I Blame Society (2020)

Directed by Gillian Wallace Horvat
Nowhere

While I haven’t laughed this hard in a long time, I’m going to go out on a limb and guess there may be a lot of people who wouldn’t find this picture very funny. Maybe those folks would misconstrue the satirical nature of the meta commentary, remarked upon with such satisfaction by those living and working within its filmmaking milieu. It’s also probable that some people just don’t find murder to have much comedic value. If your taste runs toward extremely dark humor, however, and you’ve ever spent any time dallying with the art world, this should strike the correct nerve. A mockumentary of sorts that translates its anger into absurdities, the narrative follows Horvat as she embarks on a very special personal project. At first, her tentativeness and some awkward situations she establishes may evoke thoughts of Creep, but eventually this production abandons what little restraint it has demonstrated, perhaps to emphasize the lunacy lurking in its heart. Does it lose a bit of verisimilitude with this shift? Possibly, but there’s too much fun to be had for that to matter much.


Why Did I Watch This Movie?

I’ve used this exact phrase for years in attempts at arch commentary.


Should You Watch This Movie?

It’s one of the most enjoyable pictures I’ve seen since I started this blög, which as of this post has 335 reviews. (There are an additional 117 or so horror flix that have yet to be honored here, too.)

Highlight and Low Point

The filmmaker meets with some production bros twice along the way, and for anyone oblivious to her thesis, these scenes hammer it home. (The second session includes an aptly revealing indictment.) The various references to her
omnipresent cameras are also amply rewarding.

Rating From Outer Space: A

The Nesting aka Massacre Mansion (1981)

Produced and Directed by Armand Weston

For the most part, this is a straightforward old-haunted-house yarn, but it has a couple peculiarities that are gonna leave you wondering. The basic story is, well, basic: successful novelist rents a country home for rest, relaxation and writing, but wouldn’t ya know, something’s amiss. For one thing, she keeps having these weird dreams. For another, she’s agoraphobic, which isn’t the best trait when your residence starts frightening you. Then there’s the small matter that the house itself was depicted on the cover of one of her previous novels. Throw in a threatening drunken handyman, various oddball locals, and intrusive hallucinations, and you’ve got your hands full. Pretty good overall, but oh, those few production quirks …

why did i watch this movie?

To reiterate: I selected some of these titles quite a while ago, and haven’t the foggiest notion about many. I don’t even know where I came across this one, it turns out.

should you watch this movie?

Though it wears out its welcome here and there – the visions get a bit repetitive, and Robin Groves gets a little too hysterical a little too often – it’s a bit better than you might expect.

highlight and low point

Not only are there a few moments of supernatural activity that more or less just produce giggles – they seem superfluous and silly, even in what is essentially a ghost story – but there’s a car chase featuring fake car-chase sounds! And other ersatz automotive audio effects! I honestly cannot recall ever experiencing such a thing before; it’s extremely obvious, and it’s hilarious. Aside from this mainstream foray, producer/director/co-writer Weston worked almost exclusively in the adult-film world. Despite that, this venture is not particularly sleazy, even with a “house of ill repute” subplot.

Rating From Outer Space: B−

 

Freaky (2020)

directed by CHRISTOPHER LANDON
Blumhouse Productions/Divide/conquer

I will freely admit – I have to – that I’m a sucker for this exact sort of flick, to the extent that I knew I was going to like it as soon as I read a review of it. And I put off watching it for some reason anyway. So, yeah, here’s another Blumhouse comedic horror romp, and boy is it ever of the moment. A body-switching gender-defying mockup slasher spoof of “Freaky Friday” and its ilk, it even manages to worm a little bit more tension out of some of the hoariest of the genre’s tropes. Men’s rights advocates probably won’t like it much, and who the hell knows whether the newly minted Science-trusters will denounce it while busily insisting they’re defending the natural rights of biological women. Why, there could be ammo for the cancel-culture-cancellers, too! Now THAT’s inclusive!

Why Did I Watch This Movie?

Man, I already done TOLD ya! I’m like a moth around a light bulb for this kinda thing.

Should You Watch This Movie?

I will go ahead and presume it will not suit everybody’s taste. Hell, it could even seem like outright trolling in some regards, I suppose. But here’s the thing: Times change. Seasons change. But this movie is bloody entertaining. (Literally, of course.)

Highlight and Low Point

Vince Vaughn is tremendous in this picture. Which may be surprising to you, should you not be aware that Vince Vaughn is still a guy who acts ‘n’ such. Hey, it caught me a little bit unawares. And see above comments about aggressive agenda-pushing. I mean, look, that’s a big part of what’s behind the whole premise here, but … certain people take their cues from certain people they know, if you catch my drift.

Rating From Outer Space: A−

The Majorettes (1987)

Directed by Bill Hinzman
Major Films/Ross & Hinzman

Oh, MAN, there is so, so much wrong in this picture that it’s instantly vaulted into a vaunted echelon of that peculiar cinematic realm endemic to the underfunded independent horror picture. I mean, holy cow, John Russo – whose name I immediately recognized, attached as it was to the splendiferous delights of Midnight – was almost 50 when he wrote this screenplay, but that incidental fact doesn’t come near to excusing how incredibly out-of-touch he was with certain aspects of what he apparently thought was “youth culture.” But let’s ignore that for the nonce. After all, there’s the spurious dialogue to command our focus! Plus, as has been noted elsewhere, a bizarre tonal shift (think “Rambo”!) occurs at a certain point. I might tip my hat to the iconoclastic ending, I suppose – were it not distressingly pedophiliac.

Why Did I Watch This Movie?

I don’t know – I mean, I almost forgot I watched and wrote a “review” of it – but I was just thinking today about how a certain stripe of ’80s flicks are like comfort food … the lasting effects of which, of course, often range from                                                                              forgettable to unpleasant.

Should You Watch This Movie?

This one’s more akin to eats you decided to pick up at a gas station. They may be bad for you, but at least they don’t taste good!

highlight and low point

The depiction of the “high school” students is beyond compare. The “majorettes” themselves are a spectacle. I don’t think there’s a single character in this movie that isn’t a one-note self-parody, but I’m not about to go back and check. Everything in this absurd spectacle, with the possible exception of the buildings and trees and such, strains credulity to such an extent it astonishes.

rating from outer space: D

The Clown at Midnight (1998)

directed by Jean Pellerin
GFT/Paquin Entertainment

Purely by chance, this Canadian flick has Christopher Plummer in it (“and Christopher Plummer as Caruthers,” as his special mention warrants); I watched it shortly before he died, but I’ve been more than a little remiss posting anything lately (as you may have noticed), so I’m just trying to play ketchup here. So … there’s a collegiate acting troupe that inherits/inhabits an old theater, which just happened to be the site of an unsolved mystery involving its star opera performer … who, coincidentally enough, turns out to have been the mother of one of the students involved. (Imagine!) The death occurred following the final performance of Pagliacci, and, you know, the lore, and the urban legend, and the haunted performance space, and the deaths. You’ll probably be able to suss out most of the story before it ends, and as usual, it will help not to dwell too much upon it afterward.

why did i watch this movie?

Seriously, the title caught my eye, because it sounded odd. (“Clown at Midnight?” I wondered.) Then I saw it was Canadian, and I’m always for some reason interested in films of such origin. I suppose the credit “and Margot Kidder as Ellen Gibby” may also shed some light.

should you watch this movie?

It is really, really, really intent on breaking no new ground.

highlight and low point

A character or two has an almost-interesting quirk or two, and a not-insignificant portion of the underlying story might nag at you due to its inadmissibility. Or at least, it should, because … sheesh. I don’t wish to give away too much of the “plot,” but you will seriously begin questioning how the production team had the gall to stick with its story, so to speak.

Rating From Outer Space: C+

Girls Nite Out aka The Scaremaker (1982)

directed by robert deubel
anthony n. gurvis/concepts unlimited

Jeez but the “girls” in this flick got some foul mouths on ’em, buddy. Although a copycat movie about a copycat killer – or IS it – WHOMEVER it may be – some surprisingly nuanced characterizations give this slasher ripoff a bit of its own personality, at least. The actors are all too old (of course), but I gotta say, those writing for ’em captured that peculiar tinge of collegiate life, where personas can get a little cloying and foibles are more apparent than their wielders probably ever dream. You will recognize elements exhibited in Graduation Day and replicated by Happy Death Day, and maybe even recollect The Prowler, if you’re that unlucky. Plus many more! All told, it’s passably entertaining, though.

why did i watch this movie?

Uh … yeah, I watched some of these pictures I’m now posting so long ago that I’m gonna hafta guess my motives in some cases. This one I think was because it’s an early-’80s slasher that was unknown
to me and the screenshots looked interesting,
maybe.

should you watch this movie?

If, like me, you remain fascinated by just how many different ways people could think of to make essentially the same movie, many during the exact same time period – and you’re also enamored of the
ongoing permutations of same – well,
possibly you already have.

highlight and low point

There’s a kind of lost-in-time aspect to this film’s setting, where you can kinda glimpse all manner of pop-culture references endemic to its era … but that don’t seem purposeful. By which I mean, as the ’70s was transforming into the ’80s, there was a lot of bleed between period-specific touchstones. Can these productions serve as literal depictions of life-as-lived? Or is it cinematic artifice?

rating from outer space: B−

The Banana Splits Movie (2019)

directed by danishka esterhazy
blue ribbon content/blue ice pictures

You know, I gave up drugs about nine years ago, and watching this insane production, I realize I either never needed them or they caused permanent brain damage. Holy cats. Based in some sort of madcap reality where The Banana Splits are still a popular and ongoing concern, this flick – which was for some reason filmed entirely in South Africa, even though the cast and crew are dominated by Canadians, and “Blue Ribbon Content” is a TV production subsidiary of Warner Bros. – conjures a pernicious mashup of Willy Wonka & the Chocolate Factory and Meet the Feebles. Obviously, with that setup, this is ostensibly a horror comedy, but I am not even kidding you, it’s a whole lot creepier than you’d think. Part of that is due to the cinéma vérité effect provided by the production values, but its humor is all pretty black, if not bleak, anyway. Tremendous. Stupendous! A mess of fun, indeed.

why did i watch this movie?

Periodically, I contemplate acquiring the music from the original television series (you’ll recall I mentioned brain damage), and the most recent time, the welter of information accompanying my “research” mentioned the existence of this film. Fait accompli.


should you watch this movie?

I’m trying to determine this picture’s probable impact on those with no personal relationship with/foreknowledge of the nostalgia-tinged frippery upon which it is based, but ultimately I don’t think lacking the background should matter that much.


highlight and low point

The fact that almost none of the characters involved actually like The Banana Splits is both jocose and, in my opinion, keenly observant. After hinting that the action might stay somewhat tame, it proceeds to tear limb from limb – literally, in some cases.

rating from outer space: A−

Blood and Roses (1960)

directed by roger vadim
documento film/films ege

Let’s be honest here, this is a fairly half-hearted rendition of the “Carmilla” saga, with an added wrinkle or two that don’t do much to improve the tale being told – but also with a brisk, at times nearly impatient pacing that obscures or confuses other details. And after poncing its way through a mock-Victorian costume drama’s story arc, it abruptly veers into what I can only guess is an approximation of German Expressionist cinema for a truly bewildering and bemusing effect. Then the army blows up a castle and we’re teased with a silly coda that doesn’t bother to honestly follow the plot points. Even the sensuality expected from notorious Svengali wannabe Vadim is stilted. It doesn’t wear out its welcome, clocking in around a brief hour and a quarter, so there’s that.

why did i watch this movie?

Let’s be honest here – it’s because of this:

(Just four guys from somewheres in New Jersey.)

As an aside, the movie industry through various guises sure has churned out a massive clutch of vampire pictures. I sorta wanna trace the development thereof, but on the other hand …

Should you watch this movie?

A lot of other options exist if it’s the source material that interests you.

highlight and low point

The sequence during which Carmilla prefers to get drunk and listen to beat music instead of getting ready to attend the preposterous masquerade ball heralding her “cousin” Leopoldo’s upcoming nuptials is unexpectedly amusing. And of course the bizarre detour into artiness (if not artifice) will make you sit up and take notice. Even then, however, the production fails to capitalize fully on its own mythology. Some minor characters flesh out the running time without adding anything to the storyline.

rating from outer space: C−

Cut (2000)

directed by kimble rendall
beyond films/mushroom pictures/mbp/south australian film corporation

Another Australian horror comedy? Okay, sure, why not. Dispensing with overt laffs in favor of a general mood that isn’t all too serious, this filming-of-a-film-within-a-film is about the attempt to finish, uh, filming a film. Which was never finished. Said celluloid seems to be cursed, you see, as mayhem and terror ensues whenever anyone even tries screening the reels that remain of the initial endeavor. Despite that, some plucky young film students are determined to make a go of it, their professor’s objections notwithstanding. For a largely unheralded picture languishing in smaller-foreign-film obscurity, this flick is a pretty good time, even if saddled with a pretty ridiculous underlying concept. (To be fair, it’s generally internally consistent, which is always a plus in my book.) Molly Ringwald has a meta role as a onetime name actress who agrees to take a scream-queen part in a DIY indie production.

why did i watch this movie?

Probably because it’s Australian, a condition I usually find signifies a certain reliability. After making the selection, however, I held off for a while because the whole “horror film shoot or equivalent plagued by slasher or equivalent” isn’t the                                                                             most innovative idea.

should you watch this movie?

Ultimately, it doesn’t bring a whole lot to the table. If you’re looking for cinematic entertainment you don’t have to get too involved with, though, this’ll do.

highlight and low point

Really, the fact that the director was a founding member of the quirky rave-up combo (Le) Hoodoo Gurus leads this category. How random is that? The script could’ve worked harder to create misdirection about the killer’s identity, and it feels as though some opportunities were missed in observing the lineage of the fateful film.

rating from outer space: C+

Ladrones de tumbas aka Grave Robbers (1989)

directed by ruben galindo jr.
producciones torrente s.a.

A gleefully gory tale of demonic retribution (or something) that somehow keeps a straight face throughout its often surprisingly effective graveyard-campsite-and-church assault, this Mexican extravaganza has a little bit of everything you’d expect: lustful Inquisition monks, young people up to no good, stalwart lawmen, holy writ, and a whole lot of shrill screaming. Despite the obviously unreal nature of the proceedings – we are, after all, dealing with the undead, unless one considers that condition differently when Satanic possession is in play – only a few moments provoke disbelieving laughter, and even the evil rejuvenated monk’s makeup job works pretty well. And for all the hints of or nods to well-worn potboiler themes or tactics, well … I’m not sure where else you could reasonably expect to go with this material. Call it “classically themed” and move on.

 
why did i watch this movie?

My previous selection was known as “Grave Secrets,” and was released the same year as this one. Plus, a Mexican production felt like a good idea.

should you watch this movie?

Right from the start, it hits all the notes. You more or less know what you’re going to be getting, and you get it. Plus some nifty depictions of attacks from la hacha.

highlight and low point

There’s an interesting twist to the method of dealing with the supernatural fiend, which is especially welcome given the prevalence of so many other standard-issue tropes. Sociologically, you’d have to go with the quartet of young adults who pursue grave robbing as, like, their career choice, because how else are they supposed to earn a living? The occasional melding of diverse genre elements is also fun. A glaring continuity error provoked a literal double take on my part.

rating from outer space: B