Midnight Movie of the Week #38 - The Diabolical Doctor Z

Wait, which Diabolical Doctor?

Oh, THAT Diabolical Doctor!

Classic horror goes European in The Diabolical Doctor Z (originally titled Miss Muerte), a relatively early offering from Spanish schlockmeister Jesus Franco.  According to IMDB, Franco has directed 192 films in his career, yet many horror fans are quick to dismiss him based on heavy sexual themes in his output.  In fact, Franco is also known for "making Spain's first pornographic film", and his most popular film is the flamboyantly titled Vampyros Lesbos.

With his reputation preceding him, I was kind of shocked when I came across The Diabolical Doctor Z.  This isn't a restrained film by any means, but it feels more like the offspring of a Terence Fisher or Herk Harvey to me.  It borrows from classic tales like Frankenstein and foreshadows future horrors like The Abominable Dr. Phibes, and puts it all together in a bizarre yet artistic manner.

Summing up the plot of the film briefly, the Diabolical Doctor Z is a scientist with a God complex who dies of a heart attack after defending his ideas against a panel of doctors who dismiss his methods.  He is survived by his loyal daughter Irma, who vows she will take revenge on the men who drove her father to his grave.  I guess the easy methods of murder weren't available, because she decides it'd be best to brainwash a macabre dancer known as Miss Muerte, and then have her seduce and kill the fellows with her poison-tipped fingernails.

(REALLY WEIRD TANGENT ALERT - I have to say, I always was kind of terrified of the poisonous female when I was growing up.   While I was religiously watching professional wrestling in the early '90s, I convinced myself that a particularly fatale valet known as Lady Blossom (who was accompanying future megastar Steve Austin) was the type of woman who, like Batman's Poison Ivy, wore lipstick containing a sedative that could knock out one of Austin's opponents in a pinch.  All she had to do, of course, was give them a little peck on the lips.  Part of me wants to believe this actually happened on TBS one Saturday afternoon, but it's probably just something I made up while playing with my wrestling figures and subbing one of my sister's Barbies into Lady Blossom's role.  Whether or not it was real, it made a lasting impact on me.

And now that I've talked about my completely embarrassing childhood (I lived on a farm, OK???  I had to make up my own weirdness!), back to the movie....)

Miss Muerte is not a willing assassin, which leads to a lot of weird torture scenes in which the female Doctor Z (though I'm not sure she got her degree) gives her a "treatment" that brainwashes her.  Of course, one of those boring European chisel-jawed heroes shows up to try and help her escape Irma's power, and the film mixes a lot of the plot elements that would later reign in the Italian horror scene, such as the hero's quest to find a countryside locale.  As punctuation, the music of the film volleys between ominous organ music (like Harvey's Carnival of Souls) and manic Jazz music - fitting some of the more odd moments brilliantly. 

As Irma and Miss Muerte, respectively, Mabel Karr and Estella Blain definitely succeed on opposite ends of the "Women in Horror" spectrum.  With her short blond hair and eventual facial disfiguration (occurring in a fabulous scene in which she murders a young woman by plowing over her with a car), Karr is viciously intimidating, but can turn on the charm when she needs to convince others of her normalcy.  On the other hand, Blain's showgirl-turned-slayer is incredibly naive for such a picturesque woman.  She doesn't seem like she wants to recognize the power that comes with her beauty, and the treatments from Irma seem to release her onstage persona as a tangible, real-world being.  Irma, whose mastery of science compels Muerte, is the true killer, yet it's fascinating to see this young woman live up to her name.  There's definitely some catharsis as Blain's character truly becomes the spider-woman that she portrays on stage.

 At just over 83 minutes, The Diabolical Doctor Z is a slice of Euro horror that's easy to get into, though there are a few lulls in the action.  Despite the director, it's not a film about nudity or exploitation; it's an honest-to-goodness psychological horror with wickedly surreal imagery and plenty of weird science.  It's also one of Franco's lesser seen films, receiving only 271 ratings from users at IMDB (In fact, only one of Franco's 192 films has received more than 1000 votes on that site, a staggeringly low number).  While I'm still relatively new to his work, I can't imagine he's made many films better than this one, and I think any fan of classic black-and-white horror should seek it out as soon as possible.

(Oh, and if you have any doubts about this one, just click on those pictures and make 'em bigger.  Wicked cool, I tell ya!)

 

Starcrash (aka, The Adventures of Stella Star)

(1978, Dir. by Luigi Cozzi.)

OK, there's no reason to sugar coat it.  I've been lusting after Starcrash for years, and my intention was entirely to see Caroline Munro headline a spaghetti sci-fi rip-off of Star Wars.  Maligned by some as one of the worst films of all-time, the film has built enough of a cult following to earn a Blu-Ray release via the fabulous Shout Factory, who have lovingly restored many of b-movie genius Roger Corman's productions in the past couple of years.  Shout's two-disc blu package paints the film in a positive manner, with a passionate booklet essay by "Starcrash Historian" Stephen Romano - who also provides TWO separate audio commentaries on the disc.  I've never heard of Mr. Romano before tonight, but - as someone who laps up every episode of Buck Rodgers in the 25th Century and considers Flash Gordon to be one of the most amazing motion pictures ever - I can tell we're men of the same heart.

Unsurprisingly, I found myself immediately enthralled by Starcrash when I finally rolled the film tonight.  And it wasn't just because of Ms. Munro.  Now, I will admit that her wide eyes and thin outfits definitely helped the film out - I could easily consider the film to be Flash Gordon's sexy older sister - but the film's frantic energy as it barrels out of control toward its silly plot did more than enough to hold my attention captive.  It wasn't until about halfway through the film that I realized that I had absolutely no idea what was going on in the film's plot; I was too wrapped up in the strange characters and settings that kept popping up during the adventures of Munro's Stella Star.

Though Munro is certainly the Sun in Starcrash's galaxy, the stars that rotate around her do their parts to make the film a blast.  Marjoe Gortner - a former child evangelist who starred in The Food of the Gods - gets top billing as Stella's co-explorer Akton, but his acting definitely plays second fiddle to his strange orange perm hairdo.  (I'm unsure why, but I could see Gortner's character succeeding as a "Buddy the Elf" type character in a land of Oompa Loompas.)  A young David Hasselhoff shows up late in the film to challenge Gortner for the Puffy Haircut Championship of the World, and both men get to do battle using weapons that could only be described as... well, lightsabers.  Also adding to the madness are Joe Spinell (who would star with Munro again in Maniac and The Last Horror Film) as the cape-wearing Count who's behind the evil plan (whatever it is), and Christopher Plummer (getting paid a ton of money for 1-3 days work) as the Emperor of this haunted galaxy.

As Stella Star and her robo-friend Elle (played by Munro's real-life husband) jump across a series of stars, they run into a slew of opponents which include, but are not limited to:

• Troglodytes,
• Amazon women,
• A giant robo-knight with a sword (and what look like nipple rings),
• Skeleton-robots called Golems,
• A bald and green fellow called Thor.

Needless to say, there's a lot to smile about in Starcrash's ridiculous journey.  But just when you think it's all silliness, the film takes some oddly respectable turns.  Most notable is the musical score - from five time Oscar winner John Barry - which gives the film a big-time sci-fi epic feel.  Plummer's appearances to explain plot points also add credibility, because he's the kind of actor who could make a phone book sound thrilling.  What he's saying makes no sense, but he sells it beautifully.

I'm probably not going to remember those things as much as I'll remember Munro, of course.  The images of her fighting off nymphs, hanging upside down over a fire, or flying through space with a fishbowl over her head are all I really need.  I'm probably going to revisit this one often on their merits alone.  But when I do jump back into the film, I'm ecstatic to say that I'll probably start remembering the other things I loved about Starcrash.  That's a major victory, because what I thought might only be a cheesy diversion definitely looks like it could become a go-to piece of trashy b-movie magic in my collection.  If you have any love for this kind of ridiculous sci-fi epic, Starcrash is a must see.

(Random Note: The title of this film in the Philippines was Star Battle Encounters.  I guess Wars was taken.) 

(Final Note: The second disc of the blu-package - which is also full of deleted and alternate scenes and featurettes - includes a near 75 minute interview with present day Munro.  I don't often say Cougar, but in this case....MEOW!)

Midnight Top Five - Horror Sequels/Remakes I Feel Like I Should Try Again

Every once in a while, I get the strange urge to be forgiving.  In fact, I find that one of the most difficult things about loving the horror game is that I try far too hard to love some movies that I know are total stinkers.  Sometimes I even actively hate a movie, yet randomly find myself thinking "Hey, maybe if I saw that now it wouldn't be the awfulest thing ever!".  I can not explain it, except by stating that I am certainly a horror addict.

For whatever reason, it seems that a lot of the horror remakes and sequels that hit the screens are the flicks I want to make amends with.  So, I thought it would be fair of me to take a trip down memory lane, and check out some of the heartbreaking horror follow-ups I want to make peace with.

Halloween II (2009) - I haven't been madder at a movie in YEARS than I was after I saw Rob Zombie's version of Halloween II.  I wasn't upset that it wasn't a straight remake of the middling sequel to John Carpenter's seminal slasher.  I was upset because it confirmed my suspicions from Zombie's first Halloween - that he had no interest in sticking to the supernatural tale of good vs. evil that is the heart of my favorite horror film.  He'd already tainted Michael, who was once The Boogeyman, and now he took aim at cutting down what I consider to be the ultimate survivor girl and the quintessential passionate doctor.

I mean, I was so mad at this movie that I defaced an in theater standee by writing "I'm with Stupid" on Michael's knife and drawing an arrow pointing to his stupid ripped up mask.  Like Zombie's first Halloween film - which I'll agree would have been a passable film under a different title - I simply could not look past my love for Carpenter's film and the characters within who are a special part of my horror life.

What's changed?  Well, I'm man enough to know that I was being kind of a punk toward the film.  I also read a fine post from the fellows over at Kindertrauma that defends Zombie's directors cut of the film.  Do I really think the editing room is what ruined this movie?  No, but I ain't too proud to try again.  Perhaps someday Halloween II and I will make peace.

The Hills Have Eyes 2 (2007) - I honestly remember one scene from this movie.  It's the one with the "waving goodbye" moment.  That's it.  I think there may have been mutant sex, too.  If there was, it wasn't effective enough to stake claim to a corner of my memory.

But I do remember the fabulous in-your-face teaser trailer, and I remember loving it.  I don't have a good reason why, but the fact that I can barely remember the film, yet remember and love the teaser, makes me want to see it again. Damn you, advertising geniuses!

Invasion of the Body Snatchers (1978) - This is probably where I'm gonna make you all gasp the most.  I can not pinpoint the reason why - it could be because it seems about 40 minutes too long, it could be that I find the ending kind of silly - but this has always been my least favorite Pre-Nicole Kidman version of the Body Snatcher tale.

Yes, I know it has Donald Sutherland, Jeff Goldblum, and Leonard Nimoy.  Yes, I know that I can overcome my fear of Veronica Cartwright and her insufferable sniffling; just like I did in Alien.  But I've never fully come to like Phil Kaufman's film.  Everyone tells me I should, and I'm sure I'll try seeing what they do again some day.

Pumpkinhead II: Blood Wings - My memory of this film is really hazy - think of a flashback from the Corman/Poe/Price version of The Pit and the Pendulum, and that's how I remember this film - but I think that the film suggested that Pumpkinhead (who I was terrified of as a nine-year old) is in fact the spirit of a deformed kid in overalls who was bullied and thrown in a well.  Yeah.  THAT's why I want to see this one again - because it really can't be THAT silly, can it?

The Texas Chainsaw Massacre (2003) - If you take how much I hated Rob Zombie's Halloween II, and multiply it by the awesomeness of Boris Karloff, you'd have how much I hated Marcus Nispel's TCM remake when it came out.  The thing is, I'm a pretty chill dude.  I don't have that much hate in me.  Science seems to state that I can't hate that movie as much as I do.  And, like Pumpkinhead II and Hills Have Eyes 2, the fact that I barely remember it makes me want to be nicer to it.

Of course, I don't want to see that movie again.  Because I super hate it.  That's the conundrum.


What say you, Midnight Warriors?  Do any of these films deserve more of my time?  Am I ridiculous in the first place for dismissing them and/or hating them?  Can't we all just get along?  I just don't know anymore.  Guide me!

Devil

(2010, Dir. by John Erick Dowdle.)

Devil is the kind of horror film that just makes me want to ramble about everything I love about this type of film.  Full of religious anecdotes and potential symbolism, it's a mystery that unravels one way on the screen and a different way in my mind.  With a sensational idea - five people in an elevator, one of whom is The Devil - from the mind of M. Night Shyamalan, I entered the film in the mindset of someone ready to watch a carnival sideshow instead of a film.  I even put aside my prejudice against producer Shyamalan, because I do admit to admiring the guy's belief in "campfire tales" where simple events happen for meaningful reasons. 

(And also because he wasn't listed as director.  I still can't get over The Happening.)

Directed by John Erick Dowdle (a hard-luck director whose previous horrors (Quarantine and The Poughkeepsie Tapes) faced plenty of demons in their cinematic lives), Devil is the most crisp story from Shyamalan in the last decade.  There are still some problems in the plot - some coincidences that bring characters to the story aren't dealt with and there's a flashback that reminds me of the heavy-handed ones in Signs - but the meat-and-potatoes of the story are dealt with wonderfully.  A huge amount of credit for selling the supernatural side of the tale goes to the character played by Traffic's Jacob Vargas, who narrates by dropping in his grandmother's tales about what might happen when the Devil appears on earth.  If Shyamalan is the carnival barker that lures us into a tent with grand proclamations (like the film's tagline, "Bad Things Happen for a Reason"), Vargas' character is the terrified "witness" who assures the viewer that there's truth to these claims.  I admit that I'm an easy mark, because I lap these seemingly irrational religious beliefs in horror right up.  Thus, I was immediately connected to Vargas' character - and the film's hook was in me.

That character, plus a jaded police detective and a few other innocent bystanders, are the in-film witnesses.  They observe the participants in the doomed elevator; five souls that are certainly not innocent.  One of the most enjoyable parts of trying to unravel Devil's mystery is finding out what lies each of these mostly nameless characters are selling, and trying to make sense out of their role in the story.  They're represented by a mostly no-name cast of actors, though you may recognize the young woman as Sylvia Ganush's granddaughter in Drag Me to Hell, the salesman as a stoner in Super Troopers, and the security guard as one of the Marines-turned-terrorists in (one of my absolute all-time favorite movies of ever) The Rock.  While these characters try to learn about each other, we also meet a lot of side characters who are determined to help end their predicament, many of whom meet their own grisly ends.  As our narrating believer states, Old Scratch can't let anyone get in his way.

As the initial dose of claustrophobia begins to wear off and the number of people left standing in the elevator drops, it becomes increasingly evident to the viewer that the payoff will make or break the film.  I will admit to becoming skeptical as the story neared conclusion - I worried that there might be a copout that breaks the story's promise - but the film stays true to the premise as it wraps up.  I can see some being disappointed with the final scenes, but I thought they fit the story told by Vargas' character perfectly.  As a religious parable that tells of pure evil at work and the way it effects people, I think Devil's results are comparable to some of the best episodes of The Twilight Zone.

Looking back at the film knowing the full story, I love the game that Devil plays with the viewer.  It may require a few leaps of faith, but there's a lot going on as it plays its tricks on the viewers and victims alike.  There are a lot of clues throughout the film (one particularly significant cue is a Shyamalan trademark) that really helped me make sense of the film.  The wrap-up of the plot will definitely miss for some, but I thought where it ended was exactly where a horror film of this type should end.

It's impossible to talk about most of the film without spoiling the twists, so there's not a lot more I can say about Devil.  (I'd love to ramble about the symbolism I picked up and what I think it meant - which was probably my favorite aspect of the film's design - but that's another story for after people have seen the film.)  I can say that this is entirely my kind of popcorn horror flick, and I won't be forgetting it soon.  If you step into Devil's trap and are open to what it has to offer, I think you'll probably get caught up in this tale.

Midnight Movie of the Week #37 - The Texas Chainsaw Massacre 2

My first encounter with Leatherface when I was growing up was - regrettably - through Texas Chainsaw Massacre: The Next Generation.  That film was the fourth entry in the TCM series, featuring Matthew McConaughey as one of the sadistic "family" members and Renee Zelleweger as the female lead (both would have break out roles soon after in A Time To Kill and Jerry Maguire, respectively).  More notably, it's a film that's stuck in my mind as one of my least favorite movies I've ever seen.

Thus, I didn't give much thought to the sequels in the TCM series for most of my years.  I still took time to seek out the original film (which was Midnight Movie of the Week just over a month ago), but avoided any other trips into the Texas countryside where Leatherface resides.  When I did finally check out The Texas Chainsaw Massacre 2 - which promised '80s fashions and a crazed Dennis Hopper - I didn't give the movie much thought. When I popped the film in for a recent revisit, I quickly realized that I remembered almost nothing about the film.  This time around, I kind of loved it.

Texas Chainsaw 2 opens with a couple of teens driving around and causing mischief, all while trying to make requests of a young woman/disc jockey via their state-of-the-art car phone.  These men promptly come across the iconic Leatherface - perched in the back of the family truck and swinging around his chainsaw and a rotted corpse - who quickly makes a mess on that Texas Highway.  Called in to investigate is Texas Ranger "Lefty" Enright (Hopper, having a lot of fun), who then teams up with the DJ (Caroline Williams) that caught the murder on tape and wants to get to the bottom of it all.  An on-air demonstration of what she knows brings the freaks out, as Leatherface and brother Chop-Top show up to wreak havoc.

There's no way this film - or any of the other follow ups - can stand up against Tobe Hooper's original Massacre, which managed to resist going over the top with its gore and violence while staying incredibly brutal.  Luckily, Hooper is back in the directors chair for the sequel, and he seems to understand that most viewers would share my opinion.  In response, he opens up the door to a gory tale that adds the sadistic and unhinged Chop-Top (played by horror fave Bill Moseley), who's a much more vile brother to Leatherface than Edwin Neal's hitchhiker was in the first film.  One of my favorite moments involving Chop-Top is when he begins to pick his brain with a metal coat hanger while interrogating our intrepid DJ.

The other villains are our holdovers from the first Massacre - including Leatherface (now played by Bill Johnson), Grandfather, and - my personal favorite - The Cook, played by Jim Siedow.  They make great opponents for Hopper's insane Ranger, who storms their lair in the final act while bellowing "Ringing in the Sheaths".  Williams' turn as the DJ, Stretch, is mostly counted on to react to the carnage around her, and she does a fine job at it.

There are plenty of problems with Hooper's sequel, of course.  There's a large loss in tension from the first film, and the film also loses the gritty realism that film had.  The former was expected, but the latter is definitely a jolt to the viewer.  Many would call the film a mess in this regard - it does seem to go on about 15-20 minutes longer than a film as crazy as it should - but I find the shinier appearance of TCM2 to seem very nightmarish.  The dark corridors and neon lighting added to the mood for me, and establish the film's place alongside its mid '80s counterparts.  In my post on the first film I called it the bully in the schoolyard of '70s horror films - and I feel this sequel could compete for that honor in its decade too.

If there's one thing in Texas Chainsaw Massacre 2 that really surprised me, it's the fact that it actually got me to jump out of my seat a couple of times.  The chainsaw sound effects are particularly jarring, as Leatherface makes a habit out of popping through walls at the exact moment when my guard is down.  The film plays for camp most of the time, though, allowing Hopper to shine as the potentially insane Ranger.  Still, Director Hooper proves to me in these few moments of fright that a lot of the magic inside his first horror classic is still there.  He's simply widened the scale of the film and added a large dose of cheesy humor to the mix.

It's very hard for me not to think of the original The Texas Chain Saw Massacre as I write about this film or any other film that shares the name (if you want to see me get particularly mean, check out what I wrote about the remake seven years ago when I sucked at writing).  Despite that, I'm starting to think that my memories of the original are an advantage for TCM2 versus a lot of other horror sequels.  TCM2 seems to honor its predecessor while having fun with the world it set up, which is a rare and honorable achievement for a horror sequel.  If you can get past the fact that it's not that film - and if I can, you probably can too - there's a lot of fun and a few scares to be had in The Texas Chainsaw Massacre 2.

Random Horror Throwdown! - Halloween II (1981) vs. Bad Moon

Fear not, Midnight Warriors, the Random Horror Throwdown is here!  Lately I felt like I was out of steam regarding this column, but fate - in the most random way - stepped in and reminded me of the cardinal rule for blogging.  You might think that rule is "Don't talk about women negatively!" or "If you lead with a nudie pic, don't expect people to read your text!" or "For god's sake nerd, GO OUTSIDE!".  Alas, those are not that rule.  The cardinal rule of blogging is, of course: "When in doubt, go with what you know."

Well...if there are two things The Mike knows, those things are Michael Myers and werewolves.  In the case of both things, there are some extreme highs (The Wolf Man, John Carpenter's Halloween) and lows (Halloween 5, Cursed).  Wanna see where these two fit in?  That's why we play the game!

VS.

 The Movies:
Halloween II (1981, Dir. by Rick Rosenthal.)
Starring: Jamie Lee Curtis, Donald Pleasence, Charles Cyphers, Lance Guest.
IMDB Synopsis: Laurie Strode is rushed to the hospital, while Sheriff Brackett and Dr. Loomis hunt the streets for Michael Myers, who has found Laurie at the Haddonfield Hospital. (Note from The Mike: Does anyone else feel like this reads like the film is a time travel picture?  It's like Halloween meets Triangle!)

Bad Moon (1996, Dir. by Eric Red.)
Starring: Michael Pare, Mariel Hemingway, Mason Gamble, Primo the Dog.
IMDB Synopsis: One man's struggle to contain the curse he hides within... and his last-ditch attempt to free himself with the love of family... (Note from The Mike: I don't have a comment on this dramatic synopsis - except that it's dramatic - I just need to get this out of the way so I can go on for the rest of the post.  So here it goes. "DON'T GO AROUND TONIGHT!")

(Here endeth the Creedence jokes.)

(Speaking of, when did "That's just in the movies!" become the go-to excuse for any plot change involving classic monsters?  Before or after An American Werewolf in London?)

The Plot:
Bad Moon survives as one of the more obscure werewolf films of recent memory, and it's not hard to see why.  The plot focuses on a young boy, his mother, their dog, and their uncle, who happens to have caught a bite from a beast that killed his girlfriend as the film opens.  It's based on a novel, Thor, which tells the story from the dog's perspective - but the film takes a slightly less Benji/Lassie approach to the tale while keeping the German Shepherd as a key part of the story.  This is definitely a "dog-eat-dog" story - pun intended - but it never seems to do much to distinguish itself from the werewolf pack.  (OK, someone seriously needs to PUN-ish me for that one.)

Halloween II directly follows the events of Halloween (if you ignore the fact that Dr. Loomis' gun fires seven bullets and throws Michael on to the Doyle's front yard in the sequel, as opposed to the normal six shots and back yard in the original), but adds in the weird overuse of Mr. Sandman, the obligatory high body count, and the now infamous (at least in my mind) sister subplot - which John Carpenter admits he added while he was sleep deprived and drunk.

Are either of these plots really blowing up my skirt?  Nope.  Let's put this point on hold for now. (0-0.)

The Casts: 
Bad Moon has Streets of Fire star Michael Pare as Uncle Ted the Werewolf, and Mariel Hemingway, whom I've always thought was kinda cute and who hosted one of the first episodes of SNL with Will Ferrell and crew right around this time.  Oh, and it featured cinema's Dennis the Menace, Mason Gamble - who would go on to costar in one of my favorite movies, Rushmore.

But Halloween II has the returning trio of Curtis, Pleasence, and Cyphers, plus The Last Starfighter star Lance Guest, the fantastically breasted Pamela Susan Shoop, and "Future Garth Algar" Dana Carvey as an extra!  That's gotta be a point for Halloween II. (1-0, Halloween II leads.)

The Directors:
Rick Rosenthal took the helm from Carpenter for Halloween II, and did a decent job - though the upped body count and the more inventive kills make it clear that he had to adapt to the slashers that followed Carpenter's film. Rosenthal's other most popular films?  Halloween Resurrection (which featured Busta Rhymes and Tyra Banks taking Michael online), Bad Boys (not the Michael Bay one, obviously), and The Birds II: Land's End.  (Can anyone else claim to have made a sequel to films by my two favorite directors?  I think not.)

On the Bad Moon side of things is Eric Red, who had huge success as a screenwriter in the '80s with The Hitcher, Near Dark, and Blue Steel (the latter two with Oscar Winner Kathryn Bigelow).  Unfortunately, his other directorial efforts include the Jeff Fahey thriller Body Parts and the recent DTV horror 100 Feet with Famke Janssen.  Is that enough?  Well, one guy wrote The Hitcher, one made Halloween Resurrection.  I'm gonna vote '80s, and give Red and Bad Moon this point. (1-1.)

My History With The Films:
Here's where I'm gonna ramble for a bit.

Summer 1996 - Spring 1997 was most definitely the year of my young life.  Among all the great things that happened that year - including my family moving to a new home and my beloved Packers winning the Super Bowl - I most remember it as the year in which I fell head over heels in love with movies.  I remember almost every movie that came out that year, because I was obsessively trying to teach myself about what movies were out there, and trying to figure out everything I could about where movies come from and who makes them.  One might say it was the year in which I passed my cinematic puberty.

In the fall of '96, I was on a school field trip in Kansas City, and we went to the theater on a night we had free.  It was a small theater, and there were three choices - the Mel Gibson thriller Ransom, Baz Luhrmann's Romeo and Juliet, and - you guessed it - Bad Moon.  Now, I've admitted that I was a cinematic rookie at the time, and I'm sad to say that Bad Moon had somehow evaded me entirely before that moment.  I badly wanted to see it immediately based on the poster, which screamed "Half Man. Half Wolf. Total Terror."  But I was outvoted and ended up seeing Ransom - which I still dig a lot, just because it's fun to scream "GIMME BACK MY SON!"  (Not so fun in public, I admit.)  But I recall that the excitement I had about a werewolf movie called Bad Moon was unbearable - and I think it was as clear as ever that I was born ready for this stuff.

Oh, as for actually seeing Bad Moon?  Never got to it until last year.  Completely forgot the movie existed.  Then one day, I saw it mentioned somewhere - and all the excitement I had about it that night rushed back at me anew.  I bought it on Amazon about 6.7 seconds later.

Then there's Halloween II.  Halloween had quickly became my favorite horror movie ever when I first saw it, and I - like a silly teen Iowan - immediately wanted to know what happened next.  That led me to Halloween II, with my expectations lowered by the "Video Guides" I owned that gave it negative reviews.  When I did see it, I was quite disappointed that it was an entirely over-the-top film and I was completely put-off by the sister thing...but I still was entirely stoked about it, and have revisited it a bunch - even if it does contain THE ABSOLUTE WORST PIECE OF NEEDLE TRAUMA EVER PUT ON FILM THAT MAKES ME SCREAM LIKE A BABY EVERY FREAKING TIME.  (I really dislike needles.)

(By the way: Remember Miss Shoop, who's fantastic breastedness I mentioned in the cast segment?  TOTALLY the first pair of boobs I ever zoomed in on with my first DVD player.  God bless technology.)

What's the point of all this rambling about these two films and my teenage years?  Well, it's that both movies make me entirely happy - even though I kinda know they're crap.  That takes talent, and I think both deserve a point for it. (2-2.)

This Choice is Like:
Speaking of the Mid '90s, I doubt many of us who were around then have forgotten the infamous O.J. Simpson murder trial.  Yes, the trial in which all the condemning evidence against the big-time celebrity pointed toward a conviction, but he got acquitted.  I'm not entirely proud of this - but I was one of about three people in my school who continued to insist that OJ was completely innocent throughout the whole thing.  Yes, I know better - but it was darn fun to throw a contrarian opinion out there regardless, because I loved football and the Naked Guns movies and just felt like defending the fellow.  (It's the same contrarian mindset that led me to believe that movies didn't have to be dramas that starred Tom Hanks to be good and that led me to realize that parties in cornfields with beer weren't the most exciting thing that could happen, so I've made peace with it as one of my few contrarian mistakes.)

Where was I?  Ah yes, Halloween II and Bad Moon both remind me of O.J.  I know they're not good, and I even agree that they may have committed some serious cinematic crimes.  But I want to love them, and thus I'm going to keep doing so until I'm wise enough to see my folly.  (Don't wait up, it might be a while.)

The Verdict:
I've totally got a held up point that I can distribute here, I've just got to figure out why I want to give it to one film over the other.  Halloween II is definitely in the upper tier of the awful Halloween sequels - and is approximately one billion times better than Rob Zombie's H2.  I'm not quite sure where I'd put Bad Moon in the werewolf continuum, but there's definitely many films I'd list above it.

And I think that's where my decision lies:  Halloween II is more valuable to the Halloween series than Bad Moon is to werewolf films.  Is it fair to make the comparison of one series of 10 films versus an entire monster subgenre? Maybe the analogy doesn't fit, but I'm not going to acquit.  (3-2, Halloween II wins!)


(Note from the Mike: Sorry for the rambling!  If you made it this far, please take a moment to pat yourself on the back.  Or, fling poo at me in the comments.  Your choice.

And sorry about rooting for O.J.)

Student Bodies

1981, Dir. by Mickey Rose (and/or Michael Ritchie).

The slasher genre was ripe for spoofing in 1981 (an opening title card points out that 26 horror movies were released the previous year, and none lost money), but I wonder if the operative word in that statement is ripe.  Student Bodies is relatively spot-on regarding films that had been released then, but it also takes its shots at the formula before the slasher movement really picked up steam.  At this point, Jason Voorhees had yet to put on a mask, Freddy Krueger was still a pleasant future dream, and Michael Myers didn't have a living sister.  Student Bodies may have been a bit too early to the party.

An independently produced spoof that was released during the 1981 writers strike (thus, director Michael Ritchie was not credited and writer Mickey Rose got the director credit), Student Bodies had a handle on the likes of the original Halloween and Friday the 13th films, as well as things like Prom Night and Terror Train.  But, to a first time viewer in 2010, the whole thing just feels a little off.

Student Bodies most definitely captures the slasher image of the era, opening with a dark house that reminds of Halloween and filling space with some of the mid-day kills that remind of films like Graduation Day.  We've got the football game, the parade, the big dance; all the places where we'd expect the characters to have a chance to slip away and get killed.  One of the film's best running gags involves the unlikely places where coeds decide to hook up, generally proceeded by one of them saying something unusual "makes them hot."  There's also a strange dreamlike chase scene late in the film that provides many laughs, though I can't place what it might have been spoofing directly.

I do feel the need to say that - as far as spoofs go - Student Bodies makes the Scary Movie series seem profound.  This was the era of the slasher, but spoofs like Airplane! and The Kentucky Fried Movie were also taking over screens - and it feels like Student Bodies could have gained from paying a little more attention to those films.  While the slasher aspects are spot-on, it's occasionally hard to see the satire because the filmmakers' approach to comedy just didn't strike a chord with me consistently. 

As a horror fan of the 2010s, it's hard to find the humor in Student Bodies.  What it's spoofing is exactly what I like about a silly slasher film of this era, and it doesn't seem to be a smart or witty enough as a spoof to really affect that.  It feels weird to sit here and defend the slasher subgenre, but I watch these films as spoofs already.   I can kind of see myself revisiting Student Bodies when I want to laugh at slasher conventions with friends - but it seems likely I'd have more fun laughing at them while watching an actual slasher that's full of the movement's trademark gore and nudity.  There's enough silliness inside them, and student bodies seems to go a little overboard trying to top that.

Midnight Movie of the Week #36 - Candyman

"Your death will be a tale to frighten children, to make lovers cling closer in their rapture. Come with me, and be immortal." 

For my money, there aren't many films that blend romance and terror like Candyman does.  Based on the short story by Clive Barker and directed by Bernard Rose, the film looks deep into the world of "modern oral folklore" - or, in layman's terms, urban legends.  As it blurs the line between myth and reality, the film bridges the gap between classic gothic horror and modern slasher terror.  In doing so, it creates one of the most interesting heroine/killer dynamics in horror history.

Candyman tells the tale of Helen Lyle (played by Virginia Madsen and her unfortunate hairstyle), a University of Chicago researcher who is working on a study of the urban legends around that town.  Her mission is fueled by her pride and her desire to surpass the work of others, and thus Helen is not content with the normal methods of research.  She begins to seek out the legend of the Candyman, a doomed soul with a deep voice and a hook for a hand, who reportedly lurks around the infamous Cabrini Green projects.  There's a definite "wrong side of the tracks" vibe as we watch Helen search for answers - because it's obvious that she doesn't know what she's in for as she rushes toward her demise.

While there is a romantic side to Candyman, that is most certainly not the side Helen is on.  She doesn't believe in much of anything as she begins her quest.  She's simply driven to produce great results and prove others - primarily the male scholastic community, which includes her husband - wrong.  She's not interested in the myth, she's interested in building her reputation by "uncovering" the real-world aspects of the myth.  This is just one of the examples of synicism at work in the film; everyone from Helen's side of the tracks - including police officers, doctors, and professors - shows little faith that there's anything behind the Candyman legend.

After Helen is badly beaten by a young man from Candyman's side of the tracks that her project picks up interest from the scholastic community.  That's also the point - about 43 minutes into the movie - when Candyman first appears to Helen and the horror film side of the film takes flight.  While Helen's goal was to perpetuate this myth and benefit from it, the Candyman (played by the unmistakable Tony Todd) has something else in mind.  He wants her to become a part of the myth - to be his victim.

Supported by Phillip Glass' simple musical score, Todd's Candyman is able to haunt Helen in a simple manner.  His first appearance comes in a moderately lit parking structure, but when the camera shifts to him he's illuminated by sunlight.  Unlike most slasher films, Rose's film doesn't confine Candyman to the shadows, and some of the film's best scares come when he appears in a well lit hallway or a doctor's office with a window open to the sunny afternoon.  Though he carries a hook and seems to enjoy gutting you, the Candyman seems to be a less aggressive, more open slasher than we're used to.  He sees himself as Helen's destiny, and is very comfortable appearing to her directly.

The final act is when the modern slasher aspects mix with the Candyman's gothic past - though the sacrificial altar and pillars we'd expect from a Bava film are a little less shiny in Cabrini Green and there certainly aren't any billowing curtains or tapestries.  It is at this point when Helen, who has been abandoned by "her people", occasionally seems to find a sad solace in her predicament.  The close-up above demonstrates the film's romantic view of Helen's plight, lighting her saddened eyes as if she were a damsel in distress - or even Joan of Arc - during Hollywood's "Golden Age".

Despite all of the supernatural killing going on in Candyman, there's something about it that has a soothing affect on me as a viewer.  I can see that the Candyman intends to dig his hook into Helen - and is even more willing to take a slice out of anyone who stands between them - but there's something poetic about it if you look at it from his side.  While there are a lot of issues being dealt with in Candyman - racial tensions, the bystander effect, and the fallacy of our University system, for example - it's that strange connection between Helen and the Candyman that always keeps me coming back.  It's a love story, in the most morbid possible way.  I dig that.

(P.S. - Ted Raimi, you are a bad mamma jamma!)

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.