It's a bummer. I think they still want to do it eventually. I got to see them all in the theater along with the art exhibit and i couldn't think straight for weeks.
It's a bummer. I think they still want to do it eventually. I got to see them all in the theater along with the art exhibit and i couldn't think straight for weeks.
October 4th: Shock Waves (Ken Wiederhorn, 1977, PG, 90 min)
Shock Waves perfectly demonstrates one of the perils of being a horror film afficianado: getting lured into watching terrible, dull films by promises of cheap and gory thrills. And this movie promises something that would make just about any cult horror geek frothy just thinking about it: UNDERWATER NAZI ZOMBIES. Unfortunately, that's about all this movie has going for it, and even they're not all that impressive. Sure, they look pretty cool, especially emerging from the water:
but watching them in action is pretty dull. Mostly they just creep around in the woods looking foreboding and occasionally they'll drown someone. That's as much as excitement as you're going to get in this movie. Death by drowning. While that may be one of the most horrifying ways to go in real life, it holds very little cinematic flair. These zombies aren't even the ferocious flesh eating minions of the damned that we're used to. In a prologue, we find out that they were experimentally created as an unstoppable fighting force of the undead. This would be pretty cool if they actually did anything, but they don't, so it isn't. Almost everything else about the film is outright awful. The plot is minimal and poorly told. The characters are annoying, two dimensional, and dreadfully acted (and not even in a so-bad-it's-good way). It even looks ugly and bland. Worst of all, it's mind-numbingly dull, which should never happen when you have UNDERWATER NAZI ZOMBIES on board. There's not even any goddamned gore. Fuck this movie.
Most forgettable line: all of them.
Some versions don't have numbers on them...the one you want is Ginger Snaps Unleashed. Ginger Snaps Back (3) is the one to avoid.
I was excited for Alien 4: Resurrection what with Jeunet directing... and while it was interesting visually, it was eh.
Caro hasn't done much at all since City but looking now 2008's Dante 01 sounds promising. Has anyone seen that?
[This trailer may be considered NSFW by some.]
I never bothered with Amelie or A Very Long Engagement; based on commercials for the former I couldn't wrap my head around that being Jeunet. Was that a mistake?
I don't think I'm hosting a 2016 collaborative playlist.
WOW, that does look good! Great trailer!
I saw Dante 01... wasn't too impressed... but I was watching without subs and my french is very mediocre.
RE: The Crazies- remake? (I can't turn the sound on right now, so I didn't watch.)
As for ...Engagement- it was kind of interesting, but I could take it or leave it. Kind of an odd mishmash of a war movie and a chick flick. I had forgotten that Jeunet even directed it.
I've heard some interesting things from Joss Whedon about working on Alien:Resurrection. Basically said that Jeunet had no interest in trying to communicate with him or anyone else involved.
I've been a little busy over the last two days, so I didn't have time to finish my write-ups, so it's catch-up time.
October 5th: Kwaidan (Masaki Kobayashi, 1964, NR, 164 min)
The rare horror film that's more arthouse than grindhouse, today's selection is an anthology of four ghost stories drawn from Japanese folklore. Considering their source, it's not too surprising that these stories aren't particularly terrifying or gruesome and their outcomes are fairly predictable, but none of that really matters because of the stunning execution in bringing these stories to life. Using a rich color palette, expressionistic artificial sets, theatrical lighting and make-up, and, most impressively, a spare and tense sound design, Kwaidan establishes a disquieting feeling of lingering unease that reminds one of a half-remembered dream. The film is packed with gorgeous yet hauntingly surreal images: the long black hair of a woman betrayed, a white winter landscape watched over by disembodied eyes in the night sky, a defeated army sacrificing themselves by jumping into a sea of blood, a man covered in holy script. On a purely visual level, the film is remarkable enough to recommend to any lover of cinema. Fortunately, there is plenty else to admire about the film. While its languid pace might bore some viewers, especially if they go in expecting something like Saw, it fits the material well, allowing the stories to unfold naturally and entrance the audience. The stories are more concerned with exploring the intricacies of the human condition than providing cheap shocks, making this a film that will probably resonate with a lot of people who aren't really horror fans. The first three stories are all excellent. "The Black Hair" deals with a man who leaves his loving wife to pursue wealth and status, only to realize his mistake too late; "The Woman In The Snow" concerns a man who must remain silent about his near death experience; "Hoichi The Earless" is about a blind musician reknown for his skill at relaying the story of a famous sea battle being haunted by the spirits of those defeated in the battle. The final segment, "A Cup Of Tea", is based on a story that was never completed, and stands as the weakest segment. The filmmakers turn it into a statement about the art of storytelling but it ultimately feels unsatisfying with a forced shock ending that doesn't suit the tone generated by the rest of the film. Still, this segment is the shortest and doesn't detract from the proceeding ones. If you have the patience for this film's leisurely pace and lengthy running time, you'll be rewarded with a masterpiece of subtle, atmospheric horror.
Last edited by SoulDischarge; 10-06-2009 at 07:05 PM.
October 6th: Two Thousand Maniacs! (Herschell Gordon Lewis, 1964, NR, 87 min)
Herschell Gordon Lewis is often called the Godfather Of Gore due to a series of exploitation classics he wrote, produced and directed in the 60's, including Blood Feast, The Wizard Of Gore and today's entry in my month of horror, Two Thousand Maniacs!. These are some of the earliest gore films released and as such will always hold a special place in the bowels of cult film fanatics. Of course, they have lost the majority of their shock appeal forty years later when extreme "torture porn" movies are mainstream blockbusters, actually coming off as pretty quaint by today's standards. Lewis was most definitely a completely inept filmmaker and Two Thousand Maniacs! is no exception. Anyone who can't sit through an Ed Wood film without a MST3K track will probably hate this movie. For lovers of bad films, though, this is a lot of fun. There's not really all that much gore and calling what little there is "unconvincing" would be an understatement, but the film makes up for it with enthusiasm and camp value. Everyone involved seems to be having a lot of fun making something so obviously bad and socially irredeemable. The basic story involves a small Southern town luring travelling Yankees into participating in their centennial celebration, which is actually a plot to claim vengeance for the slaughter of the entire town by Union forces a century previous. Given our current political temprament, the idea of vengeful Confederate hicks is a hell of a lot more frightening than Freddie Kreuger. Of course, everyone wrings every ounce of camp out of their deranged yokel peformances, attacking scenes such as a cannibalistic b-b-que with psychotic glee. For the most part, the death scenes are imaginative and absurd. While most people won't get much out of this movie, its deviant charm and lack of pretense make for an entertaining piece of vintage sleaze.
Stupidest/coolest death scene: barrel roll with nails in the barrel.
Kwaidan is such a good film... one the few bad apples in Criterion's set of transfers. the Masters of Cinema DVD is soooo much better.
I enjoyed Kwaidan, but it bored my wife to tears.
I watched The Boy With The Green Hair last night. It was quite cheesy, but considering it was made in 1948 it put things in perspective. Dean Stockwell plays the green haired boy who must spread the word of the war orphans. The film is heavy handed in its message and delivery. This movie is only for the very curious, I wouldn't recommend it to the average viewer although fans of Dean Stockwell should definitely watch. His performance was great.
October 7th: Cure (Kiyoshi Kurosawa, 1997, NR, 111 min)
After covering so many older features, I wanted to watch something a bit more contemporary. Unfortunately, I don't have many 00's horror films in my collection, especially American ones, so I ended up watching another Japanese film, this one from 1997, and I'm really glad I did. I'm not really sure what it is about the Japanese, but they seem to excel at creating complex slow-burning conceptual horror films that get under your skin. Cure is one of the most interesting modern horror movies I've seen from any country. The plot involves a series of similar murders being committed by otherwise sane people for no discernible reason and their connection to a strange amnesiac drifter. At the center of all of this is the detective working on the case, played with pitch-perfect world-weariness by Kôji Yakusho, and his unstable relationship with his mentally ill wife. This is the type of film that will agitate the hell out of people who don't like ambiguous, open-ended pieces of art. The plot, while compelling enough in its own right, is more or less an excuse to explore many deeper existential issues than your typical murder mystery aims for: the uncertain nature of identity, the senseless and chaotic way violence spreads throughout society by means of average people, the tenuous line between having a sense of self purpose and succumbing to the meaningless of life in modern society, how dangerous the power of suggestion and ideas can be. It's a lot to pack into one film, and as such, the viewer is left at the end with more questions than answers. While this can lead to a lot of frustration, especially the first time through, when handled with skill, as is the case with Cure, this approach is far more compelling than an easy explanation would have been. This is the type of film that sticks in your mind for a long time afterward and demands multiple viewings. Aside from the philosophical depths offered, there's much about this film to admire. All around great performances contribute to complex, unique characters that make the more fantastic elements of their circumstances seem believable. The directing is assured and somewhat clinical, which suits the detachment many of the characters exhibit. Tonally, I'm somewhat reminded of other modern serial killer classics such as Silence Of The Lambs and Seven. There's the same sense of getting drawn in ever deeper into the horrifying yet fascinating world of dehumanized brutality that those movies featured, although this movie gives us even less ground to make sense of that world than the others do. Another striking touch is the lack of glamor applied to the murders. Unlike many horror films that play up their violence for thrills or tragedy, Cure treats its crimes as almost mundane, mirroring the numbing of emotions Yakusho's detective experiences in order to do his job effectively. There is very little gore in this film, but it's far more disturbing than most movies with ten times the blood. This film is bound to alienate much of its audience, but those who are willing to meet it halfway will be treated to the rare horror film that isn't afraid to pose questions it doesn't have all the answers for.
I've actually been spending lots of time outside of the house lately, so while I've had time to watch movies, I haven't had time to do the write ups, so I'm going to try to catch up today.
October 8th: Gremlins 2: The New Batch (Joe Dante, 1990, PG-13, 106 min)
Sure, I'm stretching the definition of horror a bit for Gremlins 2, but fuck you, it's my cult film sanctum, and I wanted to watch it. I've seen it before, but not since I was a kid. I remember liking it, but I had forgotten just how fun it is. It's got to be one of the most fun movies to watch of all time. It's pretty much a Tex Avery cartoon come to life. What little plot there is is just an excuse to let Dante's monster run amok in a high tech, fully automated funhouse of a skyscraper. While the first Gremlins contained equal parts comedy and horror, the sequel is played entirely for laughs, even taking shots at itself and its predecessor. One of the best jokes riffs on the traumatic Christmas story Phoebe Cates tells in the first movie, and Leonard Maltin shows up as himself to diss the original. As is typical for a Joe Dante feature, the film is full of clever in-jokes for cult and horror fans, including cameos from cult character actors such as Dick Miller, Paul Bartel, Christopher Lee, and even Hulk Hogan. There's also a cable b-movie presenter played by Robert Prosky made to look like Al Lewis. Of course, the real stars are the gremlins themselves, who, with the help of a Looney Tunes style genetic laboratory, transform into all kinds of inventive and over the top mutations. There's a psychotic glee to the way these creatures nihilistically destroy everything in sight, which in the context of the ultra-modern skyscraper where they've been let loose, makes for a grand fuck you to the frustrations of modern technology. Not that the film is aiming for any higher agenda than to fully entertain throughout, which it does in spades, but the whole film comes off like a delirious and hilarious revenge fantasy against the contrivances of modern city living, from sycophantic suits to gentrification down to "conveniences" that actually make life more difficult, like automatic desk lamps. This is the type of detailed comedy you can watch over and over, with every minute of screen time filled with some kind of sight gag or witty, irreverent line. If you haven't seen it since you were a kid either, check it out again; it only gets better with time.
Most poetic fire alarm: "Fire: The Untamed Element, Oldest of Man's Mysteries, Giver of warmth, Destroyer of forests, right now *this* building is on fire. Yes! The building is on fire! Leave the building! Enact the Age Old drama of Self-Preservation!"
October 9th: Black Sunday (a.k.a. The Mask Of Satan) (Mario Bava, 1960, NR, 87 min)
Mario Bava is a name that looms large in the world of horror film, and up to this point, I had never seen a single film of his, so what better place to start than his directorial debut and the film that sealed his reputation, Black Sunday? A black and white Gothic horror tale concerning the centuries old revenge of two lovers burned alive for witchcraft and vampirism, this film is the textbook definition of "atmospheric." This movie has every single classic horror movie cliche you can think of: crypts, castles, cobwebs, spooky portraits, secret passageways, foggy nights, scared villagers, and so on and so forth. This shit is Haunted Houses 101. Since Bava worked primarily as a cinematographer before this, the film is exquisitely shot. In fact, the camera work has ten times the personality of any of the actors in the film, with one exception: scream queen Barbara Steele. Playing dual roles as a vengeful witch and a daughter of nobility created in her image, she exhibits vulnerability and menace with equal aplomb. She also brings an undercurrent of lurid sexuality to the film, most obvious in a scene where she takes control over a man's soul by kissing him. The rest of the actors are serviceable but forgettable. Part of that might be due to the terrible English dubbing, a hallmark of Italian filmmaking best utilized by Dario Argento, but I'm pretty sure the characters would still be dull even with proper voice acting. Most of the dialogue is rather florid and theatrical, another typical Italian touch, which can lead to some deliciously melodramatic monologues at certain times, while at others it only makes the characters harder to relate to. Although tame by today's standards, a couple of scenes are relatively grotesque for the time period, especially the opening execution ritual, which might be the best part of the whole movie. Still, these scenes were too few and much of the movie drags with excessive exposition. Despite the fact that a good portion of Black Sunday is dated and somewhat boring, the beautiful imagery, Gothic atmosphere, and the oddly alluring presence of Barbara Steele solidifies it something of a classic that all horror fanatics should view at least once. Everyone else can skip it.
Line of dialogue with the most convoluted logic: "You will be dead to man, but you will be alive in death!"
Gremlins 2 is so superior to Gremlins in almost every way...the only way it fails is as a horror film, but that's because it doesn't really try. It's as close to complete anarchy as a big-budget summer sequel ever could be.
It's a shame that most people will never get to experience the projection room gag as it was meant to be seen. It was removed entirely from the VHS version, but I believe it was restored on the DVD. As originally presented, the film seemed to be in stereo up until that point, then the Gremlins sounds moved entirely to the rear. After the film is restored, the surround sound goes completely nuts for the remainder of the movie. The crowd went crazy, despite the stupid Hulk Hogan stuff.
Black Sunday is one of my all-time favorite films.
That is a pretty entertaining quote, Souldischarge. always makes me chuckle.
OH SHIT! I just looked up a clip on youtube and the voice dubbing is different from the version I have! WTF!?
October 10th: Saturday Night Camp Horror Double Feature Picture Show Extravaganza featuring Rock 'N' Roll Nightmare and Troll 2, brought to you by Pabst Blue Ribbon
Picture this: it's your typical October Saturday night in a small Midwestern city and you and all of your friends are broke, disenfranchised, and desperate for some kind of cheap, unfulfilling distraction from the soul crushing drudgery of your day to day lives that won't land you in jail, a ditch on the side of the road, or the VD clinic. What do you do? There's really only one option: pitch in for a 30 pack of PBR and throw on some terrible movies, which is exactly the scene that occurred last night.
Now, there are certain types of films that exist that plague the mind of the cult film obsessive in much the same way that pre-pubescent flesh haunts the dreams of Jeffery Jones. In the past, these holy grails of cinematic ineptitude were often hidden in remote independent video stores that are more likely to have the gay porn version of the latest Harry Potter blockbuster than the actual studio version, traded amongst underground cabals of socially maladjusted, basement dwelling collectors who value the vinegar-like stench of celluloid more than human life, screened at seedy institutions where cigarettes burns signify more than a reel change, and mythologized to point where they become virtual El Dorados of trash. Of course, the DVD age has, thankfully, eliminated much of the rarity of these celluloid crimes against humanity, but in its place, has actually introduced a new kind of elusiveness to the modern sleazehound. Frustratingly excessive amounts of pop culture debris floods the market on a weekly basis, and sorting through it all to find the few truly glorious examples of filmmaking gone tragically, hilariously awry can feel like combing the desert for spare change. The sheer enormity of mediocrity available to choose from is profoundly staggering and can often tarnish the sordid luster of cult film fanatacism. For every slice of misguided insanity that exists, such as The Apple, there's a thousand semi-competent productions that are about as thrilling as listening to Stephen Hawking recite binary code. So when a feature gets labeled "the worst film ever made," bad movie enthusiasts are prone to cast a wary but hopeful eye towards it in hopes of discovering some rare lost ark. Actually uncovering one of these obscure objects of desire can fill a midnight movie fiend with the kind of rapturous bliss usually only allotted to epileptics right before they lose consciousness.
I was fortunate enough to bear witness to not just one but two such classics last night.
Rock 'N' Roll Nightmare (a.k.a. The Edge Of Hell) (John Fasano, 1987, R, 83 min)
Written, starring, and scored by the Canadian bodybuilder and hair metal singer Jon Mikl Thor, this would-be epic acts as a distillation of every stylistic atrocitiy North American white people committed throughout the 80s, and all in less than an hour and a half. After a brief, unnecessary, and vaguely non-sensical prologue concerning a family being killed by demons or something like that in their remote Canadian farmhouse, we're introduced to the Tritonz, a.k.a. the biggest pussies in metal history. Seriously, I know twelve year olds that party harder than the guys in this film. Instead of cocaine, skanks, and tight leather pants, our heroes indulge in Coca-Cola, marital bliss, and wool sweaters. Thor even uses phrases like "For crying out loud" when confronting the forces of evil. Although it should be noted that these fine young gentlemen "live to rock," as one of two full songs performed in the film makes clear. Ostensibly, the plot concerns the Tritonz efforts to finish their latest album in a recording studio located in the barn of the aforementioned Canadian farm while trying to avoid the various demons who appear out of nowhere to terrorize them. In reality, this merely serves as an excuse to showcase a mind blowing array of nauseating softcore sex scenes, sub-Basket Case style claymation monsters that rely heavily on phallic motifs in their design, and lots and lots of zero calorie diet RAWK. While the creature effects are full of that good, campy pre-digital charm typical of 80's low budget creature features, they're far from frightening. That doesn't mean that the movie lacks real scares. They're in abundance, as Thor displays the true rock 'n' roll nightmare that lurks within his wardrobe:
Unfortunately, any and all of those fashion crimes are preferable to Thor in the nude, a sight we get to relish in a prolonged shower sex scene that marks one of the cruelest acts perpetrated against humanity since the creation of Zyklon B:
Still, none of this can quite prepare you for the mind melting glimpse into the abyss that is Thor's final act transformation into THE INTERCESSOR:
While the movie occasionally lulls, usually under the weight of too many flaccid sex scenes between the reigning weiners of rock and their hairpieces-who-sprouted-bodies sweethearts, all is forgiven once it comes time for the inexplicable discount insanity that is the final battle between Thor THE INTERCESSOR and Beelzebub, whose body was apparently forged in the deepest, darkest pits of the Goodyear Tire factory. There is also a shocking twist ending involved that is too stupid and contrived for me to ruin. I challenge one and all to see if they, too, can face the pure terror of feathered hair, the sheer agony of a fake Australian accent, the blood curdling shocks of one eyed foam monsters, and the hair raising hair metal that calls itself . . . Rock 'N' Roll Nightmare.
Earliest line of dialogue to act as a red flag of grand delusion:
"Because Toronto is where it's happening man!"
[b]Troll 2[/i] (Claudio Fragrasso [as Drake Floyd], 1990, PG-13, 95 min)
It's difficult to write about a film like this. Even referring to it as a film feels like an act of injustice. This is a divine gift, a powerful and mysterious relic from another world beyond our comprehension. It is an instructional guide for living life on the other side of the looking glass. To unravel its complex tapestry is to reveal the core elements that binds our existence together. I had heard the rumors, but they didn't prepare me for the actual experience of witnessing this film unfold before my very eyes. Fortunately, I had heard little more about the movie than that it was a contender for the worst film of all time. The less you know about it going in, the more you stand to gain. Approach it with a pure and open mind and you will find yourself a changed person afterward. The point here is not that this is a bad film; White Chicks is a bad film. Troll 2 is a prism through which you view how movies are judged. A work such as this does not result from mere ineptitude. Every element of the production is taken, examined, magnified, and distorted until it bears almost no relation to its original form. This movie is a post-modern exploration of what a the purpose of movies are supposed to be. Everything is at least one step removed from what you would normally expect from a film. The actors are not portraying characters. They are portraying themselves portraying characters. Take the protagonist, Joshua, a freckle faced 12 year old boy. You might recognize him:
Every moment he spends onscreen incites a distinct feeling of repulsion and a desire to commit unspeakable acts of violence, similar to what Alex must feel after he has been "cured" in A Clockwork Orange. This is no accident. A film is produced one decision at a time, and at some point, someone, somewhere decided to cast this particular boy in this particular role. Incompetence just doesn't suffice when trying to explain how such a casting choice was made. The filmmakers want you to feel this way. They want you to examine what inside you makes you want to see an innocent child's brains splattered across the pavement. All the other actors operate in a similar manner. They challenge everything you think you know about how real people interact, about their wants and needs and fears. Everything about this film defies logic. In the absence of logic, where do we turn? How do we make sense of the world? Is a bologna sandwich really just a bologna sandwich, or is it something more? Something unbeleivably powerful? There are no easy answers in Troll 2. Maybe it's not for everyone. Most people just aren't ready to examine the true possibilities in a world without rules, without sense. Still, there's only one way to find out, and there's only one Troll 2.
This film will not be given a number rating as it defies all ratings in a world where 0 and 10 cannot be the same number.
Last edited by SoulDischarge; 10-23-2009 at 06:41 AM.
With regards to Gremlin 2: I rewatched in the first time in YEARS (although i watched in a ton when i was a kid, including in the theater) a couple months ago and that movie is batshit insane. There's so much self-referencing and breaking of the fourth wall that it starts to get out of control a bit, but it;s very funny and it's extremely imprerssive in the in sanely massive amnount of very detailed, very well-controlled puppets and animitronics.
i am a very much obsessed with good practical effects and puppetry, and this movie is such an amazing spectacle of it and pretty much perfect from that standpoint (the only exception being some pretty terrible compositing of the stop-motion bat gremlin puppet.
it's mostly stupid, but it's an extremely entertaining film that really gets going right from the start and never lets up
Despite the fact that no one really gives a fuck, I'm reviving this.
So I just finished watching Diva. It's a French film from the early 80s that followed the French New Wave but falls right in line with 80s New Wave culture (think Liquid Sky). It concerns an overly complicated but ultimately trivial plot involving a postman who loves opera, a bootlegged recording of the diva he adores, a tape exposing an international prostitution ring, Parisian gangsters, Taiwanese gangsters, the police, a kleptomaniac Thai teenager and her mentor/lover, a mysterious philosopher. All of it is just furniture upon which to layer an abundance of style and atmosphere. The sets and locations almost completely steal the film, from a loft decorated with wrecked luxury cars to an opera hall to the subway system to an abandoned factory to a remote lighthouse. A haunting electronic score adds even more atmosphere to these locations. Most of the characters are charming eccentrics. There's a fun, spontaneous chase scene that's often regarded as one of cinema's best and breaks up the languid pacing a bit. It takes awhile to get going, and even when it hits its stride, it moves at its own off kilter rhythm, but it's still a fascinating, unique film that relishes in style over substance.
I enjoy Diva very much. I became aware of it first in a screenwriting of all places several years ago.
I just wrote about this in the other movie thread, but it deserves attention here - Class of 1984
It's a punk movie in that in 1980 the filmmakers looked at photos of kids dressed as punks and decided they would be appropriately dangerous looking as the completely ridiculous and insane teenage villains that run drugs and prostitution in their high school as if they were a mafia empire.
Thew entire thing is pretty much a daft criticism of criminal due process and also seems to want to serve as a cautionary tale for those that don't suspect the possibility of the youth of today rising against their oppressors. What ends up happening here though is a somewhat heightened reality that in a way echos The Warriors and ultimately becomes Death Wish. it's extremely entertaining, often funny, and always over the top.
It features a great over the top performance from Roddy McDowell in which he gets to take center stage in several of the film's best moments - crying in grief over a classroom of massacred animals hanging from hooks and flambed on spikes, teaching a class at gunpoint, and attempting to mow down a crowd of punks in his car. We also get an early performance by a chubby Michael J Fox, who mostly whines his way through his role, but has a shining moment in a sequence that turns a school lunch hall into a prison movie riot. Perry King is great as the new teacher who won't stand down and decides to go toe to toe with the lunatics, and Timothy Van Patton is a great scenery-chewing teenage villain.
The final 20 minute video game-like labyrinthine massacre/revenge fantasy through the halls of the school at the end of the film ends up being an incredible pay off for everything that happens beforehand. Top it all of with a terribly amazing Alice Cooper theme song and you've got yourself a damn fine B movie.
Oh, Patrick, do you ever read House of Self-Indulgence? it's a pretty damn entertaining cult movie blog.
EDIT: also, i'm really glad you bumped this, because I've been watching a lot of movies that belong in here better than the other thread lately
That's a great blog, thanks for the reminder.
Looks fun. I'll have to give it further consideration once my eyes stop bleeding from conjunctivitis or whatever the fuck it is I have.
I watched The American Astronaut, which is an oddball indie musical sci-fi comedy curiosity. This Cory McAbee guy wrote, directed, starred in, and composed all the music for it (the whole film kind of felt like a showcase for his band). Usually these kind of idiosyncratic oddities are right up my alley, and I wanted to love it, but for the most part if fell kind of flat. There were a few times where it got really close to a great idea, but ultimately it felt like it was kind of swallowed up by its own eccentricity. Which I can't completely fault it for; I'm sure there's a bunch of people out there who are exactly on this movie's wavelength and it's bound to have a strong cult following. To its credit, the songs were occasionally catchy, even if they had nothing to do with the plot, the lo-fi black and white photography was sometimes arresting, and there was a creepy/campy atmosphere that's equal parts David Lynch, Forbidden Zone and Flash Gordon. Still, it seemed like a short film's worth of ideas trying to stretch out to a full length feature, especially with the abrupt ending. So I can't really recommend it but I can't completely hate on it either.
So a couple weeks ago i watched Vicious Lips
It's an extremely low budget sci fi about an all-girl rock band that gets a new band and then needs to get to the other side of the galaxy to play an important gig for a huge promoter. The first 25 minutes or so are actually pretty great in that '80s punk rock movie kind of way...unfortunately once they get on the space ship and crash land on the planet it loses a lot of steam because the budget really starts to tie the plot too tightly and a lot of weird crap that makes no sense happen. Regardless, it's worth checking out for all of the really great Sue Saad songs!
Straight to Hell
Why this may not be some super artsy movie, it has Joe Strummer, the highly annoying Courtney Love,Elvis Costello,Jim Jarmusch, Dennis Hopper, Grace Jones,members of the Pogues and Circle Jerks.The movie is about these Bank robbers who ended up in a Ghost Town filled a gang that are coffee addicts.The movie has one of my favorite musical performances in any movie as well.
This thread is definitely NOT about "super artsy" movies hahahaa. That movie sounds awesome. Not available on Netflix at the moment booooo