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 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
I didn’t realize “Eat and Run” had made any kind of impression on me at all until I saw the picture of its main monster on the VHS box recently. Years ago, when I was a kid and a voracious reader of movie reviews in the newspaper, certain movies just stuck with me because the critics’ plot descriptions made them memorable. That’s why it would be years before I ever worked up the courage to watch “Nightmare on Elm Street 2: Freddy’s Revenge,” thanks to Gene Siskel’s description of Freddy tearing his way out of the main character’s chest.
The review for “Eat and Run” came complete with a picture of Murray, the movie’s alien maneater. Murray was fatter than any human being I had ever seen in my life up to that point, so much so that I assumed he was some kind of Jim Henson puppet, and his bald head and shark-like mouth made me imagine a movie in which this mountain of flesh and teeth would be tearing people into bloody ribbons. It terrified me for days. So when I found the movie this week, the plot sounded familiar, but the sight of that creature on the box made it official. I had to see this movie at last. Continue reading
“Star Wars” is about as big of a pop cultural phenomenon as you can get, but there are still some areas where its influence is practically non-existent. For example, even though the major characters of “Star Wars” are global icons with name recognition in even the farthest corners of the world, none of them have ever received enough votes to stand on the dais with the leading candidates for British Prime Minister. However, Lord Buckethead, main villain of the 1984 “Star Wars” spoof “Gremloids,” has. This past June, Lord Buckethead received more than 200 votes in the United Kingdom general election, which was enough to get him on a stage with the top vote-getters and the requisite attention from Twitter. So yes, “Star Wars” may have billions in box office revenue, the respect of high-minded critics, and a merchandising empire responsible for more plastic than Dow Chemical, but “Gremloids” has Lord Buckethead. Continue reading
We’re living in a time of uninspired movie titles. Part of that is because the major studios are so fixated on building franchises that they approach movie titles the same way McDonald’s approaches naming menu items. (“Jalapeno McChicken” vs. “Marvel’s Ant-Man,” for example.) Part of it is because streaming services’ recommendation algorithms do a lot of the studios’ marketing work these days. Part of it might also be because there’s just less creativity at work in the movies these days, although I hope that’s not the case. In any event, they don’t make movie titles or movies like “Bloodsucking Pharaohs in Pittsburgh” anymore. Continue reading
The moment a movie’s title appears on-screen is always a huge opportunity to set the tone for the audience. So what does it say about “King Kong Lives” that the movie’s title appears over a shot of desktop computers with gentle music better-suited for something with Sally Field? This is a title that demands an exclamation point, but gets a weak little shrug instead. “King Kong Lives, I Guess.” Or, considering what actually happens in the movie, you could call it “King Kong Lives…For A While.” But we’re getting ahead of ourselves. Continue reading
Earlier this year, there was a minor outrage directed at a dopey-looking dog movie because someone leaked a video that made it look like a dog was pushed into a water tank against his will to make it look like he was swimming. That bit of behind-the-scenes mistreatment is nothing compared to “Wild Beasts,” where what was filmed is often so appalling and cruel that you shudder to think what was going on when the cameras weren’t rolling. “Wild Beasts” is the first horror movie I’ve seen where what happens in the movie isn’t nearly as stomach-churning as thinking about how they must have gotten it on film. “Wild Beasts” is an Italian production shot in Germany, and my theory is they did this because the producers figured that by the time the authorities figured out whose jurisdiction it was under, they would have the movie in the can.
The original “Death Race 2000” isn’t just a nearly perfect slice of drive-in junk food, it’s one of my favorite movies ever. Working off a recipe that balances black comedy, action and sleaze in precise proportions, director Paul Bartel and writers Robert Thom and Charles Griffith created one of the best and most entertaining products to ever come out of Roger Corman’s schlock market. It would take more than another movie to combine road racing with wholesale slaughter to clear the bar set by “Death Race 2000,” and “Death Race 2050” certainly tries. Continue reading
I have to assume that the people who made “Blue Monkey” intended it to be a withering screed against the Canadian healthcare system. Yes, the movie points out that the hospital it takes place in was built around the time of the Civil War and they reference Washington D.C., but this movie is very obviously Canadian well before the credits thank the good people of Ontario. The presence of Joe Flaherty is enough on its own, but there’s also the way all the characters say “oat” when they mean “out.” So, when a string of administrative blunders in this hospital leads to a giant grasshopper ripping people’s heads off, it’s hard not to think there might be some veiled commentary about the socialized medicine of our northern neighbors.