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by Bill Gibron

30 Oct 2008


If it’s October, it’s Fright Time here at SE&L. As we have the last two years, we will use the tenth month of the year to celebrate all things horror - the good, the bad, and the gory. In between our standard Friday film reviews and occasional mainstream DVD release, we will look at 20 scary movies that may (or may not) be worth your attention. By checking back here regularly, you will see the titles covered, and find links to the opinions provided. Hopefully, we will uncover some gems among the junk. Enjoy!

On DVD - Feast II: Sloppy Seconds (2008)
On DVD - Phantasm (1979) 
On DVD - The Toolbox Murders (1978)
On DVD - Evilspeak (1981)
On DVD - Pieces (1982)
On DVD - Pieces (1982) - Version 2.0
On DVD - Bad Taste (1987)
On DVD - Mad Monster Party? (1969)
On DVD - The Last Broadcast (1998)
On DVD - The Beyond (1981)
On DVD - Poultrygeist: Night of the Chicken Dead (2007)
On DVD - Ils (2006)
On DVD - Ganja & Hess (1973)
On DVD - Inside (2007)


Mil Mascaras: Resurrection (2005)
Midnight Meat Train (2008)
Haunted Hay Ride (2008)
Mirrors (2008)
[REC] (2008)

The Cottage (2008) - Coming Soon

by Bill Gibron

29 Oct 2008


What does it take to make a movie in 2008? A huge budget underwritten by a major Tinsel Town conglomerate? A nonstop parade of union-loyal crewmembers each striving to bring their contract-mandated best to the project while surreptitiously preparing for their next paying gig? A bevy of A-list actors who moderate onset professionalism and skilled performance with just a dash of limelight laziness? A high concept script? A director who isn’t drunk on his own ego (or an everpresent bottle of Vat 69)? Whatever it takes, Lloyd Kaufman didn’t have any of it a few years back. Hoping to bring his beloved indie shingle Troma back from the proposed post-millennial dead, he called upon his most reliable employment pool, and offered them a chance to do something very rare - work on a major motion picture release.

Thus last year’s sensational Poultrygeist: Night of the Chicken Dead was unleashed upon an unsuspecting world. Created by Gabe Friedman, Daniel Bova, and Kaufman himself, this fright flick farce built on fast food and freak side showboating rejuvenated the lame duck label that, at one time, boasted the biggest roster of cult icons this side of a John Waters’ Dreamland reunion. With rave reviews coming from all manner of outlets - including oddball love letters from Entertainment Weekly, The New York Times, and The Guardian - it should have been a massive Saw-sized hit. Instead, Kaufman claims conspiracy, stating flat out that theaters would not book his film because of his outsider stance and its “Unrated” status. Luckily, as with most criminally overlooked efforts, the digital format is here to save the day.

Our sordid saga begins when Arbie and Wendy, two horny high school graduates, have sex in a local cemetery. They are interrupted by the restless spirits of a disgraced Native American tribe, and afterwards, vow to remain close even as life pulls them apart. Fast forward a few months and the American Chicken Bunker, run by recovering KKK member General Roy Lee, has set up a restaurant right on top of the Indian’s burial base camp. Even worse, the company’s noted livestock atrocities have members of C.L.A.M. (College Lesbians Against Mega-Conglomerates) up in arms. While Denny and the rest of the staff – Carl Jr., Humus, and Paco Bell – try to keep things under control for the grand opening, Arbie learns that Wendy has gone girl, hooking up with angry activist Micki. Joining the General’s team in hopes of winning back his babe, our hero comes face to beak with a collection of undead fouls, and the reanimated resolve of some pretty pissed off pullets.

If Poultrygeist is a certified ‘Tromasterpiece’ - and it most certainly is - then the stunning three disc DVD treatment of the title is its Hearts of Darkness. Like that memorable documentary of Frances Ford Coppola’s insane shoot for Apocalypse Now, there is an accompanying Making-of featurette entitled Poultry in Motion: Truth is Stranger than Chicken. In it, we witness nearly ninety minutes of infighting, exasperation, and the well-plucked perfection that comes from such a meeting of fertile, often unhinged minds. All the problems Kaufman and crew face on the film, from reluctant DP divadom to abject naked actress angst, are captured by the roving camera of Andy Deemer and Jason Foulke. As with other Troma projects, the onset mayhem sometimes threatens to undermine the entire enterprise. Here, it makes the good great, and the special something spectacular.

Almost all the problems revolve around the all-volunteer crew and amateur cast ‘hired’ by Kaufman as a cost cutting measure. Living in an abandoned church and filming in a rundown McDonalds, everyone begins with high hopes. And when a few of the F/X fail to work, everyone is determined to hunker down and make things right. But soon, Poultrygeist as a production starts to go askew - very askew. No-names turn despots, and Kaufman’s consistently cranky personality explodes. Soon, threats are being leveled, insults are being hurled, and nerves are systematically frayed, folded, and mutilated. By the last day of shooting, so little of the previous good humor exists that people seem satisfied just to see something - anything - happen. 

It’s a telling reflection of the final film, one of the best things to ever come out of the New York nuthouse. Kaufman can call ‘fowl’ all he wants (or claim as he does on the commentary that many of the mistakes were fixed in post), but Poultrygeist is a great geek film made by and meant for film geeks. It’s a love letter to the genre by individuals who make macabre their entire life. It’s so blood and bodily fluid splattered brilliant that the freebie filmmaking assistants should be complimented, not cursed. Sure, as the alternate narrative track insists, more went wrong than right, but sometimes, a couple of thousand f*ck-ups can lead to something truly remarkable.

Elsewhere, the DVD argues for Kaufman’s often unglued approach to material. There is a deleted song for the character Humus that definitely should have been left in the film, and several of the Troma titan’s self-proclaimed “film lessons” often come across as stand-up comedy routines. This is not meant as a criticism. Instead, it’s offered to support the supposition that art often comes from the most messed up of minds and motives. The concept of creating a Toxic Avenger like epic with a group of individuals surviving on naiveté, guts, and far too many stale cheese sandwiches may seem like a pie in the sky suggestion. But if Poultrygeist can make it work (albeit in a rather painful manner) why can’t other independent filmmakers?

Of course, the answer is obvious - few in the post-modern motion picture world have the kind of dedicated demo that Kaufman and company possess. For over 35 years, they’ve delivered the slapstick splatter that directors like Sam Raimi and Robert Rodriguez have built their entire career upon. Luckily, instead of its swansong, Poultrygeist suggests that Troma is just getting back into the ball game. As this amazing DVD set illustrates (and it’s a limited edition offering, folks, so get while the getting’s good), you don’t need Hollywood’s overinflated sense of self - and mega-multi-millions - to crank out something significant. All you really need is the voice of the people, and Poultrygeist has that in offal-accented spades.

by Bill Gibron

28 Oct 2008


In the world of horror, you either “get” Lucio Fulci or you don’t. After starting his career in Italian cinema as a genre jack-of-all-trades (moving from comedies to westerns to musicals), he found himself hated by his homeland when he made the scathingly anti-Catholic Don’t Torture a Duckling (which hinted at the whole “priest-pedophile” issue years before it made headlines). It took almost a decade before Zombi 2 (or as we here in the States know it, Zombie) refurbished his box office clout, turning Lucio into one of the most recognizable international brand names for excessive gore epics.

Zombie was followed by The City of the Living Dead (AKA Gates of Hell), a notorious bloodbath featuring young women vomiting up their guts and a man getting an industrial drill thrust through his head (all witnessed in loving close-up). Toward the end of his career, he was accused of repeating himself (The House by the Cemetery) or creating low budget, incoherent junk (House of Clocks, Cat in the Brain). Right in the middle of it all was the film that many consider to be his masterpiece, the often misunderstood and named The Beyond (or The Seven Doors of Death or And You Will Live in Terror: The Afterlife). It combined the guts and grue of Fulci’s newfound fondness for flesh rendering with a hyper-stylized visual flair and somber, sullied southern overtones.

In the film, Liza Merrill inherits a dilapidated hotel in Louisiana from a distant relative and moves from the big city to the Big Easy to start anew. When one of the workmen helping to refurbish the place has a horrible accident, it seems to portend terrible things to come. A plumber named Joe is attacked and killed in the basement, and a long dead corpse is discovered. Joe’s wife dies of an accidental acid bath to the face. Then Liza runs into a blind girl named Emily who warns her about the inn’s haunted past. More gory accidents occur.

Soon it is learned that sixty years before, a warlock named Schweick lived in the lodge and occupied room 36. The hotel was apparently built over one of the seven gateways to hell, and the strange sorcerer was either working to keep it closed…or trying to find a way of opening it. With the help of a local doctor and an ancient book, Liza must discover the truth about the “doors of death” and face down evil before the dead walk the Earth and plunge the planet into a nightmare world of malevolence.

Over the twenty or so years since its release, The Beyond has developed a loyal and loud cult following that champions this film and voices its frustration at the horrible hack job it is usually available in. For a long time, the only way to see this Fulci flick was to rent or buy an abysmal, pan and scan full screen edit job with the strangely suggestive title The Seven Doors of Death. Minus most of its slaughter, a good five minutes of mood setting prologue, and rendering the already jumbled film even more disjointed with random cuts, Seven Doors was the stupid remnant rabid Fulci fans had to dig his or her claws into. Now thanks to Grindhouse Releasing, who provide the film a new DVD package, a whole new generation of horror mavens can discover what so many have pined over for so long.

The Beyond is indeed brilliant. It is also an incoherent, messy combination of Italian terror and monster movie grave robbing that is saved by its bleak, atmospheric ending. It is a wretched gore fest sprinkled with wonderfully evocative gothic touches. It has more potential than dozens of past and present Hollywood horror films, getting better with multiple viewings as familiarity lessens the startling goofiness of some of the dialogue and dubbing. It is a film that is far more effective in recollection than it is as an actual viewing experience.

As with all pathways to a Roman roundelay, all Italian horror roads lead to zombies: slow, dull witted, seemingly nonchalant members of the living dead who are more sedate than scary. Indeed, Fulci is not out to make his flesh eaters visions of cannibalistic evil. In some ways, the reanimated corpses in The Beyond are like plot point speed bumps, ambulatory path blockers that mandate the characters maneuver around or circumvent them in order to advance the storyline. They are never menacing, never seen munching on arms or even breaking a sweat.

The ocular obsession of Italian filmmakers are another issue altogether. Speaking of peepers, Fulci does have his own unique fixations, fear fetishes if you will, that get overplayed and exaggerated in The Beyond. He must have had some blunt trauma to the eyeball at some point in his life, or a desire to deliver said, since he is absolutely obsessed with removing the gooey sight orbs from out their slushy sockets. Ghouls poke them out, spiders chew them up, and random acts of fire burn and blind them.

And then there’s the gore. If there is a chance to feature the inner workings of the human body in all their claret giving grisliness, Fulci will provide untold moments of chests bursting open, guts flowing like Vesuvius, and wounds gaping like waterless goldfish. A gash is not just a cut; it’s an open pipeline to the human circulatory system. When something bites or bashes someone, it causes untold internal hemorrhaging that always finds some way to spray out and spill all over the surfaces.

As part of this new DVD set, Grindhouse gives us insight into the entire production. Those who own the previous Anchor Bay-distributed edition may recognize a couple of these intriguing added features, since it was Grindhouse who handled the original restoration and pulled together the ample bonuses. There is an anecdotal commentary track featuring stars Catriona MacColl (Liza) and David Warbeck. They loved their experience on the film and working with each other and Fulci (apparently, not all actors have the same response) and their narrative is filled with jokes, insights, and honest reactions to the movie. There is also a rare onset interview with Fulci (engaging), a lost German pre-credit sequence shown in full color (nasty!) and liner notes from horror journalist Chas. Balun. They provide a plump set of supplements, especially for those new to the film.

In truth, all The Beyond  wants to do is wallow in lurid disgust until the organs offend you with their over-the-top gore and then add a scene or two of inspired visual poetry to offset the smell. Fulci is going to beat you over the head with the clots and sideswipe you with the sinew. Fellow foreigner Dario Argento creates dream imagery we can relate to, attaching the nightmares of childhood into the real world reality of adults to disturb and unarm us. His hallucinations may seem as intangible as Lucio’s, but somehow he manages to fuse tone and texture together to create a truly unnerving experience. Fulci is all about the fester, the feel and pong of rotting flesh. Once you’ve sampled The Beyond‘s repulsive stew, he kicks back and regroups until it’s time to serve another heaping helping. Of course, Fulci and his fans are always sated.

by Bill Gibron

27 Oct 2008


Some horror movies can live solely on their carefully crafted hype. Others actual deliver the goods the studio staged ballyhoo promises. And then there is Pieces. Back in 1982, distributors desperate to continue the coattail ride started with Halloween and Friday the 13th took the Spanish splatter film Mil gritos tiene la noche (“The Night Has a Thousand Cries”, roughly), renamed it, and added the intriguing tagline “You Don’t Have To Go To Texas For A Chainsaw Massacre!” With a final carnival barker punchline - “It’s exactly what you think it is.” - the results were unleashed on an unwitting world.

Thanks to VHS and the thriving home video market, the sleazoid shocker became an instant cult classic. The question remains, however, does the movie match the marketing - or is this just another case of carefully chosen words speaking a heckuva lot louder than the action on the screen. Luckily, the schlock meisters over at Grindhouse Releasing have given Pieces the kind of polish that reclassifies it as a classic. Once you’ve seen the film cleaned up, uncut, and offered in startling widescreen anamorphic splendor, you’ll wonder why anyone denied (or doubted) it’s excellence before.

The storyline is dead simple. We are introduced to a young boy, tormented mercilessly by his blousy whore of a mother. After a particularly gruesome showdown, we flash forward forty years. On a small college campus, young girls are being viciously vivisected by an unseen killer. Using a chainsaw to carve up the bodies, the police are baffled by the murders. Detective Lt. Bracken (a nicely cheesy Christopher George) hopes to crack the case with a two fold approach. First, he will elicit the help of student Kendall James (Pod People‘s Ian Sera) to snoop among the student body. This BMOC knows all the angles - and the ladies.

Secondly, seasoned cop and star tennis pro Mary Riggs (Lynda Day) will go undercover as one of the faculty. This will allow her greater access to suspects like groundskeeper Willard (Paul L. Smith, with Lawrence Tierney’s voice) and the slightly fey Professor Brown (Jack Taylor). As the body count rises, Bracken grows desperate. Apparently, the murdered is making some kind of trophy out of the ‘pieces’ of his victims…and he’s almost done.

Pieces is the kind of fright film that sneaks up on you. It is really nothing more than your standard slasher effort with a chainsaw doing all the slice and dice (well, there are a couple of knife kills thrown in for good massacre measure). Director Juan Piquer Simón digs deep into his fellow Europeans bag of terror tricks and comes up trumps more times than not. The opening is an obvious homage to Dario Argento’s classic Profundo Rosso, down to the deadly dynamic between parent and child. Once we move to modern times, Lucio Fulci’s full bore gore conceit comes into play. While most of the killings occur off camera, their nasty results get full view visits. Even the ending is unrelenting, delivering not one, or two, but THREE false jolts.

Thanks to the new two disc DVD from Grindhouse, we learn a lot more about the production than previously known. Actor Smith is on hand for nearly an hour of insights, discussing his entire career but also explaining how he came to be involved in the film. As a classically trained performer, he makes a strong case for Willard’s famous alse front. Even better, Simón stands up for his actions, taking his 50 minute plus Q&A to argue psychology, scares, and his wonderful cast and crew. It’s clear that Pieces was meant as an exploitative effort. It wanted to ride the coattails of the still new slasher phenomenon. But thanks to Simón’s sensibility, and the brutality of the murders, the film more or less transcends its type. Besides, the new transfer is terrific. 

As with much of the Mediterranean macabre geared toward Western audiences, Christopher George gives his Cheshire Cat capped grin a good workout as Bracken. While not as active here as he is in such gems as City of the Living Dead, The Exterminator, and Mortuary, he provides the necessary despotic smugness that makes these movies work. Bracken has to be self assured and clueless, otherwise, the villain’s reveal gets shortchanged. Sure, we see who the bad man is almost immediately, but the cops have to fumble a bit before pulling out their pistols. Similarly, then wife Lynda Day is nothing more than eye candy, reduced at 38 to playing pseudo-paramour for the wispy lothario Sera. 

And speaking of Kendall, it is clear that Simón sees him as the calm within the monster movie maelstrom. Instantly cast off the isle of suspicion, he gets to hit on Day, act as an inspector substitute, emote over various F/X corpses, and show off his larger than average “assets” during a laughable love scene. For fans of the unflappable Mystery Science Theater 3000, seeing the musical prick Rick running around san shorts may explain his angry male animal arrogance. But as a romantic lead, he’s rather limited. According to IMDb Sera’s career was also rather short lived (Smith, who praises the performer incessantly, will be sad to hear this). What started in 1979 was soon over five years later. Google offers up a similar overview.

Even with the cast’s uneven facets, Pieces manages to work. It’s a shame that so much talent takes a backseat to naked babes being butchered. Smith, fresh from playing Bluto in Robert Altman’s Popeye, does little except smirk and speak like a certain Joe Cabot. Crusty Dean Edmund Purdom has to get by on clipped British courtesy and a nasty five o’clock shadow. Thanks to the dubbing - everyone’s voice is redone (even if it was their own in the end), as was the standard for most import productions - Pieces takes on an amplified sleazoid feel. We sense this is a movie that will do almost anything, including substitute actor accents, to get its gruesome point across. Oh, and one thing about the gore. It is plentiful, but clearly culled from an early ‘80s limit of realism.

Indeed, very little of this fright flick plays like an authentic police procedural. A premise is devised, a killer walks among his potential prey, Greed decade fashion victims disrobe with alarming regularity, and soon - it’s power tool time! The Georges chew up the scenery and all is right in the domain of dread. Some will scoff no matter the digital dressing. Pieces is that kind of perverse product. But don’t be surprised when, after it’s all over, you’re more than a little unnerved. It is that kind of movie - exactly.

by Bill Gibron

26 Oct 2008


Politics are not only social. They can be personal, or professional. They can encompass our entire life, or play a very tiny, very unimportant part in same. The inherent meaning of the term indicates a type of gamesmanship, a give and take that operates on skill, strategy, and individual sympathies. While we tend to view the opposing ideologies in terms of pro or con, black or white, the truth is far more gray. As a reflection of who we are, politics can be problematic. As an indication of who we may become, they are often precognitive and sentient. In Hector Babenco’s brilliant 1985 drama, Kiss of the Spider Woman, the concept of individual belief runs head on into the state controlled notion of control and conformity. For the two prisoners sharing a dingy Brazilian jail cell, their own principles will come to comfort them. They may also destroy everything they are.

Valentin Arregui is a political prisoner in his native land, a man marked by the government for his subversive views and violent radicalism. His cellmate suffers from a different form of persecution. As an effete homosexual, Luis Molina has been incarcerated on ‘morals charges’. As a means of escape, he makes up elaborate fantasies about fancy, fake motion pictures. One revolves around Nazis and spies. The other centers on the Spider Woman, and her wicked affections. As the tension between the two lessen, Valentin opens up about his life. Luis also begins to entrust his newfound friend. Naturally, the authorities are doing whatever they can to get their prisoners to break - and someone may have loyalties outside their own claimed convictions.

The history of Kiss of the Spider Woman is an interesting one, and the subject of several interesting featurettes on the recently released two disc DVD version of the film, now available from City Lights Home Entertainment. Since it deals with subjects both inherently cinematic (the movies) and impossible to perfectly convey (human emotion and sexuality), it must walk a fine line between the outrageous and the insular, the unknowable and the honest and obvious. It helps that director Babenco hired two amazing actors, both of whom were relatively unheralded at the time, to bring his vision to life. It’s safe to say that Spider Woman elevated the professional profile of both Raul Julia (Valentin) and William Hurt (Luis). The former was still a journeyman talent when this minor movie came along. The latter went on to win an Oscar for his work in the film, a clever combination of gay bravura and hidden pain. While Julia carries the film’s social heart, Hurt opens up the entire narrative’s bruised and battered soul.

As a novel, the 1976 work by Manuel Puig was considered ‘un-filmable’, based on the fact that the non-traditional narrative was told completely in dialogue form. While it was later adapted into a play for both stage and radio, the material appeared perfectly suited for the mind’s eye alone. And yet in one of the DVD’s added features, we learn about Puig, about his own thoughts on the book, and how Babenco managed to bring the material to life. Elsewhere, we see another unusual transformation in Spider Woman‘s legacy. Famed Broadway composers John Kander and Frank Ebb turned the tale into a musical, perhaps one of most unusual to ever hit the Great White Way. Another documentary explains the arduous task of modifying an already complex concept into a song and dance extravaganza (one that won several Tonys, by the way). In addition, there is a trivia track, a look at the role of “submissive women” in the movie, and some standard backstage overview.

But it’s the movie that remains timeless. Kiss of the Spider Woman in one of the few films that understands the communal horror and ubiquity of persecution. It plays with our sympathies only to challenge and cherry-pick them later on. There are secrets and symbols strewn throughout the two hour running time, with an additional allotment of unanswered and ambiguous turns along the way. Babenco gets lots of mileage out of the film-within-a-film ideal, as well as utilizing flashbacks to fill in necessary blanks. While it never takes away from its two character conceits, Kiss of the Spider Woman is much more than just a couple of prisoners talking. It illustrates the notion of how humans strive for dignity, and that even in the most oppressive of environments, caring and compassion can break down barriers.

Of course, some two decades-plus on, the homosexual undercurrent feels very dated indeed. Any indication of man-to-man affection is kept completely offscreen and seems dismissed quickly and compactly. Hurt could even be accused of stereotyping Luis, or making him more of a swishy, fey foil than he really is or needs to be. Of course, such an interpretation falls in line with Puig’s take on such gender realities, and the actor’s amazing mannerisms help transcend anything remotely offensive. Of course, the DVD exposes the huge onset arguments Babenco had with his lead, conflicts that apparently added as much to the performance as any high minded Method-ology. Similarly, it’s important not to underestimate Julia’s importance to the film. If Kiss of the Spider Woman were all about Luis and his love of extravagance, we’d grow bored very quickly. Instead, Valentin reminds us of the sacrifice some are willing to endure to stand by their beliefs.

There are unanswered questions, though, elements of Kiss of the Spider Woman that tend to make sense only to itself. The two narratives spun by Luis - the noir-ish thriller Her Real Glory and the oddball b-movie macabre - tend to be more disconnected than reflective of any real theme. In some ways, the bright and shiny scope infused in these fake offerings may stand as nothing more than a way of avoiding the darkness of prison. Additionally, the ending will appear overly grim to some, especially when viewed through our post-millennial mandate of justice and cinematic fairness for all. But that’s one of the great things about Kiss of the Spider Woman. It doesn’t want to deliver the standard ‘feel good’ sentiment. Instead, it wants its audience to understand the hurt and inequity, to realize that, sometimes, the bad get rewarded and the good get far too much punishment. But that’s the way things work in the world. And like the formation of the strangest of bedfellows, that’s part of the foundation of politics as well. 

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