Speaking of stuff that creeps around gardens you can accidentally squash, let’s talk about Slugsfor a spell, shall we? The late Juan Piquer Simón’s hilariously awful, intensely gory horror flick is one you’ll love or hate intensely in part thanks to some pretty wretched acting that actually clashes with the rather awesome icky practical effects work by Carlo De Marchis.
Just like the director’s notoriously nasty Pieces, you’re getting a film that’s not going to let you out of its grip even though the absurdities pile up to the point where your brain starts spinning inside your skull. Then again, Pieces was (and is) totally nuts for a few more reasons I’ll leave the braver of you out there to discover at your leisure. But yes, let’s talk about Slugs for a spell, shall we?
An absolutely fascinating look at plasmodial slime mold and a few of the people who love it, The Creeping Garden just might be my favorite documentary of 2017. Granted, it’s probably only the third of fourth one I’ve seen this year thanks to too much going medical drama going on and less time to watch stuff. But every second of this film is fascinating and well worth a watch.
Of course, if you hate stuff like strange plant life that can move around (slowly), nature flicks, amateur mycologists poking around dead trees (ewwww, bugs!) and artists making projects based on the care and feeding of slime mold, you might find the film a bit on the weird side. But it’s a compelling sort of weirdness when you discover a world you know nothing about and see through the eyes of others how this particular slice of life affects them. This is one of those Blu-Ray/DVD sets where you might find yourself passing off the DVD version to a friend just to share what’s here. Great films have a tendency to spread (kind of like slime mold, I guess?).
Well, hell. The Slayer actually surprised me with how good it was and once again, Arrow Video drops the microphone with a stellar print of this eagerly awaited slasher with some nice bonus features. While the film has its share of flaws, it’s got a small and interesting cast that’s not made up of the usual sex-starved teens getting killed off by the slasher of the week. Okay, it’s more mature adults getting killed off, but hey, it’s a step up in any event.
The film also predates A Nightmare on Elm Street in having its fiend just so happen to do its dirty work as its wide-eyed female lead sleeps. While probably not at all an influence on Wes Craven’s masterpiece, it’s impossible to watch the film without making a connection somewhere along the line.
I’ve always viewed Ronin as a sped-up Alfred Hitchcock film, but yep, I’m nuttier than a fruitcake when I need to be. Late director John Frankenheimer’s mostly solid and thrilling 1997 action flick has a few Hitch hallmarks such as an obvious red herring as a major plot device, a bunch of men (and one woman) under pressure crammed into a tough situation, indiscriminate collateral damage thanks to high-speed chases and a story that has at least one major flaw one can overlook when all is said and done.
As usual, Arrow’s stellar Blu-Ray/DVD combo packs in the film and a load of bonus features worth a look. There’s also an alternate ending that is pretty darn awful, but we’ll get to that when we get to that.
Well, wow. As someone who’d missed out on the film during its theatrical run, I’ve always wanted to catch Re-Animator to see what all the fuss was about. Well, Arrow Video has just released an outstanding 4K transfer of both the theatrical cut and much longer Integral version that’s not not only a must-buy, it’s one of their best releases to date.
Amusingly enough, I’d gotten a copy of Bride of Re-Animator a while back, but stayed away from watching it because I wanted to see the first film before the sequels. Yep, I’m crazy like that. Anyway, yep. This movie is pretty damn great stuff and oh yeah, it’s not for the kiddies at all.
Ha! Unholy masters of unintentional comic relief, if you ask me.
Confession time, again. I was never much into the whole ninja craze that hit America in the 80’s and despite oh, 30+ years of trying to watch a chunk of these films, they just bounce off my imagination like bullets off Superman’s chest. Sorry, but the sight of some guy in black or white pajamas throwing down a smoke bomb and a handful of sharpened jacks just makes me chuckle to on end. Give an American ninja a deck of Hanafuda cards and he’d still be a joke shilling 3-card monte on a street corner somewhere in Baltimore.
Granted, the films I’m referring to are primarily American-made and very intentionally cheesy (even if they try too damn hard to be serious). I’ve seen a few Asian ninja flicks that I vaguely recall being “okay” in that “Well, it’s made over there, so it’s not so bad” manner one says as he politely dismisses more guys in their pajamas tossing pointy metal stars and throwing gravel in the faces of their enemies as they make a clean getaway (snicker!). Yeah, I just think the whole idea of stealthy assassins dropping in on a catered or any affair to bump off some poor sap(s) is prime hilarity more than any actual threat.
Well, ooh. This pair of grindhouse-y beauties arrived today from AGFA as did the big, honkin’ six-pound box of unsalted Keystone Pretzels I ordered two days ago (those bakers ship fast!). Part of my weekend is set, that’s for sure. I’ll very likely triple up the movies with the gorgeous Arrow Video version of Re-Animator, as I went through the special features yesterday and they’re all great stuff.
Back in a bit – I guess I need to figure out what goes well with a small bowl of pretzels other than some freshly made Colman’s Mustard. Eh, I’ll figure something out.
You may (or may not) confuse Doberman Cop with Wolf Guy for some reason and nope, I’d not fault you one bit if you haven’t seen either film and draw that incorrect conclusion. The former film has nothing to do with the latter other than both films were adapted from popular manga and greatly transformed as a result by their respective writers and directors.
In the case of Kinji Fujusaku’s 1977 flick, it’s a far better made movie once again featuring Shinichi “Sonny” Chiba doing his own stunts, loads of violence (but less nudity) and a weird dip into supernatural detecting as a means of solving a series of serial killings. While crackling with a crazy energy, there are a few logic gaps if you pay close enough attention between Fujisaku’s trademark hard-boiled violence that don’t harm the film, but the narrative suffers as a result.
While comic book movies are a dime a dozen these days, it’s a pretty damn expensive enterprise launching one of those overblown popcorn flicks to an increasingly jaded audience. The funny thing is, sometimes the el cheapo route works best in delivering pure bang for a lot less bucks. But of course, we’re stuck in the era of major studios refusing to do anything on a small scale without wrecking it with interference of some sort by throwing either too much or not enough money into marketing depending on the project’s potential.
Which is kind of why Wolf Guy makes for such a stupidly thrilling alternative to the current Hollywood template. Japanese film studios had been adapting all sorts of manga for years, so Kazuhiko Yamaguchi’s 1975 film isn’t all that special. In fact, it never rises above pure exploitation fodder where you flip your brain off and hang on for dear life. But the over the top (in-camera) gore effects, copious nudity, and totally bizarre plot make it a crazed breath of fresh air that’s worth a look. Granted, you’ll want to watch the special features just to get your money’s worth as this film isn’t going to win any awards for making much sense.
Among other things that showed up in the mail while I was hospitalized for about a month was an absolutely stunning 4K Blu-Ray conversion of Dario Argento’s first film, The Bird With The Crystal Plumage courtesy of Arrow Video.
Packed with bonus features (including a new interview with Argento) and physical goodies collectors will love, this limited edition joins Arrow’s other giallo as another essential worth tracking down. While the film is the director’s tamest horror flick, it still packs quite a memorable visual punch thanks to some creative camerawork, cinematography by the great Vittorio Storaro (The Conformist, Apocalypse Now) and a few genuinely terrifying moments that still shock today. Continue reading →