Izbavitelj aka The Rat Savior aka Der Rattengott aka The Redeemer (1976)

directed by krsto papić
jadran film/croatia film

A political allegory from Croatia, then situated in the Socialist Federal Republic of Yugoslavia, which won the equivalent of Best Picture in Portugal’s Fantasporto festival in 1982, and which has been noted for being reminiscent to modern viewers of both Invasion of the Body Snatchers and They Live. Set in a failed economy grasping for answered prayers, this is kind of a slow-developing picture, a fact more notable due to its relative brevity; the version I watched ran about 76 minutes, and I’ve seen evidence of versions ranging from two minutes longer to eight. Eventually, however, it reaches its peak, of what is essentially a terrible hopelessness. Based on a story by Russian writer Aleksandr Grin called something like “The Rat-Catcher,” this film ultimately hinges on a similar observation to the terrifying underlying theme of 1984: you can’t trust anybody, especially yourself.

why did i watch this movie?

I don’t have any idea what led me to this one … some rabbit (rat?) hole or other, presumably.

should you watch this movie?

As mentioned, it won’t take up too much of your time, and if you have any interest whatsoever in political themes – or, for that matter, historical ones – yeah, put it on your list.

highlight and low point

This production is lensed in such a way as to mute out its colors, which has the effect of making it appear much older than it actually is. Coupled with the subtitling and the stilted nature of much of the action, it comes across a lot like a silent movie at times, an impression only strengthened by the soundtrack. Locating some of the most important moments of the story in what is purportedly the abandoned “central bank” building is a masterful touch.

rating from outer space: B

Demons (1985)

directed by lamberto bava
dacfilm, rome

A couple days ago, my brother says to me, “I was just thinking about the video for [Mötley Crüe’s] ‘Too Young to Fall in Love’ … what the hell WAS that? It made no sense.”

I thought for a moment. “That was the one with the ninjas, right?” I asked.
(It was. But maybe they were “samurai.”)

Well, sub out the ninjas for zombies – wait, sorry, “demons” – and exchange the “Asian” setting for a fortress-like movie theater in the middle of Berlin, add a lot of screaming … and it still might be more coherent than this Italian splatterfest. Clearly scripted with its eye firmly set on the teenage metalhead demographic (a key rampage is set to “Fast as a Shark” by Accept, and so forth), this blaring mess managed to give me a headache while also inducing boredom. Seriously, I was metaphorically glancing at my watch while enduring this nonsense. The ending sequence somehow manages to make even less sense than the rest of the film … in which Nostradamus is to blame for demonic carnage.

why did i watch this movie?

It sounded as though it would be a lot of fun. The novelty wore off quickly.

should you watch this movie?

It felt REALLY dated, and not just because I was watching a murky VHS upload. Too redolent of MTV, perhaps.

highlight and low point

This is the sort of flick wherein the language barrier makes the dialogue sound like phrases read from a textbook, and where the characters narrate all the action and describe everything they’re doing. Example: Three characters are watching a demon claw its way out of a woman’s back. One of them exclaims, “Look at her back!” They are all already looking at her back.

rating from outer space: D+

La novia ensangrentada aka The Blood Spattered Bride (1972)

escrita y dirigida por vicente aranda
morgana films

Part of the early-to-mid-’70s lesbian vampire movie mini-craze, this Spanish offering is actually a very stylish affair, even as it doesn’t skimp on some more questionable themes or visuals. One of many retellings of important Dracula precursor Carmilla, the tale follows a newlywed couple back to the groom’s palatial ancestral home, where strange occurrences soon are afoot. And at hand. Namely, the young bride begins having eerie, violent dreams that involve a mystery woman she has glimpsed more than once while awake. Her chauvinistic husband is dubious. A doctor who apparently doubles as a detective of sorts is downright dismissive. The caretakers’ strange little girl … is strange. An accomplished piece of art, despite its exploitative carnality.

why did i watch this movie?

It was in my queue for so long, I couldn’t possibly tell you, but at some point I was stockpiling turn-of-the-’70s vampire flicks, so …

should you watch this movie?

“You mean the two women were howling?”
“Mm-hm, like two cats in heat – that’s when I ran away. They sounded … like vampires.”

highlight and low point

Should you need proof of how mores have changed in male/female relationship dynamics since the early ’70s – or, perhaps, seek illustration of the difference between Spain and the USA in terms of attitudes toward such things – you’ll be delighted by how Susan’s new husband treats her. If you’re of a certain bent, you’ll also appreciate her eventual response. If you’re like me, you’ll love exchanges such as this:

“How many times does something have to be repeated before it ceases to be a coincidence?”

“Some cases, twice would be sufficient.”

Performances are very deliberate. Maribel Martín, in her inaugural star vehicle, delectably transforms a moue into a death stare, often.

rating from outer space: B+

Us (2019)

written, produced and directed by jordan peele
monkeypaw productions/perfect world pictures

First off, this film was not what I’d expected – which was basically another version of The Strangers and its ilk. It’s much weirder than that, however; Us is one strange flick. Unlike Peele’s first production, Get Out, this one kinda clutters the frame with signifier draped on allusion wrapped in metaphor, and it’s a bit of a muddle. (One could put almost any spin on what it “means” and find a way to support the claim.) It’s also too often funny to be as scary as it wants to be, though at multiple times it conveys a great unease vividly laced with desperation. Laden with references to a smattering of other movies, though, this picture is yet another example of that apparently inescapable factor of contemporary culture. Guess we just can’t not do that any more, even with so much original creative spark seemingly on hand. For me personally, not being much of a cinephile, yawn, whatever.

why did i watch this movie?

Get Out was not only terrific, but thought-provoking, a rare combination. So although the early media campaign for this one didn’t make it appear to be anything out of the ordinary, I figured I’d be viewing it at some point.

should you watch this movie?

The running time is a very long ≈ two hours. The ending particularly drags.

highlight and low point

Despite its being a little unwieldy and bearing a few untidy loose ends, there’s a lot to like here. The initial appearance of the doppelgängers is both amusing and frightening, which isn’t the easiest trick to pull off, and a sudden revelation that there’s a lot more to the story than has theretofore been presented is powerful yet understated.

rating from outer space: B+

Lovely Molly (2011)

written, directed, and edited by eduardo sanchez
haxan films/amber entertainment

Man, you just can’t please some people. After finishing this highly disturbing picture, I decided to survey its popular acclaim, only to find that it doesn’t have much. And while I can definitely accept that rhetorical devices at play here – the videotaping, the “paranormal activity” and whatnot – might provoke a sense of ennui in some viewers, the vast majority of this film plays as a character study of a woman seemingly losing her mind, potentially becoming a danger to herself and others. That the climax suggests (and, to my mind, somewhat abruptly) a rather different explanation doesn’t much detract from the tense atmosphere created and explored throughout. For the resolution, I might’ve preferred something a bit less Shyamalanesque, because the nature of the characters’ unravelings had been intense and unsettling, but I’ll admit I disregarded plentiful cues.

why did i watch this movie?

Sometimes, I just idly browse through synopses of horror flicks and randomly winnow down a passel of choices until I select a few titles that sound interesting.

should you watch this movie?

You know what, I liked it. Now, keep in mind I’ve neither seen “Blair Witch” nor Paranormal Activity, so maybe that helped. Your tolerance level for “found footage” presented as though real-time documentation may be of import.

highlight and low point

Credit must be given for a distressing scene of person-to-person violence that was truly shocking, and not for the squeamish – hackles-raising stuff. Gretchen Lodge’s performance of the title role is splendid, and pretty fearless to boot. The murky backstory helps rather than hinders, but the most important clue is literally buried and one may well attach no importance whatsoever to it. (The working title was “The Possession,” hint hint.)

rating from outer space: B+

The Terror Within (1989)

directed by thierry notz
CONCORDE

The kind of picture wherein a lot of the action takes place inside massive “air vents,” this absolutely marvelous archetypal B movie was produced by none other than Roger Corman, and it gloriously suggests any number of ’50s and ’60s drive-in wonders. From the minimal casting to the plastic-fantastic sets, this SF horror pic pulls out all the stops. You got your overly obvious dialogue, you got your laughable rubber creature suit, you got your broadly drawn characters, you got your … dog. The tale of mankind’s last few (?) survivors after an unspecified disaster, besieged by mutants apparently spawned by … well, never mind making any sense of that, why bother. Terrific fun, couldn’t ask for anything more.

why did i watch this movie?

This has to have been a result of looking for more George Kennedy vehicles, I’d imagine. You may have noticed I’m a big fan of those. (Someday, you’ll understand.)

should you watch this movie?

Not if you dislike having a good time.

highlight and low point

Virtually everything about the set design is simply magnificent. The research station or whatever it is has a staff of six, yet the elevators are boldly designated with signage. They’re monitoring life outside and doing complicated experiments inside, yet when they need to reproduce sound, they have to resort to using a reel-to-reel recorder. They have banks of complicated computer equipment, but their video feed and lights constantly malfunction. And they’ve got a bitchin’ logo for some reason. Also, this is the only SF horror pic I can think of that might inspire abortion debates, as it’s the only one I can think of offhand that features a self-induced rejection of an alien-hybrid fetus. (Trust me, that’s not a spoiler.)

rating from outer space: “B” (of course)

Don’t Look in the Basement aka The Forgotten (1973)

produced and directed by s. f. brownrigg
camera 2 productions/century studios

A slowly creeping, thoroughly Seventies sense of the dramatic infuses this tale of mysterious goings-on in a shabby private sanitarium, and although that setup veritably screams “overacting,” the mostly unknown thespians gathered here generally do a pretty good job portraying their variously afflicted characters. Of course, as the action gains momentum, masks begin to slip, until eventually psychoses are on full florid display. Even if one is unaware of the secrets that eventually will be revealed, after just beyond the halfway point the production doesn’t even bother to feign much interest in keeping mum, and from there it’s more or less a matter of seeing how things will be resolved. An unexpected finale may raise some eyebrows, and the final scene is much more poignant than any of the proceedings may have led one to expect.

why did i watch this movie?

It’s a “classic,” is it not? Well, in any case, I’d been hearing about it for as long as I can remember, as it’s one of my brother’s faves.

should you watch this movie?

Didn’t I just say it’s a “classic”? Really, it suggests the transition between a more old-fashioned sense of the horror film and the newer aesthetic to come.

highlight and low point

The first half or so of this picture mainly concentrates on the doings of several of the patients at the hospital, as well as newly arrived Nurse Charlotte’s attempts to get her bearings, and doesn’t suggest a whole lot of structure … although this proves to be purposive, of course. That it overcomes its dubious opening scenes and builds up enough momentum to be affecting is no small feat. Which characters are being referenced is sometimes difficult to decipher.

rating from outer space: B+