State of the Midnight Address: Vol. 5 - More '70s Cultness, Communes, Falling Crests, and MORE!

It's been a while since I've taken a moment to share some of the finer things going on in FMWL's world.  Let's change that, because there are a lot of exciting things going down.

• First off, I'd just like to say that the Stay Puft Marshmallow Man is one of the most amazing monsters ever seen.  That's all I've got to say about that.

•  FMWL's '70s Cult Project came to an end last week, and I'm happy to say it went better than I ever thought it would.  But after the final bell, one of the original Midnight Warriors went out of his way to send me a list of some of his own cult favorites from that decade.  That man is Zach of ZforZombies.com, and he offered one heck of a five-pack!  Many thanks to Zach!  

Zach's Five Cult Classics

The Crippled Masters (1979) - Some of the most WTF chop socky cinema you'll find ever.

Pinnochio's Birthday Party (1974) - This was creepy when I first saw it, and it's still friggin creepy.

Inframan (1975) - Power Rangers can suck it sideways. Here Kaiju Monsters are just beaten, they're straight murdered.

The Golden Voyage of Sinbad (1974) - Almost as awesome as Clash of the Titans. Almost. (Note from The Mike: CAROLINE MUNRO!)

Zombi (1979) - It may be cliche at this point for a horror fan to drop this reference, but it's a classic for a reason through and through. Find me a better soundtrack, I dare you.

•  A large amount of you asked if FMWL would host an '80s Cult Project as the '70s version closed.  To put it simply, not happening anytime soon.  That project was by far the most time consuming thing I've done at FMWL, and I simply don't have it in me to do another one right now.  Maybe someday...

•  In supremely awesome independent horror news, The Commune - which I reviewed here and pleaded for help about here - will be available via Netflix THIS TUESDAY!  That's right, Tuesday September 14th is the day whence one of the most interesting and unsettling horrors in my recent memory will be available to the public! Congrats to director Elisabeth Fies and the rest of the folks involved with The Commune!  And, to the rest of you, enjoy the show!

•  In FMWL news, I have to admit that I've been slightly disappointed with myself lately.  The Random Horror Throwdown had become a weekly feature here over the past few months, but lately I've just lost the handle on that post I previously had.  Gonna keep trying to work it back in, as I know a lot of people loved those posts, but only if I can do it right.  

• Speaking of those Throwdowns, you may remember that I was asked to contribute to Flickchart: The Blog shortly after my first RHT occurred back in May.  I recently wrote my second piece over there, in which I discuss the mainstream reaction to modern independent horror films, particularly The Last Exorcism.  I'm really proud of that post, and you should check it out too.  Just click on the image below!  (Or, click HERE.)
  

• Last but not least, I want to give a shout out to one of my favorite horror fans, and a good real-world-friend, Mr. Russ "R.D." Penning.  Russ blogs a bit over at Dead End Drive-In, but is more interested in the filmmaking side of horror.  Rightfully so, as he's written a script that is being shot this weekend, entitled Crestfallen.  I am very excited to see what comes of Russ' project, and would like to take a moment to publicly wish him - and everyone else involved in Crestfallen - the very best as they set out on their filmmaking adventure! 

And finally, I once again feel the need to thank everyone who has read FMWL and become a follower of the site.  I am extremely humbled by all the feedback (in comments, messages, emails, etc.) from people who have enjoyed the site, and I truly feel blessed to have crossed paths with each of you.  From the deepest part of my midnight lovin' heart, I thank you all. 

Peace; I'm outta here.

Nightmare Alley

2010, Dir. by Laurence Holloway & Scarlet Fry.

I have a lot of insults running around inside my head that I'd love to hurl at Nightmare Alley - a vile excuse for a horror anthology that lacks anything I look for in any kind of entertainment.  But as I approached reviewing this film, I stopped myself to wonder: Why bother?

Let me explain:

When I was offered a screener of this film, the party involved with the film bragged that this was "the worst horror film ever made" and insisted that I "rip it a new ass".  I was a little shocked, and had to ask myself some questions.  The most pressing question among these was: If the people who are trying to promote the movie have that opinion, why should I even bother with taking the film seriously?

Really, is there a moral obligation I have to this person?  They asked for it, and I agreed to watch their film (solely because I will, in fact, watch almost anything).  Now that it's over, should I indulge them?  If I did, where would I start?

Would I rant and rave about the fact that each segment varies from dumb to offensive, and that the film peaks with a pre-opening-credits homage to Creepshow?  Would I get on my soapbox and condemn the writers' inability to form just one coherent sentence that isn't littered with swear words and the type of insults that only the most clueless fools would use?  Would they want me to point out the fact that a character getting annoyed by a homosexual and stabbing him two minutes later is not actually any kind of dramatic arc?  Maybe I do owe them that.  After all, they did take the time to show interest in my site and send me a copy of their film to review.

But, don't I have obligations to my readers, too?  Aren't you all the most important people in this equation?  Wouldn't I feel better if I told the truth?

Yeah.  That sounds more like it.

Nightmare Alley, in the simplest of terms, is not worth your time.  (Or mine, but I'm already paying the price for my error.)  It's not so-bad-it's-good, it's not some sort of significant piece of counter-culture art, and it's not a good movie.  It hit DVD on August 10th, so if you want to give it a whirl it is out there.  If you are reading this, I hope that you'll just trust me and skip this movie.  I can't imagine that anyone who has a genuine interest in horror movies would have anything in common with this film.

To the people behind Nightmare Alley, I apologize.  I'd love to sit here and fill your negative hype meter, but your film - and your request - is just not worth that.

(By the way, if you're an independent filmmaker who's reading this - don't email me and tell me your movie sucks.  I will give any movie a chance, but you have to give your own movie a chance first.  Keep up the great work, and avoid being like Nightmare Alley.)

FMWL's Horror "Booty Call" List

If you've been reading this site for a while, you know I have strong feelings for many, many horror films.  There are horror films that are like family to me, there are horror films that I write poetry about, and there are horror films that I like to call up just to tell them I'm thinking of them.  But today, I admit a secret shame - sometimes, I really just want to hook up with any horror movie.  And in those moments, many of the characteristics I look for in a fright flick go right out the window.  A coherent plot?  Actors that have talent?  Production values?  Entertainment value?  None of these are required at that time.

Thus, I thought I'd share a list of what I consider to be some of my Horror "Booty Calls".  Yes, these are the films I get together with when I have simple horror desires that need met.  These are the films that I then forget to call back until I'm desperate again.  As Willem Dafoe would say, I get what I need from 'em, then broom 'em fast - because really I just don't care about them on the inside.

Now, I'm going to shed my dignity and struggle to prepare rational explanations for why I can't stop calling these films up late at night.  Watch my shame!

(Note from The Mike: Please be advised this post is meant to contain large doses of humor with its large amount of sad and pathetic truth.  Also, I would like to state that, despite the following comments, I do have a great amount of respect for both good horror films and women.  And yes, everything I know about "hook ups" and "booty calls" came from '80s comedies/coming-of-age films.  Deal with it and have a laugh at my expense!)

The Friday the 13th Series - This is the ultimate horror hook up.  Emotional involvement?  Plots that you have to pay attention to?  Nope, none of that.  Instead, you have a series that knows literally a dozen ways to thrill you in the cheapest way.  It covers everything from early '80s camp fashion to mid '80s dance moves to fooling around with another like minded series.  It gets into freaky soul-jumping and space-traveling fetishes too!  It's like Halloween without the fear, Nightmare on Elm Street without the dreams, and The Exorcist without...well, anything that's in The Exorcist.  No commitment, lots of immediate rewards!

(Also, there are some films in this series that I pretty much despise - which makes for some great, cathartic, angry viewings!)

Urban Legend - I actually kind of like this one, but it's just not the kind of movie I can really commit to.  We have fun together, and maybe if I hadn't gone to college and experienced the sophisticated likes of Suspiria or Session 9 I'd feel like it was a more viable suitor for my horror love.  Instead, it plays like that hometown, girl-next-door type that you always knew you could settle on in an emergency.  Which is sweet then, it just doesn't fit in with your horror fan dreams and aspirations.

Jennifer's Body - I don't think this one needs much explanation.  Like the public perception of its star, it's a mindless horror film that goes down easy.  All you have to do is avoid thinking about all the warnings from all the friends who tell you that you should know better.

Beware! The Blob - You all know that I'm supremely in love with The Blob - but I kinda like its funny younger sequel too.  There's not a good excuse for this, as Larry Hagman's film (yes, this is "The Movie that J.R. Shot!") is cheap and silly and not that interesting.  But sometimes, it's around and The Blob isn't, OK?

Shredder - You know that scene in the teen comedy where the smart but nerdy kid easily tricks the hot but brainless girl into lewd acts?  Shredder - a truly vapid slasher film from 2003 in which a group of snowboarders are systematically killed for not following the "rules" set for skiers - is the film representation of that girl.  Seriously, this movie includes conversations like "Do you realize that you're banging some murderer?" "No, I know, he told me. It was an accident!" - plus horrible acting, no plot twists, and dead bodies that appear to have been doing snow angels.  Yet it's not "so bad, it's good" either, so I don't have to pay enough attention to laugh at its flaws!  If it's that clueless, I know that I can get it to meet my mindless horror needs!  (Don't believe me?  I'm watching it right now!)

The Unearthly - Once abused by the Mystery Science Theater 3000 troupe, this John Carradine/Allison "50-Foot Woman" Hayes/Tor Johnson collaboration has all the trappings of a classic '50s horror with none of the logic or social commentary.  It's the kind of horror film you run into at a classy party that looks like it fits in - but really it's just there for the free drinks and the thrill of crashing the party.  If you're at the party for the same reasons, this one's for you!

Cheerleader Camp - This is the Grace Kelly of '80s slasher hook-ups in The Mike's book.  I can't necessarily explain why - aside from the fact that it's a sleazy slasher movie about a camp full of cheerleaders - but it's the Holy Grail of its type.  Like that John Cusack movie, it's The Sure Thing, with all your sleazy needs in one stop.  It's all 12 Friday the 13th movies rolled into one freaky ball of fun.

The Hand - Last but not least, there's the intellectual - yet freaky - type.  The Hand is written and directed by Oliver Stone and stars Michael Freakin' Caine and the glamorous Andrea Marcovicci, which means it looks pretty reputable to the untrained outsider.  But it also likes to let its freak flag fly, as evidenced by the fact it's a movie about a writer/teacher's severed hand coming back for revenge while he's busy hooking up with his students. You can get away with being seen with The Hand, until your friends start to hear the rumors about what The Hand is REALLY like from others.  That's when you deny all involvement with The Hand.

There you have it, my horror sluttiness revealed.  Do you have your own go to hook up?  Don't be afraid to hit up the comments below!  Now, if you'll excuse me, I got me some 'splainin to do!

Machete

2010, Dir. by Ethan Maniquis & Robert Rodriguez.

I don't really have a lot I want to say about Machete, the Grindhouse spin-off from Robert Rodriguez and friends.  It's a film that comes exactly as advertised, which is good for anyone who became rabid to see it exist after the faux-trailer brought the idea to cinemas in 2007.  Like that trailer, the film is vulgar and in-your-face - offering a lot of goofy action and little focus on plot.

That's not to say Machete is entirely successful as a cheesy actionfest.  Rodriguez and friends spend a lot of time focusing on the political message dealing with immigration laws and the enforcement of them.  I felt like the film focused a little too heavily on these issues at times, and the plot suffers because of this.  For example, Steven Seagal's drug lord character is set up to be the lead protagonist in the opening sequence, but then plays second fiddle to the immigration plot for the rest of the film.  The script offers a half-cocked explanation of how this drug lord ties in to the immigration angle, but the film really seems to lose focus on the revenge plot that would appear to be Machete's motive.

Speaking of the character that is Machete, Danny Trejo does a fine job in a career-defining lead role.  The veteran on-screen henchman plays to the strengths he's developed in films like Con Air, Desperado, and Heat; gritting his teeth and scowling at villains and women alike.  Despite his gruff appearance, Machete is presented as a ladies man, with conquests that include Jessica Alba as an immigration agent, Michelle Rodriguez as a revolutionary/taco-stand proprietor, Lindsay Lohan as a rich daughter/porn star, and Alicia Marek as Lohan's busty redheaded mother.  Trejo is also able to dial down his grimace for a few scenes that remind of his comic roles in films like Anchorman, allowing those around him to create a few laughs.  A fine example of this comes in a scene where he slips past a couple of inept security guards to infiltrate the home of the "handler" who set him up.

Speaking of that handler, Jeff Fahey steals large portions of the film as Booth, the aptly named rich fellow behind the assassination attempt that's the film's crux.  Though he's overshadowed by the big names in the film's advertsing, the star of The Lawnmower Man and Psycho III gives what is easily the film's most enjoyable performance as the wide-eyed, gruff-voiced antagonist.  It's also nice to see Splinter's Shea Whigham as Fahey's greasy assistant; and Tom Savini in a brief cameo as a hitman who's sent after Machete.

The big names of the cast range from fine to embarrassing in the cheesy film.  Robert DeNiro seems to be on cruise control as the slimy anti-Immigration senator, and Don Johnson is a little more interesting as a one-note vicious border guard.  As far as the film's famous women go, Rodriguez is adequate as the leader of "The Network", while Alba is mediocre as the sympathetic cop.  She probably gets the most screen-time as a protagonist aside from Trejo, yet her "important" monologue is one of the film's least effective moments.  I've generally found the troubled Lohan endearing as an actress (I still like to bet people that she'll have an Oscar by the time she's 40), and she carries a couple of cheesy gags in her few scenes.  (Her off-screen persona probably helps make this role work, too.)

The action in Machete is on-par with things we've seen in other Rodriguez films, though it's probably closer to the likes of the stylized Once Upon a Time in Mexico than the gritty Planet Terror.  I actually felt the film was a little tamer than I'd expected, as the violence takes a back seat to the "message" of the film on occasion. The violence that does occur seems a little off at times, with some instances of very noticeable CGI killing the buzz.  There are still, however, some extremely gratifying decapitations, dismemberments, and defenestrations.

For someone who said they don't have much to say about the movie, I've said quite a bit.  But as an overall film, I'm sad to say that there's little that really gets me excited about it.  It's a hoot in the moment, and I'm sure I'll revisit it again, but those expecting something that's completely unrestrained - at least to the level of Grindhouse - will probably be a little disappointed.  Machete feels like a b-action movie by a b-action filmmaker, the kind of time-passing "party" film that a bunch of friends would put on when there are too many people around to watch an actual movie.  That's not a bad thing - Machete succeeds in most technical regards and can't be accused of being dull.  Unfortunately, it didn't do much for me that would separate it from the pack of the summer's action films - including Stallone's The Expendables and the Rodriguez produced Predators - and it doesn't seem raw enough to become a true cult classic.  Perhaps time will prove me wrong, but for now I must admit I'm a little disappointed by what I got from Machete.

Midnight Movie of the Week #35 - Death Proof

Back in the Spring of 2007, I initially struggled with what my true feelings were for Quentin Tarantino's Death Proof.  Presented as the b-side feature in Grindhouse, the throwback collaboration between QT and long-time friend Robert Rodriguez, the film seemed out of place after the non-stop cheesefest that was Planet Terror and the batch of fake trailers that surrounded it.

It had been easy for me to see some of the film's charm when Grindhouse hit on that April night, but it just simply wasn't clicking then.  At that moment, I looked at Death Proof the same way I would look at a fabulous Mexican restaurant right after I'd spent three hours downing burgers and dogs at a 4th of July cookout.  It's a completely different brand than what it was packaged with, and I simply didn't have the energy to care at the time.

But something kind of amazing happened when I got the film alone later that year...I kinda loved it.

 Death Proof - in a roundabout way - focuses on the character of Stuntman Mike, played by Kurt Russell.  Putting Kurt Russell in your movie is about the easiest way to catch The Mike's eye (I almost went to that Dreamer movie about a horse just for Kurt!), and he doesn't disappoint as Tarantino's unhinged stunt driver.  Thou shalt not doubt Kurt is one of The Mike Commandments, so I knew that would happen.  But I wasn't prepared for what else the film had to offer.

A majority of the film focuses on the groups of young women who become Stuntman Mike's prey, which is where the film caught me off guard.  I should have known a little better - half of Tarantino's films are scenes where characters sit around a table drinking beverages and yammering about cool stuff - but the hectic nature of Rodriguez' preceding film had clouded my judgment.  As I looked at the film later, I realized that these scenes were quite a bit more interesting than I'd realized.  Particularly enjoyable is the discussion that opens the film's second half (or, Grindhouse's fourth quarter) in which '70s car chase movies become the topic.

While Planet Terror embraced horror conventions thoroughly, this film sits squarely on the ledge of the horror genre, seeminlgy unsure of if it really wants to step inside and join the party.  Stuntman Mike is built up as a likeable character before his "turn", and when he does become menacing the effect is doubled by Russell's ability to fill the role.  But when you step aside from the fact that there's a menacing fellow, there aren't many horror movie trappings here.  The film is more indicative of those "gearhead" films of the '70s - where the cars were the stars - than any horror films of the era. It definitely doesn't matchup with Planet Terror in this regard, as that film plays more like something Lucio Fulci would have thrown up on the screen at the time.

It's incredibly easy to sit here and point out the disconnect I felt with Death Proof while my mind was being manipulated by the horror genre, but nowadays it's also easy for me to point out the things I love about Death Proof as a standalone film.  The pace of the film allows each major character to gain a bit of depth, and Tarantino's camera lingers patiently as they move through the film.  As is always the case with Tarantino, the soundtrack accentuates the mood perfectly, and offers plenty of funky beats.  The car scenes and stunts are most impressive, and are an example of Tarantino succeeding in an arena of film that had rarely been seen in his repertoire before.

Though Stuntman Mike is at the wheel, Death Proof is driven by the characters who may become his victims.  Rose McGowan, Vanessa Ferlito, and stuntwoman-turned-star Zoe Bell are the most interesting characters, though side players like Jordan Ladd and Tracie Thoms also get a few moments to shine.  The film is Tarantino's most dialogue driven work this side of Jackie Brown, and the actresses - for the most part - manage to become characters that the viewer has some interest in.  There are a couple of token victims thrown in to the film - one character seems to appear in a car without having been in the rest of the film - but the characters we're introduced to are well-written and the execution of the characters (no pun intended) carries more weight than many horror films could dream of.

Death Proof is subdued in comparison to the rest of that Grindhouse experience, and even a bit tame compared to most horror films.  Regardless, Tarantino's film is always interesting to me these days, and Russell's sick character still manages to get under my skin at times.  I underestimated it grossly when we first met, and I'm willing to make it up to Death Proof.  I'm incredibly fond of the film these days, and think it just might have a longer shelf-life than anyone - including myself - ever expected.

The Midnight Warriors' List of THE MOST ESSENTIAL CULT FILMS OF THE 1970s!

Twenty-five fine souls - OK, twenty-four and me - took time over the past two weeks to formulate a personal list of what they think are the Most Essential Cult Films of the 1970s.  I've compiled all of those lists and/or links to those lists in those few posts.  Now, the time has come for all of those lists to merge, creating one huge list of the 76 (Seventy-Six!) different "Cult" Films of the the 1970s that were listed by these fine folks.

Here's how it works:
Each list was given an equal total value going into the final list.  Ranked lists of five were scored with the #1 spot earning 5 points, the #2 spot earning 4 points, and so on - totaling 15 points.  On lists that were not ranked, each listed film received 3 points, which meant that the list in total was worth 15 points.  One list offered 10 choices, thus each film on this list received 1.5 points - again totaling 15 points.

I offer no tie-breakers, nor did I edit any lists.  Some people chose to list films that may not be "cult" films in the eyes of others, some people chose to list films from the '60s or '80s.  Because I believe all lists should count the same, I am perfectly fine with these inclusions, which have a minuscule effect on the final product.  The only thing I ask of anyone reading this list is that they do not, for any reason, attack those who have submitted their votes for these films.  This was their right from the beginning of the project; if you have a problem with that I'll be glad to take their share of blame for whatever wrongs you feel have occurred.

The Participants (In no particular order) are:
Petunia Scarem of Deadly Serious; Morgan of The Kid In The Hall; Jinx of Totally Jinxed; Joe Monster of From Beyond Depraved; Stonerphonic of Borderline; Brandon Sites of Big Daddy Horror Reviews; B-Sol of The Vault of Horror; BJ-C of Day of the Woman; Fred The Wolf of Full Moon Reviews; Dave S of Bloody Terror; Liam of Less Than Three Film; Carol of Craftypants Carol's Fancy Crafty World; Bill of Radiation-Scarred Reviews; Emily C. of The Quest to Watch Every Movie Ever; Detector of The Real Stuff Cats Like; Joe of Oduction Productions' Midnight Time Warp; Christine Hadden of Fascination With Fear; Schtoffer of Spasmo Mixtape; Zombie Mom of Poetic Zombie; LJ of A Racing Mind; Nicki Nix of Hey! Look Behind You!; T.L. Bugg of The Lightning Bug's Lair; Jenny Spencer of Italian Film Review; R.D. Penning of Dead End Drive-In; and me, The Mike.

And now...the List...Counting down from Number(s) 66 through the undisputed Number 1!

The Midnight Warriors' Most Essential Cult Films of the 1970s!

 (Note from The Mike: This first part gets a little muddled, but I wanted to recognize each film that was voted for.  If you want to get to the films that received at least three votes, you can skip ahead to the poster from The Wicker Man.)

66) 11 films tied for the #66 position on the list - Assault on Precinct 13, Bless the Beasts & Children, The Car, Corvette Summer, Decoy for Terror, Electra Glide in Blue, The Getaway, The Poseidon Adventure, Roller Boogie, Trog, The Wanderers.  Each of these films received 1 point.


63) In a three way tie for the #63 spot are - A Clockwork Orange, Deep Throat, Willy Wonka and the Chocolate Factory.  Each of these films received 1.5 points.


53) Ten films scored 2 points, tying for #53 on the list.  They are: Dark Star, Looking for Mr. Goodbar, Mad Max, The Manitou, Slap Shot, Straw Dogs, The Streetfighter, Thriller: A Cruel Picture, Vanishing Point, and Westworld.


52) One film held its own in the #52 spot.  Faces of Death earned 2.5 points.


36) A whopping 16 films tied for the #36 spot on the list, including: Car Wash, Coffy, Daughters of Darkness, Deep Red, The Devil's Rain, The Fog, Halloween, Land of the Minotaur, Lemora: A Child's Tale of the Supernatural, The Other Cinderella, Silent Running, The Stepford Wives, Supervixens, Taxi Driver, Tourist Trap, and Willard.  Each of these films earned 3 points.


35) Enter the Dragon, starring the late Bruce Lee, kicked its way into the #35 spot, with 3.5 points.


28) At the #28 spot, seven films earned 4 points.  They are: Beyond the Valley of the Dolls, The Last House on the Left, The Legend of Boggy Creek, Martin, Over the Edge, Phantasm, and Ruby.  (Note from The Mike:  I gotta admit, I'm a little surprised to see LHOTL and Phantasm way down here!)


18) There's a ten film logjam at the #18 spot.  At this point, we're up to the films that may have only received one First Place vote, or may have appeared on multiple lists.  These films are: The Abominable Dr. Phibes, Bloodrage, Caged Heat, Duel, Logan's Run, Massacre at Central High, Midnight Cowboy, Rock 'n Roll High School, Stone, and Zombie.

17) The #17 spot is where we start to see films separate from the pack.  The holder of this spot is The Wicker Man, which used a late push to earn 5.5 points, appearing on three different lists.

16) Also making a late push - and benefiting greatly from being my own #1 pick - was Death Race 2000.  It earned 6.5 points to hold the #16 spot.

13) We've got a three way tie at the #13 spot, as three very different films - Jaws, Monty Python and the Holy Grail, and Pink Flamingos - each earned 7 points.  I challenge you to find that trio anywhere else!

12) At #12, earning 8 points, is the X-Rated, animated, double-nominated, Fritz the Cat.  I gotta say, I was a little surprised to see this one so high on the list, but it earned high votes from those who loved it.

11) While Halloween may have earned the mainstream love, Bob Clark's Black Christmas becomes the second film on this list (the first was The Wicker Man) to be listed by three different voters.  It earned 9 points, cementing itself in the #11 slot.

10) I will admit that, aside from hearing of the weirdness of Jodorowsky's films, I know nothing about El Topo.  That didn't matter to The Midnight Warriors, who placed it on three different lists and awarded it 9.5 points, good enough for the #10 spot on our list!

9) As we roll into the Top 10, we get the cult classic romance, Harold and Maude!  This one also appeared on three different lists, and earned 10 points to reach the #9 spot.  (It's also the second film in the Top 10 I haven't seen. :(  I won't make that mistake again!)

8) You want rape and revenge?  The Midnight Warriors suggest I Spit on Your Grave/Day of the Woman!  Camille Keaton's tour-de-force performance and a bit of brutality earned this one 10.5 points, and the #8 spot on the list. It's also the first film to appear on four separate lists!

7) The '70s were a big decade for rock and roll musicals - more on that later - and Brian De Palma's Phantom of the Paradise is no exception.  The tale of Swan and Death Records' own Phantom earned 11.5 points - appearing on four different lists - to earn the #7 spot!

5) OK, we've got a tie for the #5 spot, between two films that each earned 16 points.  George A. Romero's Dawn of the Dead (4 lists, two #1 ranks) and Tobe Hooper's The Texas Chain Saw Massacre (5 lists) will have to battle for the #5 spot for the rest of time!  (Note from The Mike: After this, there's no more ties!) 

4) Coming in with 17 points and appearing on 6 lists (yet never making a #1 ranking!) is Dario Argento's Suspiria.  I expected this one to crack the Top 3, but it was not meant to be; #4 is still an OK place to be.

3) This one's a big surprise to me.  David Lynch's Eraserhead - backed by 5 different voters and earning one #1 ranking - pulls the #3 spot from Argento with 18 points!  I actually just watched this one for the first time...and was mostly just confused by it.  But, the voters never lie!

2) Coming into this project, I was about 90% certain the top two would be these two films.  I thought the voting would be a little closer - and it was for a while.  In the end, The Warriors - Walter Hill's gangland epic - earned 22 points, appearing on 6 lists but only earning one #1 ranking.  That was good enough to give it a strong edge on the #2 ranking.

1) We all saw this coming, and I find it hard to debate the final result - The Rocky Horror Picture Show can rightfully be called "The Citizen Kane of Cult Movies".  Four voters had it in their #1 spot (the only othr film to earn multiple top rankings was Dawn of the Dead), and three of the seven who listed it didn't rank their lists!  It pulled in a whopping 29 points, and can officially claim its title as THE Most Essential Cult Film of the 1970s, as chosen by The Midnight Warriors!

One last time: THANK YOU SO MUCH to everyone who took the time to participate in this project!  It means the world to me that so many people out there have a passion for these movies like I do, and bringing everyone together in one place gives me warm fuzzies!

Hope you all enjoy - and that you all thank the contributors, too!  In the meantime, I'm gonna take a couple of days off - this project has been a lot of awesome work - and I'll be back Friday with another Midnight Movie of the Week!

Until, next time, Midnight Warriors!  You complete me.

Next to Last '70s Cult Project Update! More Lists From You, The Readers! Double Exclamation Point!!

I'm not gonna sugarcoat it - I've been completely blindsided by the amount of interest in FMWL's '70s Cult Project over the past week.  Last week I brought you seven lists sent in by readers/bloggers.  Tonight, I offer a whopping SEVENTEEN more lists of what people deem The Most Essential Cult Films of the 1970s!  Including my own list, that's a gigantic 25 total lists that are going into the pool to determine The Most Essential Cult Films of the '1970s!

And, since there are so many freaking lists to get through, let's get straight at it!  (By the way, I apologize for not posting a poster for each list...I didn't want this to be the longest blog post of all-time!)

First up is the marvelous Ms. Horror Blogopshere herself, BJ-C from over at Day of the Woman.  She's put together a fine list, topped by The Rocky Horror Picture Show!

Also joining in is one of the coolest bloggers I had some how missed reading for far too long, Fred the Wolf over at Full Moon Reviews.  Fred's list also favored The Rocky Horror Picture Show!

Next up is the groovy Dave S from the cool Bloody Terror blog!  He provides a wickedly unique list, led by David Lynch's mind-game Eraserhead!

Liam of Less Than Three Film - a fine blogger, by all accounts - is the next to chime in.  He provides a detailed listing that includes a couple of films I hardly knew of, and tops it all off with Jonathan Demme's Caged Heat! 

The '70s Cult Project didn't just reach horror bloggers, as Carol from Craftypants Carol's Fancy Crafty World bravely answered this call to action!  Her list offers some fascinating choices, and is topped off by 1979's Bloodrage!

Though he usually sticks to in-depth & mind-rocking reviews, Bill from over at Radiation-Scarred Reviews graciously joined in, and offered a list that was topped by Vincent Price's fabulous The Abominable Dr. Phibes!

Emily C. from The Quest To Watch Every Movie Ever has long been a great friend of FMWL, and her list doesn't disappoint!  She tops it off with Bob Clark's first Christmas film - Black Christmas!

The last list I received (but not the last list I'll be mentioning), came from Detector over at The Real Stuff Cats Like!  It's another cool and unique list, and it's topped off by Midnight Cowboy!

There were also several bloggers who chose to participate, yet chose not to rank their Top 5 films.  They are:

Joe from Oduction Productions Midnight Time Warp, whose list, like himself, always represents the MIDWEST!

The fabulous and wise Christine Hadden of Fascination With Fear (I totally almost f'd up and typed Rear...awkward).  I highly recommend her list, partially because it comes with cool horror themed music.

A new acquaintance to FMWL is Schtoffer from Spasmo Mixtape!  He put a lot of thought into his list, which expands to look at the entire decade of cult cinema!

Another new blog that I quickly loved is Poetic Zombie, hosted by Zombie Mom.  She offers a cool list of five films - one of which contains SHATNER!!!!!!

Another new Midnight Warrior is LJ from A Racing Mind.  She zooms her way to this list, which offers five totally wonderful choices!

Last but not least in this category is Nicki from Hey! Look Behind You!  Nicki has created a wicked Top 10 listing of essential cult flicks of the '70s.  While I know I asked everyone for five, Nicki was the first person I really met in the horror blogosphere, so I'm gonna break my own rules and count all 10 of these, because she's awesome!

(If anyone who was listed in this category wants to rank their Top 5 for the final listing, feel free to do so and let me know!  If not, I'll count each vote as one point, so the films will still be recognized as I compile the final list!  Either way works for me, thanks for participating!)

THAT'S NOT ALL!  Along with those lists at other blogs, a few fine folks emailed me lists of their Top 5 Most Essential Cult Films of the 1970s!  Those fine folks are:

T.L. Bugg from The Lightning Bugg's Lair, who offers the following Top 5:

1. The Rocky Horror Picture Show - Love it, hate it, it's the epitome of cult.

2. Fritz the Cat - It doesn't get better for X rated toons, R. Crumb, and Ralph Bakshi.

3. Coffy - It's Pam Grier. It's Jack Hill. It's near perfect.

4. Thriller: A Cruel Picture - All the sleaze, action, eyepatches, and inappropriate porn moments you could want.

5. Phantasm - The original baller. 

Jenny Spencer, who is a new friend of FMWL, and who writes for Italian Film Review, offered up this Top 5:

1) Dawn of the Dead
2) The Texas Chainsaw Massacre
3) Suspiria
4) Mad Max
5) The Last House on the Left

And last, but never least, is the man who - aside from myself and my Masha - has to be considered FMWL's biggest fan, R.D. Penning from Dead End Drive-In!  Mr. Penning offers up this fine list:

#5 Decoy for Terror (aka Portrait of Fear or Playgirl Killer) 
#4 Duel
#3 Willard
#2 I Spit On Your Grave
#1 Dawn of the Dead


That, my friends, is a lot of Cult Movies from the 1970s.  In fact, I've still got some work to do in regard to finalizing the votes.  As of now, I know that at least 75 different movies have been listed on these 25 lists!

So, tomorrow night....The FINAL list of The Most Essential Cult Films of the 1970s...as chosen by YOU, The Midnight Warriors....will arrive!  Until then, enjoy the heck out of these fantastic blogs, and start jotting down all the titles you need to add to your Netflix queue!  


I keep repeating it, but THANK YOU SO MUCH to everyone who has taken time to participate in this project.  I never dreamed of this many people getting involved, and each of you has helped make a simple idea into a great reality!  


See you all tomorrow night, Midnight Warriors!

The Mike's Top Five Most Essential Cult Films of the 1970s!

By my accounts, which may be muddled, I've watched at least 14 "cult" films from the 1970s since starting FMWL's '70s Cult Project two weeks ago.  At that time, I had a list of five films that I would list here set up in my mind.  Well, maybe it was a list of about 10-12 films, but there were definitely a few I was certain would be on this list.  Now, Some of those movies are now not on this list.  So, I'm gonna pull my host card out, and give you all a quick look at a few honorable mentions (in alphabetical order, as i do not want to make them mad at each other):

Assault On Precinct 13 - John Carpenter's sophomore film has long been one of my favorite action films of all-time, and few antiheroes compare to Napoleon Wilson in my eyes.
Enter the Dragon - It was extremely hard to leave Bruce Lee of my list.  Alas, it wasn't meant to be.
Shaft - This one almost got in on reputation.  Haven't seen it in several years, sadly.  Need widescreen DVD, stat!
Soylent Green - Everyone knows the ending, but it's one of my favorite "future's gone down the drain" films.  The suicide clinic scenes are some of the most beautiful things on film.
Suspiria - This, along with the next film I'm going to mention, was the hardest film to leave off of my list.  Argento's masterpiece has a rabid following, and doesn't seem to have aged much.
The Texas Chain Saw Massacre - This is probably the film that most deserves to make my Top Five based on its reputation, and that rep is well deserved.
Zombie - Fulci's film is perhaps my favorite exhibition of gore, and has a lot of followers, thanks in part to the infamous zombie vs. shark scene.

I had a lot of trouble leaving these films behind, but the five films I'm about to list left me no doubt.  With no further dilly-dallying, these are the five most essential cult films of the 1970s according to your host, The Mike.

5. The Wicker Man (1972, Dir. by Robin Hardy)

Despite its fine cast and fantastic gutpunch ending, The Wicker Man is a film that was doomed to never succeed with mainstream audiences (Just ask Neil LaBute.  Or don't, since I doubt he ever saw this movie).  But The Wicker Man has held a place in the hearts of many a film fan for nearly 40 years, thanks to the fine work of Hardy, writer Anthony Shaffer, and the strong performances of Edward Woodward and Chrisopher Lee, among others.  It also boasts plenty of significant imagery, including the titular Man, Britt Ekland's bum, and Christopher Lee's crazy hair.

What really gets The Wicker Man a place in my heart is its unflinching look at religion and the occasional closed-mindedness that comes with.  Woodward's Sergeant Howie is one of the most fascinating characters of the decade to me, because one could argue him as a protagonist or antagonist based on his beliefs.  That's another story for another day, for now I'm just gonna say that The Wicker Man is an essential view for any fan of cult cinema.


4. Vanishing Point (1971, Dir. by Richard C. Sarafian.)

When I devised this project, I had Vanishing Point on my mind.  That's pretty common for me, and I was set to name it as my pick for #1 on my list.  Though I ended up bumping it down a bit, I certainly believe that Vanishing Point is the finest existential car chase movie out there, presenting a simple hero who just wants to get across the southwest in a 1970 Dodge Challenger. That hero, Kowalski (played by Barry Newman), seems to be an enlightened soul whose only goal is to drive.  To drive freely and without interference, I might add.

Vanishing Point plays off of the social climate of the early decade, presenting Kowalski as a representation of the quest to be free from repression that spilled out of the late '60s.  It also features some of the best car chase scenes put on film (the whole film is basically one long car chase), a groovy soundtrack, and one of the most famous cars ever put on screen.  Many expect a film like this to bring thrills, but Vanishing Point has always hit me as a peaceful and serene example of what many filmmakers from this era believed about the world we live in.

3. The Rocky Horror Picture Show (1975, Dir. by Jim Sharman.)

There was no way I could make this list and not mention The Rocky Horror Picture Show, which a majority would argue is the biggest cult movie of all-time.  It's a polarizing film in many circles - most lists I've seen it on have it listed as number one or have not listed at all - but its cultural significance can't be doubted.

Personally, I've never been a card carrying member of the Rocky Horror cult, but my admiration for the film and its unrelenting madness has grown each time I've seen it. (However, I do still wish there was more Meat Loaf.)  Tim Curry's gender-bending lead performance is one of the bravest in cult cinema, and the supporting players each seem to lap up their juicy roles.  The music needs no defense, it's simply fantastic.  With the combination of its own merits and the fans who love it, I didn't dare think of leaving The Rocky Horror Picture Show off of this list.

2. The Warriors (1979, Dir. by Walter Hill.)

If anyone is ever having a debate that hopes to find the "coolest" movie of all-time, I'd have a hard time not mentioning The Warriors.  Walter Hill's gangs-facing-a-gauntlet epic is one of the most unique films I've ever seen, creating a real world scenario that involves leagues of surreal characters battling for survival.

A film that seems like a precursor to the video games of the future, in which a hero (or group of heroes) faces a series of increasingly difficult battles to reach a safe objective, The Warriors is always exciting and full of intrigue.  Like Vanishing Point, it's almost existential as it focuses on its characters facing all challenges only to reach their freedom (and, like Vanishing Point, features a seemingly omniscient disc jockey who guides our hero/heroes).  Though these characters may be villains in society's eyes, they most certainly are simply trying to survive the only way they can - which is a common theme for all of these films, actually.

1. Death Race 2000 (1975, Dir. by Paul Bartel.)

When it came down to it, with the game on the line, I had to pick the cult movie that I personally find to be the most fun to watch as my number one pick on this list.  That film, without question, is the Roger Corman produced killers with cars film, Death Race 2000.  Led by David Carradine and Sylvester Stallone, who are supported by cult favorites like Mary Woronov, "The Real" Don Steele, and Roberta Collins; Death Race 2000 is the perfect combination of action, gore, babes, laughs, and cheese.

And yet, inside Death Race 2000 there's a shocking bit of truth about our society and the future, in which "reality" overtakes our TV sets - and also our minds.  Though we don't live in a society where events like these actually do occur, it's easy to look at today's society and wonder if we're almost to the point where something like Death Race 2000 could play out 25 years from now.  And when I put all those pieces together, I can't think of a better, more relevant, and more fun cult movie from the '70s that's out there.

So, there it is.  FMWL's '70s Cult Project is coming to a close, which means my list and all of the lists submitted by you readers will soon be tallied up to create one final list of the Most Essential Cult Films of the 1970s as chosen by us all.  If you still want to join in, get a list posted or emailed to me by 8 PM Central tomorrow (Monday, 8/30)!  In the meantime, thanks for reading, and I can't wait to see what all you Midnight Warriors have in store for us tomorrow night!

The Last Exorcism

2010, Dir. by Daniel Stamm.

I feel like I should write a sermon, not a review, about The Last Exorcism.  The latest entry in the "homemade horror" subgenre that has polarized viewers for more than a decade, it's a film that seems completely devoted to itself; a film that believes in what it's putting on screen.  I'm not necessarily saying the film has a religious message, or that it has a message that speaks to the contrary.  I'm saying that the film feels like it has been put together by people who have complete faith in the project they are involved with.

I feel obliged to tell all of you that, if we're putting it all on the line, I fully believe there is a God out there.  This is partially because I was raised that way, and partially because I can't fathom a world in which there isn't some kind of driving force behind the things that go on in our lives without becoming a bit depressed.  With that in mind, it was incredibly easy for me to relate with the character who is our protagonist through this film, Reverend Cotton Marcus.  Played by veteran character actor Patrick Fabian (who I immediately knew as that creepy professor from the third season of Veronica Mars), Cotton Marcus is presented to the viewer as a showman who is more interested in entertaining his congregation than he is in spreading the beliefs of his church.  Some, including the documentary crew who follow him throughout the film, would label him a fraud, but that's not his word or mine.  Reverend Marcus believes in the healing power of the idea behind religion, he simply doesn't have a connection with it as a tangible and visible force.  In a way he reminds me of Fright Night's Peter Vincent, one of my favorite horror characters, because Marcus is a character who possesses all the knowledge and charm necessary to complete his mission - he simply doesn't have the real-world experience.  We can safely assume, based on the title of the film and its marketing, that this is going to change during these 87 minutes of footage.  Reverend Marcus does not share that belief.

The parallel to Cotton Marcus is young Nell Sweetzer (played by Ashley Bell), the girl who may be possessed by a demon or devil.  Early in the film we learn that Cotton was 10 years old when he performed his first exorcism, and it's quickly established that he never really had any choice as to where his life was headed in a spiritual sense.  The same can be said for Nell, who lost her mother at 14 and was quickly thrown into home schooling by her father.  These two individuals, whose paths were determined by those who controlled their youth, face off as conduits on opposing sides of the biblical war between good and evil.  There are doubts on both sides of their chess match - on one side we don't know if Cotton really believes any of what he says, on the other we don't know if Nell has mental or demonic deficiencies - but the weight of the situation seems to land squarely on Cotton's ability to determine the truth of the predicament.

Even though I instantly recognized him from Veronica Mars (one of the best shows ever, man), Fabian immediately became that Reverend in my eyes.  His lead performance seems almost effortless, as if he were born to fill the role.  The rest of the cast is also spot on, with Bell owning the role of Nell.  She steals some scenes with her innocence, which is offset when she later presents an intimidating physical presence that rivals any possessed girl on screen.  Louis Hurthum and Caleb Landry Jones, as Nell's father and brother, also hold their own in director Daniel Stamm's film, which preaches simplicity while keeping its goals lofty as it barrels toward a shocking finale.  Some may call the ending abrupt, but in retrospect it feels like every event of the film was leading directly to this event, and I felt it answered every necessary question.

The Last Exorcism won't set all audiences on fire, but that's to be expected.  Like The Blair Witch Project, Paranormal Activity, and other docu-horrors before it, my screening ended with a frustrated tween loudly proclaiming that it was "the worst movie ever".  You can almost set your watch by the backlash these films get from audiences who have no idea what they're getting into when they go to the theater.  Most of the time, these are the viewers who simply cannot let go of their skeptical attitudes, and who don't want to get caught up in a movie by giving up their control over the situation.

As one who believes, both spiritually and cinematically, I found it very easy to lose myself in The Last Exorcism.  I can't attribute this to anything less than the complete devotion to the project by the people who made the film.  Like Cotton Marcus to his flock, these actors and filmmakers are willing to put aside everything else and become what the open-minded viewer wants to see.  The result, in simplest terms, is a horror film that convinced me to believe in it.

If nothing else, I'll never think of the Christmas Carol "What Child Is This?" the same way I used to.