Lurching Toward Halloween

This has been a rather full month. I started an entry about two weeks ago, about my viewing of the Matt Helm spy spoof The Silencers, but then found out Teleport City had done one of their typically complete and engaging exposés on the entire Matt Helm oeuvre, rendering anything I might have to say pretty moot. Then things got pretty busy. Pretty, pretty busy.

My day job is back on the one-story-a-week schedule, I find myself attending up to three meetings a week for various writing projects, my weekend show – usually only Saturdays – has added Fridays and occasional weekday private shows, I still work at least three city meetings a month… it’s been a rough-and-tumble confluence of three part-time jobs with three freelance jobs, leaving no time for non-paying propositions like watching movies and then blogging about them.

It’s usual to do something stupid under these circumstances, like another Movie Challenge, especially since I finally seem to be recovered from the last one. For a longtime horror fan like myself, 31 Days Of Horror seems like a natural, right? Then I look at my Google Calendar for October, tote things up, and discover I have, at present, 18 of those evenings free – if I totally ignore the freelance writing work, which I won’t, because they’re like, paying me money (that work ethic may be compromised as that project is dependent on a government grant, and some lunatics think it would be a good thing to shut down the government for a while). So I put together a list of 18 movies I want to watch in my birthday month, almost certainly an act of punishable hubris. There is a stretch goal of 31, because I also like science fiction, har de har.

I also cheat, and have so far watched 3 of the stretch goal movies, and two of the 18, here in September.

Frankensteins-ArmyThere had been a steady stream of good advance buzz on Richard Raaphorst’s Frankenstein’s Army, and that, coupled with an impressively cheap blu-ray, put it square in my sights. It has a great, creepy storyline with an unexpected viewpoint: a Soviet recon squad in WWII Germany responds to a distress call from another Russian squad and finds itself in a deserted village with a funeral pyre made of nuns and a cemetery full of opened, empty graves. Things quickly go from bad to worse as they find themselves besieged by primitive cyborgs cobbled together by none other than Victor Frankenstein, building super soldiers for an increasingly desperate Third Reich.

That’s pretty standard comic book boilerplate, but two things set Frankenstein’s Army apart: first, the brilliant (if incredibly twisted) production design by Raaphorst – not just the creatures, dubbed “zombots”- but the superbly creepy-ass village, retrofitted by him and his crew in an abandoned coal mining complex outside Prague. Second, the fact that this is a found footage movie.

Yeah, yeah, stop your moaning. I like them – they’re great, if done well (and what can’t you say that about?), and Frankenstein’s Army gets it right in large part. At least once you get over the concept of a 1940s movie camera that is man-portable, records sound, and has an abundant supply of film. And the fact that our cameraman gets some shots that would be impossible, or at least ridiculously dangerous, in the field. Or…

Pfeh. I’m watching a movie about Nazi Zombies with blades for hands and propellers for heads. Suddenly I’m concerned about realism? And there’s certainly enough audacious instances causing this battle-hardened monster movie watcher to go “Holy shit!” that any imperfections along the way get immediately forgiven.

a-bay-of-blood-movie-poster-1020534632That got followed up with Mario Bava’s seminal murder spree movie, A Bay of Blood, aka Carnage aka Twitch of the Death Nerve, which starts with a bizarre, wince-inducing murder, and then seems to violate giallo tradition by revealing the identity of the black-gloved murderer.. but then he gets murdered, and things start to spiral out of control from that initial five minutes.

The first murder – of a wheelchair-bound countess – means a power vacuum around the ownership of the titular bay, an idyllic place that the dead woman strenuously resisted developing. The Bay is now up for grabs, as her second husband (the now-deceased murderer) has apparently disappeared, leaving it up to his daughter and, surprise, surprise, a bastard son. The architect who wants to develop the Bay (and already has a very nice house there) is pressuring the bastard to sign over everything, a bunch of dune-buggy riding hippies break into his house to party (and wind up getting killed), the daughter and her husband show up, and she’s not adverse to getting her hands bloody (or significantly, forcing her husband to get his equally sanguinary) and holy crap the death count just starts spiralling and finally you’re not really sure who’s killed who.

That speaks to Bava’s usual streak of jet-black comedy. There’s something about the Bay – or real estate in general – that just seems to kick off everyone’s killer urges, leading up to one of the most demented, absurd conclusions in any horror movie. At least three of the murders are famously stolen for Friday the 13th parts one and two, movies I would have liked had they a fraction of the wit and style exhibited here.  Needless to say, it’s Mario Bava, so the cinematography is gorgeous even when grotesque, and the Kino Blu-ray punches all that up admirably.

DraculaPrinceOfDarkness_FrSmallDracula, Prince of Darkness is not my favorite Hammer Dracula, but until Horror or Brides is released on Blu here in the US, it will suffice. In fact, I found myself warming to this entry on my first viewing in years – and come to think of it, chances are good my previous attempt was mangled for TV.

Four English twits touring their way through Europe ten years after the events of the first movie have some incredibly bad luck and wind up spending the night at Castle Dracula. The manservant, Klove (Philip Latham) guts one of them over a stone sarcophagus, using his blood to resurrect his dusty master. So Christopher Lee is back, stalking the womenfolk, and snarling a lot (It’s a great story, though unproven, that Lee found the Count’s lines so terrible that he refused to speak them).

Prince has some great setpieces, driverless carriages and slow unfolding of plot. It also has some dreadfully clunky places, and suffers from the absence of Peter Cushing’s Van Helsing. The substitute is Father Sandor (Andrew Keir), a bluff, brusque clergyman who has not time for fools or the undead’s nonsense. Keir is great in the role, and honestly, you can’t criticize him for not being Peter Cushing – who among us is? Anyway, Father Sandor is memorable enough that he inspired a continuing comic in the Hammer House of Horror magazine called “Father Shandor, Demon Stalker”, which I know about primarily because it carried over to the amazing Warrior magazine.

If nothing else, Prince does pay homage to several tropes of vampire mythology that Hammer would exploit many times in the coming years – the thralls, like Klove and mad Ludwig; vampires having to gain permission to enter a house; and their allergy to running water. Not top-notch Hammer, but better than none at all.

outpost2dI bought the DVD for Outpost because – well, okay, because it was cheap, but also because it’s a horror movie starring Ray Stevenson. Latecomer that I am, my first exposure to Stevenson was in Punisher: War Zone (the only Punisher movie I’ve ever liked), and then I was overjoyed to find him cropping up in other places: HBO’s Rome, that weirdass steampunk Three Musketeers. He has nowhere near the girth to play Volstagg in the Thor movies, but I’m still glad he got the role.

So. Outpost. Stevenson leads a squad of mercs into an abandoned Nazi bunker and fights zombies. Oh, holy mother of God and all the disciples in a Honda Civic,  not Nazi zombies again!! How did they manage to lose the war with all these Hell Creatures at their beck and call?

I’m going to give Outpost the courtesy of admitting it at least gives these zombies a different, even unique, origin: the SS, in the last throes of the War, are messing around with Unified Field Theory, with the result being a bunch of stormtroopers under command of a pasty white Gestapo officer (a genuinely unnerving Johnny Meres), unstuck in time, trapped in a limbo that allows them to conveniently appear and disappear, apparently at will. And, as we learned in Dead Snow, all Nazis care about is being evil dickweeds. Our mercs are there to help a historian find the Unified Field Generator for his wealthy backers, who turn out to be just as ruthless as the Nazis.

If there is a major flaw in Outpost – outside the feeling that we’ve already been through this many times before – it’s that our mercs are so obviously, hopelessly overmatched, there’s no real suspense, just some nasty kills. When our remaining crew do figure out a plan to extricate themselves, it relies heavily on the Nazis conveniently forgetting they can shadow walk anywhere in the complex. This didn’t stop the production of a recent sequel, Outpost: Black Sun, so it must have had some success.

I do still love Ray Stevenson, though.

I also love living in the DVD age. The mercs run the gamut of nationalities and opaque accents, so the ability to turn on subtitles was a real plus.

World-War-ZSince I ended my decade-long moratorium against zombie movies, the floodgates have opened, as it were (in other words, I am dealing with that particular glut of product), so why not experience the ne plus ultra of this bizarre cultural obsession, something that would have been unthinkable back in 1978, when Romero released Dawn of the Dead: a zombie movie costing over $200 million, World War Z.

Since Max Brooks’ novel of the same name was subtitled An Oral History, deviation from the source material was practically a given, unless you wanted a movie about a bunch of people being interviewed or Ken Burns’ World War Z. What we get instead is Brad Pitt playing a former UN war crimes investigator having the worst day of his life, being pressed back into service by the end of the world.

World War Z is more disaster movie than zombie flick, but with a budget that huge, it is also an incredibly impressive disaster movie. Way back when,  watching one of the movies that triggered my moratorium, Resident Evil, there was one moment that I did appreciate: the final pullback from Milla Jovovich to reveal a city devastated by a zombie apocalypse. World War Z gives us several segments of the apocalypse in progress, and that money gets spent hard, and much of it winds up on the screen. Great cast, good effects work, dynamite pacing, and a few genuine surprises. It was everything I look for in movies. Not just horror movies, but movies in general.

As I write this, September is drawing to a close. This looks to be another busy week, even though my freelance jobs are probably going to be shut down for a while thanks to some World War Z-worthy antics in D.C. After a burst of tending to my other jobs, I’ll be back to the horror movies, taking comfort in the fact that the insanity in them is limited to two hours or less, and the impact upon myself and my family, minimal.

Goke, Body Snatcher From Hell (1968)

I just reviewed my schedule for next week, and it is one of those weeks that is going to attempt to kill me. Days and evenings are spoken for, except for Wednesday, when I shuffled one commitment to another day to give myself an actual day off. The other day off is tomorrow, Sunday, but my son has been begging me to take him to see Riddick. I will do so, even though the last time he begged me to take him to see a movie, it was Priest.

No, I still haven’t managed to hit a theater to see the movies I actually want to see, The Conjuring and You’re Next. Such is adult life.

So if I’m gonna do this, I better do this now.

Last November, Criterion’s Eclipse label, which issues bargain (for Criterion, anyway) box sets concentrating on a single filmmaker or era, issued When Horror Came to Shochiku. It gathers together the four films made when the struggling Japanese studio, seeing others make plentiful coin on horror movies and daikaiju monster romps, decided to get in on the action. Shochiku’s mainstay prior to this had been melodrama, and those extreme emotions bled into their genre offerings.

gokeI’ve already written about their daikaijuThe X From Outer Space, on another site (and back when I was a different person). What I really wanted to see was a movie mentioned in Famous Monsters of Filmland oh so long ago, and which I had never managed to see: Goke, Body Snatcher From Hell, which has to be one of the greatest low-rent titles EVER.

Goke has a reputation as a gaudy, almost psychedelic movie, and the opening scenes certainly bear that out, as a jet airliner flies through red clouds “like a sea of blood”. Birds keep smashing themselves into bloody pulp against the plane; one passenger says they’re committing suicide, trying to get away from something. Then a flying saucer appears and the plane crashes on a mountainous plateau.

Oh, yeah, there is also an assassin on board and a guy carrying a bomb. This flight is so unlucky I kept expecting Karen Black to crop up as a stewardess.

The luck continues to get worse as the assassin, attempting to escape, runs afoul of the saucer and gets his head split open so alien goo can run in and drive his body around. This also makes him a vampire, for some reason, and the only source of blood is the survivors in the plane.

goke (1)The circumstances cause the trademark Shochiku high emotions to get pegged to 11 and stay there. Each of the passengers is certifiably insane, though each in a different way. The politician who turns from bully into a sniveling coward at the slightest provocation, the arms dealer who whored out his wife to the politician for a lucrative contract, the scientist who forms an unlikely alliance with the politician just so he can see a vampire in action. As in X From Outer Space, there is a gaijin white woman gumming up the works. In X, it was Dr. Lisa, who brought back the spores to Earth that developed into a giant chicken with deelyboppers. Here it’s Mrs. Neal, who was flying to a military base to claim her husband’s remains, recently killed in Vietnam. This causes many red-tinted images of war horrors to flash by when required.

Eventually, the arms dealer’s wife gets possessed by the saucer (though without getting her head split open) and she informs our plucky band of whiners and shouters that this is indeed the forefront of an alien invasion, and the plan is to exterminate mankind. Then she turns into a rotting corpse.

One thing you cannot accuse Goke of is being boring; the story rarely lets up, and if the histrionics of the characters venture often into the realm of the cartoonish – well, hell, you’re watching a movie where goop turns a nattily-dressed assassin into a vampire. You were expecting subtlety and realism?

maxresdefaultThe FX are uniformly good (past the model of the airplane crashing, which is still pretty dang good for 1968). The crumbling of a couple of walking corpses once the goop is finished with them makes me wonder if Ken Russell might have seen this at one point and filed the effect away for Altered States. The downbeat ending is so 1968, I probably could have accurately guessed the production year plus or minus.

WHERE THE HELL WERE YOU?!?!

WHERE THE HELL WERE YOU?!?!

Now, the fact that I never saw the half-decayed face that was ballyhooed in that long-ago issue of Famous Monsters is a little annoying, but par for the course for exploitation films, really. Goke was a fun little distraction, a lean horror movie with a unique monster, a collection of horrible people one didn’t mind watching pay the price for their bad decisions, and an oddly endearing bit of social conscience.

Labor Day Weekend & The Getting Back of Grooves

I know I’m not the only person who thought August sucked. Reports have poured in from all over the globe that yes, the August of 2013 was particularly brutal in all sorts of ways. Yours truly was seeking to get his mojo back, and not having a whole bunch of success. Let’s see how that shakes out:

The small matter of diabetes. Generally this was pretty favorable, as I settle into my new official lifestyle. The last week I was working on a solid seven days of healthy sugar levels when bam! my levels Saturday night shot up to 207. The cause? Apparently the stress of performing in my weekly show – that was the only change in my daily routine. For someone who has been acting most of his adult life, this is a daunting development. Frustrated, I had a cheeseburger after the show. The next morning, my fasting sugars were normal.

Wacky. I prefer to take this as a lesson in the magic of cheeseburgers, nature’s perfect food.

One thing I did manage when I wasn’t ruminating on the heat attempting to kill me and everything around me, was to develop a plan for re-organizing my home office. Yes, because I don’t have enough things to occupy my Copious Free Time. This is actually connected to one of the other problems of August, the Not-Watching of Movies.

Oh, I still did, as these infrequent ramblings prove. Just not to the excess or with the zeal of previous months. That most notorious of self-imposed regimens, The List, may not be completed this year. Things change. I change.

"I hate you, Netflix! HATE YOU!!!"

“I hate you, Tom Cruise! HATE YOU!!!”

I’ve done two movie-watching challenges this year, and those have done a number on me. I don’t necessarily regret either, but the cost extracted is problematic. I enjoy watching movies, and injecting a definite discipline into that watching kills some of the joy. Probably one of the reasons I never pursued a career as an actual film critic: I want that joy to stay. I’ve seen too many give in to a gradual souring until all they can do is point out negatives; I respect people who continue their love affair with the movies on a regular basis, and keep their writing fresh and accessible.

So. Just because I haven’t been watching movies on a regular basis doesn’t mean I stopped acquiring them, either. I now have quite a few movies I am genuinely excited about watching.

Which is why I want to re-organize my office.

My office pretty much arranged itself organically. When we moved into this house twelve years ago, most of the bookshelves found their way into my office, and they got filled. Then filled again. Then the overstock started hitting the floor. Then I added a reading chair. My computer desk has not moved from its corner, where I can look out the window and, if necessary, see who may be approaching the house – the paranoia of my youth has not completely vanished. There is an increasingly narrow path from the door to my desk.

booksSo current plans involve clearing out the piles of electronics and cabling and power sources that have landed in this room over the years. Clearing out the table that holds a TV/DVD player that hasn’t worked in ten years. My laserdisc player, which surprisingly, still does. Cataloging and boxing up stacks of books and either clearing a space in an equally chaotic garage to store them, or actually investing in a storage room (not ideal). Unpacking the boxes of DVDs that sit in the center of the room, determining which of them I am never going to watch and getting rid of them, and putting the rest in theoretically cleared bookshelves.

Then: Reorienting the former TV table and the reading chair to face each other. Buying a TV manufactured in this century and (ideally) a region-free Blu-Ray player. Maybe a sound bar, probably not. I still have the Roku that was on the downstairs TV, but I mothballed when we got a Smart TV.

When I bought that TV and its companion Blu-ray, I thought I was being exceptionally sly by making sure the first thing seen on it was Dancing With The Stars, thereby convincing my skeptical wife that it was, indeed, a necessary purchase. In the style of classical tragedy, however, this rebounded on me by ensuring all subsequent broadcasts of Dancing With The Stars had to be watched in HD, and I swear to you that fucking show is on four nights a week.

"And we have PEGGED Freeman's Hate Meter!"

“And we have PEGGED Freeman’s Hate Meter!”

So. I of course rarely buy DVDs anymore, because drool drool Blu-ray slobber giggle. And ergo, I need my own little island of Blu-ray viewing so I can watch these fabulous movies I’ve been stockpiling, at will.

The real problem with this dream is the amount of work it’s going to take, in a schedule that includes my part-time job, the other part-time job, the other other part-time job, and the two ongoing writing projects, not to mention any housework, cooking, or parental duties. I estimate two months before I’m even ready to price TVs (I’m lying, I’m already doing that) and start reaping the benefits of this madness.

But like i said, in the meantime, I managed to watch some movies.

the-vixens-of-kung-fu-movie-poster-9999-1020686440Sometimes your interests in obscure movie subgenres lead you down a darkened alley with whispered promises and then punches you, takes your lunch money and runs away. Actually, that’s a pretty fair description of what happens most of the time. That is certainly the case with Vixens of Kung Fu. It’s a somewhat legendary grindhouse feature, primarily legendary because for years, it was damn near impossible to see. It’s a hardcore sex film with kung fu elements, although the martial arts elements here make David Carradine look like Jet Li possessed by the spirit of Bruce Lee.

Bree Anthony is walking through some autumn woods and gets accosted by three porn actors (One of whom is supposedly Jamie Gillis, though I didn’t recognize him). She runs away, but get shot in the back. The three lowlifes then proceed to rape her semi-conscious form while the music changes to bluegrass. About a half-hour later, under the tender lesbian ministrations of a female kung fu master (C.J. Laing), we are told that she was shot with “the gun of anesthesia”, which explained the lack of bullet holes and other trauma, I suppose.

So there are some ladies who are Laing’s students, who practice some questionable martial arts and meditation that causes smoke to issue from their lady parts. A lanky yellow-clad caucasian monk ventures into their territory, gets waylaid, is declared an unsatisfactory lover and tossed out. He begs another female master – currently disguised as a cook in a Chinese restaurant – to teach him “Golden Dragon Raising Head Kung Fu”. Which involves training and masturbating in the woods. There is another showdown, with the Monk and Anthony acrobatically schtupping each other into unconsciousness.  Yeah, forget the rapists, I guess they were too expensive to bring back for a vengeance scene.

vixens fuThe Vinegar Syndrome DVD is unbelievably gorgeous – the autumn foliage really pops. Porn, however, is always boring, and there wasn’t anything Vinegar Syndrome could do about that. Vixens has its wild moments that raise it slightly above the norm, but there’s not enough of it to make it interesting enough for a recommendation.

Hey, remember Jack Reacher? Remember how a lot of people were pissed off that Tom Cruise was playing the main character? Man, that seems like it was so long ago. Long enough that the Blu-ray is cheap, so I bought it, primarily because I was intrigued by the idea of Werner Herzog playing the bad guy.

tom-cruise-goes-badass-in-new-jack-reacher-poster-117953-00-1000-100I haven’t read any of the books – and was, in fact, unaware of the character at all – so I didn’t have a dog in the Tom Cruise hunt. What I did find was a pretty serviceable, if fairly unoriginal, crime investigation movie that morphs into an action flick as our heroes get closer to the truth.

The plot concerns a sniping incident involving the death of five people, apparently the work of a crazed loner trained in Iraq. His only statement under interrogation is “Get Jack Reacher”. Reacher is a former Military policeman who caught the culprit in a similar incident in country – but there are several inconsistencies with the current shooting that stick in his craw. Behind the machinations, of course, is Herzog as a man known only as “The Zeck” – who once gnawed the frostbitten fingers off his own hand in Siberia to prevent gangrene.

Herzog is muted and incredibly creepy as the criminal mastermind. I thought Cruise was fine as Reacher, though, as I said, I have no prior knowledge of the character to color my judgement. The supporting cast is terrific, there are a couple of good fight scenes. Overall, though, you can wait to see this on Netflix.

Over the past year or so, I’ve watched two movies about Idi Amin. One, Amin: The Rise and Fall, was a somewhat sensationalized docudrama. The second, The Last King of Scotland, was pure fiction with enough basis in fact to make it solid. So somehow I find myself watching Barbet Schroeder’s General Idi Amin Dada: A Self-Portrait, which is undeniably the real thing.

general-idi-amin-dada-a-self-portrait-movie-poster-1974-1010675046Amin granted Schroeder a number of interviews and staged several adoring rallies for the camera. He also gathered together 150 French citizens living in Uganda and threatened to kill them if Schroeder didn’t cut three minutes from the movie. Schroeder, of course, did so, and at this point the “Self Portrait” portion of the title came into being, as Schroeder felt it was now totally under Amin’s control. After the dictator’s deposing, the cuts were restored, and that is the version Criterion rightfully issued.

The cut portions mainly concerned public executions, and a few snippets from a dispassionate narrator mentioning the staged appearances, or pointing out people who would later be found mysteriously dead or vanish altogether. These quite undercut the persona Amin presents otherwise, an affable man of the people, always ready with a joke or a laugh – downright charming, most times. It’s surprising Amin didn’t want one entire section cut, when he is conferencing with a very critical group of senior physicians, and Schroeder zooms in his face – unhappy, brooding, eyes darting back and forth as if seeking escape – as in that moment he actually looks capable of ordering the death of almost 300,000 of his countrymen. Then he turns on the charm and gets the doctors laughing.

Schroeder ends the movie with that same close-up, and with a bit of narration that Amin did insist be cut; that cut remains, and the moment plays out in powerful silence.

Labor Day I journeyed into town with pal Dave to see an animated movie that he – and a couple of my other friends – did voice talent for a couple of years ago: Last Flight of the Champion. This was apparently the culmination of two brothers’ lifelong dream, and by golly they even managed to get a (very) limited theatrical release. There were about seven of us in attendance, and we owned that theater.

the-last-flight-of-the-champion-105892-poster-xlarge-resizedThe plot isn’t new; galactic despot is taking over planets (I guess because he can), and a painfully earnest young turtle guy finds a buried spaceship left over from the last round of galactic despot fighting, the Champion. Yes, turtle – this is a sci-fi universe populated by animal toons alongside humans. The turtle puts together a crew of similarly painfully earnest misfits and flies off to take on Darth Meanie and his armada.

I went into this movie with great misgivings, mainly thinking that there were movies I really wanted to see but couldn’t carve out the time, like The Conjuring or You’re Next, but here I was walking into a theater to see something that had been described as having computer animation on the level of a local TV commercial.

Well, it wasn’t that bad. Pixar has nothing to worry about, but there were some very nice sequences. The characters aren’t very detailed (and there are way too many of them), and for some reason the animators, when the script says “Let’s hurry!” still has everyone cycle through the same walk animation they’ve been using the whole time. The script is pretty good, though there are some clunky parts, and the story shows some drastic cutting – but my friends did good work, there’s some cleverness in the background details, and overall, it didn’t suck. In fact, it was downright painless.

So that’s The Last Flight of the Champion. You got kids who like science fiction, it’s a safe bet.

“Rated PG for some rude humor.” Huh. That means a monkey flings poo. Offscreen. People only talk about it. I don’t get the MPAA.