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  • Zombiethon (1986)

    Zombiethon (1986)

    [et_pb_section fb_built=”1″ _builder_version=”4.16″ _module_preset=”default” global_colors_info=”{}”][et_pb_row column_structure=”2_3,1_3″ _builder_version=”4.16″ _module_preset=”default” global_colors_info=”{}”][et_pb_column type=”2_3″ _builder_version=”4.16″ _module_preset=”default” global_colors_info=”{}”][et_pb_text _builder_version=”4.19.5″ _module_preset=”default” global_colors_info=”{}”]After making three back-to-back compilation tapes, Charles Band and Ken Dixon made one more to end it all. As mentioned before, Band acquired the rights to numerous low-budget horror films for his label, Wizard Video. Many of these were European and directed by exploitation filmmakers like Lucio Fulci, Jess Franco, and Pierre Chevalier. Also, by the mid-1980s, zombie movies were popular thanks to Return of the Living Dead and Day of the Dead. Luckily for Band, plenty of European zombie movies came out after the success of George Romero’s Dawn of the Dead. Band and Dixon would use clips from various zombie movies using a wraparound story instead of hosts for this compilation. This was their last compilation tape, as Ken Dixon later directed 1987’s Slave Girls from Beyond Infinity. But before then, Charles Band released their zombie compilation Zombiethon to a ravenous fanbase.

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    Synopsis

    A zombie chases a young woman (Karrene Janyl Caudle) into The Historic El Rey Theater, occupied by various zombies. The young woman takes a seat as she and the other undead patrons watch clips from multiple zombie movies. We start with Lucio Fulci’s 1979 classic Zombie, most infamous for a brutal eye-gouging and zombie vs. shark death match. Unfortunately, the quality goes downhill as we move onto the notoriously bad 1981 schlockfest Zombie Lake. Things only get worse when we go to Jess Franco’s Oasis of the Zombies, followed by Murder Syndrome, aka Fear. Then, we get two 1970s offerings: 1970’s The Invisible Dead and 1973’s A Virgin Among the Living Dead. To cap off this compilation, we end with Ted V. Mikel’s The Astro-Zombies from 1968, previously featured in Filmgore. Stay away from any graveyards, as the liveliest Festival of the Dead is about to begin!

     

    Review

    Of all four of the compilation tapes made for Wizard Video, Zombiethon is undoubtedly one of them. It’s not as fun as The Best of Sex and Violence, but it’s a step above Famous T & A. This one tries to be unique by having a wraparound story instead of the usual host segments. These wraparound segments add charm due to their cheesiness but are disjointed, confusing, and repetitive. Each sequence boils down to a pretty girl getting chased by a zombie, running into a theater, rinse and repeat. In place of makeup, all the zombies wear masks, which come off as cheap but add to the campiness. Unfortunately, the wraparound has no resolution, as it ends with the zombies sitting in the theater. We never find out what happened to the various women who were chased inside, so I guess they’re dead.

    As for the clips shown, there’s a decent variety, but the compilation somewhat blows its load a little early. They start with a truncated version of Lucio Fulci’s classic, only to transition into progressively worse movies. Also, according to the book Empire of the B’s, the compilation features Dawn of the Dead, Burial Ground, etc. Unless they watched a different version than me, none of the other movies they mention are featured. Either way, this compilation does succeed in helping you avoid sitting through some utter garbage. Why sit through all 82 minutes of Oasis of the Zombies when you can watch the highlights shown here? Considering that Empire folded a few years later, it’s unfortunate we didn’t get more of these compilations until years later. Overall, Zombiethon isn’t the worst of the Wizard Video comp tapes, and it’ll make for some good background noise.

     

    Buy Zombiethon from:

    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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  • Groundhog Day (1993)

    Groundhog Day (1993)

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    In the early 1990s, writer Danny Rubin got an idea for a film after reading Anne Rice’s The Vampire Lestat. He wondered what someone would do if they had unlimited time and how boring that would get after a while. With the script finished, Rubin tried shopping it around until it caught the attention of talent agent Richard Lovett. Lovett passed the screenplay along to Harold Ramis, who immediately signed on to direct because it spoke to him spiritually. Ramis worked with Rubin to add more comedic elements to the script, which interested Bill Murray in starring. For the rest of the cast, they hired Andie MacDowell, Chris Elliot, Stephen Tobolowsky, and Brian Doyle-Murray, amongst others. With a $14.6 and $30 million budget, filming lasted from April to June 1992 despite tensions between Ramis and Murray. Groundhog Day finally hit theaters on February 12, 1993.

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    Synopsis

    Phil Conners (Bill Murray), an egotistical, cynical TV weatherman, goes to Punxsutawney for his annual Groundhog Day coverage. He’s accompanied by producer Rita Hanson (Andie MacDowall) and cameraman Larry (Chris Elliott) and makes no qualms about hating it. After covering the festivities, Conners wants to leave but is stuck due to a blizzard that he predicted wouldn’t happen. The following day, he wakes up to find that yesterday’s events are happening again, but no one else notices. Realizing that he’s stuck in a time loop, Phil tries explaining his situation to Rita, but she doesn’t believe him. At first, Phil decides to use this to hook up with random women, commit robberies, and generally manipulate everyone. However, when he tries the same tactics on Rita and fails, Phil realizes he needs to change his ways. Will Phil become a better person or be stuck in Groundhog Day forever?

     

    Review

    It’s a shame this film ended Bill Murray and Harold Ramis’ decades-long relationship, but at least it was another classic. Groundhog Day is a goofy comedy and an emotional character drama about love and redemption. While he has the same trademark dry wit and sarcastic attitude, Murray shows his more dramatic side here. You see him go from arrogant and mean-spirited to depressed and suicidal before he redeems himself. It’s a typical “bad guy changes their ways” story we’ve seen several times before, but it’s done so well here. Andie MacDowell is excellent as the adorably cheerful and optimistic Rita, contrasting perfectly with Murray’s cynicism. Chris Elliot doesn’t have much to do as Larry, but he gets a few moments to shine. Stephen Tobolowsky is a scene stealer as Ned Ryerson, an obnoxious insurance salesman who Conners constantly runs into. Seeing how Conners responds to Ryerson is a riot.

    Since the film revolves around the same day, happening repeatedly, scenes can get repetitive quickly. Also, parts of the movie feel episodic, like a new subplot starts up, only to be resolved in five minutes. The tone can sometimes be inconsistent, going from funny to severe to comedic again without a rhyme or reason. Still, some of these flaws don’t seem like flaws; instead, they’re meant to make you feel how Murray’s character feels. The movie is a metaphor for living the same life day in and day out and feeling stuck. It also shows how the fact that we only have a limited amount of time makes our lives more memorable. While previous Ramis/Murray comedies like Caddyshack, Stripes, and Ghostbusters are classics, this stands in a league of its own. Overall, Groundhog Day is among the best 90s comedies that continue to stand the test of time.

     

    Buy Groundhog Day from Amazon: https://amzn.to/3RqigSD.

    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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  • M3GAN (2023)

    M3GAN (2023)

    [et_pb_section fb_built=”1″ _builder_version=”4.16.0″ _module_preset=”default” global_colors_info=”{}”][et_pb_row column_structure=”2_3,1_3″ _builder_version=”4.16.0″ _module_preset=”default” global_colors_info=”{}”][et_pb_column type=”2_3″ _builder_version=”4.16.0″ _module_preset=”default” global_colors_info=”{}”][et_pb_text _builder_version=”4.19.5″ _module_preset=”default” global_colors_info=”{}”]In 2014, Australian filmmaker James Wan founded the production company Atomic Monster Productions, which specializes in budget films. While brainstorming some ideas, Wan devised one involving a killer doll that satirized people’s dependence on technology. Wan would produce alongside Jason Blum of Blumhouse Pictures and share a writing credit with Akela Cooper. For the director, Wan chose relative newcomer Gerard Johnstone, whose 2014 film Housebound won several festival awards. With a $12 million budget, principal photography started in 2021 around Los Angeles and New Zealand. Morot FX Studio created numerous radio-controlled animatronic puppets, while child actress Amie Donald performed the more physically demanding roles. While filming wrapped in August, the studio decided to do reshoots so the film would get a PG-13 rating. Boosted by a viral clip on TikTok, M3GAN opened on January 6 to tons of hype.

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    Synopsis

    Gemma (Allison Williams) adopts her niece Cady (Violet McGraw) after her parents die in a car crash. She works for a toy company and is developing an advanced humanoid robot with AI to be the ultimate companion. Unfortunately, they have a strained relationship as Gemma spends more time on her work than with Cady. Gemma pairs the robot, M3GAN (Model 3 Generative Android), with Cady, now with her boss David (Ronny Chieng) on board. Initially, things seem to be going well as Cady is happier than ever, but things soon go awry. Soon, M3GAN becomes self-aware and starts attacking anyone she deems a threat to Cady, including a dog and a bully. Knowing the truth, Gemma and her coworkers Tess (Jen Van Epps) and Cole (Brian Jordan Alvarez) try shutting her down. Unfortunately, M3GAN breaks free and goes on a rampage, determined to be Cady’s only companion.

     

    Review

    Going into M3GAN, the film has several strikes against it: a January release and a re-edit to be PG-13. Despite these setbacks, the movie is way better than one would expect, but that doesn’t mean it’s flawless. While the film has some kills and moments of genuine horror, most are shown in the trailer. The movie we get is more of a drama about a woman trying to be her niece’s surrogate mother. Those expecting an all-out gorefest featuring a creepy puppet killing people will be disappointed. Still, the kills we get are more graphic than you’d expect from a PG-13 horror film. The doll looks incredible, combining impressive animatronics and Amie Donald’s almost perfect movements to make something natural yet artificial. It’s no surprise considering the effects artists recently got an Oscar nomination for their work on The Whale. Hopefully, an extended cut can improve the lack of bloodshed.

    Allison Williams is instantly likable as the well-meaning Gemma who wants to succeed while caring for Cady. You can tell she’s overwhelmed by this new responsibility, and she goes through a great character arc. Violet McGraw is also impressive as the emotionally distraught Cady, trying to make sense of the horrible things she’s experienced. Jen Van Epps and Brian Jordan Alvarez aren’t given much to do, but they each have moments to shine. Ronny Chieng can come off as a stereotypical CEO solely motivated by money, but that feels intentional, given the tone. Considering this is his second feature, Gerard Johnstone does an excellent directing job, and I’m curious about his future works. At slightly over 90 minutes, some parts do drag, but they’re never enough to pull you out of the movie. Overall, M3GAN may not be groundbreaking, but it’s still an engaging, flawed sci-fi horror film.

     

    Buy M3GAN from Amazon: https://amzn.to/3VXGNBA.

    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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  • B.C. Butcher (2016)

    B.C. Butcher (2016)

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    From a very young age, Kansas Bowling was interested in films and wanted to make movies more than anything. While her dad introduced her to plenty of 90s movies, she became interested in films from the 60s and 70s. Kansas and her friend were big John Waters fans, and she discovered Troma around age 12 with Cannibal! The Musical. When she was 13, Kansas got a Super 8 camera as a gift and made short films with her sister. She was also a fan of Barbara Bach, who starred in the 1981 comedy Caveman, which gave Kansas an idea. For her feature film debut, Kansas would make a silly slasher film set in prehistoric times. At only 17, Kansas wrote, produced, and directed her first film, and Troma distributed it when she was 19. In January 2016, B.C. Butcher finally hit the scene and made history.

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    Synopsis

    When tribe leader Neandra (Leilani Fideler) learns that Dina (Miranda Robin) is sleeping with her man, she executes her. Afterward, Neandra has her fellow cavewomen dump the body, where it’s discovered by The Butcher (Dwayne Marion Johnson). The Butcher falls in love with Dina, and her spirit commands him to avenge her death by killing the tribeswomen. While Neandra thinks her man Rex (Kato Kaelin) is pure, he’s cheating with another cavewoman named Poppy (Molly Elizabeth Ring). The blind Bamba (Devyn Kawata) warns the others of The Butcher, but none believe her premonitions until it’s too late. Soon, The Butcher arrives and starts killing everyone in the tribe one by one, beginning with Rex and Poppy. Neandra and her friend Anaconda (Natasha Halevi) try to survive, but it’s only a matter before The Butcher gets them. They’re ancient history in this stone age slasher!

     

    Review

    Given that the director was still a minor then, it’s surprising how good B.C. Butcher turned out. Sure, the film has its problems, but it’s impressive for something made by a 17-year-old. First, given the low budget, the prehistoric setting helps set it apart from other slashers and is a cost-saving measure. Also, while most modern filmmakers would’ve shot digitally, Kansas decided to shoot on 16mm film, which looks incredible. The film helps bring out many colors and makes the visuals pop more than digital can. She even got help from Daniel Pearl, Tobe Hooper’s cinematographer on The Texas Chain Saw Massacre and Invaders from Mars. Also, you can tell there’s a John Waters influence, with the intentionally silly gore juxtaposed with 50s doo-wop music. Just get used to hearing “Alley Oop” by The Hollywood Argyles because it’s played quite a lot throughout.

    The acting is intentionally hokey but never in a way where the cast is in on the joke. Leilani Fideler is funny as the overconfident yet incompetent tribe leader who is unintentionally responsible for her people’s deaths. Though he has no dialogue, Dwayne Marion Johnson makes for an excellent prehistoric monster, using body language to convey emotion. Kato Kaelin is a particular stand-out as he chews up every bit of scenery he can on screen. Admittedly, the kills are lame, there’s not a lot of gore, and it’s relatively tame for a Troma movie. Plus, at slightly over 50 minutes, this barely qualifies as a feature film, though it’s better than adding needless padding. Even with its flaws, it’s still impressive that a 17-year-old could get an entire movie made and released. Overall, B.C. Butcher is a silly horror comedy that shows potential for a future filmmaker.

     

    Buy B.C. Butcher from Amazon: https://amzn.to/3jgOL9h.

    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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  • Evil Bong 2: King Bong (2009)

    Evil Bong 2: King Bong (2009)

    [et_pb_section fb_built=”1″ admin_label=”section” _builder_version=”4.16″ global_colors_info=”{}”][et_pb_row column_structure=”2_3,1_3″ admin_label=”row” _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=”4.19.5″ _module_preset=”default” global_colors_info=”{}”]Released in 2006, Evil Bong was a surprise hit for Full Moon Features, so a sequel was to follow. Charles Band announced the sequel in 2008, along with Killjoy 3, GingerDead Man 3, and Puppet Master: Axis of Evil. Band returned to direct alongside the late writer Dominic Muir, using the pseudonym August White, for the stoner sequel. Much of the original cast returned, though they could no longer afford Tommy Chong, and Brett Chukerman replaced David Weidoff. Since prolific cinematographer Mac Ahlberg retired, Charlie hired Terrance Ryker, who also shot The Haunted Casino and Dangerous Worry Dolls. They hired Jeffrey S. Farley for the makeup effects, who earned an Emmy nomination for his work on Babylon 5. While the last film was a mix of horror and weed humor, this sequel would lean further into stoner comedy. In July 2009, Evil Bong 2: King Bong hit DVD shelves worldwide.

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    Synopsis

    Months after the last film, Allistair (Brett Chukerman) visits Larnell (John Patrick Jordan) at his apartment to catch up. The Evil Bong’s effects are lingering as Bachman (Mitch Eakins) has narcolepsy and Brett (Brian Lloyd) is obese. Additionally, Larnell has lost all sexual inhibitions and humps anything near him, including Brett’s girlfriend Luann (Robin Sydney). The guys get the delivery guy Rabbit (Sonny Carl Davis) to accompany them to the Amazon to find answers. They run into Velicity (Amy Paffrath), who’s working with Larnell’s grandpa Cyril (Jacob Witkin) to study some potent marijuana. She believes the weed could be used for medicinal purposes, while Cyril wants to sell it to the highest bidder. Unfortunately, Cyril and Rabbit use the weed to resurrect Eebee (Michelle Mais), only to be taken by the Poontang Tribe. Our heroes must battle with Eebee’s former mate, King Bong (Michael Shepperd).

     

    Review

    If you’ve seen the first one, you should know what to expect from Evil Bong 2: King Bong. This sequel is more of the same, but some slight improvements made here make this more tolerable. Moving the action out of the apartment and into the jungle adds variety and makes it stand out. Also, Brett Chukerman is a welcome replacement for the nerdy Allistair, making the character more of a snob. Amy Paffrath’s Velicity is an excellent addition to the series, offering plenty of charm and high energy. Sonny Carl Davis always looks like he’s having a good time, and Jacob Witkin has some of the best lines. The new villain, King Bong, has an excellent design, and Michael Shepperd gives him tons of personality. His performance reminds me of Michael Sonye as Uncle Impie from Sorority Babes in the Slimeball Bowl-O-Rama.

    Before you go rushing to pick up the DVD, don’t expect the quality of 90’s Full Moon. The sets still look cheap, there’s an abundance of CGI, and most of the acting is pretty shaky. Anyone hoping for blood and more horror like the first film will be disappointed with this sequel. This movie is like an extended R-rated sitcom without the studio audience or the pauses for laughter. Most of the humor relies on marijuana, penises, obesity, and sex, and it’s pretty juvenile and outstays its welcome. Still, this movie moves much faster than the first film at roughly the same runtime. Plus, with this film opening on a recap of the original, you could skip to this one. Overall, Evil Bong 2: King Bong is more of the same as the first but is slightly better.

     

    Buy Evil Bong 2: King Bong from:

    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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  • The Dead Come Home (1989)

    The Dead Come Home (1989)

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    Born in 1961 in New Jersey, James Riffel attended the NYU Film School, aka the Tisch School of the Arts. As with many aspiring filmmakers, Riffel decided to make a horror film as his directorial debut. He found an old house in Cherry Valley, NY, and chose that as his primary filming location. Under the working title The Road, Riffel assembled a small cast and crew to shoot their gory horror film. Filming wrapped in 1988 using the title The Dead Come Home, and Troma eventually picked it up. Through a collaboration with AIP, Troma released the film on VHS as The House on Tombstone Hill. Later, once Troma gained full ownership of the film, they tried re-releasing it as Dead Kids on the Block. Due to legal troubles, they had to change the title, this time to Dead Dudes in the House.

    [/et_pb_text][/et_pb_column][et_pb_column type=”1_3″ _builder_version=”4.16″ custom_padding=”|||” global_colors_info=”{}” custom_padding__hover=”|||”][et_pb_circle_counter title=”Rating” number=”50″ bar_bg_color=”#EDF000″ _builder_version=”4.19.4″ _module_preset=”default” global_colors_info=”{}”][/et_pb_circle_counter][/et_pb_column][/et_pb_row][et_pb_row _builder_version=”4.16″ _module_preset=”default” global_colors_info=”{}”][et_pb_column type=”4_4″ _builder_version=”4.16″ _module_preset=”default” global_colors_info=”{}”][et_pb_text _builder_version=”4.27.5″ _module_preset=”default” hover_enabled=”0″ global_colors_info=”{}” sticky_enabled=”0″]

    Synopsis

    Mark (Douglas Gibson) has brought six of his friends to an old house he bought to help renovate it. There’s Ron (Mark Zobian), Bob (Victor Verhaeghe), Jamie (Sarah Newhouse), Steve (J.D. Cerna), Linda (Naomi Kooker), and Joey (Eugene Sautner). While working on the house, one of the group accidentally breaks a headstone, resurrecting an old woman seeking vengeance. Soon enough, our would-be homemakers meet a grisly demise at the hands of this murderous granny. Characters are cut in half by broken windows, stabbed in the back with scissors, and mangled with power tools. However, the victims don’t stay dead; they come back to life and kill anyone alive in exceedingly gruesome ways. Before long, two teens named S (Rob Moretti) and Ricky (James Griffith) end up at the house as would-be victims. Who will escape from this house on Tombstone Hill when the dead come home?

     

    Review

    Whether you call it The Dead Come Home or Dead Dudes in the House, this is a lackluster horror film. While the acting isn’t terrible, most of the main characters are forgettable, and none are fully developed. Admittedly, Victor Verhaeghe has some moments as an arrogant meathead who does kung-fu with his organs hanging out. Also, props to actor Douglas Gibson for playing the dual roles of Mark and the killer old woman. Though it’s a guy wearing makeup, it offers some camp potential just for the absurdity of senior drag. Speaking of makeup, the effects were done by Ed French, whose credits include Sleepaway Camp, The Stuff, and Blood Rage. His gore effects are the movie’s central strong point, each more disgusting and creative than the last. While some effects don’t work as well as they should, they’re still well done.

    The biggest problem with this film is how much filler there is to pad out the runtime. Scenes of characters trying to open sticky doors, throwing rocks at windows, and more to get the movie to feature-length. Not only that, but the film leaves us with so many unanswered questions as to what’s going on. Why is the old lady killing people, why do her victims become undead, and how did Mark find this house? Given how uninteresting the majority of the movie is, it’s hard to care about these questions being answered. The film plays out like a lower-budget version of The Evil Dead, minus the charm and creativity. This one provides some decent splatter effects for gorehounds, but it’s not enough to save an otherwise dull movie. Overall, The Dead Come Home isn’t the worst Troma movie, but it’s not exactly a hidden gem either.

     

    Buy The Dead Come Home from Amazon: https://amzn.to/3LUQOxV.

    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 The Dead Come Home (1989)

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  • Filmgore (1983)

    Filmgore (1983)

    [et_pb_section fb_built=”1″ _builder_version=”4.16″ _module_preset=”default” global_colors_info=”{}”][et_pb_row column_structure=”2_3,1_3″ _builder_version=”4.16″ _module_preset=”default” global_colors_info=”{}”][et_pb_column type=”2_3″ _builder_version=”4.16″ _module_preset=”default” global_colors_info=”{}”][et_pb_text _builder_version=”4.19.4″ _module_preset=”default” global_colors_info=”{}”]As I mentioned in my review of Famous T & A, many studios created compilation tapes to stock video stores. They were cheap to produce, gave audiences exactly what they wanted, and always made a profit. Charles Band and Ken Dixon had already made two compilation tapes, including 1982’s The Best of Sex and Violence. They got B-movie icons like John Carradine and Sybil Danning to deliver wry commentary over the clips shown. Band and Dixon hired Cassandra Peterson, who exploded in popularity as the horror hostess Elvira, for their next tape. They also brought Forrest J. Ackerman, the founding editor/writer of Famous Monsters of Filmland, to write Peterson’s quips. While the other compilations focused on violence or nudity, this one focused primarily on blood and guts. In 1983, Charles Band released the compilation tape Filmgore through his Wizard Video label.

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    Synopsis

    The Mistress of the Dark, Elvira (Cassandra Peterson), hosts this gallery of gore, offering her snide quips and “valuable assets.” First on the chopping block is Herschell Gordon Lewis’ 1963 splatterfest, Blood Feast, about an Egyptian caterer who’s a cannibal. Next, we get two of the most highly regarded 70s shockers, The Texas Chain Saw Massacre and The Driller Killer. Then, we move on to Drive-In Massacre, Ted V. Mikels’ The Astro Zombies, and Carnival of Blood. We’re also treated to low-budget movies like Dr. Jekyll’s Dungeon of Death and Fiend, from Don Dohler of Nightbeast infamy. After this, we return to HG Lewis with what he’s considered his best film, 1964’s Two Thousand Maniacs! The collection ends with the notorious 1975 stinker Snuff, a pre-existing no-budget shocker re-edited with a gory ending. With Elvira as your guide, check out some of the goriest scenes that Hollywood has to offer.

     

    Review

    Compared to the earlier comp tapes, Filmgore is better than Famous T & A but worse than Sex and Violence. What makes this one more enjoyable is Cassandra Peterson, who’s entertaining as always as Elvira. She delivers each line with her tongue firmly planted in her cheek and has fun commenting on the movies. Also, while the other compilations were either trailers or random clips, this one offers the cliff notes of several films. Admittedly, this does lessen the impact of The Texas Chain Saw Massacre but prevents you from suffering through Snuff. Then again, spotlighting all the bloody scenes might also entice people to seek out the full movies. It’s similar to modern movie reviewers on YouTube, where people more or less condense a film to explain the plot. These comp tapes were ahead of their time, or I’m giving them too much credit.

    In terms of actual production, this is as cheap as you can get: one set, one actress, and one camera. The quips written by Forrest J. Ackerman aren’t the most clever, but they’re fun in a cheesy way. Cassandra Peterson is at least given more to do here than Sybil Danning, who looked confused the whole time. Some of the films chosen don’t feel like they belong, like The Astro Zombies, which isn’t all that bloody. The same thing could apply to The Texas Chain Saw Massacre, but at least the violence felt gruesome. At around 90 minutes, this compilation goes by fairly quickly and delivers on what it promises. There are better comp tapes out there, but this is a decent one to watch. Overall, Filmgore does what it sets out to do, but don’t expect anything of substance.

     

    Buy Filmgore on Amazon: https://amzn.to/4jUPIxY.

    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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  • FilmNerd’s Best and Worst Films of 2022

    FilmNerd’s Best and Worst Films of 2022

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    Well, folks, we’ve made it to another year full of promises that will delight or disappoint us. There’s a new Super Mario Bros movie, the fifth phase of the MCU is starting up, and plenty more. 2022 was also a year full of promises, with some living up to expectations while others failed to deliver. We got the end to David Gordon Green’s Halloween trilogy, a new Top Gun sequel, and the long-awaited Avatar 2. There were some good movies, some great films, and plenty of garbage pumped out by Hollywood in 2022. Well, now it’s time to separate the cream of the crop from the bottom of the barrel again. As always, this list consists of movies I saw in 2022, so if there are any I missed, that’s why. So, without further ado, here is my list of the best and worst films of 2022!

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    Honorable Mentions

    [/et_pb_text][/et_pb_column][/et_pb_row][et_pb_row column_structure=”1_4,1_4,1_4,1_4″ _builder_version=”4.16″ global_colors_info=”{}”][et_pb_column type=”1_4″ _builder_version=”4.16″ custom_padding=”|||” global_colors_info=”{}” custom_padding__hover=”|||”][et_pb_image src=”https://staging.film-nerd.com/wp-content/uploads/2023/01/doctor-strange-2.jpg” alt=”Doctor Strange in the Multiverse of Madness” title_text=”doctor-strange-2″ url=”https://staging.film-nerd.com/doctor-strange-in-the-multiverse-of-madness-2022/” url_new_window=”on” admin_label=”Doctor Strange in the Multiverse of Madness” module_class=”image-zoom” _builder_version=”4.19.4″ global_colors_info=”{}”][/et_pb_image][/et_pb_column][et_pb_column type=”1_4″ _builder_version=”4.16″ custom_padding=”|||” global_colors_info=”{}” custom_padding__hover=”|||”][et_pb_image src=”https://staging.film-nerd.com/wp-content/uploads/2023/01/jackass-forever.jpg” alt=”Jackass Forever” title_text=”jackass-forever” url=”https://staging.film-nerd.com/jackass-forever-2022/” url_new_window=”on” admin_label=”Jackass Forever” module_class=”image-zoom” _builder_version=”4.19.4″ global_colors_info=”{}”][/et_pb_image][/et_pb_column][et_pb_column type=”1_4″ _builder_version=”4.16″ custom_padding=”|||” global_colors_info=”{}” custom_padding__hover=”|||”][et_pb_image src=”https://staging.film-nerd.com/wp-content/uploads/2023/01/smile.jpg” alt=”Smile” title_text=”smile” url=”https://staging.film-nerd.com/smile-2022/” url_new_window=”on” admin_label=”Smile” module_class=”image-zoom” _builder_version=”4.19.4″ global_colors_info=”{}”][/et_pb_image][/et_pb_column][et_pb_column type=”1_4″ _builder_version=”4.16″ custom_padding=”|||” global_colors_info=”{}” custom_padding__hover=”|||”][et_pb_image src=”https://staging.film-nerd.com/wp-content/uploads/2023/01/violent_night_ver3_xlg.jpg” alt=”Violent Night” title_text=”violent_night_ver3_xlg” url=”https://staging.film-nerd.com/violent-night-2022/” url_new_window=”on” admin_label=”Violent Night” module_class=”image-zoom” _builder_version=”4.19.4″ global_colors_info=”{}”][/et_pb_image][/et_pb_column][/et_pb_row][/et_pb_section][et_pb_section fb_built=”1″ admin_label=”#10: Black Panther: Wakanda Forever” _builder_version=”4.19.4″ global_colors_info=”{}”][et_pb_row column_structure=”1_3,2_3″ _builder_version=”4.16″ background_size=”initial” background_position=”top_left” background_repeat=”repeat” global_colors_info=”{}”][et_pb_column type=”1_3″ _builder_version=”4.16″ custom_padding=”|||” global_colors_info=”{}” custom_padding__hover=”|||”][et_pb_image src=”https://staging.film-nerd.com/wp-content/uploads/2023/01/black-panther-wakanda-forever.jpg” alt=”Black Panther: Wakanda Forever” title_text=”black-panther-wakanda-forever” align_tablet=”center” align_phone=”” align_last_edited=”on|desktop” _builder_version=”4.19.4″ global_colors_info=”{}”][/et_pb_image][/et_pb_column][et_pb_column type=”2_3″ _builder_version=”4.16″ custom_padding=”|||” global_colors_info=”{}” custom_padding__hover=”|||”][et_pb_text _builder_version=”4.19.4″ global_colors_info=”{}”]

    #10: Black Panther: Wakanda Forever

    Following the tragic news of Chadwick Boseman’s death, making a sequel to 2018’s Black Panther seemed impossible. Given the difficult task, it’s remarkable that Black Panther: Wakanda Forever came out as good as it did. The sequel boasts some of the best performances in the Marvel Cinematic Universe, especially from Letitia Wright and Angela Bassett. The supporting cast also does a great job, and Tenoch Huerta Mejía’s Namor is one of the better MCU villains. There is a great variety of action sequences, culminating in an epic showdown between Namor and the new Black Panther. Sure, it probably would’ve been easier to recast T’Challa rather than kill his character, but I respect Marvel’s decision. Regardless of your feelings towards Phase 4, this film was a great way to cap it off. Overall, Black Panther: Wakanda Forever is a worthy follow-up to the 2018 megahit.

    [/et_pb_text][/et_pb_column][/et_pb_row][et_pb_row _builder_version=”4.16″ background_size=”initial” background_position=”top_left” background_repeat=”repeat” global_colors_info=”{}”][et_pb_column type=”4_4″ _builder_version=”4.16″ custom_padding=”|||” global_colors_info=”{}” custom_padding__hover=”|||”][et_pb_video src=”https://www.youtube.com/watch?v=_Z3QKkl1WyM” _builder_version=”4.19.4″ global_colors_info=”{}”][/et_pb_video][/et_pb_column][/et_pb_row][/et_pb_section][et_pb_section fb_built=”1″ admin_label=”#9: Pearl” _builder_version=”4.19.4″ global_colors_info=”{}”][et_pb_row column_structure=”1_3,2_3″ _builder_version=”4.16″ background_size=”initial” background_position=”top_left” background_repeat=”repeat” global_colors_info=”{}”][et_pb_column type=”1_3″ _builder_version=”4.16″ custom_padding=”|||” global_colors_info=”{}” custom_padding__hover=”|||”][et_pb_image src=”https://staging.film-nerd.com/wp-content/uploads/2023/01/pearl.jpg” alt=”Pearl” title_text=”pearl” align_tablet=”center” align_phone=”” align_last_edited=”on|desktop” _builder_version=”4.19.4″ global_colors_info=”{}”][/et_pb_image][/et_pb_column][et_pb_column type=”2_3″ _builder_version=”4.16″ custom_padding=”|||” global_colors_info=”{}” custom_padding__hover=”|||”][et_pb_text _builder_version=”4.19.4″ global_colors_info=”{}”]

    #9: Pearl

    Not since Breakin’ 2: Electric Boogaloo has a sequel/prequel been released the same year as the original. Ti West’s X opened in March 2022, with the prequel Pearl coming out just a few months later. While you don’t necessarily have to see the prequel to understand X, it makes for a good companion piece. Pearl captures the aesthetic of old Hollywood films like The Wizard of Oz and mixes it with shocking violence. At the heart of the film is Mia Goth, who continues to prove she’s a force to be reckoned with. Despite her unhinged character, Goth makes Pearl sympathetic to her struggle to be a star despite her family’s objections. While lighter on the violence than West’s earlier film, it’s still shocking enough, thanks to the performances and filming techniques. Pearl may not be the best horror film of 2022, but it’s up there.

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    #8: Elvis

    Since 2018’s Bohemian Rhapsody, there has been a mini-boom in musician biopics, from 2019’s Rocketman to 2022’s Moonage Daydream. Then you have Baz Luhrman’s love letter to the King of Rock & Roll, and it’s one of the best. Even if you’re not the biggest Elvis fan, his story is still fascinating, and this movie perfectly captures it. On top of looking so similar to Elvis, Austin Butler gives one of the year’s best performances as Mr. Pressly. He manages to capture the sophisticated charm of Elvis while also bringing out the humanity in him. Tom Hanks also delivers a compelling performance as the dubious Colonel Parker, who’s both villainous and oddly charming. The musical numbers are great, the story is riveting, and Luhrman’s direction is fittingly bombastic and over-the-top. In closing, Elvis is a fantastic biopic that does justice to the King in every way possible.

    [/et_pb_text][/et_pb_column][/et_pb_row][et_pb_row _builder_version=”4.16″ background_size=”initial” background_position=”top_left” background_repeat=”repeat” global_colors_info=”{}”][et_pb_column type=”4_4″ _builder_version=”4.16″ custom_padding=”|||” global_colors_info=”{}” custom_padding__hover=”|||”][et_pb_video src=”https://www.youtube.com/watch?v=wBDLRvjHVOY” _builder_version=”4.19.4″ global_colors_info=”{}”][/et_pb_video][/et_pb_column][/et_pb_row][/et_pb_section][et_pb_section fb_built=”1″ admin_label=”#7: The Batman” _builder_version=”4.19.4″ global_colors_info=”{}”][et_pb_row column_structure=”1_3,2_3″ _builder_version=”4.16″ background_size=”initial” background_position=”top_left” background_repeat=”repeat” global_colors_info=”{}”][et_pb_column type=”1_3″ _builder_version=”4.16″ custom_padding=”|||” global_colors_info=”{}” custom_padding__hover=”|||”][et_pb_image src=”https://staging.film-nerd.com/wp-content/uploads/2023/01/the-batman.jpg” alt=”The Batman” title_text=”the-batman” align_tablet=”center” align_phone=”” align_last_edited=”on|desktop” _builder_version=”4.19.4″ global_colors_info=”{}”][/et_pb_image][/et_pb_column][et_pb_column type=”2_3″ _builder_version=”4.16″ custom_padding=”|||” global_colors_info=”{}” custom_padding__hover=”|||”][et_pb_text _builder_version=”4.19.4″ global_colors_info=”{}”]

    #7: The Batman

    Like many actors cast to play The Caped Crusader, Robert Pattinson got his fair share of mockery. However, like Michael Keaton, Christian Bale, and Ben Affleck before, Pattinson proved his naysayers wrong in Matt Reeves’ dark adaptation. Not since Tim Burton’s 1989 adaptation has Gotham City looked more crime-ridden and rundown while also having a macabre beauty. Colin Farrell is virtually unrecognizable as The Penguin, and Paul Dano gives one of his best performances as The Riddler. Zoë Kravitz is electrifyingly stunning as Selina Kyle/Catwoman and has fantastic chemistry with Pattinson. The action sequences are well-choreographed and have a fluid rhythm, thanks to Oscar-winning cinematographer Greig Fraser. It might be devoid of humor or fun, and Pattinson’s Bruce Wayne is drastically different, but it still works. 2022’s The Batman is easily the best adaptation of Bob Kane & Bill Finger’s creation since The Dark Knight.

    [/et_pb_text][/et_pb_column][/et_pb_row][et_pb_row _builder_version=”4.16″ background_size=”initial” background_position=”top_left” background_repeat=”repeat” global_colors_info=”{}”][et_pb_column type=”4_4″ _builder_version=”4.16″ custom_padding=”|||” global_colors_info=”{}” custom_padding__hover=”|||”][et_pb_video src=”https://www.youtube.com/watch?v=mqqft2x_Aa4″ _builder_version=”4.19.4″ global_colors_info=”{}”][/et_pb_video][/et_pb_column][/et_pb_row][/et_pb_section][et_pb_section fb_built=”1″ admin_label=”#6: The Whale” _builder_version=”4.19.4″ global_colors_info=”{}”][et_pb_row column_structure=”1_3,2_3″ _builder_version=”4.16″ background_size=”initial” background_position=”top_left” background_repeat=”repeat” global_colors_info=”{}”][et_pb_column type=”1_3″ _builder_version=”4.16″ custom_padding=”|||” global_colors_info=”{}” custom_padding__hover=”|||”][et_pb_image src=”https://staging.film-nerd.com/wp-content/uploads/2023/01/the-whale-scaled.jpg” alt=”The Whale” title_text=”the-whale” align_tablet=”center” align_phone=”” align_last_edited=”on|desktop” _builder_version=”4.19.4″ global_colors_info=”{}”][/et_pb_image][/et_pb_column][et_pb_column type=”2_3″ _builder_version=”4.16″ custom_padding=”|||” global_colors_info=”{}” custom_padding__hover=”|||”][et_pb_text _builder_version=”4.19.4″ global_colors_info=”{}”]

    #6: The Whale

    Before its theatrical release, much noise was being made about The Whale during its premiere at the Venice Film Festival. Thankfully, I’m here to say that Darren Aronofsky’s look at isolation and regret lives up to the hype. Brendan Fraser gives the best performance of his career, and if he doesn’t get an Oscar, humanity has no hope. The supporting cast performs phenomenally, particularly Sadie Sink and Hong Chau, as Fraser’s only connection to the outside world. The 4×3 aspect ratio might put off audiences used to widescreen movies, but it helps create a sense of isolation. This film asks the audience to confront issues with sincerity and honesty rather than dancing around the issues. Admittedly, some dead spots could’ve been trimmed, but it’s still a compelling movie that deserves your attention. The Whale is one of Darren Aronofsky’s best films and one of the year’s best.

    [/et_pb_text][/et_pb_column][/et_pb_row][et_pb_row _builder_version=”4.16″ background_size=”initial” background_position=”top_left” background_repeat=”repeat” global_colors_info=”{}”][et_pb_column type=”4_4″ _builder_version=”4.16″ custom_padding=”|||” global_colors_info=”{}” custom_padding__hover=”|||”][et_pb_video src=”https://www.youtube.com/watch?v=nWiQodhMvz4″ _builder_version=”4.19.4″ global_colors_info=”{}”][/et_pb_video][/et_pb_column][/et_pb_row][/et_pb_section][et_pb_section fb_built=”1″ admin_label=”#5: The Unbearable Weight of Massive Talent” _builder_version=”4.19.4″ global_colors_info=”{}”][et_pb_row column_structure=”1_3,2_3″ _builder_version=”4.16″ background_size=”initial” background_position=”top_left” background_repeat=”repeat” global_colors_info=”{}”][et_pb_column type=”1_3″ _builder_version=”4.16″ custom_padding=”|||” global_colors_info=”{}” custom_padding__hover=”|||”][et_pb_image src=”https://staging.film-nerd.com/wp-content/uploads/2023/01/the-unbearable-weight-of-massive-talent-scaled.jpg” alt=”The Unbearable Weight of Massive Talent” title_text=”the-unbearable-weight-of-massive-talent” align_tablet=”center” align_phone=”” align_last_edited=”on|desktop” _builder_version=”4.19.4″ global_colors_info=”{}”][/et_pb_image][/et_pb_column][et_pb_column type=”2_3″ _builder_version=”4.16″ custom_padding=”|||” global_colors_info=”{}” custom_padding__hover=”|||”][et_pb_text _builder_version=”4.19.4″ global_colors_info=”{}”]

    #5: The Unbearable Weight of Massive Talent

    In the past few decades, Nicolas Cage has earned a reputation for taking whatever terrible project comes his way. Along comes a movie that pokes fun at and celebrates the Oscar winner’s career and eccentricities. Not only is Cage willing to take potshots at himself, but the film also explores the desire to stay relevant. The film’s highlight is the scenes between Cage and Pedro Pascal, which could almost be a separate movie. Watching them play off each other is a joy, like seeing two old friends messing around. The rest of the cast does a fantastic job, either helping to anchor the insanity or offering more comedic relief. As I said in my original review, even nonfans of Nicolas Cage will find something to enjoy here. Overall, The Unbearable Weight of Massive Talent is funny, wild, and surprisingly heartfelt.

    [/et_pb_text][/et_pb_column][/et_pb_row][et_pb_row _builder_version=”4.16″ background_size=”initial” background_position=”top_left” background_repeat=”repeat” global_colors_info=”{}”][et_pb_column type=”4_4″ _builder_version=”4.16″ custom_padding=”|||” global_colors_info=”{}” custom_padding__hover=”|||”][et_pb_video src=”https://www.youtube.com/watch?v=CKTRbKch2K4″ _builder_version=”4.19.4″ global_colors_info=”{}”][/et_pb_video][/et_pb_column][/et_pb_row][/et_pb_section][et_pb_section fb_built=”1″ admin_label=”#4: Top Gun: Maverick” _builder_version=”4.19.4″ global_colors_info=”{}”][et_pb_row column_structure=”1_3,2_3″ _builder_version=”4.16″ background_size=”initial” background_position=”top_left” background_repeat=”repeat” global_colors_info=”{}”][et_pb_column type=”1_3″ _builder_version=”4.16″ custom_padding=”|||” global_colors_info=”{}” custom_padding__hover=”|||”][et_pb_image src=”https://staging.film-nerd.com/wp-content/uploads/2023/01/top-gun-maverick-scaled.jpg” alt=”Top Gun: Maverick” title_text=”top-gun-maverick” align_tablet=”center” align_phone=”” align_last_edited=”on|desktop” _builder_version=”4.19.4″ global_colors_info=”{}”][/et_pb_image][/et_pb_column][et_pb_column type=”2_3″ _builder_version=”4.16″ custom_padding=”|||” global_colors_info=”{}” custom_padding__hover=”|||”][et_pb_text _builder_version=”4.19.4″ global_colors_info=”{}”]

    #4: Top Gun: Maverick

    Legacy sequels are risky: they can honor the original, like Halloween, or fall apart, like The Matrix: Resurrections. When a sequel to Top Gun was announced more than 30 years later, many people, myself included, were skeptical. Fortunately, when Top Gun: Maverick arrived, Joseph Kosinski proved that a legacy sequel could honor and even outdo the original. There’s plenty of nostalgia for fans of the original, but even people unfamiliar with it can enjoy this movie. While Tom Cruise leads the charge, the rest of the supporting cast all have moments to shine. Miles Teller, in particular, has one of the better character arcs in the movie and perfectly contrasts with Cruise. The action sequences are exhilarating, and there’s a good mix of humor, suspense, and even some heartfelt moments. So whether you’re a seasoned pilot or a rookie learning the ropes, Top Gun: Maverick is an exciting thrill ride.

    [/et_pb_text][/et_pb_column][/et_pb_row][et_pb_row _builder_version=”4.16″ background_size=”initial” background_position=”top_left” background_repeat=”repeat” global_colors_info=”{}”][et_pb_column type=”4_4″ _builder_version=”4.16″ custom_padding=”|||” global_colors_info=”{}” custom_padding__hover=”|||”][et_pb_video src=”https://www.youtube.com/watch?v=giXco2jaZ_4″ _builder_version=”4.19.4″ global_colors_info=”{}”][/et_pb_video][/et_pb_column][/et_pb_row][/et_pb_section][et_pb_section fb_built=”1″ admin_label=”#3: X” _builder_version=”4.19.4″ global_colors_info=”{}”][et_pb_row column_structure=”1_3,2_3″ _builder_version=”4.16″ background_size=”initial” background_position=”top_left” background_repeat=”repeat” global_colors_info=”{}”][et_pb_column type=”1_3″ _builder_version=”4.16″ custom_padding=”|||” global_colors_info=”{}” custom_padding__hover=”|||”][et_pb_image src=”https://staging.film-nerd.com/wp-content/uploads/2023/01/x.jpg” alt=”X” title_text=”x” align_tablet=”center” align_phone=”” align_last_edited=”on|desktop” _builder_version=”4.19.4″ global_colors_info=”{}”][/et_pb_image][/et_pb_column][et_pb_column type=”2_3″ _builder_version=”4.16″ custom_padding=”|||” global_colors_info=”{}” custom_padding__hover=”|||”][et_pb_text _builder_version=”4.19.4″ global_colors_info=”{}”]

    #3: X

    Between all the blockbusters and franchise pictures, a movie will appear out of nowhere and instantly grab your attention. That’s how I felt when I first saw the trailer for Ti West’s X, and it exceeded my expectations. Not only was it the kind of adult horror film that the industry needed, but it also had a message. The film explores themes of regret, age, beauty, and self-worth in a way that doesn’t overshadow the actual content. West took influence from The Texas Chain Saw Massacre and Boogie Nights but made the film work independently. What also elevates it is the acting, which is excellent all across the board, especially from Goth, Snow, and Ortega. Some shocking imagery might be too off-putting for some audiences, but genre enthusiasts should be more than satisfied. X is the type of movie the horror genre needs more of.

    [/et_pb_text][/et_pb_column][/et_pb_row][et_pb_row _builder_version=”4.16″ background_size=”initial” background_position=”top_left” background_repeat=”repeat” global_colors_info=”{}”][et_pb_column type=”4_4″ _builder_version=”4.16″ custom_padding=”|||” global_colors_info=”{}” custom_padding__hover=”|||”][et_pb_video src=”https://www.youtube.com/watch?v=Awg3cWuHfoc” _builder_version=”4.19.4″ global_colors_info=”{}”][/et_pb_video][/et_pb_column][/et_pb_row][/et_pb_section][et_pb_section fb_built=”1″ admin_label=”#2: Everything Everywhere All At Once” _builder_version=”4.19.4″ global_colors_info=”{}”][et_pb_row column_structure=”1_3,2_3″ _builder_version=”4.16″ background_size=”initial” background_position=”top_left” background_repeat=”repeat” global_colors_info=”{}”][et_pb_column type=”1_3″ _builder_version=”4.16″ custom_padding=”|||” global_colors_info=”{}” custom_padding__hover=”|||”][et_pb_image src=”https://staging.film-nerd.com/wp-content/uploads/2023/01/everything-everywhere-all-at-once.jpg” alt=”Everything Everywhere All at Once” title_text=”everything-everywhere-all-at-once” align_tablet=”center” align_phone=”” align_last_edited=”on|desktop” _builder_version=”4.19.4″ global_colors_info=”{}”][/et_pb_image][/et_pb_column][et_pb_column type=”2_3″ _builder_version=”4.16″ custom_padding=”|||” global_colors_info=”{}” custom_padding__hover=”|||”][et_pb_text _builder_version=”4.19.4″ global_colors_info=”{}”]

    #2: Everything Everywhere All At Once

    I mentioned with X that there are movies that seem to come out of nowhere that end up surprising you. Then, there are ones that aren’t big-budget studio films that everyone and their grandmother can’t stop talking about. While it would seem like that at first glance, I’m happy to say Everything Everywhere All at Once doesn’t disappoint. Given its outlandish premise, the filmmakers were able to make it digestible to general audiences without insulting their intelligence. The film manages to mix science-fiction, action, comedy, and drama in a way that feels natural, which isn’t easy. It helps that you have Michelle Yeoh, Ke Huy Quan, and Jamie Lee Curtis giving some excellent performances. If ever there were a film that earned universal acclaim that deserved it, it would be this one. Everything Everywhere All at Once is a cinematic experience I will never forget.

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    #1: The Northman

    Since 2015’s The Witch, Robert Eggers has become a filmmaker I watch closely for his next project to be announced. He continued to defy my expectations with 2019’s The Lighthouse, and he does it again with The Northman. Like Eggers’ other films, this one could be classified as “style over substance,” but I think that’s a gross oversimplification. Movies have always been a visual medium, and Eggers takes full advantage of that, using visuals to tell the story. There’s enough dialogue to move the story forward, but you could watch it on mute and get the same effect. It also proves that a simple revenge story is all you need so long as it’s told well. The performances are terrific, the sets and costumes look incredible, and the action is intense. It’s for these and many other reasons why The Northman is my favorite film of 2022!

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    Worst/Most Disappointing Films

    [/et_pb_text][/et_pb_column][/et_pb_row][et_pb_row column_structure=”1_4,1_4,1_4,1_4″ _builder_version=”4.16″ global_colors_info=”{}”][et_pb_column type=”1_4″ _builder_version=”4.16″ custom_padding=”|||” global_colors_info=”{}” custom_padding__hover=”|||”][et_pb_image src=”https://staging.film-nerd.com/wp-content/uploads/2023/01/morbius.jpg” alt=”Morbius” title_text=”morbius” url=”https://staging.film-nerd.com/morbius-2022/” align_tablet=”center” align_phone=”” align_last_edited=”on|desktop” admin_label=”Morbius” module_class=”image-zoom” _builder_version=”4.19.4″ global_colors_info=”{}”][/et_pb_image][/et_pb_column][et_pb_column type=”1_4″ _builder_version=”4.16″ custom_padding=”|||” global_colors_info=”{}” custom_padding__hover=”|||”][et_pb_image src=”https://staging.film-nerd.com/wp-content/uploads/2023/01/slutty-the-clown.jpg” alt=”Slutty the Clown” title_text=”slutty-the-clown” url=”https://staging.film-nerd.com/slutty-the-clown-2022/” align_tablet=”center” align_phone=”” align_last_edited=”on|desktop” admin_label=”Slutty the Clown” module_class=”image-zoom” _builder_version=”4.19.4″ global_colors_info=”{}”][/et_pb_image][/et_pb_column][et_pb_column type=”1_4″ _builder_version=”4.16″ custom_padding=”|||” global_colors_info=”{}” custom_padding__hover=”|||”][et_pb_image src=”https://staging.film-nerd.com/wp-content/uploads/2023/01/thor-love-and-thunder.jpg” alt=”Thor: Love and Thunder” title_text=”thor-love-and-thunder” url=”https://staging.film-nerd.com/thor-love-and-thunder-2022/” align_tablet=”center” align_phone=”” align_last_edited=”on|desktop” admin_label=”Thor: Love and Thunder” module_class=”image-zoom” _builder_version=”4.19.4″ global_colors_info=”{}”][/et_pb_image][/et_pb_column][et_pb_column type=”1_4″ _builder_version=”4.16″ custom_padding=”|||” global_colors_info=”{}” custom_padding__hover=”|||”][et_pb_image src=”https://staging.film-nerd.com/wp-content/uploads/2023/01/halloween-ends-scaled.jpg” alt=”Halloween Ends” title_text=”halloween-ends” url=”https://staging.film-nerd.com/halloween-ends-2022/” align_tablet=”center” align_phone=”” align_last_edited=”on|desktop” admin_label=”Halloween Ends” module_class=”image-zoom” _builder_version=”4.19.4″ global_colors_info=”{}”][/et_pb_image][/et_pb_column][/et_pb_row][/et_pb_section]

  • Friday the 13th: The Final Chapter (1984)

    Friday the 13th: The Final Chapter (1984)

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    Though it was to end the series, Friday the 13th Part 3 grossed $36.7 million on a $2.2 million budget. Paramount decided to make another sequel, but producer Frank Mancuso, Jr. was adamant that this would be the last film. Instead of Steve Miner returning, director Joseph Zito was brought in due to his work on 1981’s The Prowler. Tom Savini, who created the effects for the original Friday the 13th, was brought on after working with Zito. While most of the cast was relatively unknown, future superstars Corey Feldman and Crispin Glover were hired for the film. For the role of Jason, Zito hired Ted White, an accomplished stuntman who worked with John Wayne and Clark Gable. On a budget of $2.6 million, filming lasted between 1983-1984 in Topanga Canyon and Newhall, California. After a brief post-production, Friday the 13th: The Final Chapter hit theaters on April 13, 1984.

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    Synopsis

    Picking up directly where the last film left off, Jason Voorhees (Ted White) has escaped from the morgue. He returns to Crystal Lake, where a group of teens stays for the weekend to smoke, drink, and have sex. There’s Paul (Alan Hayes), his girlfriend Sam (Judie Aronson), the virginal Sara (Barbara Howard), and her boyfriend Doug (Peter Barton). Also, there are Teddy (Lawrence Monoson) and Jimmy (Crispin Glover) vying for twins Tina and Terri (Camilla and Carey More). They’re staying near the Jarvis family – Trish (Kimberly Beck), her mother (Joan Freeman), and her younger brother Tommy (Corey Feldman). Soon enough, Jason makes his way to them and starts killing the teens off one by one. It’s up to Trish and her brother Tommy to fend off Jason and stay alive. Will they become Jason’s next victims, or will this be Jason’s final Friday?

     

    Review

    Even though this didn’t end the series, Friday the 13th: The Final Chapter is one of the best entries. Hiring Joseph Zito as director was the most intelligent decision the producers could’ve made since he did a great job. He creates a sense of dread and tension that makes this one of the scariest films in the franchise. Also, he brought Tom Savini back, who delivered some of his best effects work and created some wonderfully gruesome kills. We get a hacksaw to the throat, a corkscrew/cleaver kill, and a guy’s head getting smashed in the shower. Even the less graphic kills are memorable, either for being darkly comedic or having a psychological twist. Given his background as an old-school stuntman, Ted White was a great choice to don the hockey mask. He has an imposing figure that helps make Jason feel like a powerhouse of terror.

    The strengths of a Friday the 13th movie are the kills and the characters, and this has some great characters. Monoson and Glover have great chemistry and feel like two old friends who playfully trade insults back and forth. Admittedly, the rest of the teens come off as somewhat disposable, but none are annoying or unlikeable. On the flip side, the Jarvis family is easy to sympathize with, being a broken family trying to stay together. Beck and Feldman work well as brother and sister and manage to hold their own against White. As always, Harry Manfredini adds to the suspense with one of his best scores in the series’ history. Despite the subtitle no longer being relevant, this is still one of the best slasher films of the mid-1980s. Overall, Friday the 13th: The Final Chapter is an excellent entry and a high watermark for the series.

     

    Buy Friday the 13th: The Final Chapter from Amazon: https://amzn.to/3QzXGP6.

    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 Friday the 13th: The Final Chapter (1984)

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  • Fear Town, USA (2014)

    Fear Town, USA (2014)

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    In 1999, comedians Matt Besser, Amy Poehler, Ian Roberts, and Matt Walsh founded the Upright Citizens Brigade (UCB) theater. The comedy troupe helped launch the careers of Aubrey Plaza, Andrew Daly, Nick Kroll, Ben Schwartz, and Donald Glover. In 2006, aspiring filmmaker Brandon Bassham joined UCB and directed several comedy shorts for them and College Humor. With a cast and crew consisting of UCB players, Bassham shot his horror spoof around New York. Around 2013, Bassham launched an IndieGogo campaign to fund his first full-length feature film and managed to raise $6,000. Through an actor friend, Amber Nelson, Bassham met with Troma founder/president Lloyd Kaufman and struck a deal. Troma provided extra funds for the film, about $4,000 for a total of $10,000, in exchange for distribution rights. In 2014, Troma released Brandon Bassham’s directorial debut, Fear Town, USA.

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    Synopsis

    It’s St. Blevin’s Day, and everyone who’s anybody will be partying it up, getting drunk, and crushing pussy. Everyone except for friends Mark (Mark Vigeant), Dan (Dan Kenkel), Myles (Jon Bershad), and Andrew (James McCarthy). While the guys play some D&D, bullies Brad (Dan Black) and Todd (Matt B. Mayer) boast about attending the party. Determined to lose their virginity, the boys set out to get to the party only to get lost. Meanwhile, friends Jen (Anna Callegari), Kelly (Cody Lindquist), and Rachel (Amber Nelson) also attend the party looking for fun. While 17-year-old Dana (Dana Clinkman) is looking for her online boyfriend, a group of uninvited guests decides to camp out. Little do our partygoers know that an escaped mental patient is killing anyone he comes in contact with. This St. Blevin’s Day will be remembered as our happy-go-lucky partiers try to survive Fear Town, USA.

     

    Review

    That synopsis only covers so much of Fear Town, USA, as so much more happens here. This movie feels like Brandon Bassham threw everything at the wall and saw what stuck to mixed results. There are vengeful spirits, demonic cults, nosy psychics, absent-minded cops, contemplative stoners, and even The Devil. With the many central characters, each plotline feels like its story could be a separate movie. Unfortunately, this approach makes it difficult to have a character to follow since there are so many to remember. In addition, not a single scene goes by without at least one or two gags or jokes happening. Plenty of these jokes land, and some don’t, but there are so many that it’s overwhelming. The movie also occasionally runs into the issue of dragging a joke out so long that it’s no longer funny. Thankfully, it’s not to Adult Swim levels of anti-humor.

    The acting is mostly decent, though plenty of the actors play their roles like they’re in a comedy. Thankfully, it’s not to the same degree as Llamageddon, where most of the acting was intentionally bad. Plus, unlike that movie, some jokes work, such as one with the killer having trouble with a bow and arrow. There’s plenty of crude humor involving bodily fluids, sexual references, and using slurs that refer to one’s orientation. While there aren’t many, some kills, including a knife going through a guy’s groin into a woman’s head, are gruesome. Also, so many odd moments, especially the ending, will leave you baffled and wondering what you’re watching. Still, even at 90 minutes, the movie feels padded to reach that length, and 20 minutes could’ve been trimmed. Overall, Fear Town, USA, is a bit disjointed, but it has some decent humor that you won’t soon forget.

     

    Buy Fear Town, USA, from Amazon: https://amzn.to/3ZptVoj.

    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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