Thanks to everyone who voted on what horror anthology I should get to next. I only finished the first season of Tales from the Darkside, so that seems to be a good one to cover.
Let’s just say that the U.S. government has taken Hoffgosh (Claudia Templeton, whose career is a mix of acting in low-budget movies and being an accountant on them), an alien who holds the secret to nuclear fusion and can’t communicate with him. Who would you get? How about nightclub impressionist Spiffy Remo (Chuck McCann)?
The interesting part of this episode is that, after failing so many times to impersonate the alien’s language and build a bond, Spiffy finally does. That comes at the cost of caring about his stage material, as after you meet an alien and pull off a miracle, doing hack jokes for drunk gamblers just isn’t the same.
Jack Andreozzi, Tony from Lady In White, is in this as nightclub owner Pudgy; Bobby Di Cicco and Gene Borkan play the government scientists. This was directed by Armand Mastroianni (The Clairvoyant, He Knows You’re Alone, The Supernaturals) and written by Haskell Barkin (who was on this, Monsters and the 1980s Twilight Zone) and was based on a story by M. Coleman Easton.
Neo-noir dystopian science fiction? Sure. But also giallo.
Strange Days was directed by Kathryn Bigelow and written by James Cameron and Jay Cocks. At once 20 minutes into the future and thirty years in the past, it still feels remarkably vital.
Criminals are committing crimes and making SQUID (Superconducting QUantum Interference Device) discs that allow people to relive their murders and assaults. Lenny Nero (Ralph Fiennes) was once an LAPD officer, but now he works the black market, selling these memories.
Meanwhile, Burton Steckler (Vincent D’Onofrio) and Dwayne Engelman (William Fichtner) track Iris (Brigitte Bako), who is wearing a SQUID helmet. She takes whatever she filmed and hides it in Lenny’s car, all while he pines over her best friend — and his lost love — rock star Faith Justin (Juliette Lewis), who has landed a new man, record industry boss Philo Gant (Michael Wincott).
While his car is being towed, Lenny is drinking away his pain with his only friends, detective Max Peltier (Tom Sizemore) and limousine driver and bodyguard Lornette “Mace” Mason (Angela Bassett). When Lenny is given another disk, it shows him Iris being assaulted and killed. More than that, he lives through it. He goes on the run with Mace, as whatever he has on that disk she left in his car is enough to send Steckler and Engelman after him.
It’s all tied to rapper Jeriko One (Glenn Plummer), who was with Iris when he was pulled over by Steckler and Engelman and shot in the streets, killed over the anti-police lyrics in his songs. Philo has been recording his own people using the SQUID hardware with women. Lenny finds him dead, killed by Max, who has been with Faith. As if that’s not enough stabbing in the back, Max literally knifes Lenny, who removes it just in time to send his former friend hurtling to the pavement. He leaves Faith alone, heading back to Mace, who has been in love with him for a long time.
Mayor Palmer Strickland (Josef Sommer) is given all the info and stops a near-riot just moments before Mace and Lenny share a kiss at midnight.
Wikipedia refers to this as a techno-thriller, tech-noir, and a futuristic erotic thriller. Or, like I said, giallo with bullshit giallo science. It has a gorgeous femme fatale with Lewis — who sang for real — and a protagonist obsessed with seeing her one more time, even if it’s past sex recorded and lived through, even if that feels empty.
I wear yellow glasses, and when I have them on, terms like adult thriller andneo-noir appear as they should: giallo.
Back in 1948, Margaret Strauss (Emma Thompson) is killed during a robbery, and her husband, Roman (Kenneth Branagh, who also directed this movie), is executed for the crime, but not before he whispers something to Gray Baker (Andy Garcia), a reporter.
In 1991, private detective Mike Church (Branagh) is looking into the identity of a woman whom he names Grace (also Thompson), who has appeared– mute, amnesiac and with nightmares — at the orphanage that raised him. Mike asks his friend Pete Dugan (Wayne Knight) to publish her info in the paper, while hypnotist Franklyn Madson (Derek Jacobi) tries to use his skills to bring her mind back. She doesn’t, but does remember a lot about the lives of Margaret and Roman. And oh yeah — Franklyn is really Frankie, the son of Margaret and Roman’s housekeeper Inga (Hanna Schygulla), Grace is artist Amanda Sharp who paints scissor-themed photos and — man, is this an exposition dump? — Frankie killed Margaret with scissors when Roman rebuffed his mother’s love. The scissors were put in Roman’s hand, and that brings us to now, as Franklyn tries the same thing on Mike and Amanda.
Roger Ebert said that this was similar to the works of Orson Welles and Alfred Hitchcock, saying, “Dead Again is Kenneth Branagh once again demonstrating that he has a natural flair for bold theatrical gesture. If Henry V, the first film he directed and starred in, caused people to compare him to Olivier, Dead Again will inspire comparisons to Welles and Hitchcock — and the Olivier of Hitchcock’s Rebecca. I do not suggest Branagh is already as great a director as Welles and Hitchcock, although he has a good start in that direction. What I mean is that his spirit, his daring, is in the same league. He is not interested in making timid movies.”
But hey, that ending, where — spoilers — a scissor sculpture kills the killer? Ever seen Tenebre? That said, I do like the twist that Mike was actually Margaret and Grace was Roman.
Not just a blaxploitation, not just a comic strip movie, not just a Pam Grier movie, this is also her last movie for AIP that ties in race identity, being a woman and, most essentially, Pam Grier kicking ass for 90 minutes.
Friday Foster comes from an American newspaper comic strip, created and written by Jim Lawrence — who wrote the James Bond strip — and illustrated by Jorge Longarón that ran from January 18, 1970, to February 17, 1974. She was one of the first African-American women characters to star in her own strip with only Jackie Ormes’ Torchy Brown coming before it (that strip ran in the Pittsburgh Courier, which makes me quite happy to know that my hometown sometimes does things ahead of the rest of the world). Friday started as an assistant to high-fashion photographer Shawn North, but soon became an international supermodel leaving her troubled life in Harlem behind her. Since her strip ended, Friday has shown up in Dick Tracy.
Foster (Grier) has witnessed an assassination attempt on the wealthiest African American, Blake Tarr (Thalmus Rasulala) and then her best friend Cloris Boston (Rosaline Miles) is murdered. Soon, not listening to her boss’ warning to stay out of her stories, she finds herself targeted for death.
Arthur Marks already had some comic strip experience, directing three episodes of the Steve Canyon TV series. He also directed Bonnie’s Kids,Detroit 9000, Bucktown, A Women for All Men, J.D.’s Revenge, Class of ’74, The Roommates and the “Find Loretta Lynn” episode of The Dukes of Hazzard. Writer Orville H. Hampton worked on everything from Rocketship X-M and Mesa of Lost Women to The Four Skulls of Jonathan Drake, Jack the Giant Killer and episodes of Flipper, Perry Mason, Super Friends, Fantasy Island and The Dukes cartoon.
There are some great people in this, like Yaphet Kotto as private detective Colt Hawkins, Earth Kitt as fashion designer Madame Rena, Scatman Crothers, Godfrey Cambridge, Ted Lange and Jim Backus as a racist Senator. There’s even a scene with a young Carl Weathers as one of the bad guy’s goons.
The real joy of this film is the agency it affords Friday. She’s gorgeous, sure, but she can easily best any man. And when she beds more than one over the running time of the film, she’s never judged. Best of all, her blackness is central to who she is and not an afterthought.
Supposedly Marks was trying to turn this into a TV series. I wish that had happened because one Friday Foster adventure is nowhere near enough.
I hate when people make lists of the worst movies ever made, because stuff like this always ends up on it.
Whether you see it as this title or as Duel of the Space Monsters, Frankenstein Meets the Space Men, Mars Attacks Puerto Rico, Mars Invades Puerto Rico or Operation San Juan, you’re going to see something that is absolutely ridiculous. But why else do you watch movies?
Also: there is no Frankenstein in this movie.
Martian Princess Marcuzan (Marilyn Hanold, the June 1959 Playboy Playmate of the Month who is also in In Like Flintand The Brain That Wouldn’t Die) is in this, the last female survivor of an atomic war who has brought Dr. Nadir (an amazing Lou Cutell, who was Amazing Larry in Pee-Wee’s Big Adventure) with her to screw with Earth.
Oh yeah and abduct women in bikinis. And drive around a lot. And deal with an android astronaut named Colonel Frank Saunders whose face gets all burned up and he ends up fighting a mutant named Mull to the death.
Look, 65% of this movie is stock footage and I wouldn’t have it any other way. So much of this just hits me in the right places. Sure, if it got made today, it would be on digital video, the stock footage would be watermarked and I would hate every single minute of it. But I love what this is.
Directed and written by Bert I. Gordon, The Food of the Gods was ever so loosely based on H. G. Wells’ novel The Food of the Gods and How It Came to Earth.
The food of the gods does indeed appear to Mr. and Mrs. Skinner (John McLiam and Ida Lupino), who feed it to their chickens. Bok bok, those things grow bigger than a person, but so do the rats, wasps and even worms that eat it, so soon enough their island near British Columbia is filled with dangerous human-sized creatures.,
Meanwhile, professional football player Morgan (Marjoe Gortner) — wait a second here, what position does Marjoe Gortner, no offense, play in American football? Punter? — is hunting with his friends when one of them is killed by a giant wasp. He’s so into this that he comes back to see even more, meeting up with a dog food CEO named Jack Bensington (Ralph Meeker) who wants to sell these gigantic animals for food, his assistant Lorna (Pamela Franklin) and the pregnant Rita (Belinda Balaski) and her husband Thomas (Tom Stovall).
Giant rats killed almost everyone, but then Marjoe drowns them all because they’ve become too big to swim, which is the most BS science ever, but sure, why not Bert I. Gordon. Of course, man screws up again and lets cows use the formula and they get huge and so do the kids, eventually but not in this, that drink their milk. Doesn’t pasteurization take care of giant drugs?
This did so well for American-International Pictures that they decided to make H.G. Welles movies, such as Empire of the Ants and The Island of Dr. Moreau. They were lucky Welles was dead, because if he were alive, they’d also have to pay for using a lot of his book Mysterious Island in this, not just the source book of the same title.
Hsiang Ying (Chia Ling) has been betrayed by her master, who tells her that he killed her father before tossing her off a cliff and when she survives that and a battle with wolves, he locks her inside a cage. She’s saved by Ku (Chiang-Lung Wen) but it turns out that the real killer is his uncle, a maniac who has two skulls that sit on his shoulders and, when called upon, can fly around and bite people.
Now known as the Heartless Woman, she goes on episodic adventures that have her battling ripoffs of other martial arts movies, such as a one armed boxer (Phillip Ko!) and a monkey king. Like many kung fu films from Taiwan, the budget is low and the imagination is high. I wish it spent all the time with its heroine instead of going into comedy, but I still had a blast watching it. Seriously, the final bad guy may have the most amazing weaponry ever.
Also known as Revengful Swordswoman, this was released by 21st Century.
You can watch this on Tubi. You can also get it on blu ray from Gold Ninja Video.
You remember that interview where Vanilla Ice tried to explain why he didn’t steal Queen/David Bowie’s “Under Pressure?”
I’d like to hear whoever did the music for this movie to explain how they added a “da na na” to the theme from Halloween. Then again, there’s plenty more that this movie owes to that film.
A killer with a kitchen knife is on the prowl, killing off college kids. And he’s on the way to Lanier College during finals.
Meanwhile, a fraternity stages a mass shooting to help their members pass a chemistry test. How does this plan work? Who comes up with such a plan?
While students prepare for the end of the year, the killer is hiding among them. We have Courtney, who is the Final Girl, of course. Her roommate is Lisa, who is all into the hot professor. Well, not really hot. He’s a professor, though.
For some reason, all of the pledges can’t dare anyone. But Gary is in love with Janet and pins her, so he gets punished by being tied up to a tree, his underwear filled with ice and then sprayed with shaving cream. What? Where did this ritual come from? Who goes through with this? Even the rest of the town, like the security guard, follow these rules. What is the deal with this school?
Well, he’s tied up and the killer gets him. Then it gets his girlfriend, too. While that’s going on, Wildman, a frat guy, is looking for pain pills when he gets killed by a Universal weight machine. His friend Mark tries to find him and he gets killed.
Then we have Radish, who isn’t gay in the movie but would totally be a proud out character if this was made after 1981. He’s constantly looking for killers and has a great poster collection of old films. All his knowledge of murder doesn’t help, as he’s instantly killed.
Lisa tries to model for her boyfriend in the nude, but she gets killed, too. And now we’re down to one and the killer even catches an arrow and stabs the coach with it when he tries to save Courtney. But then he falls into a hole and she stabs him to death. That’s it. That’s the fight he puts up.
Written and directed by Jimmy Huston (My Best Friend Is a Vampire), this is pretty much Halloweenwith a killer who was too lazy to get a mask (he was also the fight coordinator for the film).
That said, I wasn’t bored, I laughed out loud at many of the things that Radish did and said, and I enjoyed the arrow catching scene. You’ll be filled with questions. Like, how much chaffing did the short shorts of the 80’s cause?
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