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Category: Cult Films

  • Near Dark (1987)

    Near Dark (1987)

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    For centuries, vampires have remained some of the most popular and iconic monsters, both in folklore and literature. While many stories have been written about vampires, probably the most famous vampire story ever written was Bram Stoker’s Dracula. Written in 1897 and loosely inspired by Vlad the Impaler, Dracula helped lay the groundwork for traditional vampire lore. With the introduction of film in the early 1900s, soon enough there would be movies based on vampires. The oldest surviving vampire film is Nosferatu from 1922, itself a loose adaptation of the book. More adaptations soon followed, the most famous being the Universal Dracula from 1931 with Bela Lugosi. Over the next few decades, vampire movies came and went, and it started to die out. That is, until the mid to late 80s, when fresh new takes on the vampire mythology were introduced. One of those was the vampire western, Near Dark.

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    Synopsis

    Caleb (Adrian Pasdar) is a simple country boy out with friends when he spots a girl named Mae (Jenny Wright). The two seem to hit it off pretty well, that is until she accidentally bites him on the neck. As Caleb returns home, he starts to get weak and burn as the sun rises, smoke coming off his coat. Suddenly, he’s picked up in an RV where he meets Mae and her “family” of sorts. He’s introduced to Jesse Hooker (Lance Henriksen), Diamondback (Jenette Goldstein), Severen (Bill Paxton), and Homer (Joshua John Miller). Turns out they’re all vampires, and Caleb has just been made one, so now he’s strung along for the ride. Meanwhile, his father Loy (Tim Thomerson) and sister Sarah (Marcie Leeds) are traveling cross country to find him. Now a creature of the night, Caleb has to learn to kill lest he wither away and die.

     

    Review

    That is a very basic summary of what happens here, but oftentimes, the simplest plots are the best. This film works incredibly well as a horror film, a western, and a sort of dark romance. Despite coming off somewhat misogynist at first, Caleb is a very likable guy who you really feel for. Adrian Pasdar really helps give the character some humanity, and he has great chemistry with Jenny Wright. But of course, the real stars of the show are Henriksen, Goldstein, and especially Paxton, easily the most memorable actors. As the leader, Henriksen is insanely charismatic and just plain cool to watch and listen to. Goldstein is just as fierce and fiesty as she was in Aliens, and she and Henriksen make a good pair. However, Bill Paxton truly steals the show, playing such an unpredictably energetic lunatic who is having a blast playing Severen.

    Given that this was Kathryn Bigelow’s first solo directing job, the film looks fantastic despite its low budget. Many of the shots look like they’re straight out of a western, even with tumbleweeds rolling in the distance. The score from Tangerine Dream really helps to give it that dreamlike quality, and it’s easily some of their best. However, the one thing that holds this movie back is a plotpoint that happens towards the last half hour. Without giving too much away, a blood transfusion cures vampirism, which really feels like a cheap cop out. Traditionally, once you’re bit, you pretty much remain a vampire for eternity, so this “cure” they introduce is really weak. Despite that, it’s a really underrated film that shows how to do vampire romance the right way. Overall, Near Dark is a near perfect film with a great cast, great visuals, and a pretty awesome finale.

     

    Buy Near Dark on Amazon: https://amzn.to/476eKof.

    Disclosure: The above link is an affiliate link, which means that, at zero cost to you, I will earn a commission if you click through the link and finalize a purchase.

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    Where to watch Near Dark (1987)

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  • Krull (1983)

    Krull (1983)

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    In the 50s and 60s, science-fiction was looked down upon as merely kids stuff that couldn’t be considered high art. While the late 60s brought ground-breaking sci-fi films like 2001 and Planet of the Apes, the genre was still stigmatized. That is until 1977, when a little sci-fi film the studio had no faith in was released called Star Wars. After that film became a massive success, numerous studios wanted to capitalize on its success with their own space operas. Enter Columbia Pictures, who wanted to get in on the action with their own sci-fi epic. Stanford Sherman, the writer of Any Which Way You Can, was hired to pen the script. Peter Yates, director of Bullitt and Breaking Away, was hired to direct and the film was given a $30-million budget. Now titled Krull, there was a lot at stake, so how did the film turn out?

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    On the planet Krull, Prince Colwyn (Ken Marshall) is set to marry Princess Lyssa (Lysette Anthony) to unite their kingdoms. That is, until a creature known as The Beast invades with his army of Slayers, traveling in The Black Fortress. The Slayers attack the castle before the wedding, kill the two kings, kidnap Lyssa, and leave Colwyn in the wreckage. After being nursed back to health Ynyr, the Old One (Freddie Jones), he is tasked with finding the Glaive. The Glaive is the only weapon capable of destroying The Beast, but The Black Fortress teleports every day at sunrise. The two ride off to find the Emerald Seer, who can tell them where The Black Fortress will teleport to. Along the way, they meet Ergo the Magnificent (David Battley), Rell the Cyclops (Bernard Bresslaw), and a group of bandits. Together, they must find the Black Fortress and slay The Beast.

    Right off the bat, I will say that this film provides some great escapist fun, especially for fantasy fans. Ken Marshall does a good job as the lead, playing Colwyn as a swashbuckler, almost like Errol Flynn. While David Battley is clearly the comedic relief, rather than annoying, he is genuinely funny and has some good lines. Given the budget of the film, you can definitely see the money on screen, especially in the sets and effects. While some of the visual effects seem dated, many are still impressive, especially the stop motion and optical effects. Plus, the Glaive is easily one of the most awesome-looking weapons in movie history, on par with lightsabers. This is the kind of big budget sci-fi/fantasy film that we don’t see much of anymore. There’s a lot of creativity on display and the people involved were clearly trying to make something amazing.

    Unfortunately, the movie was a massive box office flop, making only $16.5 million against a $30 million budget. While I did enjoy the film, I can see why the movie didn’t catch on, especially given its flaws. For every fun action sequence, there’s also a lot of slow moments that really drag the movie down. Also, as awesome as the Glaive is, Colwyn doesn’t actually use it until the third act, which is somewhat infuriating. Much of the film is derivative of other movies, but in fairness, even Star Wars borrowed elements from other movies. Speaking of which, the sci-fi elements feel somewhat shoehorned in, as much of the movie is more fantasy-oriented. Despite its flaws, it’s easy to see why this movie developed a cult following over the years. In short, while somewhat uneven and slow at times, Krull is an enjoyable time if you’re looking for simple entertainment.

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  • Maximum Overdrive (1986)

    Maximum Overdrive (1986)

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    Stephen King is probably one of the most prolific and celebrated horror novelists of the past half century. Since the late ’60s, King has captivated and terrorized readers with his many short stories and novels. He is probably best known for novels such as Carrie, It, The Shining, Christine, Cujo, and The Dead Zone. Many of his works have been adapted either for television or film, many of them ranging in quality. Directors like Brian De Palma, Stanley Kubrick, David Cronenberg, and John Carpenter have made adaptations that’re generally well-regarded. However, for all the Carrie‘s and Christine‘s, there were also adaptations like Children of the Corn and Firestarter as well. Then in 1986, King, who was still a cocaine addict, decided to direct his own movie adaptation of his work. Thus, he adapted his short story Trucks into the infamous coke-fueled and yet fascinating film, Maximum Overdrive.

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    After a comet passes by Earth, all machines start becoming sentient and killing people off one by one. The main action takes place at a truck stop called the Dixie Boy, where things soon start going wrong. A worker gets diesel sprayed in his eyes, blinding him, and a waitress gets cut by an electric knife. Meanwhile, a Little League game goes wrong when a vending machine starts shooting soda cans at the coach and players. One kid named Dene (Holter Graham) manages to escape and soon finds himself at the truck stop. Newlyweds Curtis (John Short) and Connie (Yeardley Smith) soon make their way after getting attacked by a truck. Also joining the truck stop survivors are Bible salesman Camp Loman (Christopher Murney) and hitchhiker Brett Graham (Laura Harrington). Soon, it’s up to truck stop worker and ex-convict William “Bill” Robinson (Emilio Estevez) to help everyone survive.

    Now I’m not going to lie to you when I say that this movie is utterly ridiculous and nonsensical. The movie does have some interesting ideas, going off the theme of machines we depend upon going against us. However, whatever ideas the movie has are wasted on an utterly brainless schlockfest of car crashes, explosions, and endless carnage. Also, the story makes no sense when you think about it, especially when it comes to which machines are affected. While most electronics and cars are affected, some aren’t for some reason and the movie seems to contradict itself. The acting is questionable throughout, some being ok, some being average, and others so wildly over-the-top that it’s ridiculous. It doesn’t help that there isn’t much in terms of character development. Admittedly, there are some effectively creepy moments here and there, but there are also plenty of unintentionally hilarious moments too.

    All my bashing aside, I can’t say that this is a completely worthless film and is definitely worth a watch. In the movie’s trailer, King says he directed this to show us the “right” way to do a King adaptation. Granted, he was high on cocaine at the time, but I think there is some truth to that. There’s a part of me that feels like this movie was never meant to be taken seriously or even frightening. I mean, the main threat is a big rig with the face of the Green Goblin on the front. And later on, Emilio Estevez blows it up with a rocket launcher while saying, “Adios, mother f***er!”, action hero style. Now, I’m not saying this is a misunderstood gem, but that this is a movie you can have fun with. As utterly ridiculous and nonsensical as it is, Maximum Overdrive is still worthwhile.

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  • They Live (1988)

    They Live (1988)

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    After the massive success of Halloween in 1978, John Carpenter’s career continued to grow and flourish in commercial success. His next two films, 1980’s The Fog and 1981’s Escape from New York, were both financial hits. However, things came to a halt with 1982’s The Thing which, while now regarded as a classic, was a failure. After the financial failure of The Thing, Carpenter had trouble finding work until he got the job for 1983’s Christine. Despite it doing fairly well commercially and critically, Carpenter wasn’t entirely happy with it and decided to try other genres. While 1984’s Starman did well enough, 1986’s Big Trouble in Little China was yet another financial disaster. Growing ever more frustrated with the studio system, Carpenter decided to go independent with his next film, Prince of Darkness. Finally, to close out the 80s, Carpenter directed the now iconic sci-fi film, 1988’s They Live.

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    A lone drifter credited as Nada (Roddy Piper) wanders into town looking for work and not having much luck. He manages to get a job at a construction site where he meets Frank (Keith David), a fellow blue-collar worker. Nada starts noticing weird things going on, including strange TV broadcasts warning people that we are being controlled by “them”. After the police raid a homeless camp Nada and Frank have been living in, Nada discovers something: mysterious sunglasses. When he puts on the sunglasses, the world turns black-and-white, billboards become subliminal messages, and certain people are actually aliens. Nada soon realizes that these aliens have been controlling us through subliminal messaging and keeping us complacent to their plans. After an alley fight, Nada teams up with Frank and a local resistance group to bring the aliens down. Will our heroes succeed, or will they continue to rule?

    Given the subject matter of the film, this was definitely the best way to cap off the 1980s. John Carpenter made the movie because of how disgusted he was with Reaganomics and the rise in consumerism. This movie perfectly hits captures that with all the subliminal messaging and the aliens representing the rich and powerful. It’s a message that’s just as relevant today as it was back then, perhaps even more so. Aside from the socio-political message, this movie also works as a fun sci-fi action film about taking down evil aliens. Roddy Piper does a great job as the nameless drifter, displaying a real working-class charm and tons of charisma. Keith David is awesome as always, and he and Piper work incredibly well together, almost like a buddy cop duo. On top of that, the two have probably one of the greatest fight scenes in cinematic history.

    The supporting cast is also great, the stand-outs being Meg Foster, Peter Jason, George “Buck” Flower, and even Al Leong. The aliens, referred to as ghouls, may look slightly crude, but their looks is very iconic and even frightening. There are some scenes where several of them are slowly approaching, and the black-and-white makes it even creepier. If there are any issues with the film, they’re very few and far in between and incredibly minor. For one, at times the pacing can be a bit repetitive, with our hero going from place to place. Also, there are times where the budget limitations creep in, whether it’s the alien masks or some shoddy effects. In spite of these issues, this still remains one of the most iconic and eerily relevant movies of the 1980s. With a great cast, cool action, and a timeless message, They Live is one of Carpenter’s best. 

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  • Cobra (1986)

    Cobra (1986)

    [et_pb_section fb_built=”1″ _builder_version=”4.16″ global_colors_info=”{}”][et_pb_row column_structure=”2_3,1_3″ _builder_version=”4.16″ background_size=”initial” background_position=”top_left” background_repeat=”repeat” global_colors_info=”{}”][et_pb_column type=”2_3″ _builder_version=”4.16″ custom_padding=”|||” global_colors_info=”{}” custom_padding__hover=”|||”][et_pb_text _builder_version=”4.16″ global_colors_info=”{}”]After the massive success of Rocky, Sylvester Stallone’s career was on the rise and he soon became a superstar. In between the sequels to his career-defining film and other films, Stallone starred in another career-defining film, First Blood. Based on the David Morrell novel of the same name, the film revolved around Vietnam veteran John Rambo. After a run-in with the local sheriff, Rambo inadvertently starts an all-out war with the local police. The movie ended up being a surprise hit, and it eventually got a sequel, Rambo: First Blood Part II. While the first one was more of a character study mixed with an action film, the sequel was just action. Despite the different tone, the sequel ended up being a massive hit, alongside Stallone’s Rocky IV released the same year. With Stallone’s ego rising, he teamed up again with Rambo II director George P. Cosmastos for 1986’s Cobra.
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    Synopsis

    Stallone stars as Marion Cobretti, aka Cobra, a hard-as-nails cop who plays by his own rules. After stopping a hostage situation, Cobra learns of a murderous cult led by the Night Slasher (Brian Thompson). One night, a young model named Ingrid (Brigitte Nielsen) witnesses the cult on one or their murder sprees. Soon, Cobra and his partner Gonzales (Reni Santoni) are assigned with protecting her and stopping the Night Slasher. All the while, Cobra is being chastised by the more by-the-books Detective Monte (Andrew Robinson). What follows is a series of car chases, motorcycle chases, and shootouts with the cult members. It all comes to a head when Cobra and the Night Slasher face off in a final confrontation. Will Cobra be able to take him down and save the girl, or will the Night Slasher’s murder spree continue?

     

    Review

    If the plot summary seems a bit light, that’s mostly cause this movie’s plot is pretty straightforward. There is a reason for this that I’ll get into later, but first I’ll list the positives. For one, Stallone definitely carries the film as the lead, playing Cobra as a tough and cool cop. In contrast, Brian Thompson makes for an intimidating figure with his imposing figure, booming voice, and intense look. Another great draw here is that it features Andrew Robinson and Reni Santoni, both of whom were in Dirty Harry. When it gets going, the action is pretty good, especially with all the car chases and shootouts. The soundtrack, while odd at times, has some pretty cool 80s tracks, especially “Angel of the City” by Robert Tepper. On top of all that, the movie is fairly short at about 87 minutes, so it’s a pretty quick sit.

    Unfortunately, for all the good things I can say about the movie, there’s also quite a few negatives. First off, not to be insulting, but Brigitte Nielsen’s acting is pretty mediocre, her line delivery being flat and stilted. Also, I mentioned how the plot is pretty straightforward and that it’s a fairly quick sit. This ties into the fact that this movie was heavily edited before its release, for content and for showings. Much of the violence had to be cut back to avoid an X-rating, so it comes off as fairly tame. Also, much of the story and character development was removed so that it would play theatrically more times per day. Because of this, there’s a lot that’s never explained and the villains have no motivation. It’s a shame because while it’s still fun, it could’ve been better. Overall, Cobra is a passable if somewhat disjointed action film.

     

    Buy Cobra from Amazon: https://amzn.to/3JGW4nE.

    Disclosure: The above link is an affiliate link, which means that, at no additional cost, I will earn a commission if you click through the link and make a purchase.

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    Where to watch Cobra (1986)

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  • Santa Sangre (1989)

    Santa Sangre (1989)

    [et_pb_section fb_built=”1″ _builder_version=”4.16″ global_colors_info=”{}”][et_pb_row _builder_version=”4.16″ background_size=”initial” background_position=”top_left” background_repeat=”repeat” global_colors_info=”{}” column_structure=”2_3,1_3″][et_pb_column type=”2_3″ _builder_version=”4.16″ custom_padding=”|||” global_colors_info=”{}” custom_padding__hover=”|||”][et_pb_text _builder_version=”4.16″ global_colors_info=”{}”]Alejandro Jodorowsky is one of the most provocative and creative filmmakers of the last century. While he hasn’t directed many films, his films have been captivating audiences since the early 70s. Jodorwosky first entered filmmaking in 1957 with the short film Les têtes interverties (The Severed Heads). His follow-up film, 1968’s Fando y Lis, was so controversial that it started a riot when it premiered. In spite of this, Jodorowky went on to create what became the first midnight movie, 1970’s El Topo. While somewhat controversial, it did receive critical appraisal and even John Lennon was a huge defender of the film. It was this attention that led to the Beatles’ manager to produce his next film, 1973’s The Holy Mountain. After failing to make an adaptation of Dune and divorcing his wife, it wasn’t until 1989 that Jodoworksky returned. That was when he made his comeback with Santa Sangre.
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    Synopsis

    The film tells the story of a young man named Fenix, who at the start is in a mental hospital. We are then taken back to his childhood, where we see what eventually led to him being locked up. As a child, he was a circus magician working with his father Orgo (Guy Stockwell) and mother Concha (Blanca Guerra). Between his father flirting with a tattooed woman and his mother leading a religious cult, his childhood was fractured. After his mother burns his father, gets her arms chopped off, and his father kills himself, Fenix is taken away. Cut to years later where Fenix escapes the mental hospital to be reunited with his now armless mother. His mother soon takes control of Fenix’s arms as they kill women who Concha sees as a threat. As Fenix’s mind continues to break, we start to wonder what’s real and what’s imaginary.

     

    Review

    Unfortunately, there’s not much else I can say about the movie without getting into spoilers. In addition, there’s so much going on here that it’d take me longer to talk about. That said, this is a visually arresting film where you’ll never know what will happen next. While it certainly has horror tropes (violence, nudity, blood), it’s unlike any horror film made before or since. Jodorowsky’s sons Axel and Adan both play the older and younger versions of Fenix respectively, and both are phenomenal here. Blanca Guerra is also outstanding as Concha, who at times is both sympathetic and yet sinister. The film is a very interesting take on Psycho, especially in the mother-son dynamic and the psychological effects. Also, Guy Stockwell is engaging to watch as Orgo, who acts as a biting comment on Americanism and masculinity. It’s especially apparent when he tattoos a giant eagle across Fenix’s chest.

    Visually, the movie is very stylish, especially in the look of the circus and the streets of Mexico at night. There’s also some great camerawork and well-constructed shots throughout, particularly during the last act. Also noteworthy is how part of the film is also a sweet love story between Fenix and a mute girl. We seem them as kids at the circus, and she eventually reenters his life when they’re older. Between her compassionate love and his mother’s manipulation, it’s interesting to see how these two different women affect his well-being. It works not only as a mother-son dynamic and a love story, but also as a coming-of-age story. While many of these themes are certainly obvious to spot, the film is nonetheless a treat to watch and dissect. With a great visual style, great performances, and a well-crafted story, Santa Sangre is a film that shouldn’t be missed.

     

    Buy Santa Sangre from Amazon: https://amzn.to/4hZV7n5.

    Disclosure: The above link is an affiliate link, which means that, at no additional cost, I will earn a commission if you click through the link and make a purchase.

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    Where to watch Santa Sangre (1989)

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  • Miracle Mile (1989)

    Miracle Mile (1989)

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    As I talked about in my Cherry 2000 review, filmmaker Steve De Jarnatt had a special project in the works. The project had become legendary well before getting made as it had been floating around Hollywood for ten years. The script even made the American Film magazine’s list of the ten best unmade screenplays in 1983. Originally written for Warner Bros, it was dropped because they wanted it bigger and directed by someone else. After managing to buy the script back after years of production limbo, De Jarnatt tried pitching it to other studios. Unfortunately, many balked at the script because of its blend of romance and apocalyptic thriller genres and its bleak ending. Eventually, Hemdale Films picked up the script and gave De Jarnatt a $3.7 million budget to make his dream project. That passion project became the late 80s cult classic, Miracle Mile.

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    Harry Washello (Anthony Edwards) is a trombone player who’s been unlucky in love for 30 years looking for the one. Then one day, he meets Julie Peters (Mare Winningham) and the two instantly fall in love with each other. After spending the afternoon together, they plan to meet later that night after Julie’s shift at a local coffee shop. Unfortunately, Harry accidentally oversleeps due to a power outage and doesn’t make it to the coffee shop until 4am. Harry tries calling to apologize, but only gets an answering machine, and he thinks things with Julie are over. Things turn ominous when Harry picks up a ringing payphone to the sound of a guy panicking with a message. He claims that nuclear war is coming in 70 minutes and nothing can stop it from happening. Initially unsure, Harry realizes it’s true and has to save Julie before nuclear annihilation comes.

    Generally, I’m not the biggest fan of romance films since they’re often sappy and tend to be formulaic. However, Miracle Mile is a very uniquely told romance film, mixing a love story with a nuclear thriller. Just the concept of getting a mysterious warning over the phone really makes you wonder what you would do. It’s a perfect way to establish tension and allow the movie to continually build up overtime. What also makes this film work is the acting, especially between Anthony Edwards and Mare Winningham. While the leads in Cherry 2000 felt like a couple just because, Edwards and Winningham have great chemistry here. They feel like a genuine couple and you really want to see them make it out in the end. In addition, you’ve got great character actors like Kurt Fuller, Brian Thompson, John Agar, Earl Boen, and Robert DoQui.

    Of course, given the circumstances, not everything has a happy ending and things turn pretty bleak. I won’t say what the ending is, suffice it to say that it will hit you in the feels. While tragic, it also reminds you how important it is to keep the people in your lives close. It’s a movie that places its audience in the character’s shoes and makes them wonder what they’d do. Sadly, the movie wasn’t a very huge hit when it came out, and this would be De Jarnatt’s last movie. However, he did go on to have success working on TV shows like The X-Files, ER, and Lizzie McGuire. Luckily, the movie has gone on to have a huge cult following and the people involved talk highly of it. A sweet romance mixed with a cold war thriller, Miracle Mile is an underrated gem not to be missed.

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  • Puppet Master (1989)

    Puppet Master (1989)

    [et_pb_section fb_built=”1″ _builder_version=”4.16″ global_colors_info=”{}”][et_pb_row _builder_version=”4.27.0″ _module_preset=”default” global_colors_info=”{}”][et_pb_column type=”4_4″ _builder_version=”4.27.0″ _module_preset=”default” global_colors_info=”{}”][et_pb_video src=”https://youtu.be/1uzynqgprAI?si=3YxJqqk8GFI0u1uK” _builder_version=”4.27.0″ _module_preset=”default” global_colors_info=”{}”][/et_pb_video][/et_pb_column][/et_pb_row][et_pb_row column_structure=”2_3,1_3″ _builder_version=”4.16″ background_size=”initial” background_position=”top_left” background_repeat=”repeat” global_colors_info=”{}”][et_pb_column type=”2_3″ _builder_version=”4.16″ custom_padding=”|||” global_colors_info=”{}” custom_padding__hover=”|||”][et_pb_text _builder_version=”4.27.0″ global_colors_info=”{}”]After the fall of Empire Pictures, Charles Band relocated to the US to form what would become Full Moon Productions. Prior to this, he had produced the 1987 Stuart Gordon-directed Dolls. Band was fascinated by the concept of killer dolls, so he decided to create a new film with that idea. While coming up with a title, he was reminded of another movie he made at Empire called The Dungeonmaster. He remembered people really liking that title, so he decided to use the word “master” to create Puppet Master. He tasked David Schmoeller, who we worked with on Tourist Trap, Crawlspace, and Catacombs, with directing. Originally intended for a theatrical release, Band decided to release it direct-to-video believing that it would be more successful. Turns out he was right as this one film managed to spawn 10 sequels, a crossover, and a reboot. So how did this franchise get started?

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    Synopsis

    We open on the Bodega Bay Hotel in 1939, where puppeteer Andre Toulon (William Hickey) is working on his puppets. However, two Nazi spies are after him because they want the secret to his puppets. Turns out Toulon has found a way to bring life to the puppets, and the Nazis want this knowledge. Before the Nazis break in, Toulon packs up the puppets, hides them in a wall panel, and kills himself. Cut to several years later where college professor Alex Whitaker (Paul Le Mat) has been having strange visions. Alex is summoned to the Bodega Bay Hotel, along with Dana (Irene Miracle), Frank (Matt Roe), and Carissa (Kathryn O’Reilly). Turns out a former associate of theirs, Neil Gallagher (Jimmie F. Skaggs), has died and has brought them together. As they try to figure out what’s happening, Toulon’s puppets come alive and start killing them off one by one.

     

    Review

    For a low-budget direct-to-video horror film, this film is much better than one would expect. While the story is fairly basic, it’s still engaging and moves at a pretty good pace. Luckily, this movie is only 83 minutes long, so it never overstays its welcome. As for the acting, it’s not really anything special, but everyone still does a decent job. The characters aren’t given much in terms of personality, but you’re never annoyed or bored by them. In terms of stand-outs, Irene Miracle is pretty fun with her sarcastic quips and sassy attitude. Paul Le Mat is alright, but it does somewhat feel like he’s just going through the motions. David Schmoeller’s direction is pretty solid, especially when it comes to the POV shots of the puppets. Plus, the movie has plenty of violence, nudity, and blood to keep you entertained.

    Of course, the real highlights of the movie and the real reason to see it are the puppets. While their screen time is limited to around 10-15 minutes, they’re still the best part. Not only are the puppets well-designed, and each has a unique look, but the stop-motion animation is top-notch. The stop-motion was done by animator David Allen, who had worked with Band before and would continue until his death. Given that Allen was nominated for an Oscar for Young Sherlock Holmes, it’s not a surprise the animation is superb. Allen really helps bring the puppets to life, giving their movements a very uneasy feel and look. While it would have been preferable to have them here more, they still end up stealing the show. Overall, in spite of the puppets’ limited screen-time and a fairly basic story, Puppet Master is still worth a watch.

     

    Buy Puppet Master from

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    Where to watch Puppet Master (1989)

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  • Running Scared (2006)

    Running Scared (2006)

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    The 1970s was a decade that was almost dominated by gritty crime thrillers that were hard-hitting and relentless. Some of the seminal ones included Dirty Harry, Death Wish, Taxi Driver, The French Connection, Serpico, and The Godfather. There were plenty of gritty crime movies in the 80s and 90s, but by the 2000s, things had changed. Instead of the hard-R gritty crime and action movies, we were getting watered-down and over-stylized PG-13 thrillers. This change in genre conventions rather upset writer/director Wayne Kramer. Kramer earlier got some attention with 2003’s The Cooler, which was a hit with critics despite underperforming financially. It went on to win and be nominated for various awards, including an Oscar nomination for Alec Baldwin. With this critical reception, Kramer decided to follow it up with a throwback to the gritty crime movies he loved. This led to the vastly underrated 2006 thriller, Running Scared.

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    After a drug bust gone wrong, low level mobster Johnny Gazelle (Paul Walker) is tasked with disposing of a gun. This particular gun, a small snubnosed revolver was used during the drug bust to kill a dirty cop. Johnny stashes the gun in his basement, unaware of his son (Alex Neuberger) and his friend Oleg (Cameron Bright) watching. Oleg ends up stealing the gun and uses it to try and kill his abusive stepfather Anzor Yugorsky (Karel Roden). After hearing the gunshots, Johnny goes to investigate and, upon realizing what gun was used, runs out to find it. It’s a race against time as Oleg is running from the Russian mafia and crooked cop Detective Rydell (Chazz Palminteri). Along the way, Johnny’s wife Teresa (Vera Farmiga) also gets involved as she tries to save Oleg. Things continue spiraling out of control as we go further down the rabbit hole.

    As mentioned before, Kramer wanted this to be more in the style of gritty 70s crime thrillers, and he succeeded. This film perfectly captures the grit and grime of many of those crime thrillers from the past. There’s excessive violence, nudity, swearing, and some pretty dark and disturbing moments throughout that deal with fairly dark themes. In addition, the cast here is phenomenal, particularly Paul Walker, Vera Farmiga, Chazz Palminteri, and Cameron Bright. At the time, Walker was mostly known for The Fast and The Furious movies, and this really shows his range. He’s constantly on edge and full of energy that you can tell he’s dedicated to this role. Vera Farmiga, who was relatively unknown here, is terrific in the film, especially when it becomes about her. Chazz Palminteri is fantastic as always, and Cameron Bright, especially for a child actor, also does a great job.

    If there are any problems I have with the film, the main one is with the structure. While there is a somewhat straightforward narrative, some parts feel like small vignettes that go from one to another. Also, there are some characters who are introduced but then just leave never to be seen again. At times, the movie feels a bit scatterbrained, especially with how the editing is done. Not to say that the editing here is poor, far from it, but it can seem all over the place. Issues aside, I still think this is a terrifically underrated crime thriller that deserves more attention. Especially with Paul Walker’s unfortunate death, this really showcases how much talent he had as an actor. While the movie wasn’t a huge financial hit, it was well-received by critics, and it’s easy to see why. Running Scared is a great hidden gem that’s worth watching.

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  • The Changeling (1980)

    The Changeling (1980)

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    In the late 60s, playwright Russell Hunter was living in an old mansion located in Chessman Park, Denver, Colorado. The mansion was owned by Henry Treat Rodgers, a wealthy Denver attorney, during the late 1800s. Supposedly, Russell experienced strange phenomena in the house, including faucets turning on by themselves, walls violently shaking, and doors opening themselves. He also claimed he found an old journal detailing the life of a disabled child isolated by his parents. In short, when the boy was gravely ill, the parents secretly buried him once he died. Afterwards, they adopted a boy from an orphanage and essentially trained him to take on the deceased child’s identity. While these claims have largely been debunked, Russell still thought about that story and decided to turn it into a script. That script would eventually be turned into the 1980 haunted house film, The Changeling.

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    Following the deaths of his wife and daughter, composer John Russell (George C. Scott) moves from New York to Seattle. He rents an old victorian home thanks to an agent from the local historical society, Claire Norman (Trish Van Devere). Not long after moving in, Russell starts experiencing strange things in the house. One day, he finds the water taps turned on and hallucinates seeing a young boy’s corpse in a bathtub. Investigating further, he finds a hidden room containing a child’s wheelchair, and he works with Claire to uncover the truth. They soon discover that the child in question is Joseph Carmichael, a crippled child who was killed by his father. As he digs deeper and deeper, Russell uncovers a conspiracy where Carmichael’s father was after his son’s inheritance. It’s all a matter of Russell trying to uncover the mystery and trying to help Joseph’s spirit lay to rest.

    Without a doubt, this is one of the most suspenseful and tense haunted house movies ever made. This movie has a great foreboding atmosphere and a sense of dread all throughout, even before the hauntings start. George C. Scott delivers one of the best performances of his career, which include classics like Dr. Strangelove and Patton. He perfectly captures the feeling of loneliness and comes across as a former shell of a man. When Scott starts his investigation, you get caught up in the mystery and wonder how it all ties in. While many of today’s paranormal movies overuse cheap jump scares, this one relies on building up tension and suspense. Just when things start to slow down, the movie throws some sort of disturbing imagery that will haunt you. Given that this was released the same year as The Shining, 1980 was a great year for haunted house movies.

    The movie has developed a major cult following over the years, and many have singed their praises of this film. In fact, Oscar-winning director Martin Scorsese called this one of the scariest movies ever made. Filmmaker Guillermo Del Toro is also a fan, calling the movie ‘a masterpiece’. With those glowing endorsements, how can you say no? This is a movie full of sadness and dread, but it’s also a film about redemption and finding closure. While not as well-known as other haunted house movies, The Changeling is still a masterful work of horror cinema.

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