If you’re a woman in a horror movie, yours is often a lonely existence. If you haven’t been hacked to pieces or eaten before the end of the movie, you’re probably the lone survivor of the killer’s rampage. Whether you climb into the back of a conveniently passing pickup truck, float out into the middle of the lake in a canoe or get saved at the last minute by Donald Pleasance, you’re the Final Girl. Your friends are all dead, and you have to make it through the last act of the movie all by yourself. Being a woman in a horror movie usually means you either become self-reliant, find a man to save you, or you die.
That’s a big part of the reason why I found “Patchwork” to be so refreshing, because it’s one of the rare horror movies I’ve seen where the focus is on the relationships between women. Even if it’s not entirely successful in that regard, it’s at least attempting something different. Rather than make its lead characters stronger by isolating them, “Patchwork” focuses on its women surviving by getting closer together. You literally can’t get any closer together than the women of “Patchwork” do, as a matter of fact. Continue reading →
There’s a notion baked into our national identity, as American as apple pie, that America is here to stay. The thing I personally love most about our national anthem is that it manages to make the very idea of soldiering on in the face of defeat and humiliation a heroic act. Rather than being about a great military victory or the inherent superiority of our democratic republic, “The Star-Spangled Banner’s” triumphant moment comes when Francis Scott Key realizes that the flag simply is “still there.” Although that says a lot about our national ideals of perseverance, self-reliance and determination, there’s a dark inverse of that idea implied by the anthem. It’s the idea that America can be “still there” even after it’s been broken, battered beyond all recognition, and left to limp along in a pathetic, crippled state. It’s an idea that may have had an influence on the national mindset in the post-Vietnam era. And once they made a movie about it where Jay Leno’s mother kicked him in the balls. Continue reading →
“Metamorphosis” is an Italian-made variation on the classic mad scientist tale of a brilliant man cursed by his own hubris to turn himself into a Halloween costume. Seemingly made with ample inspiration taken from David Cronenberg’s remake of “The Fly,” “Metamorphosis” ratchets up the mindless violence but tones down the tragedy. Unlike Jeff Goldblum’s doomed Seth Brundle, the main character of “Metamorphosis” only succeeds in making himself as physically ugly as he is spiritually. Continue reading →
What’s shocking in “The Loch Ness Horror” isn’t that multiple people encounter the legendary beast – it’s that this apparently has never happened before. In real life, the Loch Ness Monster has been one of the great mysteries of the natural world for the simple reason that no one’s ever gotten a good look at it. In this movie, Nessie is far more likely to be found galumphing along the shores of the lake in broad daylight and clamping her rubbery teeth around someone’s head than posing for a blurry photograph. With her tendency to gobble up anyone who comes within a half-mile of Loch Ness while screaming and blowing steam out of her nostrils, it’s hard to believe scientists still know so little about her when the movie begins. Continue reading →
“The Exorcist” was one of the most shocking movies ever made at the time of its release, but as transgressive as it was, there were lines even it did not dare to cross. For example, you never got to see Satan’s wang. But where Friedkin dared not tread, Frank LaLoggia and “Fear No Evil” boldly stake their claim. “Fear No Evil” is a movie that not only is brave enough to combine supernatural horror with some elements of “Grease,” but also is unafraid to depict Lucifer’s junk on screen for the world to see at last. Continue reading →
“The Vindicator” is a movie about a man transformed into a cyborg killing machine, and yet the longest action sequence in the movie involves a pudgy loser manhandling and later attempting to rape a pregnant woman. But that’s the kind of movie “The Vindicator” is – it’s the cinematic equivalent of one of those “grim and gritty” superhero comics. There’s a man who’s half-robot who can lift a car over his head, but there’s also a lot of swearing and sexual assault to let you know that this isn’t for little kids or anything like that. Looking past the attempts at gruesome violence and “mature” subject matter, there isn’t anything in “The Vindicator” that’s any deeper than the average episode of “Power Rangers.” Continue reading →
The first line of spoken dialogue in “Creepozoids,” said within the first two minutes of the movie, is this: “Is somebody out there?” Within two minutes of that, a giant cockroach bursts into the room. That’s efficient. I appreciate a movie that doesn’t waste time like that. I’ve seen way too many monster movies that labor under the delusion that people watch them for real human drama and character work. “Creepozoids” was made by David DeCoteau, a protégé of Roger Corman and Charles Band, the latter being the mind behind series such as “Puppet Master,” “Gingerdead Man,” and “Evil Bong.” DeCoteau is also a veteran of the porn industry, so as a filmmaker he’s experienced at cutting to the chase. Continue reading →