Sometimes fiction is like a mangrove swamp, or a log slumping into rich decomposition in a forest: natural, wild, an ecosystem unto itself. Other fiction is like clockwork puzzles, or ornate and jewel-encrusted nesting boxes: they are finicky things, filled with interlocking story logic. Then there are stories – and, indeed, collections of stories – that have a little of the organic to them, and a little bit of whirring clockwork complexity.Continue reading Review: “Her Body and Other Parties” by Carmen Maria Machado
As I have been writing these weekly sharksploitation movie blogs, I have discovered a seething rage percolating in the corners of my mind. With the help of much soul searching and many scented candles, I have become self-aware of my disgust at misleading shark movie posters. I felt it was time to write some little fun-sized blurbs about this. So grab a handful of mini peanut butter cups and let’s have at it, shall we?
I know, I know. It’s motherfucking Jaws. I love it too. But this one really set the standard for all shark movie bait-and-switch posters to follow. It sets the right tone, and an isolated naked woman does get chomped by a leviathan from below. Yet, we wait for a long time to actually see the shark in the movie, and when we do…not this shark. What Speilberg and his team created in a time before CGI was truly astounding. At the time, it was groundbreaking. However, much like the OG Godzilla of the original film, the shark in Jaws turned out to be a little more…goofy. It’s just that no one had anything else to compare it to. It was a pioneering feature dipping its toe into a new sub-genre featuring true scares, featuring a monster based on a real creature. I don’t hate this poster, honestly, I don’t. But I swear on my Jaws lunchbox and everything else I hold dear, that all the shitty movies that came after got permission to bamboozle us because of this poster. Hey if it can work for Jaws…problem is, despite the poster’s dubious suggestions, that movie was pretty fucking amazing.
If you have read my review of this one, you know how I feel about this filthy, nasty waste of time. It could have been so great! I mean, just look at the poster! Look at it damn you! A shark possessed by the devil? Huzzah!
Reality check. The shark in the movie looked like a teenager got into their parents’ lude stash and simultaneously discovered how to use an etch-a-sketch. The only thing Satanic about it is its glowing eyes. There is no final confrontation between the mighty man of the cloth and this great big beauty of evil as the poster implies. The ending was a cluster fuck of bad effects and a smoke machine. It’s like someone threw a bucket of pea soup on a copy of the final episode of Lost (still a little bitter about that). I hate you Shark Exorcist.
I will preface this by saying I really enjoyed House Shark. It was funny as hell and you could tell the guys cut the cloth of this movie from a deep and profound love of this sub-genre. There are two versions of this poster. One has almost the exact problem as Jaws. But now that I think of it, maybe they planned it that way? The movie is basically a parody of the classic. Okay, okay that one might be a stroke of genius.
The other one, the one with a giant shark eating a house? Yah. That one pisses me off. The shark is the size of a person in the movie. I really mean that. The shark is a guy in a paper mache shark costume. This is a lowest of the low budget, folks. So I don’t care how many fists of increasing girth that dude fits into his mouth, he ain’t gonna stretch it out that big. Also the shark on the poster is a depiction of a great white, not a $49.99 outfit from etsy.
Here’s another bitch session, this one about the movie I just reviewed last Sunday. Feel free to read it. No, seriously, please read it.
Where do I begin with this poster? First of all, the movie does not take place in a prison. It revolves around escaped women prisoners but you would not even know that based on their skimpy outfits. In all fairness, you will realize they are women because of the triple D cups all up in your face (is that an actual bra size? I wouldn’t know anything after B). Second, the sharks in the movie, again, look nothing like this. They are spiky and small and stupid. They also can burrow through the earth. Where is that on the poster, huh? One more thing, Traci Lords’ name has a prominent place on the poster. She is actually in it, but she has no impact on the plot. She must be the cousin of one of the film makers or something. Don’t for one second think you’ll see her in those skimpy outfits because those days are behind her. Move along, folks. Nothing to see here.
Okay last one. Seems like we will be treated to a giant white shark attacking a chopper, right? Oh goodie! Once again, hell to the no. There might have been a chopper at one point. Maybe while I passed out from the banality. Say what you will about Sharknado but if there is a shark attacking a chopper on one of the posters, you can bet your mama’s pearly whites that there will be a shark attacking a goddamn chopper. Also, the sharks in Ice Sharks are Greenland sharks, which are a far cry from Great Whites. Google them, I’ll wait. See?? What did I tell you. I have nothing else to say except fuck this movie.
Now for a good poster, a beacon of hope for truth seekers like us. Open Water is a movie about isolation, hopelessness and terror. A couple is lost among the vast, bleak, unforgiving ocean. Doesn’t this poster just scream that at you? There is not even a shark to be seen, although they are there gliding in the deep dark abyss below these pour souls. But the poster keeps that hidden away as a little surprise for the viewer. I want to make out with this poster.
See ya next time!
Fan boners on display (somewhat literally)…
Yeah, this was a pretty fun fan film. The biggest things I like about this one is that it goes off the tangent universe of the second Texas Chainsaw Massacre (TCM), but it still tries to keep the feel of the first. The difference between TCM and TCM2 is that TCM tried, in all of its efforts, to be a serious horror movie, while the second was more of the typical 80s-90s ‘So bad it’s good’ slapstick. However, TMC2, while hardly serious horror, added a layer of almost alien weirdness to the Sawyer family. In the first movie, they were nothing more than backwards, inbred knuckle-draggers. In the second one, there was almost this paradoxical ethos, a ritual of a sorts. The first movie was just a simple attempt to exploit cultured society’s fear of hillbilly yokels, while the second tried to expand on the concept and just went balls out weird.
This fan film marries those two concepts. That is, expanding on the tangent universe of TCM2 as it doesn’t have to be weird if it’s properly tied back to the first. You could almost see this fan film being a bridge between the first and the second. A sort of stepping stone to explain how a straight forward slasher became a story about a strange family’s murderous rituals. The second is only balls out weird, because there’s no progression to explain how that Sawyer family got from TCM to TCM2.
I also really appreciate the adaptation of Bill Moseley’s famous character “DOG WILL HUNT!” Chop-Top Sawyer. I also have to say their choice for Bubba ‘Leatherface’ Sawyer was also a pretty good pick. While he doesn’t have the iconic Leatherface pig grunt quite right, I not sure anyone could as I believe the original was synthesized. It’s just a hard nut to crack.
But the feel was dead on and for a fan film, that’s all that matters. This isn’t about bringing something new to the table, this is about taking TCM canon and giving it your all, with what little you have. And for what little this indie producer had, they did a great job.
Please give that video above a little click. Any fans of the TCM franchise will appreciate this and hardcore Horror Heads should give these people the respect they deserve.
Are there really spoilers in a TCM short that’s only 35 minutes long? Travelers stop to buy gas. Admiral Akbar “Its a Trap” meme. Cue Leatherface. There’s only two victims, and only one or neither can survive.
And, of course, since we’re following TCM canon, we know it’s likely going to be the lead actress who survives to the end. And of course it’s because Leatherface has a thing for her and tries to maker it a play date.
I fucking love the head nod to the torture scene from Reservoir Dogs. Brilliant use of another movie’s graphic violence on top a franchise known for it’s graphic violence. They just went hand in hand beautifully.
And of course there’s got to be the famous defacing scene followed by ‘Pretty Leatherface’ and dinner with the Sawyers. But I gotta give them this. Their sense of setting, atmosphere, and practical FX are fucking spot on here. Indies tend to really ignore the power of simple camera filters and lighting. And being able to dress up a set on a budget but make it feel like the decrepit Sawyer House is not an easy feat and, surprisingly, really easy to fuck up. Their attention to detail deserves credit. While this is very clearly not the Sawyer House, you could easily believe Leatherface and Chop-Top are chilling in a flop pad they took over together as brothers.
One thing they should’ve used more of was the body cam. The body cam added a nice effect to the inevitable chase scene, but for some reason, they only used it once, and only for a couple seconds, then scrapped it for the rest of the filming. It could have been equipment malfunction or something, but still, I wish they had more of it.
Not going to spoil the twist at the ending, but you’ll likely get a tickle out of it. I know I did.
Thank you for your continued support of Reed Alexander’s Horror Review. If you’d like to support my reviews directly, you can click the following link and add a ‘Tip’ at the top of the page. Or, you can go to the shop and purchase one of many books by me, Reed Alexander!
Every September it appears like a carnival stealing into town under cover of darkness; the seasonal Halloween aisle at your local supermarket. It’s an explosion of shiny sequins and rubbery red devil horns: face paint, wigs, fake cobwebs, and Styrofoam headstones. It’s a cacophony of moods and flavors, the delight of many children (and not a few adults). That seasonal aisle hides more secrets than most people know. For example, there’s a recent documentary called Halloween in a Box that celebrates the rise of low-cost, store-bought plastic Halloween costumes; a tradition that proudly continues to this day. As the film tells it, trick-or-treating almost went extinct in America, and it was only the efforts of a plucky band of rapacious industrialists that may have salvaged the tradition. I’m glad trick-or-treating survived. It’s always an interesting barometer of where kids’ heads are at and what stories resonate with them.Continue reading Lessons from the Halloween Aisle
We are now hosting a new podcast called Wandering Monster. On this show, our very own Salt City Sinner (Charles Bernard), Publishing Editor (John Baltisberger) and Poet extraordinaire (Lemons Clemons) take to the mics to discuss their favorite monsters from pop culture and gaming.
A no holds barred experience where every week they choose a new theme, and each come with a single monster to champion, this is not an actual play podcast, but rather a sourcebook that can go with others. This is the Monster Manual of internet radio that ends in a three way brawl for monster supremacy!
Welcome to Wondering Monster, ROLL INITIATIVE!
Why did I choose that tagline? Well, a character utters the sentence “I’ve been smelling bad crap my whole life and this is the limburger of bad”. Yes, sister. You practically reviewed this movie for me.
The film opens with frackers blowing shit up. Cut to a bunch of boobilicious bimbos in tight white tank tops and daisy dukes boarding a van at the business end of two prison guards’ guns. Prison issued attire is sure getting skimpy these days. But I guess they’re in a hot, humid swamp so there’s that.
The explosion opens up a crevasse from which escapes a spiky prehistoric shark who hauls ass into the ridiculously shallow waters. The frackers take a shortcut on the way to Miller time through the haunting abyss of 10 inch deep waters. I don’t even think the water’s deep enough to breach the top of my Doc Martens but yet, the shark swims right up and chomps their asses.
Traci Lords is the police chief or head detective or something. Her and her partner look through binoculars a lot and crack wise throughout the movie, but they literally have no impact on the plot. None. Having said that, their lack of usefulness is eclipsed by the always likeable Lords who comes off saucy, witty and seems like a really cool boss. They are always three steps behind anything that happens and they never catch up. Never.
The lady prisoners are taken out to clear some swamp stumps by the guards. What then commences is the most unsexy sexy scene ever. I’m not sure if these actresses are ex-porn stars or what but they seem a little “rode hard and put up wet” and not in a good way (wink). I haven’t seen that much silicone since they misprinted the exit sign to the Google campus. One of the girls gets unsexily eaten in a puddle and the movie really takes off from there. By “takes off”, I mean gets into a stall and plummets into a mountain. Unsexily.
They get carjacked by a feisty redhead who is the lover of one of the blondes. She brought a change of clothes, thank god, because the tiny tops and shorts virtually screamed prison issue. So they change into other tank tops and shorts. Sigh. They eventually land in a double wide manufactured home in the middle of nowhere. There’s hot tub action, lesbian smooching and more silcone!
This is a shark movie, so let’s talk about that, shall we? The attacks are frequent but nothing is shown subsequent to the spiny CGI shark launching itself at the victim. The shark ends up becoming six sharks at some point and now they can burrow through land like my spoon through an extra large semi-warm chocolate gelato (man, I’m hungry).
Enter into the plot two seismologists who are there only to provide the obligatory “scientific” explanation for all this nonsense. The fracking fractured the subterranean shell bed, cracking open a fissure into the immense prehistoric sea that resides underneath the earth’s crust. Thus the sharkasauruses! Oh yah and to explain why there’s more than one shark now, apparently, every year, sharks swarm in numbers up to 1500 to mate and feed! This revelation caused me to run over to my desk, grab my Bachelors degree in Marine Biology and literally slap my television with it so hard my student loans felt it.
This group of imbeciles makes its way into a cave that looks exactly like the cue for the Pirates of the Carribean ride at Disney. This leads us painstakingly slowly toward the climax of the movie, which is about 400 hours (may not be actual time) of watching a raft move back and forth and some predictable and bloodless action. You’d think these ladies would know how to provide a proper climax, if ya know what I mean? HEYO!! Ugh, sorry about that.
I really liked the head prison guard whose fatherly guidance and headstrong demeanor caused even the most hardened lady prisoner’s implant-adjacent heart to grow..er…augment three sizes bigger by the film’s conclusion. He ends up as kind of the final girl of the movie. And then here comes Traci Lords and her partner who have missed everything. And then the movie mercifully ends.
I need to go clean up the broken glass from the frame holding my degree before I cut my foot and can’t drive to the gelato place.
See ya next time!
Director: Jim Wynorski
Where to watch: Amazon Prime
How Kaiju was brought back to horror
As a horror head, one of the most interesting things I ever heard about horror was from my father. When he was a kid, the idea of Godzilla scared the shit out of him. Today, we crave something more out of modern horror. The idea of being scared by Kaiju sounds kinda cute, really. Even with the advent of Shin Godzilla, going back to the roots of the evil king lizard, it’s not what anyone would really consider scary.
But if you stop to think about it, the idea should be pretty damn terrifying! This gargantuan thing just rises up out of the water and brings wholesale slaughter to everyone in sight. Not necessarily even from trying, just by moving. Ever step it takes shakes the ground; if its tail so much as brushes a building, the shear weight brings the whole building crashing down. Hell, just the ‘rising up from the water’ part would cause such a sudden tsunami which would wipe out hundreds of people before they could even react—maybe even thousands. There’s no defense against it; all you can really do is run from it, (and hope it doesn’t decide to just start moving in that direction), you can’t even prepare for it. You can’t exactly ‘Godzilla Proof’ a building. So why isn’t Godzilla scary?
The problem is presentation. The audience is on the outside looking in and even on the big screen, Godzilla ain’t that big. Horror heads, especially Godzilla fans, are kinda blood thirsty. We’re just there for the cool looking monsters and the inevitable monster wrestling match. We have no connection to the destruction on the ground level, even when they try to show it.
Enter J. J. Abrams. And as much as I don’t have a ton of respect for him as a director, he saw what was missing from the Kaiju genre and fixed it. Anyone who knows me, knows I hate ‘Shaky Camera.’ There’s almost never an excuse for Hollywood to use it, and even if they do use it, if it’s gratuitous, it fucks the whole movie up and makes it nigh unwatchable. I wrote a review of The Taking of Deborah Logan (TTODL) to illustrate how and why it is completely unacceptable as cinematography. You can see that review below: The Taking of Debora Logan
It’s an earlier review so it’s kinda fast and loose, but rightfully angry. They RUINED what should have otherwise been an amazing horror movie with gratuitous ‘Shaky Camera.’
So what did J. J. get right that TTODL fucked up so bad? First of all, ‘Shaky Camera’ put the audience back where they needed to be in order to recapture the sense of helplessness and total chaos from a Kaiju film; right on the fucking ground. Second, the found footage genre was used in a way that made the fantastic seem more real and relatable. Being on the ground level in almost a mocumentary sense, it felt similar to following the camera guy in an actual war zone on the news. It was the perfect way for the audience to connect with something they’ve actually witnessed in real life. Finally, but most importantly, the character Hud, who was doing the filming, HELD THE FUCKING CAMERA STEADY!!! JESUS-FUCKING-TAP-DANCING-CHRIST!!! Hud manages to get amateur footage that was almost professional quality. They literally wrote into the movie that Hud got a nice camera, with a fucking harness from his buddy’s brother.
In TTODL, the fucking so called PROFESSIONAL camera guy spends more time videotaping his own two fucking feet than he does videotaping the shit happening to Deborah! Hud, a fucking amateur, gets a partial shot of the goddamn monster in the first 20 fucking minutes of the movie! Not even 45 minutes into the movie and Hud’s captured better footage than a news crew. I don’t give a flying fuck if that seems unrealistic, I came to watch a fucking movie, not an hour of some jackass filming himself tripping over his own feet over and fucking over again! Jesus, Hud even manages to get good footage when he does trip over his own two damn feet!
This movie became an instant classic for its cinematography and its re-connection with the Kaiju genre. It’s basically required watching for Horror Heads, unlike the two prequels, of which only 10 Cloverfield Lane is even worth watching. But I can even recommend this to general adult audiences. It’s just that good.
Only one thing to really bitch about that might constitute a spoiler. Besides the character Rob, dragging his friends to certain death over a girl who basically tossed his ass. At the very end, when Hud, Rob and Ms. Forgettable-Damsel-in-Distress-Trope are all being evacuated by chopper… why the fuck was the rescue chopper following the monster? It was literally flying along side it. I mean, cool footage and all that jazz, but… did J. J. not know how ‘evac’ works? Because it literally means flying away from the danger. Not buzzing it for a cool photo-op. What ‘the cinnamon toast fuck’ is that shit?
I’d like to go full Morbo right now, but technically the character Lily survives.
In any case, it really is an awesome movie. I was so impressed by it, I actually wrote a story that was my idea for a prequel. Frankly, I think mine was better and made more fucking sense. So watch this, and enjoy! Maybe one of these days you’ll figure out which one of my books was supposed to be a prequel.
If you’re a fan of my reviews, you can support them by purchasing one of my books in the Shop, or by clicking the ‘Tip’ button at the top of the page at following link.
No matter your interests, Salt Lake City’s metro area regularly hosts enough conferences and conventions that there’s most likely one that’s right up your alley. There is, of course, the LDS Church’s General Conference if that happens to be your bag – but there are also FanX and Salt Lake Comic Con (our biannual pop culture and comic book conventions), Anime Banzai, the Salt Lake City International Tattoo Convention, numerous government and professional meet-ups… and FearCon, a convention devoted to all things horror.Continue reading FearCon 2019
I’ve circled around this movie for a while. I knew it was there, in my “Watch next” list, yet I kept overlooking it for more promising titles such as Dinoshark and Shark Exorcist. Since those movies sucked the chrome off a trailer hitch, I thought I would give Shark in Venice a try. And there is a Baldwin involved so how bad can it be?
The first thing you need to know is that there is a metric shit ton of choir music in this film. The level of angelic-ness and volume depends on what is on the screen. There is the “sweeping views of Venice” choir, the “shark attack” choir and the “treasure” choir. This was by far my favorite part of the movie. I’m totally making a drinking game based on this.
Stephen Baldwin (yes the disappointing one) is allegedly an archeologist. His intelligence is indicated by his ill fitting suit and superior enunciation. His badassery is indicated by his piercing blue eyes. His girlfriend is also a professor and badass. She wears cargo pants so…total badass.
The sharks come into it pretty quickly and eat some divers who are looking for hidden treasure beneath the city of Venice. They work for a bad guy. Now, I wasn’t informed that Bigfoot had a baby with Lorenzo Lamas but that is the only possible explanation for this guy. Truly, he’s breathtaking. One of the eaten divers was Baldwin’s father. So that’s how we get his bloated ass to Venice, accompanied by his girlfriend who does nothing except say bitchy things to everyone in the movie. Cue sweeping views of Venice music (drink!).
There’s a plethora of questionable history and an overabundance of action in this film. The sharks are kind of extraneous, like the rind on a wheel of brie (I have never known what the fuck to do with that). Shark scenes should be the creamy, delicious interior not the weird plastic bit (seriously, is it even edible?). They attack quite a bit, violent and gory, and always with the bombastic sounds of the shark attack choir (drink!). Yet, it seems sluggish and the underwater scenes have a muddy green hue to them as if filmed inside of a booger. Mostly, real shark footage is used but there are some CGI scenes as well. And lemme tell ya, it’s extremely obvious which is which. All in all the sharks are super boring.
On a side note, I noticed the title is Shark in Venice. Like one shark in Venice. So I looked into it and the USA version is Sharks in Venice. Also Shark in Venice is free with Amazon Prime but Sharks in Venice costs 3.99 to rent. It’s the same fucking movie. I don’t get it.
The main plot revolves around King Solomon’s treasure which was pillaged by the Medicis in the middle ages and stashed in tunnels within the Venetian canals. The mafia is after it but can’t find it and every time someone tries, they get chomped. The local cops try to keep the whole shark situation muto and silenziosa but agree to help Baldwin investigate. He gets bitten but manages to find the booby trapped tunnel leading to the treasure with a fanfare of treasure choir music (drink!). As he stumbles his way to the exit, his girlfriend radios him to see if he’s okay to which he replies, “I’m bleeding and I can’t talk.” The dazzling brilliance of a Baldwin never fails to impress me.
Bigfoot Lamas comes back into play and tries to bribe Baldwin into going back into the canals to retrieve the treasure. He responds with a breathy Baldwin whisper, “No”. So his girlfriend gets kidnapped by the mafia and they force him to do it. It turns out Bigfoot Lamas was the one who released the bambino sharks into the canals and made them his watch dogs. Okay folks, that is about where I lost any semblance of interest in this movie. From there it is nothing but a badly done action flick. And it goes on and on and on through the streets of Venice. I fell asleep for about 20 minutes, woke up and they were still in the throes of horrible street action.
I’m not exactly sure about how this movie ended. I’m not exactly sure I care. I do remember CGI sharks eating a bunch of folks and eventually Bigfoot Lamas. But par for the course of this film, it’s all very meh and lethargic. The movie concludes with one last ineffectual jump scare of a shark leaping out of the canal. So Baldwin just leaves the city knowing there are killer sharks in the canal like no big deal? The local cops barely even mention it. I mean, Great Whites in Venezia would really suck for tourism. Or just replace gondolas with shark cages and maybe it would help? I am thinking way too much about this.
This movie blew chunks but should you feel compelled to give it a go, please consider stocking up on boxed wine and playing my drinking game. It can only help.
See ya next time!
Director: Danny Lerner
Where to watch: Singular version is free on Amazon Prime (and you can’t get boxed wine from there. I looked.)
‘Going Full Cage: The Movie’
With The Color Out of Space soon to be released, I figure I’d give Cage one last chance, and see if he has what it takes to pull off Cosmic Horror the likes of H. P. Lovecraft. I wrote an article a little while back, skeptical of Cage’s ability to do the genre any justice. You can read that article at the following link: Nicholas Cage: What Does He Contribute to Horror?
However, at the time I wrote the article, I’d yet to see Mandy. Lovers of the Lovecraftian genre hailed it as the best in a long time. And I’ll admit, I instantly noticed similarities to some of my favorites Lovecraft styled movies. Most notably was Lord of Illusions. The cult leader, Jeremiah is styled similar to the cult leader Nix, and his second in command is even named ‘Brother Swan’ which seemed like an intentional head nod. Director Panos Cosmatos must have also felt a little upstaged by Rob Zombie’s Lords of Salem, as the two movies have a very similar feel. Until Rob’s throws with the brown acid, Panos firmly held the title of ‘horror weirdo’ with his movie Beyond the Black Rainbow.
Technically Mandy failed my 30 minute rule, in that nothing really happens in the first 30 minutes of the movie. Every scene was irritatingly drawn out to the point where one scene was even in slow motion, and another scene was devoted, no shit, to waiting impatiently. It’s like Panos knew he was being a dick by making the audience wait, akin to the Family Guy gag where Peter Griffin skins his knee. And that was the first 45 minutes of the fucking movie. Needlessly drawn out setup, that seemed to intentionally punish the viewers, and go abso-fucking-lutely nowhere. It’s like Stanley Kubrick who always had two distinct movements in all of his movies… except annoying and not at all clever.
Going Full Cage
What’s worse, this movie started out pretty riffable, and for the most part, actually enjoyable because of how hammy it tended to get. It’s caused my wife to coin a new trope she calls ‘ForeCaging.’ It’s like foreshadowing, except rather than hinting at plot to come, it hints at riff worthy material to come. I was promised that I’d get Nicolas Cage, completely untethered and further out of his mind than I’d ever seen him. But what I got was actually pretty good acting for horror. That’s not what I expect from Cage, I expect him to deliver the ham of godly proportions. For a short scene, there was ton of ‘ForeCaging’ setting up all sorts of quintessential Cage moments that he frankly failed to deliver on. I’m waiting for something well beyond ‘Not The Bees’ and what I got was standard hammy horror acting.
Some of the acting was actually even good. Richard Brake and Bill Duke made spot appearances that really amped things up a notch. The cultists and Mandy herself were even pretty solid actors, including names like Ned Dennehy.
And frankly a lot of the stuff in this film was too campy to even merit decent actors. There are these four bikers, who are actually more like mudders, or what I jokingly referred to as The Four Mudpuddlers of the Apocalypse. They were clearly intended to be serious antagonists, even perhaps demonic, but came off more like ‘The Plague’ from Hobo With a Shotgun. It’s cool, and pretty metal, but its also rather silly. As a mater of fact, a lot of this movie came off as a sort of half-cocked, death-metal video. Some of it was even seemed to be a head nod to the animated classic, Heavy Metal. It was the sort of thing I expect out of an episode of Metalocalypse. Brutal, but impossible to take seriously.
Were it not for the scenes that were just impossible to take seriously, this movie would have been visually stunning. The lighting, filters, and practical FX were all very compelling. It made for a deeply gritty and murky atmosphere that forces you to turn off the lights, just to see the movie. Normally I’d applaud this, but then I go back to The Four Mudpuddlers of the Apocalypse, and it just ruins it.
All of that being said, this should have made the movie so campy, it should be riffing gold. But it’s like they tried to make a movie that was both intentionally good and intentionally bad at the same time. A sort of “Let’s make a movie out of some young metalhead’s wet dream, but try to make it serious.” Those two things just don’t mesh.
I don’t think I can recommend this movie to anyone. Me and my wife did enjoy riffing it, and she really didn’t pull any punches, but too often it left us bored and it underwhelmed at the end. I can’t even recommend it to Riffers.
I think the problem with this movie is, at its core, it’s really just lame revenge porn. Mandy and Cage’s Character, Red, are taken by a cult. The cult leader, Jeremiah, fails to seduce Mandy, burns her alive, and leave Red to bleed out. Red survives and goes on a murderous rampage intent on killing, not just the cult leader, but the ‘biker’ gang that helps the cult. Yeah, Panos tried to have the same kind of feel as Beyond the Black Rainbow, and yeah, there is clearly something otherworldly going on in the background, but all of that is lost in the dull overarching plot.
And for revenge porn that’s supposed to be revolutionary, it brings nothing new to the table. The kills are even in the wrong order. Cage’s character fights The Four Mudpuddlers of the Apocalypse in the first go, leaving half of the lame cultists to fight next. Yeah, there’s a chainsaw fight, which is both a head-nod to The Texas Chainsaw Massacre 2, and Phantasm 2, but its nothing new or even special. I mean, if they were going to go with a lame ripoff of ‘The Plague,’ they might as well have hired actor Robert Maillet, strapped a logging chainsaw to each of his arms and stepped the chainsaw fight up a notch. Make a real effort to go full death-metal.
Instead, what should be the biggest fight is at the beginning, followed by a slow culling of the cultists, interrupted by the usual chainsaw fight, and ending with a monologuing Jeremiah, who even offers to suck Red’s dick in an effort to save his own life. There’s no demonic presence that tries to repel Red, there no Nix like manifestation. Whatever the supernatural element is supposed to be, it just disappears completely. At least it wasn’t ‘the flying eye poke’ from Lord of Illusions, but it’s still pretty lame.
There is nothing in this movie to give me hope that Cage won’t fuck up The Color Out Of Space. If anything, it proves that when Cage is given permission to go ‘Full Cage,’ he can’t even do that right.
Give this a pass.
If you’d like to support my reviews, you can donate by clicking the link below and adding a ‘Tip’