As I mentioned on Twitter last week, I’m embarrassed to say I’ve never seen John Landis’ An American Werewolf In London before. I mean, it’s considered one of the best werewolf AND horror comedies around which immediately makes it a must-see movie, even if I’m not a big fan of that particular monster. But it gets worse because I not only saw the Paris-set sequel from the 90s, but also own the soundtrack. As if that wasn’t bad enough, I actually interviewed Landis in person at one of the first New York Comic Cons (more on that in a future post this month). Continue reading Halloween Scene An American Werewolf In London (1981)
I have a few distinct memories of Twilight Zone: The Movie. When I was a kid, I have a very clear memory of watching the beginning of this movie with my dad, who does not like scary movies by the way, and being completely freaked out by that Dan Akyroyd bit in the beginning between him and Albert Brooks. That was well before I got into horror movies myself and I must say it stuck with me.
The other memory is that it’s not very good. My memory didn’t go much further beyond that, but I think it had something to do with the fact that, aside from the initial segment by John Landis, the movie didn’t do too much in the way of newness. But upon watching the full thing again recently in my attempt to go through all of Steven Spielberg’s major film efforts, I didn’t have that same problem.
In fact, the only segment of the film — four parts each directed by Landis, Spielberg, Joe Dante (who I recently realized I’m a huge fan of) and George Miller of Mad Max fame — that I didn’t like is the one by Spielberg which was pretty disappointing.
Called “Kick The Can,” the second part of the film finds The Shining‘s Scatman Crothers playing Mr. Bloom, a recent addition to a nursing home who riles up all the other old folks with talk of youth. That night, they all go out to play and actually become young again. I’m not nearly as familiar with this episode from the original TV series — which I absolutely love watching in marathon mode every New Year’s — but I can’t imagine that one is as schmaltzy and sappy as this one. Spielberg just goes overboard with the cutesy stuff and winds up undercutting his own fairly poignant story about not wanting to lose yourself to age. It’s too bad considering the other filmmakers created much more balanced offerings and Spielberg had just nailed well crafted, earned sentimentality with E.T. the year before.
Since I’m probably not going to circle round back to this movie for a while, I might as well review the other three segments. Landis’ piece about a bigot who winds up surviving violent encounters while looking like the various groups he hates was a really solid piece of craftsmanship unfortunately tainted by the real life tragedy that went on while filming. Still, I thought the whole film should have been more in line with this part which deftly recreated the feel of the old series while telling an all new story.
Dante did a lot with his part, “It’s A Good Life” about a little boy with intense reality warping powers who brings a traveling teacher into his incredibly strange house. He does a great job of slowly revealing what’s going on and also lacing the entire thing with cartoons to not only explain what’s going on without smashing you over the head with it, but then become much more a part of the proceedings as the segment progresses (poor Cousin Ethel). There’s something awesomely grotesque about how the toons look when they come into the real world. Since we’re inundated with cartoons, it makes all the more sense that some of the house’s hallways and rooms look like they’re straight out of Tom and Jerry or one of the Warners cartoons seen in the film. Actually, the set design of this movie reminded me quite a bit of what Dante did once the kid went in the deep, dark pit in The Hole.
This segment is also the one I want more of after it’s over. All four portions feel like complete short stories, but there’s clearly a lot more going on here that could be explored more fully in a longer form story. Plus, damn that kid and the mutant bunny are creep-city. Oh and it’s pretty crazy seeing Nancy Cartwright as Cousin Ethel because you can hear her Bart Simpson voice even back then.
Finally you’ve got Miller’s take on “Nightmare At 20,000 Feet” starring John Lithgow in the William Shatner role. Of all three recreated episodes, this is the original I’ve seen the most. This is the one where an airplane passenger is convinced that a gremlin is on the wing of the place tearing it apart. Everyone around him thinks he’s nuts, but, being the Twilight Zone, we know that’s not what’s up. The key to this one is Lithgow’s excellent performance as the flier who starts off already terrified and then skyrockets into anxiety when he starts seeing things that shouldn’t be there. Since he nails it, the whole thing comes off as a more intense journey than you might expect. Of course, it helps that the gremlin looks a lot better than a dude in a carpet suit.
Oddly, as far as anthology films go, I’d give this one a thumb’s up, something I rarely do. Overall the quality’s solid, with great storytelling, acting and direction. As a Spielberg offering, though, it leaves much to be desired. With Twilight Zone out of the way, I’m moving on to Temple Of Doom, which I love, and then a few episodes of Amazing Stories that I believe are on Netflix Instant. After that I’m getting into some pretty new territory with his more dramatic efforts of the 80s and 90s starting with The Color Purple and Empire Of The Sun. I’m hoping to stay a bit more up to date on these posts. Looking back I only did two all year, this being the second. Hopefully I can at least get up to Purple by year’s end, but it would probably be foolish to make any promises.
If there’s one documentary subject I don’t think I’ll ever get sick of it’s filmmakers talking about the good old days of cheaply made schlock shown at drive-ins and grindhouse theaters. And I’m glad that people are not only making these movies, but also that the people who were involved are not only still alive, but also willing to talk about their experiences. While the excellent Not Quite Hollywood focused on these kinds of movies shot in Australia and the not as great American Grindhouse focused on its own obvious subject matter, Machete Maidens Unleashed set its sites on American films that were shot down in the Philippines in the 70s and 80s. I actually just looked and the guy who directed this movie, Mark Hartley, also directed Not Quite and is the man behind the upcoming Canon Video doc which I am really looking forward to.
I actually didn’t even know this was a thing before reading the description on Netflix Instant (I, of course, was first drawn in by the poster image and then the title), but there was actually a full-fledged movie industry in the Philippines at the team that lots of producers and directors like Roger Corman and Joe Dante took advantage of because of the low, low cost. At one point, one of the filmmakers in the doc said something along the lines of “The film was cheap and human life was even cheaper,” referencing the lengths local actors and stuntmen would go to put their lives on the line to get just the right shot. Fight scenes were filmed so that people were actually beating the crap out of each other and a lot of the explosions going off and glass being broken were real. It’s the kind of thing that, today, would create a public outcry for human safety, but at that place and that time, those apparently weren’t big concerns.
There are two aspects of this film that make it so interesting aside from the subject matter itself. First off, it seems like everyone who’s still alive agreed to be interviewed for this flick. Heck, John Landis is there and I don’t even think he shot a movie in the Philippines! That dude just loves to talk about these kinds of movies (he’s also in American Grindhouse). I already mentioned Corman and Dante, but tons of people appear in this movie: Pam Grier, Sid Haig, R. Lee Ermey, Dick Miller, Brian Trenchard-Smith, seemingly every hopeful starlet who appeared topless in those movies and several local filmmakers. Everyone is very open, honest and entertaining when it comes to relating their experiences. The second aspect of this movie that really makes it great and seems to be a trademark of Hartley’s, is the quick and efficient editing of the picture. There isn’t a wasted moment in this flick and, at the same time it doesn’t feel rushed.
If you love bad movies of years gone by, exploitation cinema or are just interested in some of the less glamorous corners of the film business, I highly recommend giving Machete Maidens Unleashed a watch.
I Watch A Lot Of Movies will most likely be a recurring feature here on the blog because it’s a plain fact. Because I work from home and I like to have something on to either watch or listen to while I do so, I go through a lot of movies, shows, podcasts and records. Sometimes I give them their own write-ups, but sometimes I don’t have as much to say. So, IWALOM will be a kind of catch-all for the things I want to say a few words on. As it happens, I’ve been on a bit of a documentary going back to when I watched and wrote about Too Tough To Die and Conan O’Brien Can’t Stop a few weeks ago.
One of the more curious documentaries I’ve seen on Netflix Instant has to be Dalekmania (1995) which I assumed would be about the history of the Doctor Who baddies. Instead, as the subtitle explains, it’s actually the story of Daleks and the Doctor on the big screen. Back in 1965 Peter Cushing starred as a tweaked version of the character in a big screen flock that remade one of the few serials I’ve actually seen: The Daleks.
Much like the 1996 Fox-produced Doctor Who movie, the movie and it’s sequel, the awesomely named Invasion Earth: 2015, neither film is in cannon, but that doesn’t mean they don’t look interesting. Seeing a documentary based on a pair of films I’ve never seen was cool because it’s not like I had heard any of these stories before. The downside? The movies aren’t on any kind of Netflix so I can’t check them out, which is a little frustrating. It seems like everyone involved (and living) was interviewed and you also get to see a cool collection of Dalek and Who memorabilia from a husband and wife collector team. Worth checking out for Who fans even if they don’t HAVE to know about these flicks.
I was kind of disappointed by American Grindhouse (2010), especially after being so impressed by essentially the Australian version of this doc called Not Quite Hollywood. While Not Quite really seemed to just jump in and celebrate their schlocky movies, Grindhouse seems to take an almost clinical approach which saps some of the fun out of the proceedings. A big contributor to that feeling is how specifically they define “grindhouse.’ Instead of being about low budget movies sent to drive ins or cheap theaters, we’re told that an actual grindhouse was a theater that would never shut down or stop showing movies. Uh, okay. It’s the equivalent of someone telling you in great detail that what you’re blowing your nose in isn’t actually a Kleenex, but a facial tissues.
The opposite side of the specificity coin is that you actually get treated to lots of different kinds of movies than you might expect, going all the way back to the early days of film. The movie points out that, almost as soon as people figured out how to use movie cameras, they started pointing them at naked ladies. I actually learned this in either high school or college and was blown away at the time because you kind of assume that everything was super prudey back in the day, but in reality people are people and are always curious about things like that.
The film also boasts a quality group of talking heads including John Landis, Joe Dante, William Lustig and plenty of others. Everyone brings something interesting to the table, it’s just a broader table than I was expecting when I turned it on.
I probably wouldn’t have given a movie called Trumbo (2007) if not for the awesome image on this poster. A dude writing in the bathtub? I love it! The story found in the documentary is even more interesting. Dalton Trumbo was one of the infamous Hollywood Ten, a group of writers who were blacklisted for communist leanings thanks to McCarthy and the ridiculous red scare. He wrote movies like The Devil’s Playground, Roman Holiday, Spartacus, Johnny Got His Gun and plenty of others, some of which were credited to other writers who fronted for him and some of the other Hollywood Ten.
The doc has an interesting style that takes many of Trumbo’s writings and has famous actors do dramatic readings. I didn’t realize what was happening at first when people like Michael Douglas, Brian Dennehy, Paul Giamatti and others started doing these monologues in dark rooms, I was confused, but I soon caught on and enjoyed the method. Apparently, this film is based on the stage play of one of Trumbo’s sons, which makes that all make a lot more sense.
I like that Trumbo never lost faith or face, really, kept writing and later on didn’t seem too bitter about what happened. He definitely answered some questions with a sharp wit, but he didn’t seem bitter, which is inspiring considering the mountains of bullshit heaped upon him.
Like a lot of things on Netflix, I didn’t really know what Mayor Of The Sunset Strip (2003). For some reason I thought it was about a guy who was influential in the 80s metal scene on the Sunset Strip. It’s actually about Rodney Binginheimer, a dude who started out as a groupie in the 60s, met practically every rock star, got nicknamed in a Beach Boys song, became one of the most influential DJs in music history and is still kicking.
I found this story so fascinating because Bingenheimer is ridiculously damaged. Yes, he’s met every single important rock and roll musician since the medium was practically invented and yes he has (or at least had) a great deal of power in his business, but he is also a sad, lonely man with mom issues. The portrait painted is that of a man who prefers not to be in the spotlight, but absolutely expects to be just on the fringes now. It’s also the story of a man whose time as come and gone, though that’s not the main focus. Towards the end of the movie, the man with ridiculous hair tells the camera that he’s only got one night a week as a DJ on KROQ which clearly bums him out. The only time he expresses any real, obvious emotions happens in a scene where his radio protege finishes a show and Bingenheimer is pissed because he thinks the younger man has basically stolen his entire schtick.
For me, Mayor has two lessons to be learned. First, it shows me that anyone can become important. There was nothing truly special about Rodney Bingenheimer, nothing that would make him an obvious maven of a culture movement. But, he physically got himself where he needed to be and worked his way up to becoming ridiculously influential. That’s the American dream, right? Well, the second lesson shows what can happen if you don’t balance your life out. Even with all his power and influence, something about his personality didn’t allow him to capitalize on it too much and he has essentially faded out of prominence. The lesson is to both keep working even after reaching prominence, but also that all the importance in the world doesn’t fix your problems. You’ve got to work on that stuff on your own and it didn’t seem to me like Bingenheimer has done that.
Well, it’s that time of year again where I try to do for 31 days what BC over at the wonderful Horror Movie A Day has been doing for years. I already thought I had failed because I was under the impression that today was the 3rd for a good chunk of the day. Anyway, on October 1st I watched a movie that a lot of people love to kick things off for this year’s October horror reviews: John Landis’ An American Werewolf In London. Three quick bits of trivia about me and this movie: 1) I don’t really like werewolf movies, 2) I saw the much derided sequel An American Werewolf In Paris in high school and bought the soundtrack but remember nothing about it and 3) several years ago I got to interview John Landis in person about Masters Of Horror, I had about 2 minutes notice and was in way over my head, I’ll post it later this week if I can find the file.
Another bit of info? I didn’t like this werewolf movie either. I’m not sure what it is about this subgenre that I find so boring. Maybe it’s that it takes so long for the characters to realize that the lead is a werewolf when we already know it’s the case. Maybe it’s because few movies make the wolves look good enough to be real and scary? When so much of your mythology revolves around transformation, make sure it looks good! I’ve seen a few that I liked like Ginger Snaps (maybe I’ll check that out again for this year’s October fest) and others that just didn’t do it for me like Dog Soldiers. I had many of the same problems with this movie even though it had interesting characters, great special effects and some pretty creepy dream sequences.
I tried to keep my attitude good going in because I wanted to like this movie if for no other reason than it’s a vintage Landis flick that lots of people seem to like, but it didn’t help. Actually, because this movies is so beloved and included on so many best of horror lists, I had seen most of the good parts already. I knew that David would wind up becoming the werewolf and that his friend would die. I also knew that the friend would start appearing to him in various places. I’d also seen most of the transformation scenes which, while amazing, were spoiled out of context.
I want to clarify that this is not a bad movie, it’s just not one that hit many of my buttons. I would absolutely recommend this to any newbie horror fans who haven’t watched too many lists or developed an opinion about werewolf flicks. Give it a whirls and see how it plays with you!
I watch a lot of movies, you guys. By this time of the week I’ve seen all the Bravo and VH1 reruns I’m interested in, so I turn on the NetBox and just look around. A lot of times these movies just turn into background noise, something to have on while I work on freelance or hunt for jobs online. The ones that capture my attention turn into Halloween Scene posts (unless it was the only thing I watched, then it’ll get a haphazard review at best). Over the past few days I’ve watched three horror movies that were just kinda eh: the 2008 Prom Night remake, Sleepwalkers, a Stephen King werewolf script, and Jack-O, a lame riff on Pumpkinhead. None of these movies really deserve their own full-on review, so I figured I would just put them all here in one quickie roundup.
Prom Night wasn’t a great movie to begin with. I’ve only seen it once and it was with Rickey. We were kinda drunk and had rented a crappy VHS copy from the Dollar Video down the street from our place. I think the reason we both liked the movie at the end was because the crappiness of the tape offered a lot of atmosphere to the movie. I don’t remember a whole lot about the original and, I’ll be honest, I don’t remember a lot of the remake. I know there was a killer there during prom and I think I have a crush on Brittany Snow. A girl I knew in high school who did the musicals with me ended up as a background dancer on her old TV show American Dreams (that’s what I heard at least, I never actually saw it after the first few episodes). So yeah, this is a pretty lame review of two movies I don’t remember, but I guess that says more about the movies than it does me (I hope).
Sleepwalkers is a movie I definitely remember from the video store. I remember that weird pink and purple cover with the floating eyes staring back at me. I didn’t even realize it was on my NetBox queue, but when I saw it I turned it right on. It’s a Stephen King script that’s based on an unpublished short story and it’s a whole ball of weirdness. There’s ALL kinds of incest you guys. Like tons. And that’s just between the two sleepwalkers, which are kind of like werecats who can turn things invisible and make a car look like a different car. It’s a pretty lame movie, on the real. The werecat effects look pretty good as do the special effects when the cars go invisible, but overall the story’s just strange. Oh, plus, you know, lots of incest. There’s also the matter that these werecats, who look like regular people most of the time, get their true nature revealed anytime they cross in front of a mirror. And they’re afraid of cats. And yeah, Milo likes the idea of cats saving the day at the end of the movie (especially after seeing so many dead kitties hanging from a tree in the very beginning), but as a human I wasn’t too interested. And that can be said about most of the movie actually.
Here’s a good way to tell if you’re dealing with a crappy movie. When you try and find a posted image that’s 269×400 and 110X150 is the best you can find. That means the internet barely cares about Jack-O and honestly, neither should you. Like I said above, it’s like Pumpkinhead, but if the kid was the hero, Pumpkinhead had an actual pumpkin for a head and the kid hero looked like my friend Randy did when we were kids. There’s some other additions like the ridiculously right wing neighbors, the slutty neighbors (different ones) and…a haunted house that the parents put on in the garage. It’s funny that I just re-read the Trick r Treat review over at HMAD today because BC mentions how well TrT builds the atmosphere of Halloween. Well, this movies fails completely. It seems like any other day except for the constant mention of the haunted garage for charity. Please don’t watch this movie, it has no redeeming qualities.