looking forward to his Independance Day sequel though, so hopefully it will be a return to form for the big budget maestro. But, if San Andreas is any indication, it seems that director Brad Peyton may be able to fill those shoes as well.
San Andreas is pure popcorn/disaster epic/eye candy. It's a ton of fun and if you can shut your brain off and not give into asking questions like "why do the seismologist's and scientists have power when the rest of the city is virtually without electricity?", then you'll enjoy this big budget disaster pic that hits all the right notes, no more, no less.
Directed by: M. Night Shyamalan
Man, I am really, really behind on these, and I do apologize. Rather than do full-blown reviews, I think the majority of these will be my "Quick Shot" reviews just so I can catch up. First up, M. Night Shyamalan's The Visit.
I'll be honest. I have not seen an M. Night film since 2002's Sign's, which I did in fact enjoy. When people spoiled The Village for me, I just avoided it, and when I attempted The Happening, I just could not get into it. Then when people spoiled the ending for me, I really had no reason to finish it, mainly because that ending just sounded stupid. So I have not seen his last 5 films, and from what I hear, I'm not missing out on much.
But then The Visit seemed to creep up on us out of nowhere, and shockingly, there was a lot of positive buzz around it. Personally, I can't stand found footage films, so I was immediately turned off, but the continued buzz eventually won me over and I decided to give my first Shyamalan film in nearly 15 years a shot, with extremely low expectations.
I have to admit that I enjoyed this for what it was. Not expecting much to begin with, I was treated to a stripped down thriller that used old fashioned storytelling and a nice buildup of tension and suspense to get the story across, rather than using cheap jump scares and an overabundance of CGI. The found footage approach didn't annoy me like I had anticipated either. Shyamalan did his homework, and instead of going the annoying shaky-cam route, instead utilized a few creative tricks at explaining why the camera moves so smoothly throughout. For me that was a solid plus, and half the time I forgot this was supposed to be found footage.
As with most of his films, this film does have one of his trademark "twist endings". Personally, I wasn't expecting one, so I didn't spend the first half of the film trying to "figure it out". It never dawned on me, though my wife certainly did, and subsequently figured it out before the end. But even so, while it wasn't mind-blowing, it was interesting and creative, and just the little creative twist the film needed to keep things fresh and interesting.
All in all it was a solid and enjoyable effort. Nothing spectacular, but nothing bad either. It's a good way to spend an hour and a half of your time, especially with a significant other, if you're in the mood for something genuine in the thriller/horror department. Though the budget is limited, you'd never know it. Everything about the acting, direction, pacing and production lends itself an air of quality and class. It's not on the same caliber of Signs, The Sixth Sense or Unbreakable, but it's his best film in the last 14 years, and hopefully a return to form for the filmmaker.
Directed by: Antoine Fuqua
Wow. That was the first word that came out of my mouth when I finished this gritty crime drama masterpiece. I honestly can't tell you why I hadn't seen this film until now. Even knowing how badass Antoine Fuqua is as an action director and the fact that Washington won an Oscar for his performance here somehow never pushed me to actually watch it. Crazy, I know. You'd think this was right up my alley, and you'd be right. I'm just stupid because it took me 15 years to finally get around to this.
Written by David Ayer (Fury, Suicide Squad) and directed with gusto by Antoine Fuqua (The Equilizer, Olympus Has Fallen, Shooter), Training Day is a textbook example of how to correctly formulate dramatic tension, suspense, and action. In fact, it should be required viewing in film school. It's so fucking good, and incredibly bleak and intense, even when you "think" you know what direction it's heading.
For the most part, Training Day plays out pretty much as you expect. The trailer pretty much lays most of it out for you, and what the trailer doesn't provide, you figure out rather quickly, even down to the finale. But that doesn't mean there aren't any surprises along the way, because there are plenty. But that's for you to find out for yourself. To sum it up, it doesn't really re-invent the genre, but does such a damn good job at giving us a cop/thriller filled with an immense amount of tension, and made with an intensity you don't come to expect from these types of films anymore, this taut thriller is a benchmark in the cop/thriller genre and that's thanks to the combined forces of both Antoine Fuqua and David Ayer. Writer David Ayer came onto the gritty cop scene with a bang on this one, and so far, he's proven himself to be quite good and consistent in his writing, even though he's hit or miss with me as a director. I hated Sabotage, but I liked Fury, so you never know. But, every time I see a new Suicide Squad trailer, I get excited.
I've always been a fan of Fuqua as a director. The guy, even though most of his films are solid, just doesn't get the credit or respect he deserves. Sure, you could say he doesn't carry a definable "style" like say Tony Scott or Michael Bay, but the guy is consistent in terms of quality, and each film he directs is stylish, even if that style is hard to define in general terms. I guess what I'm trying to say is that they all look great; some more than others. You won't find a lazy or incompetent looking film in his entire filmography, and that right there says a lot when most seem to switch up their style so frequently you can never identify who's directing what anymore. Not like in the old days, before the shaky-cam/handheld revolution. Fuck that. Fuqua liked to keep it old school, and for that, I love him.
Training Day was a HUGE surprise. I mean, I knew it would be good, but I honestly didn't expect it to be this good.
Joe Dante's "Burying the Ex"; A Fun Spirited Homage to Classic Horror Perfectly Suited for a Date Night
Directed by: Joe Dante
This film has been sitting in my Netflix list for what seems like ages now. Not because the cover was awesome or anything, because it's not. In fact, it's pretty damn tacky if you ask me. But because I knew this was a new Joe Dante film, I figured I'd eventually get to it someday, and that day was a lazy Sunday afternoon last week. As it turns out, this was just what we were needing after the intense experience of watching Training Day for the very first time.
Max (Anton Yelchin) is a horror buff working retail and living with his vegan green-friendly girlfriend Evelyn (Ashley Greene). One day he meets Olivia (Alexandra Daddario), a like-minded horror enthusiast who seems to be the most perfect woman Max could ever want. As Max tries to work up the courage to break up with his girlfriend (who he has nothing in common with), to pursue Olivia, a freak accident kills Evelyn. As time goes by and Max feels comfortable enough to start pursuing Olivia, Evelyn returns from the dead, intent on maintaining their relationship at any cost, much to Max's dismay.
While Joe Dante's latest doesn't bring anything new to the table, or is even really all that great for that matter, what it is is fun and entertaining when you're looking for something "light" and "fluffy" to fill your time. I have to admit, I really enjoyed this, but at the same time, I couldn't imagine watching this alone and enjoying it as much. This really seems to work better while watching with a date or significant other. That's the kind of movie this is, and in that regard, it was cute, funny, and just the right kind of light-hearted fare we needed after an intense 2 hour experience watching a hard-edged cop thriller. While it doesn't really offer anything that would make it easily identifiable as a Joe Dante film, his love of classic horror is seen and felt throughout. The effects work is good, the production is decent enough, and Dante directs with Made-for-TV vibe that the film just can't ever shake. If anything, that would really be this films only big downside, that it looks like any Joe "Somebody" could have directed it, and not the once great Joe Dante. But, what really elevates the film above average is the standout performances by everyone involved, namely the ever reliable Anton Yelchin (Odd Thomas, Star Trek), and the impossibly cute and criminally hot Alexandra Daddario. While the entire film is filled with great performances all around and spot-on casting to boot, it's Yelchin and Daddario's performances as the love-struck Max and Olivia that really shine. The chemistry between these two is undeniable, and you really, really want things to work out between this perfectly-matched pair. Too bad the whole zombie ex-girlfriend thing is really mucking things up.
The film is mindless, silly fluff, yet it's so endearing and charming at the same time. You stay invested, and though it can never really shake it's PG-13 vibe, it's fun, and if anything, something to watch with your significant other that's cute and has some clever horror elements that act as both a homage and a parody to classic monster movies.
|Image courtesy of Horrorpedia.com and Banned In Queensland blog|
Directed by: Ken Russell
Nothing about this film's VHS cover ever struck me as something worth checking out. Indeed, while I was a kid, and moving on into adulthood, I would see this cover on the shelf of my local VHS rental store, and even though I'd come across numerous articles in Fangoria, Gorezone and others, at the time it was released, none of it won me over. So I never gave it a shot, and honestly, never gave it a second thought......until recently. All it usually takes is someone to say something positive about something to get me interested, and up until recently, that never happened. But someone had posted an image in a facebook group with the caption "Right when this turns batshit crazy". That's all it took. I was sold. I immediately rented it at my local Blockbuster (yes, it still exists in my small ass town), and knowing it was a Ken Russell (The Devils, The Witches) film got us even more pumped.
Via Alik Widge's IMDB Synopsis:
Scottish archaeologist Angus Flint discovers an odd skull amid the ruins of a convent that he is excavating. Shortly thereafter, Lady Sylvia Marsh returns to Temple House, a nearby mansion, far earlier than expected. At a party in the village, Angus meets Lord James D'Ampton, who has just inherited his family's land right next to Temple House. Angus learns of the D'Ampton Worm, a huge dragon-snake that an earlier D'Ampton killed by cutting it in half. (There's a pretty catchy rock-folk song that tells the D'Ampton Worm legend.) As people begin disappearing and acting strangely over the next few days, the skull is stolen from Angus's room, and the watch of a missing person is found in a cavern that was the legendary home of the D'Ampton worm. Angus and James discover that there was an ancient cult that worshiped the worm as a god, and they theorize that the creature somehow survived its destruction, but it was trapped inside the cavern.
I can honestly say that our experience watching Lair of the White Worm was completely unlike
|Atrocious U.S. DVD Cover|
The opening credits boast that it's based on a story by Bram Stoker, but I can only assume it's very loosely based, because.....this film is nuts. For starters, there are a few trippy sequences that literally come out of nowhere, filled with such bizarre imagery that it will more than likely blow your mind. The cast, for the most part, is solid. A young Hugh Grant was a surprise, and I never really found Amanda Donohoe to be all that attractive or interesting. At least, not in roles like this where her character is supposed to be a seductress. But that's just me.
And then there's the story itself. Personally speaking, I couldn't tell you what the film is about, as it's just all over the fucking place. The synopsis above gives you a good idea, but really, it's a head-scratcher most of the time. It doesn't really matter though, because it never once gets dull or tired, something which I found rather surprising. But it's really the films ability to be so weird, yet highly charming and amusing that keeps you invested throughout. I'm not really sure what I'd classify this under, as it doesn't really fall under any one single genre, but be that as it may, it's one seriously fucked up good time.