REVIEW - Pina (2011)

LISTEN TO EPISODE 11 OF THE BONUS MATERIAL PODCAST HERE

The great Wim Welders directs this performance documentary which focuses on choreographer Pina Busch and her Tanztheater Wuppertal. Well - shot and beautifully executed, PINA is a challenging watch as there isn't really a discernable narrative to follow, merely dance pieces performed to an empty theater or performance space. I won't say that knowing something about 'modern dance' would improve the viewing experience, but... it couldn't hurt. Again, the film LOOKS beautiful, but, for the uninitiated, some if the dance pieces can be confusing and, well... unfocused. A must - see for fans of dance though!

Rating: 2.75 out of 5

~ Thom Carnell

REVIEW - SUNDANCE 2015 - It Follows

LISTEN TO THE BONUS MATERIAL PODCAST EPISODE 10 HERE

Young lass Jay allows her date, the hunky Hugh, to get down on it in the back of his car one night, and unbeknownst to her, pass on a pesky curse in the process. No...not the clap...but a persistent stalker entity, hence the title of IT FOLLOWS. After doing the nasty, Jay wakes up tied to a chair beneath an overpass, as Hugh explains the predicament she is in. "All you have to do is find someone else, and pass it on. It should be easy...you're a girl.", meaning, of course, find some schmoe, let him jump on for a quick ride, and like magic, they will be the one IT FOLLOWS from there on out. the catch is, if that person is killed, the curse reverts back to the last person carrying the burden.
Jay is soon a believer, as the entity, which can appear as anyone, it's guise constantly changing, is following her, and eventually knocking on her bedroom door. With the help of her friends, and a couple horny boys, Jay thwarts the curse for brief periods, but death comes walking, and eventually winds it's way back to her.

Ok...first off, this movie has been getting some serious, and I mean serious love, from the horror community, as well as film critics. I must, however strongly disagree. The first third of the film borrows so heavily in tone and sound design from John Carpenter's uber-classic HALLOWEEN that it's actually distracting. Factor in the "have sex and die" trope, which isn't mined in any kind of clever, modern way, but merely stands as a tired cliche, and a missed opportunity at some true terror when the friends make a weekend escape to a beach front home, and the only thing that "followed" for me was severe disappointment. The finale, which recalls LET THE RIGHT ONE IN, as well as Hideo Nakata's underrated Quatermass-like RINGU 2, carries none of the innovation of those films, and only devolves into a silly climax that reeks of an R-rated GOOSEBUMPS episode. The sexual proclivity angle is also never fleshed out. Does it matter if it's with someone you are in love with? (a question the film nearly raises, then never goes anywhere with). What about gay sex? Group sex? Hell, in this case it might be a good time experimenting with being a zoophile! Nope. Just pure Wonderbread land here folks.

What the hell IT FOLLOWS is getting so much praise for leaves me scratching my head, especially when this last year has actually made a very strong showing as far as domestic horror fare. THE TOWN THAT DREADED SUNDOWN. STARRY EYES. PROXY. All are much better scare-fare. The saving grace of IT FOLLOWS is the cast.
Maika Monroe (seen recently in the infinitely better action oriented screamer THE GUEST), Keir Gilchrist (THE UNITED STATES OF TARA), along with Daniel Zovatto, Olivia Luccardi, and Lili Sepe, all do a fine job in what amounts to a hot mess of YA hormonal horror. But for me? The only thing this film follows is a trite and over-walked path.

Rating: 2.25 out of 5

     

~ The Butcher

REVIEW - SUNDANCE 2015 - Cop Car

LISTEN TO THE BONUS MATERIAL PODCAST EPISODE 10 HERE

Two 10 year old boys, Travis and Harrison, have run away from home, are traversing across a sprawling field, tossing rocks, poking things with sticks, and blurting out cuss words just because they can. Things get real when they stumble upon a seemingly abandoned sheriff's cruiser tucked away a little too conveniently beneath the cover of some trees.
Soon, our adventuresome duo are behind the wheel, careening across the wide open plain, and eventually, opening 'er up on the long stretches of road running across the barren land. But nothing this fun comes that easy, and soon the kids find themselves caught in the crossfire of a corrupt lawman, and the criminal he has double-crossed. In the mix is a salt of the earth woman passerby, who falls into the situation through her good intentions.

The premise of COP CAR is basic, but incredibly well wrought and thought out. Director Jon Watts, and his co-writer Christopher D. Ford never jump the proverbial shark into unbelievability, but rather, tread, quite masterfully, that fine line that many successful "kid empowerment" flicks do, by keeping things real. COP CAR belongs somewhere on the shelf between BADLANDS, BLESS THE BEASTS AND THE CHILDREN, THE VANISHING POINT, and THE BAD NEWS BEARS. Watts and Ford, at their Sundance QandA following a very well received screening, stated clearly that they have a deep love for the aforementioned films, as well as stuff like E.T., THE GOONIES, and EXPLORERS. But COP CAR is not "just" a kiddie flick by any stretch. It also operates as a white knuckle thriller, whose heroes happen to be incredibly young. The cast, notably newcomers James Freedson-Jackson and Hays Wellford, along with old pros Kevin Bacon, Shea Whigham, and Camryn Manheim all bring incredibly simple but powerful performances, to a movie that must be experienced, rather than over-analyzed. While it is indeed pretty violent, I would say it's not entirely inappropriate for youngsters, given they have an adult to contextualize things, and a predilection for cinema overall. Though at the same time, it's not for dipshits, but certainly will appeal to smart kids ready to dip their toes into more caustic fare.

I'll be putting this in the permanent collection when it eventually see's a home video release. Good news too as of the time of this review, as Focus Pictures has purchased the rights, so it shouldn't be long until COP CAR is careening across screens. Buckle up man, it's one hell of a ride.

Rating: 4.5 out of 5

                                    THERE IS NO TRAILER AVAILABLE AT THIS TIME

 ~ Sean Smithson

REVIEW - Starry Eyes (2014)

LISTEN TO THE BONUS MATERIAL PODCAST EPISODE 10 HERE

Writing/directing team  Kevin Kolsch and Dennis Widmyer helm a cautionary tale of selling out to success with this metaphoric, and fairly effective low-budget horror film.
Sarah is an aspiring actress, who has a tendency for physical self-abuse when she feels she's a done a bad job. This leads to a lot of torn hair and scratches, as she submits herself to the harrowing audition process in the land of sharks known as Hollywood. Like many young hopefuls, she shares a shitty apartment with too many roommates, and is surrounded by catty peers who are more frenemies than an actual support network. After a particularly callous casting director catches Sarah chastising herself in a bathroom after a failed reading for a low budget horror film, she is given a second chance.  Wanting to see more of Sarah wallowing in pain, as she torments herself with self doubt, she is ultimately granted a meeting with the big head honcho producer. Here, she is given the chance to "just do" and "not talk" as far as showing her commitment to getting the role, and in La La Land we all know what that means. Put out...or get out. Sooner than we can say "the Devil made me do it" Sarah, who has undergone internal changes, and then, in horrifying ways, begins exhibiting the ugliness she has succumbed to, externally.

STARRY EYES is at first subtle, then slowly ramps up into a Satanic Panic homage not unlike the also-recent LORDS OF SALEM, albeit with a little more "bite" and graphic violence. Crowd funded via Kickstarter, it's a tight little film, with a solid cast that you may recognize from having seen work together in other DIY flicks that have been making waives (and deservedly so). Alex Essoe, our Sarah, is the newcomer to the gang, but Amanda Fuller, Noah Segan, Marc Senter, and Pat Heally have all worked together in various combinations in other dark-toned indy flicks like RED, WHITE, AND BLUE, CHEAP THRILLS, and THE INNKEEPERS. 

STARRY EYES is definitely worth a horror fans' time and rental fee, and I'd say is surely a harbinger of greater things to come from the creative team of Kevin Kolsch and Dennis Widmyer.

Rating: 3.75 out of 5

    

~The Butcher

REVIEW - Lizard in a Woman's Skin aka Una Lucertola Con La Pelle Di Donna aka Schizoid (1971)

LISTEN TO THE BONUS MATERIAL PODCAST EPISODE 10 HERE

What can you say about a film that opens with a lesbian dream sequence between the beautiful Florinda Bolkan (DON’T TORTURE A DUCKLING, CATTIVE INCLINAZIONI) and Anita Strindberg (THE CASE OF THE SCORPION’S TAIL, WHO SAW HER DIE, YOUR VICE IS A LOCKED ROOM AND ONLY I HAVE THE KEY)? I mean, other than “it’s a good start!” Directed by the infamous Lucio Fulci (ZOMBIE, CITY OF THE LIVING DEAD) and co-starring Stanley Baker (ZULU, GUNS OF NAVARONNE) and Jean Sorel (THE DAY OF THE JACKAL, BELLE DE JOUR), LIZARD IN A WOMAN’S SKIN is a different film from a lot of Fulci’s other outings (and is arguably one of his best films – although I’d reserve that spot for his terrific film, THE PSYCHIC) and is far more “adult” in its subject matter and much more grounded in reality. Bolkan is a whirling ball of repression here and Strindberg is incredibly sexy (in the scant few moments she’s in it). The plot is pretty standard for a “Am I crazy or am I a killer” style film, but Fulci experiments with split-screen, dream sequences, and uses a much broader than usual color palette. One glaring oddity in the film is that the makeup artist has a tendency to leave powder visible on the actor’s faces and needlessly adds “old age” color to people obviously much younger. The gore is substandard for a Fulci film, but he does manage to craft a perfectly serviceable giallo. Sadly, when the subject of Fulci comes up in discussion, most will reference his gore epics like ZOMBIE and THE BEYOND, but films such as this one (and the aforementioned THE PSYCHIC) show that there was a lot more to him than just splashing blood around. Oh, and the great Ennio Morricone (THE GOOD, THE BAD, AND THE UGLY as well as MANY others) does the score and it’s terrific! Recommended for both Fulci fans and those who dig a good giallo.

Rating: 3 out of 5

                                           

~ Thom Carnell

THE BONUS MATERIAL PODCAST Episode 10

Sean, Heather, Thom, and Langley drop their favorite titles when it comes to underrated American made action flicks. There are a couple of unavoidable nods to some foreign stuff, but for the most part it's all about being "born in the USA" this episode. Fill the flask and pass the ammo, it's episode 10 of THE BONUS MATERIAL PODCAST.

                          

REVIEW - The Devil's Carnival (2012)

Full disclosure: I HATED REPO: THE GENETIC OPERA. I found it to be poorly written, badly arranged, and something of a Hot Topic-fueled train wreck. So, it was with great trepidation that I pushed PLAY on THE DEVIL’S CARNIVAL. Brought to you by the same guys who did REPO (Darren Lynn Bousman & Terrence Zdunich), CARNIVAL is a misguided affair that, for some reason, decides to places its music in the spotlight, even if said music is written, performed, and presented badly. The film aims for Sondheim, but hit’s a target that is far more crass and commercial (not a good thing, I assure you). The film looks good (particularly the makeup FX by Vincent Guastini and his crew), but it’s all ultimately soulless (and thereby uninteresting). CARNIVAL features what – at first blush – looks like imaginative casting (Marc Senter, Bill Moseley, Paul Sorvino, and Sean Patrick Flannery - who looks like he’s retaining water BADLY!). All too soon though, we see just how out of their element these actors are. The fact that most of them are FAR too young to be playing the roles that they are only scratches the surface. Reportedly, THE DEVIL’S CARNIVAL is the first of many such “episodes” in this series. Zdunich has already written Episodes 2 & 3…, which bums me out to no end. The thing that most irritates most about both REPO & CARNIVAL is how seemingly calculated they are. It’s as if the filmmakers were more focused on establishing a lucrative franchise rather than making a coherent film or even an interesting story. It’s like the film is “dinner theater for the Spencer’s Gifts set.” Boring… I mean the film only lasts an hour and I found myself checking my watch at the 10-minute mark (again, not a good thing). I’m sure both Bousman and Zdunich will make more of these shit shows… and I’m sure their core audiences will lap this swill up with a biscuit. For me… I’ll go rent either SUNDAY IN THE PARK WITH GEORGE, INTO THE WOODS, or SWEENEY TODD instead.

2 out of 5 stars

~ Thom Carnell

REVIEW - Legendary Weapons of China (1982)

An exemplary example of what mid-70s Shaw Brothers filmmaking was like: quick entry into a basic story and then scene after scene of eye-popping kung fu. The film is directed by and stars the GREAT Lau Kar-leung (HEROES OF THE EAST, 36TH CHAMBER OF SHAOLIN, CHALLENGE OF THE MASTERS) who just knocks it out of the park. Elaborately staged martial arts sequences are interspersed amongst slightly comedic scenes of drama and the resulting film is pretty damn amazing (especially the final duel scene). Also starring the legendary Gordon Liu (aka Chia Hui Liu) who gives it his earnest best, but it is Lau Kar-leung who steals the show. I don’t know why this film doesn’t get more love… I mean, this is a CLASSIC of its genre! Anyway, yeah… HIGHLY recommended even for people who don’t like chop-socky movies.

4 out of 5 stars

~ Thom Carnell

REVIEW - The Equalizer (2014)

Director Antoine Fucqua (TRAINING DAY, OLYMPUS HAS FALLEN) does good work. A few of his film’s plots have, in the past, dripped with machismo and excess (TRAINING DAY,  REPLACEMENT KILLERS, SHOOTER), but he’s completely capable of telling a story more nuanced and subtle. I mean, look at THE EQUALIZER. Well-written, well-acted, paced with aplomb… the film is, in many ways, “a thinking man’s JOHN WICK.” I mean, it’s FULL of action although, unlike WICK, a LOT of it happens off-screen. Now, whether that was a directorial decision or one made by the studios to insure a proper run-time, but… a lot takes place away from the audience’s view. For example, we see the guy rob the store and take the ring. Denzel goes and picks out a sledgehammer and, the next time we see him, he’s wiping it off and putting back on the rack of the store. Disappointing! After emotionally investing in the plight of the ring’s owner, we get denied the satisfaction of “the payback,” Small quibbling, but… it bugged me. I came here to see Mr. Washington kick some ass, goddammit. Don’t deny me that, ok? Still… THE EQUALIZER remains solid with a plot, while familiar, that crackles with possibility and intensity. And, with the film’s ending, it wouldn’t be silly to expect a sequel. I was happy to see Denzel dust off some of his BOOK OF ELI fighting skills and he does a solid job here (the scene in Slavi’s boardroom is bound to become a classic). In the end, THE EQUALIZER is an intelligent, well-played, cerebral action film that satisfies despite its “pulling back” from showing everything. As for that sequel, consider my ticket already purchased.

Rating: 4 out of 5

~ Thom Carnell

THE BONUS MATERIAL PODCAST Episode 9

In this episode of The Bonus Material Podcast, Sean Smithson (Fangoria, Twitchfilm), Heather Buckley (Fangoria, Dread Central), Thom Carnell (Fangoria, Dread Central), and Langley J. West (Stop Motion Magazine) talk sex and cinema. What are some "mainstream" films that deal with the topic effectively and what "adult films" might be considered 'real' cinema? WARNING: In this episode, we talk about a lot of films and some of them deal with "adult" themes, so... if that sort of thing offends you, please skip this episode.


   

REVIEW - Dead Hooker in a Trunk (2009)

A lot of love has been given to Jen and Sylvia Soska in the “independent” film press. Their debut feature, DEAD HOOKER IN A TRUNK, has been much lauded by those “in the know” (the film even being compared to early Tarantino & Rodriguez), so it was with great anticipation that I sat down to watch their movie. Well, by the time one of the characters actually begins to lay out the theme of the film by speaking it aloud, I was ready to tap-out. Then, when the bookish girl takes her glasses off and swirls her hair to entice a man, I actually groaned aloud.  So, ok, the script is cliché and tries too hard, but how is the rest of it? The acting… well, it’s… it’s all pretty bad. The thing is though… the sisters are smart enough to cast a lot of their extras from real people which gives the sundry characters a little more believability by default. The sisters themselves, however, are in WAY over their head - acting-wise. They also don’t know shit about human anatomy & trauma. Film score? Don’t get me started (most of it is jarring and out of place). Cinematography? It’s all shot handheld, so bring your Dramamine. But ok… LAWRENCE OF ARABIA this isn’t. So, by now, I’m hoping to get maybe some comedic value out of it. Well, I will say this… the girls know how to shoot a fun little shoot-out scene (once you set aside any idea of probability or logic). However, these little islands of excitement soon become almost too much of a good thing. It’s like The Sisters have little else up their collective narrative sleeves. So, yeah… don’t believe the hype on this one, kids. I’m sure The Sisters future films will be better as they’re now running in cooler circles (and thereby have access to bigger budgets). Rentable for when you’re folding laundry and/or to just add it to the list of films you’ve seen. 

Other than that... 

Rating: 2 out of 5

~ Thom Carnell

REVIEW - 12 Monkeys (airing Fridays on SyFy)

Chris Marker's iconic 1962 short film LA JETEE begat Terry Gilliam's brilliant feature film 12 MONKEYS, which has now led to the SyFy Channel's new 12 MONKEYS television series.
The story remains close to the Gilliam feature, while of course, expanding on the premise. Cole, our "chrononaut" hero, comes from the future to stop the eventual annihilation of the human race by a yet-to-happen in our timeline, pandemic. In the first episode, he convinces virologist Amanda Schull that he is not just a lunatic, but indeed the real McCoy, and that something must be done now (then?) to thwart the coming (happened?) catastrophe.

You get it, right?

12 MONKEYS initial episode bounces back and forth between multiple timelines, Cole reporting to the organization in his present (our future), and ping ponging around in his past (our present), trying to find a perch and place where/when he can put a true stop to the ensuing disaster. It's apparent each episode will string the viewer along in a series of answers that beget yet more questions, like all time travel adventure mysteries do. So I'm not going to go further into the endless paradoxes set up by the concept, it's all gloriously mind bending, and maddeningly futile. but that's the beauty of a show like 12 MONKEYS. And a damned decent show it seems to be from the initial episode. Slick production values, tight writing, solid cast, and briskly paced, SyFy could potentially have another show the magnitude of the modern classic, BATTLESTAR GALACTICA, on their hands as far as the sci-fi geek fanbase goes. This has a shot at becoming another water cooler program, sparking nerdy debates from an avid viewership, addicted to weekly speculation. Future episodes will be introducing more core characters, all pointing to an increasingly wild ride.

Good stuff Maynard. I'll be watching more, that's for sure. With 12 MONKEYS and the up-coming space opera/mystery show THE EXPANSE hitting soon, SyFy just may be back on track. I'm off to rub my temples now, and untwist my brain.

12 MONKEYS airs Friday nights on the SyFy network. Check the website or local listings for your time zone.

Rating: 4.25 out of 5 (so far...let's see what the "future" holds, shall we?)

   

~Sean Smithson

REVIEW - The Illusionist aka L'Illusionniste (2010)

Sylvain Chomet brings a never filmed Jaques Tati screenplay (written as an ode to the French comedic legends own daughter) to life, in this magnificent and utterly brilliant film about a threadbare magician who adopts a homeless girl named Alice, after she stows away to follow him after being awed by his act.
Alice idolizes THE ILLUSIONIST and he in return deeply loves her as the daughter he never had, bestowing gifts upon her, becoming a doting and adoring father figure.
THE ILLUSIONIST is also incredibly realistic and pragmatic in it's portrayal of this love, and as Alice grows into a woman, like all parents, the aging performer must eventually let her grow into her own being, and all that comes with that.
Told without dialog, much like Chomet's previous film THE TRIPLETS OF BELLEVILLE, you will have to remind yourself there are no outright "voices' to be heard, the characters actions and the profound emotion the animators imbue the characters with say it all. THE ILLUSIONIST is masterful story telling, and one of the most heartfelt and beautiful pieces of cinema I have ever seen. Profound. Essential. Incredible. Perfect.

Rating: 5 out of 5

   

~Sean Smithson

REVIEW - Django Unchained (2012)

For years now, film writers would have you believe that Quentin Tarantino is the man who will single-handedly reinvigorate cinema. While some of his films are indeed exemplary examples of the power of film (JACKIE BROWN specifically)… others establish QT as the world’s most inspired plagiarist. No one – and I mean NO ONE – can beg, borrow, and steal movie moments like QT. His use of music, his much-lauded sense of being “over-the-top,” and of course his knowledge that gore – make that “well-placed gore” – is integral to realistic and moving storytelling. Some would say this is QT’s stock in trade… and they’d be right. Which brings us to DJANGO UNCHAINED. DJANGO UNCHAINED is by far QT’s most accomplished film (it manages to tell a coherent story and keeps the moments in which QT “gets cute” with his themes to a minimum) as well as his most misguided. Forget all the belly-aching people like Spike Lee has engaged in. The script’s use of the notorious “N-word” is pitch-perfect given the time and place in which the story is set. The problem (for want of a better term) with DJANGO is that – at nearly 3 hours – the film meanders and feels like it doesn’t know where it’s going. I saw spots – nearly 45 minutes worth – that could’ve easily been truncated or removed all together. Visually, QT’s use of the tracking shot is just this side of annoying (and they bring little to the flow of the film). Further, the film’s internal time-line is wonky (Django goes from slave to badass gunslinger in the span of 3 months or one winter? C’mon…). The acting is all top-drawer (especially Christoph Waltz) and Jamie Foxx manages to pull off the grizzled badass with some alacrity. DiCaprio and the rest of QT’s “stunt casting” do a splendid job of chewing the scenery and having fun with the whole affair. It’s always fun to play “spot the actor” in Quentin’s films and DJANGO is no exception. And then, there are the FX shots… which are the most important reason to see the flick. The bullet hits are jaw-dropping and the deaths are indeed spectacular. However, all too soon, the film over-stays its welcome with an overly-long runtime and a fractured narrative. In my world, if you’re going to make a 3 hour film, you damn well better have a REALLY intricate story to tell… or your last name needs to be Kurosawa. As I said re: INGLORIOUS BASTERDS, QT has a perfect film in him somewhere… Sadly, DJANGO UNCHAINED is not it. Instead, we get flawed, albeit still entertaining, escapist fare. Don’t think too hard and just go with the flow and you’ll have a good time. Apply too much thoguht and you’re bound to leave the theater feeling frustrated. Don’t get me wrong, I enjoyed DJANGO UNCHAINED. I just wish QT would apply his energies to something with a little more narrative weight.

Rating: 3 out of 5

~ Thom Carnell

REVIEW - The Raid: Redemption (2012)

Mirroring Thom's thoughts on THE RAID 2: BERANDAL, I finally sat down to watch the film that kicked off the inferno of ultra-violent love and worship among action flick fans. The story is beyond simple. Cops go into a tenement building a local drug lord holds sway over, in an attempt to bring him out and to justice. A couple of plot twists, and a whole lot of action. But as I watched the force of invading police make their way through the gauntlet, going room to room in an escalating bloodbath, I got as bored as I do watching someone play CALL OF DUTY. I love the team behind THE RAID films, and their initial outing with the very Bruce Lee-esque fable MERANTAU is still one of my favorites. but they've excised heart and emotional content for set piece after set piece after set piece of ass kicking with THE RAID: REDEMPTION. Like a movie that relies only on gore, I find it numbing and all kind of pointless. I don't give a damn about the characters, therefor I don't give a damn about the outcome of the (endless) fight scenes. I'd be more fulfilled watching a good martial arts bout as a sporting event, where the stakes have something to them.

A disappointment. Again, I'd suggest that MERANTAU is a more rewarding experience. There's not a lot for me to say about THE RAID other than...ouch, that's gotta hoyt! Unlike our Thom Carnell, I highly prefer the sequel!

Rating: 1.5 out of 5



~Sean Smithson

REVIEW - Society (1989)

Billy is a good looking, popular kid in high school, with a beautiful sister, Jenny, who is preparing for her big coming out party. When a schoolmate plays Billy a recording of a perverse conversation between his parents and sister, he begins to uncover the incredibly kinky underbelly of the SOCIETY he has been raised in.
Parts SALO: 120 DAYS OF SODOM, INVASION OF THE BODY SNATCHERS, THEY CAME FROM WITHIN, and BEVERLY HILLS 90210, and featuring the nightmare logic creations of low-budget practical FX guru Screaming Mad George, this freak-out of a flick takes awhile to get to the pay-off, but if you've not seen it, I can assure you there is nothing else quite like it. Worth a viewing, if for any other reason than it is one of the last of the nutsoid "80's horror flicks", and first in the original Home Video wave. It has a cadre of horror industry and in-the-know genre hounds as fans, and fits in strangely with the more sexualized works of Clive Barker and David Cronenberg, while also remaining goofy fun. A head scratcher, for sure. Anomalous to say the least.

Rating: 2.75 out of 5

    

~Sean Smithson

TRAILER OF THE DAY # 20 - Red Sun (1971)

We looooove genre-mashing here at the BONUS MATERIAL, and one of the finest examples is director Terrance Young's RED SUN, starring the incredible international superstar cast of Charles Bronson, Alain Delon, Toshiro Mufune, Ursula Andress, and Capucine.
Young, after a run of James Bond films (DR. NO, FROM RUSSIA WITH LOVE, THUNDERBALL) and a classic terror-suspense film (WAIT UNTIL DARK) takes on the Western, and gives it quite the spin. A visiting Japanese ambassador is killed with the kitana he has brought from his homeland as a gift to President Ulysses S. Grant. This ignites a trail of vengeance, as the slain dignitaries' samurai bodyguard cuts a violent path straight to the proverbial "black hat".
RED SUN isn't nearly as lauded as it deserves, and if you've not yet experienced this multicultural gun slinging, sword swinging opus, run don't walk!

                          

~Sean Smithson & Thom Carnell

REVIEW - Housebound (2014)

LISTEN TO THE LATEST EPISODE OF THE BONUS MATERIAL PODCAST HERE

Kylie Bucknell, a troubled, metal lovin' youth is put on home detention by the courts, where she must put up with her neurotic, but well meaning mother. There are some strange goings on in the home, items disappear seemingly into thin air, strange sounds emanating through the house at night, and there may or may not be a killer living next door. With the help of the young truancy officer, Graeme, Kylie sets out to find out what's really going on within the walls of her home.
Part Scooby-Doo mystery (in a good way), part angsty teen "dramady", and part out-and-out horror film, HOUSEBOUND is a highly entertaining romp of the "contained terror" sub-sub-genre. What really makes the movie sing is the wonderfully eccentric characters and solid performances. Another in the recent slew of genre-mashing flicks coming out of New Zealand, second-time writer/director Gerard Johnstone is clearly one to watch. HOUSEBOUND is a perfect fright film with laughs for a weekend night. Add pizza and beer, and it's pretty much a guaranteed good time for fans of screams and laughs.

Rating: 3.75 out of 5
   

~Sean Smithson

REVIEW - What We Do In The Shadows (2014)

LISTEN TO THE LATEST EPISODE OF THE BONUS MATERIAL PODCAST HERE

Four vampires living in New Zealand, Deacom, Viago, Vladislav, and the ancient Nosferatu-like Peter share an apartment and try to fit into modern day society. But there is that pesky cultural disconnect from being hundreds, or in Peter's case, thousands of years old. A camera crew follows the bloodsuckers around, and documents the trials and tribulations of the quartet, their newly minted fanged friend Nick, and his human pal, the mild mannered and affable Stu.
Shot as a documentary, cinema verite style, WHAT WE DO IN THE SHADOWS could have easily devolved  into a one note joke, but co-directors/co-writers/co-stars Jemaine Clement and  Taika David Waititi mine the depths of the horror genre with a respect and knowledge that is astute and clever. You may have seen them work together, mainly as actors, in films like EAGLE VS. SHARK and shows like FLIGHT OF CONCHORDS, and tonally WHAT WE DO IN THE SHADOWS dwells in the same territory. ironic, without being too hipster, referential, while being respectful of the tropes they are poking fun at. This movie shows a lot of love for the vampire genre, and when a rival gang of werewolves comes into play, you know you're in the hands of people who truly love this stuff.
I was lucky enough to see it at last years Sundance Film festival, where it was received quite well. It has still to find a US theatrical release, but trust me...if you are a fan of classic monsters and pointed  comedies, you'll want to seek this out.

Rating: 4.5 out of 5

   

~Sean Smithson

REVIEW - Nightbreed: The Director's Cut

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Let’s be honest… The 80s were a weirdly wonderful time: Fashions were questionable, the music was ridiculous, and the movies… really embraced their cheesier sides. For example: Clive Barker's NIGHTBREED. When the film was released, audiences were mixed in their reviews. Some… really enjoyed its mixture of monsters and – what was at the time – realism. Others (critics, mostly) hated the film. I was somewhere in the middle. While I enjoyed the look of the killer (affectionately referred to as Buttonface) and some of the monsters, there was plenty of fromage on display. And what the hell is David Cronenberg doing acting in this kind of tripe? Anyway… flash forward to now and we get a revamped version of the film with 40 additional minutes. Normally, I’m all for that sort of thing, but only when the original film warrants it. NIGHTBREED does not. The extra footage is mostly saved for the presentation of an alternate ending… which is, quite honestly, less than stellar. Yes, it is different from the one presented in the film. No, it is not any better. That all said, kudos to Barker and the FX team for some of the monster designs. It’s important when watching the film to keep in mind that there was no such thing a CG when it was made. All of the creatures – for good and for ill – are practical FX (which is fascinating). Acting is wooden and hammy. You’d be hard pressed to find a worse performance than Charles Haid’s in film. So, yeah… this is another one of those cases of “if you liked the original film, you’ll love this longer, fatter version” as it is literally more of the same. If not, then this version is not going to change your mind any.

Rating: 1 out of 5

~ Thom Carnell

TEN TRAILERS - January 15, 2015

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So hey, here's an idea. How about we dig through stuff , so you don't have to? Here are some of the newer TRAILERS we've been watching. It's the good, the bad, and the ugly of what we've run across over the last couple weeks, with some quick thoughts. This time out, it's Sean's picks of go's and no's. let's see if we all agree. Hit us up if you've found anything good as well, or just want to voice your opinion. For the retro stuff, be sure to check out our TRAILER OF THE DAY too!

WYRMWOOD 
This Aussie flick is being carried on word of mouth from tongues I trust. I'm taking the MAD MAX meets DAWN OF THE DEAD ad-line with a grain of salt (which cures one from being a zombie ironically!) but am ready for it to rock my world, and be it's own twisted creature. Hits cinemas, cable and VOD platforms simultaneously on February 13, 2015

Excitement Level: 4 out of 5



THE EXPANSE
I've read the first book in the trilogy this series is being culled from, and it's a damned solid mash-up of mystery, action, intrigue, and space opera. If you like top tier geekery with a high level of quality world building, this could well be for you. And me. Coming to SyFy in 2015

Excitement Level: 4 out of 5



THE AVENGERS - AGE OF ULTRON
It took me five tries to get through the first AVENGERS movie. When it clicked, I had fun. This however, looks to be operating on a whole other level. I'm looking forward to seeing the terrified faces of all the little kids who come see this horror movie in a superhero copstume opening weekend. Ya gotta learn about the "reel world" sometime!

Excitement Level: 4.25 out of 5



PLAYING IT COOL
Speaking of AVENGERS...This has been kicking around in other markets for awhile, and gets a limited release here in the USA soon, even though it gets little more AMerican then a rom-com starring Captain America and The Falcon, this time out as a screenwriter and his agent, along with the awesome Michelle Monaghan as the love interest. Stunt casting and "lucky timing" aside, this looks generic, but in full disclosure, it also looks like something I'll watch on the strength of the performances, some lazy braindead Sunday morning.

Excitement Level: 2 out of 5



CHAPPIE
I'm a huge fan of Neil Blomkamp's work. That is all I need to say. bring on more intricate, detailed,  science fiction. I wouldn't cry out in pain if he did an ALIEN or TERMINATOR or ROBOCOP film. That says a lot. Great casting too. We may have to name a new sub-sub-genre for this guys work. Gothitopian?

Excitement Level: 4.5 out of 5



MAPS TO THE STARS
I've seen it. Review forthcoming. *Sings "Our Lips Are Sealed"*

Excitement Level: You tell us...in the comment section!



THE VOICES
Didn't catch this at Sundance last year. The trailer makes me laugh and smile. I put that in the "win" column. Looking forward to Reynolds as DEADPOOL (thanks to the fan communnity for helping massively in making that a reality!) Juuuust maybe this will be a nice surprise.

Excitement Level: 3 out of 5



SPY
Another Mellisa McCarthy comedy. I'm glad there is a bankable female, with a body type not usually seen carrying a commercial film in Hollywood. She's a great role model in that way, hopefully paving the road into something a little more diverse, and this looks like it could be her big franchise. Jane Bond meets Audrey Powers? I'm a huge fan of the crazy spy satires of the 60's, so I'll be giving this a shot and hoping for the best. Another entertaining use-once-only, most likely.

Excitement Level: 2.75 out of 5



BOUND
Fifty shades of lame. I'm not even interested in the vanilla source film that is being ripped off with this. The Asylum goes from MockBuster to CockBuster with this film that looks so bad it'll kill any boner it's trying to induce well before the blood begins to pump.

Excitement Level: HAHAHAHAHAHA...*deadpans*...none.



JOHN CARPENTER - "Night" from the forthcoming album LOST THEMES
No, it's not a new John carpenter film, but it may be the beginning of a second carreer as a straight up recording artist! This is a preview of his upcoming album LOST THEMES, out on Sacred Bones Records February 3, 2015. That's right around the corner, so get those pennies together.

Excitement Level: 5 out of 5

And please, again, let us know what YOU are excited for as well! Hit out Facebook page or Twitter, or simply leave a comment blow!

TRAILER OF THE DAY # 19 - Close Encounters Of The Third Kind (1977)

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A group of people from different walks of life simultaneously experience sightings of unidentified flying objects. A lineman for the county, a little boy and his single mother, a group of country bumpkins on a deserted stretch of road. Soon, many of them are drawn together after having shared visions of a plateau like mountain, and having a five note melody become an incessant presence in their heads.

We've all seen this right? I'm sure there is no need for further synopsizing this American classic by steven Spielberg. Easily the greatest film ever made on the subject of extraterrestrial contact, CLOSE ENCOUNTERS OF THE THIRD KIND has never been surpassed, and remains in my personal top 25 films of all time. A mean feat since my list of favorites numbers over a thousand.

I bow to this crowning achievement in science fiction themed cinema. Peerless, and perfect. Uber fans like myself are encouraged to track down an early screenplay draft by TAXI DRIVER scribe Paul Schrader! Another neat-o fact is Steve McQueen was originally asked to play lead character Roy Neary, a role that of course eventually went to Richard Dreyfuss. McQueen voiced his love for the part, but supposedly told Spielberg "I can't cry on camera. I don't have the range for this".

I saw this 18 times at the El ray theater in Chico, CA growing up as a movie obsessed little kid. Enjoy this extended theatrical trailer that blew me away prior to it's original release, when I was a mere 10 years old. Vintage, still as fresh as the day it came out and totally bad ass.

     

~Sean Smithson

REVIEW - Knights of Badassdom (2013)

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A metal singer is dumped by his girlfriend, so his stoner / gamer pals decide to abduct him for a weekend of LARPing and supposed fun. When the aspiring wizard in the group accidently summons a succubus from Hell, we get 90 or so minutes of utter stupidity dressed in a 13th Level Mage’s gown. The script of this fiasco feels like it was written by a 13 year old metal-head and I was surprised, given the material, how much of the FX happened off-screen. Also, the acting is wooden and needlessly overwrought. Yes, I know… “it’s supposed to be silly.” I’m not buying it. Someone threw a wrench into the making of this film and Director Joe Lynch doesn’t appear as the most likely culprit. I mean, there are a few beautifully constructed shots in the film, but they’re set amidst such ridiculousness that the viewer loses interest long before the story has a chance to even get up to speed. My guess (and subsequent research bore this out) that the studio intervened and muddled things. Lynch does his best with the modest funds allotted him, but trying to pull off a full-suited, practical FX monster on a dime is, well… misguided at best. And WHAT THE HELL is an actor of Peter Dinklage’s caliber doing in a film like this? Anyway, KNIGHTS does have a few laughs, but they come too far apart to save this sinking ship.

Rating: 2 out of 5

~ Thom Carnell

TRAILER OF THE DAY # 18 - Dredd (2012)

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The premise is beyond simple. Judge Dredd and new trainee Judge Anderson enter into one of the sprawling tenements of Mega-City One to take down Ma-Ma,and her gang, who are distributing a new, and of course immensely addicting and lethal drug called Slo-Mo.
once on the call, Dredd and Anderson are trapped within the building, as ma-Ma's gang batten's down the hatches, and goes on the hunt for our uber violent law officer and his rookie side-kick.
Cue a fuckton of ammo, detailed shots of faces coming apart, right down to their chompers and mandibles coming atcha in slow motion, blood splattered (and 3D if you saw it in theaters or have the set-up at home), gorey glory. DREDD isn't plotless by any means, but it is, as I said, incredibly simple. It's all about the execution (pardon the pun), and execute DREDD does. Over and over and over.

Expertly shot, director Pete Travis (VANTAGE POINT) has a clear understanding of what the universe of Judges is all about, which is bullets, merciless justice dealt out to deserving villains, by a lone lawman on a bad ass motorcycle, armed to the nines with an more bad ass weaponry. Travis and screenwriter Alex Garland get right into the thick of things after a quick introduction to the Dystopian universe initially created in the pages of the UK comics magazine 2000 A.D. by John Wagner and Carlos Ezquerra, where the entire continent has become a connected sprawl that thrives on crime...and punishment.

This move was so rocking, it's a total shame fans didn't flock to the theaters to make it a hit. It was virtually ignored, getting a bit more mileage when it hit home video, but still doesn't get the respect it deserves. The cast of Karl Urban (STAR TREK), Olivie Thirlby (NO STRINGS ATTACHED), and Leanna Headey (GAME OF THRONES) show that high, uber violent action films, don't have to be devoid of good performances. if I were a rich man, a sequel would already exist, and we'd have our Judge Death story (with creature actor extraordinaire Doug Jones playing the Eddie-like monstrous spectral, skeletal Judge whose "...sentence is Deathhhhhh". But alas, all we have is this installment, but here's hoping the fan community can keep the dream alive, and keep pushing for the movie geek miracle that would be DREDD 2.

     

~Sean Smithson

REVIEW - Phantasm 2013 A.D. Screenplay By Roger Avery (unproduced)

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Rather than, as has become customary for the series, picking up straight at the end of Phantasm IV: Oblivion, writer Roger Avery decides to take a leap straight into a post-apocalyptic future in his unproduced screenplay, Phantasm 2013 A.D.

As the film opens, an unidentified, but heavily disfigured man is running through a wasteland. Plagued by disturbing visions, disembodied voices and sounds, he eventually makes his way towards a gigantic wall in the desert. Behind him waits the series' iconic villain, the Tall Man, and a group of his ferocious midget servants.
Ignoring the grave warnings of guards stationed on the wall, the man forges forward and finds himself obliterated by heavy gunfire... and then burned to a crisp via flamethrower as an extra measure.

Welcome to the future of America.

Since we last left Mike, Reggie and co. back in Phantasm IV, things have gotten grave for humanity. Thanks to the machinations of the Tall Man, the middle of the United States is now the Plague Zone – walled off from the rest of the country and infested with a deadly disease known as the Bag Plague. Those infected are referred to as 'Baggers' – poor sods whose heads have swollen and mutated to resemble throbbing pumpkins. Driven mad by pain and horrific visions, Baggers stumble around the Plague Zone simultaneously seeking assistance and victims. You see, due to the nature of the virus, when a Bagger gets close to an uninfected human, the resulting rush of emotion and stress that they experience is enough to literally make their head explode, firing infected pus and bone shards in every direction with enough force to puncture a car door.
Heading into the zone on a very special mission is Colonel Heckleman and his badass crew known as the 'S-Squad'. Carrying a special, one-of-a-kind bomb designed to destroy an entire universe in seconds, the guys and gal of S-Squad are tasked with getting the bomb to the Tall Man's lair – a giant Mausoleum smack bang in the center of the Plague Zone – and through the dimensional portal to his home planet.

Thankfully for fans of the series so far, a more recognizable character soon returns to the fray: Reggie is back, and he's going into the Zone in search of Mike. You may remember that previously, Mike had a ball removed from his head by the Tall Man and was whisked away through a dimensional gate. Now, he's been sending holographic messages – Princess Leia style – to Reggie through a captive sphere, telling him that he is trapped in the Tall Man's dimension and needs Reggie's help to escape.
Tooled up with weapons, a steel-plated Plymouth Barracuda and a friendly monkey named Titi (yeah, that's "teetee", not "titty"... perv), Reggie shoots off into the Plague Zone and, of course, crosses paths with S-Squad, eventually joining forces in their attempt to get rid of the Tall Man once and for all.
Obviously a fan of the series, and well versed in its (fractured) mythology, Avery keeps the Tall Man firmly seated at the background of the proceedings for the first two acts of Phantasm 2013 A.D., with the bulk of the middle section focusing more on Reggie and S-Squad's encounters with Baggers in the Zone. The events that see the protagonists come together to join forces are thrilling and bombastic, but feel much more like a film adaptation of videogame The Last of Us than an actual Phantasm film – save for a few ill-conceived appearances by the Tall Man; an example of which sees a severed head morph into the Tall Man's visage and proclaim "Don't mind me. Just trying to get ahead in this world."

This kind of punning is common throughout Avery's script, most notably when it comes to the big villain himself, and it just feels... odd. Sure, it's fine – and expected – to have Reggie throwing smartass quips around, but the Tall Man? Nah, not buying it. Thankfully, once Reggie and the remaining soldiers have made it to the mausoleum, the Tall Man steps fully into the picture and becomes his usual grim, intimidating self.
There's plenty of action taking place inside the dimensional portal and some really, really cool silver sphere mayhem going on in the final act – but things take a turn for the confusingly weird in a late revelation featuring a portal powered by a disembodied, spider-legged Tall Man head (named 'Tall Mankind', here) and an ending that feels hell-bent on remaining as obtuse and bizarre as any in the series that have come before. An earlier dialogue exchange hints at there simply being no opportunity for a positive outcome for anybody in Phantasm's universe, so a downer ending feels like a given... but the series-usual mirror-grab doesn't feel like the apt way to do it.
Still... is Phantasm 2013 A.D. any good? Yes, it is. It's very good – and had it been brought to screens it would have made a large number of Phantasm fans very, very happy. There's enough thrilling set-pieces, tense horror, gory deaths and Reggie, Reggie, Reggie to make for a really fun time at the movies, and some much-needed (if grim) closure when it comes to the fates of Mike and Jody. Dial down the Tall Man wisecracks and re-jig the ending, and this would be a Phantasm film to be proud of.

Heck, even the damned helper monkey, though trite, isn't annoying.

~ Gareth Jones

REVIEW - The Damned United (2009)

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A fast moving tale about ambition, ego, and ultimately friendship set against the backdrop of early 70s-era British football. As usual Michael Sheen & Timothy Spall give solid performances and director Hooper (JOHN ADAMS, ELIZABETH I) keeps things moving. This sort of thing is difficult - telling a story about someone who is a household name in England, but virtually unknown in the US and making it translate to an American audience. Luckily, the production manages to pull it off. The ending is a little lackluster, but it still makes for a fun and informative film.

Rating: 3 out of 5

                                   

~ Thom Carnell

REVIEW - Yakuza: Like a Dragon (2007)

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Takashi Miike gives us a rollicking good time with this Yakuza thriller which melds a number of storylines which all take place during a hit night in Tokyo. While not as over the top as, say, ICHI THE KILLER or VISITOR Q, this is a violent, insane story with a cast ...of eccentric characters, most of who take an unbelievable amount of punishment and keep on coming. There are some laugh out loud moments and there is no scrimping on the violence. The film is based on a popular Playstation game of all things, but Miike manages to walk the line so that it doesn't devolve into utter silliness. As you watch the film, it's clear that Miike wants the audience to be "in on the joke" and there are several times the film will stop, wink at you, and make that clear. While YAKUZA is not something that'll change your life, it will make you smile. Yakuza film fans, Miike fans, and "games into movie fans" will undoubtedly enjoy this one.

Rating: 3 out of 5

~ Thom Carnell

REVIEW - Hanger (2009)

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An absolute shitpile. If the inept writing & direction don't make you want to break the DVD in half, the bad FX & halfway house / outpatient clinic acting will. The director, Ryan Nicholson, is an absolute hack and yet another reason why the horror genre is openly laughed at & ridiculed. His films make Troma films look like fuckin' AVATAR. It's saddens me to think that this kind of shit a) gets press, b) is given distribution deals, and c) actually has fans (ok, this last one kinda scares me to be honest). HANGER is racist, misogynistic, & insulting (and NOT in a good way). It presupposes the horror audience is made up of cretins & morally bankrupt gorehounds who think being offensive equals "horror." Listen... I could go on and on about what a crapfest this movie is, but i won't. Suffice it to say, that HANGER (and the rest of Nicholson's filmography) should be avoided like a smoldering garbage heap... 'cause, you know... that's EXACTLY what it is.

Rating: 0 out of 5

~ Thom Carnell

REVIEW - The Box (2009)

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First off... I really wanted to like this. I'm a big Matheson fan and I did Fango's coverage of the film (interviewing Richard Kelly - who's a smart, funny, and really nice guy). That said... what an abrasively annoying and mangled fiasco this is. The first act is pretty much "Button Button / The Box." Then, the story veers off into an overly convoluted mess in which plot lines are established then abandoned and the plot itself seems cribbed from a bunch of other - and better - films. There's a little bit of BODY SNATCHERS in there. A little morality play. Some nonsense about aliens that ride lightning. Oi vey... Diaz & Marsden are HORRIBLY miscast and have ZERO chemistry. Langella plays his character by the numbers (however his CG disfigurement is REALLY good). In the end, this is a total waste of Kelly's talents and an abomination of Matheson's original story. Oh, and the film could have had 30-45 minutes cut out of it and the viewer wouldn't have cared one bit. It's not "Jesus, shut this shit off" bad. It's just not very good.

Rating:1.5 out of 5 

~ Thom Carnell

TRAILER OF THE DAY # 17 - Uzumaki (2000)

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The citizen of the sleepy little town Kurôzu-cho are slowly going insane, becoming increasibly obessesed by, of all things, the symbol of a spiral. Kirie Goshima's father begins exhibiting starnge behavior, so does the mother of her boyfriend, Shuichi Sato. Soon the odd behavior turns sinister, with people tucking themselves into washing machines to commit the oddest form of suicide, to trying to gouge out their own cochlea's, a spiral like tube in the inner ear. When Kirie and Shuichi finally decide to abandon the increasingly sinister town, they find there is no fleeing. they are trapped in a spiral of time if you will. When they wind up back in Kurôzu-cho, they find things have become even worse than they could have imagined.

UZUMAKI is almost impossible for me to describe. Part Lovecraftian terror, part Japanese high school drama, and invoking the works of artists like Tim Burton (at his best), Mario bava, and Kyoshi Kurasawa, director Akihiro Higuchi's adaptation of the classic horror manga by Junji Ito is a candy colored psychedelic mind-fuck. An odd choice as far as art direction goes, since the Ito manga is drawn in fine lined black and white, but it works beautifully. I'm incredibly surprised that Higuchi didn't rise to the top of Japanese horror directors back when UZUMAKI dropped, since the romance of the J-Horror sub-genre was hitting really hard at the time, when foreign audiences obsessed with getting their hands on every title they could find, from RINGU to THE GRUDGE to EVIL DEAD TRAP. UZUMAKI, both the film and the graphic novel collections belong on the top shelf of any genre fan, and have a strange, off putting quality that is all too rare in the been-there-done-that realm of scarey flicks and comic books. I've been trying to dig up more information on Higuchi, but there doesn't seem to be much out there. sadly, he seems to have come and gone. A terrible shame, as his visual sense is jaw dropping. At least we have UZUMAKI, which is highly recommended.

               

~Sean Smithson

REVIEW - The Clone Returns Home aka The Clone Returns to Homeland aka Kurôn Wa Kokyô O Mezasu (2008)

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In this 2008 sci-fi film, Executive Producer Wim Wenders & Japanese writer/director Kanji Nakajima create a quiet and introspective film that both intrigues the intellect and touches the soul. The film’s pace is exceedingly slow – much like visual poetry – and there are some stunningly beautiful shots in this. It is a thoughtful examination of love, longing, memory, consciousness and, ultimately, spirituality. Comparisons to Duncan Jones’ MOON,  Tarkovsky’s STALKER & SOLARIS, and (believe it or not) Spielberg’s A.I. are not out of line and, in many ways, are quite warranted. Some will find the films slow pace a challenge, but for those who are willing to calm their minds and simply let the story play itself out will be rewarded. The script is carefully arranged. The acting is very subtle, but assured. But this film obviously belongs to Nakajima who both weaves a thoughtful tale, but also uses the screen as a canvas to paint imagery that stays with the viewer long after the credits roll. Recommended to those who like a little intellect with their science fiction (and, to be fair, this film is not the “rocket ships and laser pistols” variety of Sci-fi, but rather the “set in the near future” kind) and for those who enjoy un traditional narrative styles. However, it should also be said that THE CLONE RETURNS HOME is a film in which one must pay a great amount of attention. Narrative clues are not spoon-fed to the audience, but rather set in the frame in the hopes you will pick them up (and thereby make the viewing experience that much better). I liked this one a lot!

4 out of 5 stars

~ Thom Carnell

REVIEW - Buio Omega aka Beyond The Darkness aka Buried Alive (1979)

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The great Italian exploitation director Aristide Massaccessi aka Joe D’Amato (EMANUELLE AND THE LAST OF THE CANNIBALS, CARIBBEAN PAPAYA, ANTROPOPHAGUS) goes off the rails into grave robbing, murder, and necrophilia with this little classic. Starring a doe-eyed Kieran Canter (THE LONELY LADY), THE BEYOND’s mysterious blind dog-lover Cinzia Monreale as the dead love interest, and Franca Stoppi (GUARDIAN OF HELL, VIOLENCE IN A WOMAN’S PRISON) as one of the weirdest nannies on record, BUIO OMEGA is a cavalcade of creepiness sporting a truly great soundtrack by the inimitable Italian Prog-rock group, Goblin (DAWN OF THE DEAD, SUSPIRIA). After his girlfriend dies (as a result of his nanny’s getting a voodoo witch to kill her), his already fragile psyche shatters sending him spiraling into retrieving her body, stuffing it, and keeping it around for sporadic bouts of sex. This all makes his nanny jealous, but she goes along with his little plan, helping him both kill and slaughter random young girls. The gore is both abundant and well done (especially the taxidermy scenes and the chopping up of a random victim. Sadly, the film simply can’t maintain the pace it establishes and the last act is a bit wonky. But, the film is a classic from the 80s and legendary amongst horror fans. It’s also easily one of the director’s best. If you’ve seen it, you know what I’m talking about. If not, this is a major chunk missing from your genre knowledge database. This is essential viewing for anyone interested the genre and a must-see for both gore hounds and anyone looking to get a solid foundation in Euro-horror.

3.5 out of 5 stars

~ Thom Carnell