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  • Fortress of Amerikkka (1989)

    Fortress of Amerikkka (1989)

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    After filming Lust for Freedom for Troma, filmmaker Eric Louzil flew to their New York office to pitch an idea. His concept revolved around a group of mercenaries taking over a small American town and the citizens fighting back. While some at Troma weren’t sure about his pitch, Lloyd Kaufman fully supported Louzil and told him to make it. With a budget of roughly $100,000, Louzil planned to shoot the film in Washington state, California, and parts of Arizona. Louzil would send the dailies to the Troma offices in New York during filming and would receive generally negative feedback. However, Kaufman believed in Louzil enough that he told him to keep going and make the movie he wanted. Louzil also replaced the lead role when the original actor tried faking an injury to collect the insurance. Despite these setbacks, Fortress of Amerikkka hit video stores in August 1989.

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    Synopsis

    After serving jail time, John Whitecloud (Gene LeBrock) returns home to Troma City and immediately runs into trouble. Years ago, the Sheriff (David Crane) killed his brother, and John wants revenge to put his brother’s spirit to rest. At the same time, he runs into an old flame, Jennifer (Kellee Bradley), who’s since gotten engaged to another man. Meanwhile, a band of mercenaries calling themselves the “Fortress of Amerikkka” is forming out in the neighboring woods. Led by the maniacal Commander Karl Denton (William J. Kulzer), the mercenaries kill random passersby to prepare for a revolution. As the bodies pile up, John must lead a group of civilians to take on the mercenaries. Initially, he’s met with backlash, but the citizens band together to save their town after the mercenaries kill the Sheriff. Who will win the fight, the citizens of Troma city or the Fortress of Amerikkka?

     

    Review

    While researching Fortress of Amerikkka, I saw several people saying this is one of Troma’s worst movies. Considering the company also released Igor and the Lunatics and Carnal Monsters, I wonder what movie those people saw. Admittedly, I wouldn’t call Fortress of Amerikkka one of their best movies, but it’s nowhere near one of the worst. If you go into this expecting the same outrageousness of Troma’s usual fare, you’ll most likely be disappointed. This movie does have plenty of explosions, bloody violence, and fake breasts to satisfy any exploitation fan. Aside from that, this is one of Troma’s more straight movies, which is refreshing and the film’s main flaw. The film drags as it injects plot and character development when things aren’t blowing up, and bare breasts aren’t exposed. Thankfully, only certain moments are boring rather than the whole being a drag to sit through.

    Acting-wise, everyone plays their parts as if they were in a serious action film for the most part. In the lead, Gene LeBrock has the looks and charisma needed to make John Whitecloud believable as a reluctant hero. As the Sheriff, David Crane plays a great bad guy you love to hate, though you can understand his viewpoint. William J. Kulzer is on another level with his performance, acting over-the-top just enough to come off as menacing. Kellee Bradley does what she can with the material given, but she’s the cast’s weakest link. Thankfully, there are plenty of explosions and graphic violence to keep people entertained, and the climax is the film’s highlight. It does take a while for things to get going, but this is still an underrated gem in Troma’s catalog. Overall, Fortress of Amerikkka has its problems, but it’s worth at least a one-time viewing.

     

    Buy Fortress of Amerikkka from Vinegar Syndrome: https://bit.ly/3aao4he.

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  • Top Gun (1986)

    Top Gun (1986)

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    In the May 1983 issue of California, Ehud Yonay wrote an article about an elite school for jet fighter pilots. The article caught the attention of producers Don Simpson and Jerry Bruckheimer, who previously made Flashdance and Beverly Hills Cop. They hired writers Jim Cash and Jack Epps Jr, who previously wrote the 1985 made-for-TV movie Izzy and Moe. After seeing his commercial work, the producers picked Tony Scott, brother of Alien director Ridley Scott, for the director’s chair. Initially, the filmmakers considered Matthew Modine for the lead role, which eventually went to an up-and-coming Tom Cruise. Paramount Pictures greenlit the project for a $15 million budget, and the producers got the Navy to offer their assistance. Filming commenced in 1985 aboard actual aircraft carriers and the Kansas City Barbecue restaurant in San Diego. After some brief reshoots, Top Gun landed in theaters in May 1986.

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    Synopsis

    Aboard the USS Enterprise, pilots Pete “Maverick” Mitchell (Tom Cruise) and Nick “Goose” Bradshaw (Anthony Edwards) fly an F-14A Tomcat. During a mission, Maverick defies orders to help his wingman Bill “Cougar” Cortell (John Stockwell) land amidst a panic attack. Cougar quits, forcing commander Tom “Stinger” Jardian (James Tolkan) to send Maverick and Goose to TOPGUN Naval Fighter Weapons School. Upon arriving, Maverick catches the eye of civilian instructor Charlotte “Charlie” Blackwood (Kelly McGillis) after learning of his inverted maneuver. He also draws the ire of fellow student Tom “Iceman” Kazansky (Val Kilmer), who becomes Maverick’s rival. As the two compete for the top spot at TOPGUN, Maverick develops a relationship with Charlie despite her reluctance. Unfortunately, things go south when Goose dies in a crash after Maverick and Iceman pursue an enemy jet. With his best friend gone, Maverick has to tackle flight school all by himself.

     

    Review

    Alongside Ghostbusters and Back to the Future, Top Gun is considered one of the most iconic movies of the 1980s. Like those movies, this one has some iconic one-liners, a memorable soundtrack, and eye-catching visuals that stick with you. Unfortunately, for as much style as this movie has, it’s also one of the more forgettable movies from the decade. While the visuals and cinematography are phenomenal, there’s not much substance to the characters and the story. We remember names like Maverick, Iceman, and Goose, but they’re more like character archetypes than actual characters. Maverick’s the typical hot-headed and arrogant hero, Iceman’s the rival, and Goose is the comic relief. It doesn’t help either that the story is more like a series of events than a cohesive narrative. Things happen, but it’s never clear how one scene ties into another, and it feels like a narrative mess.

    That said, there are a lot of elements that make this movie as memorable as it is. First, Tom Cruise still brings all the energy and charisma he usually brings to his 80s films. Anthony Edwards is likable as a good-hearted goofball, and the scenes of him and his family are endearing. Val Kilmer makes for a solid rival, though there’s not much interaction between him and Cruise. Kelly McGillis does the best she can with the material given, and she has decent enough chemistry with Cruise. Plus, it’s great to see character actors like James Tolkan, Tom Skerrit, and Michael Ironside show up. The action sequences are spectacular, and Tony Scott’s use of the magic hour makes the scenes much more dynamic. Overall, Top Gun is a flawed but fun 80s action movie that’s a good time despite its outdatedness.

     

    Buy Top Gun from Amazon: https://amzn.to/38Roqcy.

    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 Godfather: Part II (1974)

    The Godfather: Part II (1974)

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    On a $6 million budget, The Godfather exceeded all expectations, grossing over $130 million domestically and over $250 million worldwide. It was the highest-grossing film of 1972 and held the record for the all-time highest-grossing film until Jaws. The film also received universal praise from critics and won three Oscars: Best Actor, Best Adapted Screenplay, and Best Picture. Given the success, Paramount was eager to get a sequel out the door and even gave Coppola complete creative control. For the sequel, Coppola wanted to tell two stories: the rise of Vito Corleone and the fall of Michael Corleone. Coppola managed to bring back several original cast members with a budget of $13 million (more than double the original’s). Filming ran from October 1973 to June 1974, though panic arose when early preview screenings called the film a disaster. Nevertheless, The Godfather: Part II had its NYC premiere in December 1974.

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    Synopsis

    After his father’s death, Michael Corleone (Al Pacino) is the new Don of the Corleone crime family. He has to take on running an organized crime league while also caring for his current family. Unfortunately, things go south after Michael and his wife Kay (Diane Keaton) survive an attempted assassination while in bed. In response, Michael goes to Nevada and meets with mobster Hyman Roth (Lee Strasberg), who he suspects of the assassination. While this is going on, the film shows how Vito Corleone (Robert De Niro) rose to power. In addition to his children being born, we see how Vito eliminated Don Fanucci (Gastone Moschin) in his conquest. Back in the present, Michael contends with duplicitous partners, a Senate committee cracking down on crime, and his wife miscarrying. As the power and responsibility of being a don get to Michael’s head, his family life begins to crumble.

     

    Review

    Given the critical and commercial success of the original, The Godfather: Part II had a lot to live up to. For the most part, this sequel manages to be as good as the first film, but it has its problems. On the one hand, I’m glad Coppola had more creative control to make the movie he wanted to make. On the other hand, he might’ve gone overboard with packing in as much material as possible in a 3-hour runtime. The plot jumps back and forth between Michael’s story and Vito’s origin throughout the movie without any rhyme or reason. This jumping back-and-forth makes it challenging to follow what’s going on and keep track of both stories. Still, it’s interesting seeing how Vito maintains his family while becoming powerful, contrasted with how Michael’s family is falling apart. It’s a shame there’s not much cohesion between both narratives.

    Much like the original, this film showcases some of the best actors the 1970s had to offer. Not only is his character further expanded upon, but Al Pacino delivers an electrifying performance as a broken man. You feel how the pressure of being the Don affects him and his loved ones, especially in his outbursts. By contrast, Robert De Niro gives a calm and levelheaded performance as the young Vito Corleone. Even with limited experiences, you feel like this guy is in control of the situation and knows what he’s doing. The rest of the performances are exceptional, particularly Diane Keaton, Talia Shire, Robert Duvall, John Cazale, and Lee Strasberg. The production design is phenomenal, Gordon Willis’ cinematography is solid, and Nino Rota’s score is just as epic. Overall, The Godfather: Part II has its problems, but it’s a worthy successor to the original classic.

     

    Buy The Godfather: Part II from Amazon: https://amzn.to/3FV6xWt.

    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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  • Transformations (1988)

    Transformations (1988)

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    Jay Kamen was an assistant story editor at American International Pictures when he got a call from producer Bob Wynn. Wynn served as a producer on Cellar Dweller for Charles Band’s Empire Pictures and needed a director. Kamen made a short film that won awards at the Miami Film Festival and the Festival of Festivals in Houston. Since this would be his first feature-length film, Kamen took the job and flew out to Rome for a meeting. He met with Charles Band, who gave him a script written by Mitch Brian, who previously wrote 1987’s Night Screams. The screenplay was about a space parasite that infects the lead and quickly spreads as an allegory for AIDS. Kamen cast Rex Smith for the lead role because he was a fan of his from The Pirates of Penzance. Armed with a small budget, Kamen filmed Transformations in the Empire Studios in Rome.

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    Synopsis

    Wolfgang Shadduck (Rex Smith) is a smuggler floating through space when a mysterious creature invades his ship. The alien shapeshifts into a beautiful woman (Pamela Prati), who seduces him and infects him with a deadly virus. In addition, the creature damages the ship, forcing it to crash land on a nearby prison planet. Wolfgang is recovered and nursed back to health by the prison doctor Miranda (Lisa Langlois), who immediately falls for him. Meanwhile, a group of prisoners – Calihan (Christopher Neame), Antonia (Cec Verrell), and Stephens (Michael Hennessy) – hatch an escape plan. They plan on taking Wolfgang hostage and forcing him to use his ship so they can escape the prison planet. Unfortunately, the disease starts consuming Wolfgang, turning him into a sex-crazed mutant who goes on a rampage. Will Wolfgang be cured, will the prisoners successfully escape, and where did the alien come from in the first place?

     

    Review

    With Transformations, it’s a movie that will be hard to review since not much happens in its 80-minute runtime. The opening scene checks off all the boxes of low-budget science-fiction: gratuitous nudity, weird-looking creatures, and minimal set design. Once Wolfgang’s ship crashes on the prison planet, the film grinds to a halt until roughly the last half hour. The production design is surprisingly decent in this movie’s defense, considering this was towards the end of Empire Pictures. Jay Kamen does a decent job for a first-time director, though most of the camerawork is substandard. With the creature effects, John Carl Buechler’s assistant William Butler does some good work considering the limited resources. Admittedly, we don’t see the whole alien creature except for the beginning and near the movie’s end. Aside from that, there are some decently gross prosthetics and gory death scenes sprinkled throughout.

    Rex Smith makes a decent lead, though he doesn’t come off as a believable space smuggler like Han Solo. Lisa Langlois is alright as the female lead, though her dialogue sounds cliche, and there’s not much chemistry with Smith. Neame and Verrell are okay, but their characters aren’t that interesting, though Hennessy seems to be trying too hard. Despite his brief scenes, Patrick Macnee takes the material seriously and gives a performance that’s too good for this movie. The prison planet could’ve offered many opportunities, but the film doesn’t do much with this setting. Additionally, not much is explained, such as where the creature who infected Wolfgang came from or its ultimate demise. Despite these questions, this is a decent throwaway sci-fi monster movie that’ll at least kill some time. Overall, Transformations is fairly forgettable but it’s still worth a watch for Empire/Full Moon completionists.

     

    Buy Transformations from Amazon: https://amzn.to/3x0lvXc.

    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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  • American Psycho (2000)

    American Psycho (2000)

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    In 1991, novelist Bret Easton Ellis’ third novel, American Psycho, was published and immediately drew controversy from women’s rights groups. Many people condemned the book for its graphic violence and what they perceived as a misogynist view. Despite this, the book caught the attention of producer Edward R. Pressman, who purchased the film rights in 1992. Initially, the producers considered Stuart Gordon and David Cronenberg to direct, with Johnny Depp and Brad Pitt set to star. Eventually, they hired up-and-coming filmmaker Mary Harron, who received rave reviews for her debut feature, I Shot Andy Warhol. She brought on writing partner Guinevere Turner to helm the screenplay, eliminating any psychological backstory from the lead character. While the studio wanted a prominent actor like Leonard Di Caprio for the lead, Harron insisted on casting Christian Bale. With a $7 million budget, American Psycho hit the silver screen in April 2000.

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    Synopsis

    Investment banker Patrick Bateman (Christian Bale) spends much of his time keeping up appearances with his fellow Wall Street brokers. Despite hating most of them, Bateman wants to appear sophisticated and like a big shot to his peers. Though he has a fiance, Evelyn Williams (Reese Witherspoon), Bateman picks up some hookers, brutalizes them, and eventually kills them. He and his coworkers flaunt their business cards during a meeting when Paul Allen (Jared Leto) wows them with his. Enraged by this incident, his lifestyle, and getting a reservation at Dorsia, Bateman kills Allen while playing Huey Lewis. Later, private investigator Donald Kimball (Willem Dafoe) interviews Bateman about Allen’s disappearance, and Bateman pretends not to know what happened. At a lunch meeting, Kimball tells Bateman that he’s no longer a suspect, which relieves him and makes him nervous. As his paranoia grows, Bateman’s sense of reality begins to crumble.

     

    Review

    American Psycho is a movie that is still relevant despite being set in the past, specifically the 1980s. While current audiences view that decade with nostalgia, this film almost seems like the antithesis of the time. This movie deconstructs all the excess, culture, and social status of the 1980s and shows its horror. The film exemplifies this through Bateman’s monologues about popular songs from Robert Palmer, Phil Collins, and Whitney Houston. When he’s discussing Phil Collins’ Sussudio, it sounds less like an academic dissertation and more like the liner notes. Much like the book, Harron can abruptly cut from these darkly comedic moments to the more gruesome scenes of murder. The violent, more horrific scenes starkly contrast the intentionally drab, almost hollow look of 1980s glamor. Ordinarily, these radical shifts in tone and genre would be a detriment, but here, it works perfectly.

    Speaking of working perfectly, Christian Bale nails it as the psychopathic and hateful yet charming and suave Patrick Bateman. By all accounts, he’s a terrible person, but Bale injects so much life into his performance that you accept it. Bale can go from haunting to charming to deranged to panicked so effortlessly, and you buy every second of it. You’ve also got a great supporting cast: Willem Dafoe, Reese Witherspoon, Chloe Sevigny, and Justin Theroux. Even minor appearances from Cara Seymour, Matt Ross, and co-writer Guinevere Turner stand out in their brief moments. Along with the catchy soundtrack, there’s also the haunting score by John Cale that contrasts perfectly with the upbeat songs. My only major complaint is that the movie can drag at times, and the ending will leave audiences confused. Overall, American Psycho is a hilariously frightening satire on 1980s culture punctuated by an iconic performance.

     

    Buy American Psycho from Amazon: https://amzn.to/3z1xqqn.

    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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  • Waitress! (1981)

    Waitress! (1981)

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    Made on an estimated budget of $150,000, Squeeze Play proved to be a hit for the burgeoning studio. After premiering in Norfolk, Virginia, the movie was financially successful and earned positive reviews from The New York Times. With a winning formula, Lloyd Kaufman and Michael Herz decided to start cranking out more sex comedies. Like their last film, the team decided to base their next movie on the rising women’s liberation movement. Kaufman and Herz chose to use a restaurant as the setting for their next sex comedy. They chose a local restaurant called Marty’s in Manhattan for filming locations, which presented a new set of problems. The crew wasn’t allowed to shoot during work hours, so they had to wait and film throughout the night. While filming wrapped in 1981, “Waitress!” premiered at the Cannes Film Market in 1982 and New York later that year.

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    Synopsis

    Andrea (Carol Drake), Jennifer (Carol Bevar), and Lindsey (Renata Hickey) are struggling waitresses working at a high-class restaurant. In addition to the insanity of food service, each has personal problems outside of work they have to deal with. On top of her boyfriend Jerry (Jim Harris) being the restaurant’s manager, Andrea is an aspiring actress looking for work. Jennifer is working as a waitress to interview people for an article she’s hoping to get published. Lindsey’s father, Mr. Bellerman (Ed Fenton), happens to be the restaurant’s owner, and he’s making her work as punishment. Everything at the restaurant gets topsy turvy as the staff goes crazy and the patrons flee. There’s an alcoholic cook, a medical student working as a bartender, and an over-the-top cowboy, among other wacky staff and diners. A complete course meal of zaniness with some hilarity will be served in this madhouse of a restaurant.

     

    Review

    It feels like Kaufman and Herz tried to go all out with “Waitress!” to recreate the success they had before. Unfortunately, they created a movie that tries so hard to be funny that it’s too chaotic to follow. There are so many gags and jokes sprinkled throughout that it’s hard to understand what’s happening. For instance, one scene will have pratfalls, hot food jokes, and rolls flying happening all at once. There will often be a joke that works, but they’re so few and far between. I feel like Kaufman and Herz just threw whatever gags they thought of against the wall and saw what stuck. Later Troma movies like Terror Firmer would have tons of background gags, but they at least had more focus. This movie, however, is such a chaotic mess that it’s more confusing than it is funny.

    Like Squeeze Play, the cast comprises relatively unknown actors who haven’t done much else before or since. Among the cast is soap opera star Hunt Block, Tony Denison from The Closer, and Chris “Mr. Big” Noth. Considering that Block and Denison went under pseudonyms, something tells me they’re not too proud of this. The rest of the cast do the best with the material and play their parts exaggeratedly. Carol Drake, in particular, really goes for it as an actress who’s desperate to play Joan of Arc. On top of looking like a bootleg Billy Crystal, Jim Harris has some of the funniest lines in the movie. The movie goes by quickly at slightly under 90 minutes, though it’s so hectic that you won’t know what happened. Overall, “Waitress!” has its moments, but it’s more of a mess than a hidden comedic gem.

     

    Buy Waitress! from Amazon as part of The Sexy Box: https://amzn.to/3lojFtq.

    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 (2006)

    Evil Bong (2006)

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    While having dinner with his two youngest sons, Charles Band tossed around the idea of a weed movie. His mindset was to make a wacky stoner movie about a bong that teleports people to an alternate dimension. Essentially, he just wanted an excuse to, as he described it, “silliness and naked chicks,” so production got rolling. Since Band loved the idea of crossovers, he decided to add characters from previous Full Moon movies. He included characters from classics like Trancers and Demonic Toys and newer movies, The Gingerdead Man and Doll Graveyard. Because of the subject matter, they hired Tommy Chong to make a small appearance in the movie. The movie is also notable for being cinematographer Mac Ahlberg’s last credit before his passing in 2012. After a brief 7-day shooting period, Evil Bong made its way onto video store shelves in 2006.

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    Synopsis

    Nerdy college student Alistair McDowell (David Weidoff) has just moved into a new apartment with drop-out Larnell (John Patrick Jordan). Larnell lives with his two roommates, the stereotypical surfer Bachman (Mitch Eakins) and the stereotypical jock Brett (Brian Lloyd). Except for Alistair, all the guys are stoners, and Larnell decides to buy a new bong from a local listing. Supposedly, the original owner of the bong claimed it had supernatural powers and was cursed, but they smoke it anyway. After hitting the bong, each guy ends up in another world where demonic strippers kill them. The bong grows stronger with each new victim and starts reverting to its original look. Soon enough, the original owner, Jimbo Leary (Tommy Chong), arrives to destroy the bong and rid humanity of its evil. It’s one hell of a trip as our heroes must contend with Eebee (Michelle Mais), the Evil Bong!

     

    Review

    Going into this movie, you’ll know whether or not you’ll enjoy it based on the title. If your first reaction upon hearing Evil Bong is to groan, you’ll want to avoid this. This film scrapes the bottom of the barrel, even by Full Moon standards, compared to movies like Subspecies and Dollman. Still, unlike Puppet Master: The Legacy, this at least is a whole movie instead of a glorified highlight reel. You can tell this is a far cry from the Paramount era just by how cheap this movie looks. There’s only a handful of characters, most of it takes place on one set, and the puppet’s mouth doesn’t move. Honestly, I wouldn’t be surprised if most of the movie’s budget went to having Tommy Chong and Bill Mosely appear. I’m sure whatever was left was used to get Tim Thomerson to show up for one scene.

    Tommy Chong seems to be having fun swinging a chainsaw at the titular bong to his credit. He delivers the usual stoned-out performance you would expect from his Cheech & Chong movies or That 70s Show. Sadly, the same sentiment can’t be said for the rest of the actors, who range from mediocre to stiff. Instead of playing three-dimensional characters, each cast member plays the most exaggerated stereotype you can think of. For instance, Mitch Eakins is playing a dollar-store version of Dante from Grandma’s Boy, which came out the same year. Weidoff seems miscast as Alistair, looking less like a nerd and more like a jock who’s dressed like a nerd. In fairness, this movie isn’t trying to be anything more than a dumb stoner horror-comedy for what it’s worth. Overall, Evil Bong is far from Full Moon’s peak, but there are worse ways to kill 90 minutes.

     

    Buy Evil 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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  • Friday the 13th Part 3 (1982)

    Friday the 13th Part 3 (1982)

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    On a budget of $1.25 million, Friday the 13th Part 2 grossed $21.7 million in the US. As you’d expect, critics were none too kind towards the movie, with Roger Ebert giving it 1/2 a star. While not as big a hit as the original, Paramount still decided to move ahead with another sequel. Steve Miner returned to direct and offered an idea to make this entry stand out: shoot it in 3D. In the early 1980s, there was a mini-revival of 3D movies thanks to the success of Comin’ at Ya! Because of the new technology, filming was more complicated, with setups taking hours and actors having to perform multiple takes. To accommodate for theaters that couldn’t show 3D movies, Paramount spent an extra $2 million on a 3D conversion. Despite these setbacks, Friday the 13th Part 3 slashed onto screens on Friday, August 13, 1982.

    [/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=”70″ bar_bg_color=”#EDF000″ _builder_version=”4.17.4″ _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

    Chris Higgins (Dana Kimmell) and her friends are going on a weekend trip to her old home, Higgins Haven. Joining her are Debbie (Tracie Savage), Andy (Jeffrey Rogers), Shelley (Larry Zerner), Vera (Catherine Parks), and Rick (Paul Kratka). Unbeknownst to them, Jason Voorhees (Richard Brooker) hides in a nearby barn, having survived the last film. At first, Jason kills a gang – Ali (Nick Savage), Fox (Gloria Charles), and Loco (Kevin O’Brien) – when they break inside. Before too long, Jason makes his way to Higgins Haven and starts picking everyone off one by one. At one point, Chris reveals to Rick that she came back to confront her fears after a traumatic experience. As the bodies keep piling up, it’s up to Chris to fight off Jason and try to survive the night. Will she be able to fend him off, or will she be Jason’s next victim?

     

    Review

    On its own, Friday the 13th Part 3 is a fairly standard slasher film, but that’s not bad. The film gives you what you want in a slasher: likable characters, gruesome kills, and a basic story. What makes this stand out is its use of 3D, namely the old-school gimmick of throwing stuff at the screen. They throw popcorn, yo-yos, eyeballs, harpoons, pitchforks, marijuana cigarettes, and baseball bats toward the camera, which adds to the fun. Just seeing how far they go to justify the 3D cameras adds to the charm. Admittedly, you won’t get the same experience without a 3D setup, but it’s still fun to see in 2D. Unfortunately, the 3D is the only thing this movie has going for, but it has plenty to offer. Just don’t go in expecting anything new and groundbreaking in this entry.

    Like the first two movies, this one has some fun, likable characters that you feel bad for when they die. Though not as memorable as Adrienne King or Amy Steel, Dana Kimmell still makes for a good final girl. She has a warm, innocent charm that makes it more impactful when she goes toe-to-toe with Jason. Larry Zerner steals the show as the loveable prankster Shelley, who feels he has to scare people for their attention. He’s also notable for providing Jason with his iconic hockey mask, replacing the flour sack from the last film. Speaking of Jason, Richard Brooker does an excellent job giving Jason an imposing presence and making him more threatening. The cherry on top of the sundae is the music, particularly the theme song, easily the most memorable. Overall, Friday the 13th Part 3 is pretty basic, but the 3D makes it more enjoyable.

     

    Buy Friday the 13th Part III from Amazon: https://amzn.to/409OnuK.

    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 Part 3 (1982)

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  • Evolution (2015)

    Evolution (2015)

    [et_pb_section fb_built=”1″ fullwidth=”on” _builder_version=”4.16″ _module_preset=”default” custom_margin=”||||false|false” global_colors_info=”{}”][et_pb_fullwidth_header title=”Special Review” subhead=”This review is a special request from Discord user RamblingsOfAMadman. If you’d like to join the server, click the button below.” text_orientation=”center” button_one_text=”Visit Discord” button_one_url=”https://discord.gg/CdJQ2npEGf” background_overlay_color=”#8300E9″ _builder_version=”4.17.3″ _module_preset=”default” custom_margin=”||||false|false” custom_padding=”25px||25px||false|false” global_colors_info=”{}”][/et_pb_fullwidth_header][/et_pb_section][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=”4.17.3″ _module_preset=”default” global_colors_info=”{}”]

    Lucile Emina Hadžihalilović is a French writer and director who’s worked in the industry since the late 1980s. After graduating from La Femis, she worked with noted French filmmaker Gaspar Noé on Carne and I Stand Alone. Noé was also the cinematographer on Lucile’s first film after graduation, La Bouche de Jean-Pierre, in 1996. She gained a lot of attention for 2004’s Innocence starring Marion Cotillard and Hélène de Fougerolles. The film won numerous awards at the Amsterdam Fantastic Film Festival, Istanbul International Film Festival, and Stockholm Film Festival. Ten years after her big break, she followed that up with an 18-minute short film called Nectar in 2014. For her next feature film, she drew on the real-life experience of having her appendix removed as a child. The result was the 2015 body horror film Evolution, premiering at the Portland International Film Festival in 2016.

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    Synopsis

    In a remote village, a young boy named Nicolas (Max Brebant) finds a dead body while swimming in the ocean. He tells his mother (Julie-Marie Parmentier), and she dives down to see it but only finds a red starfish. After getting into a fight with some boys, Nicolas’ mother takes him to a hospital for treatment. The doctors give him an injection above the stomach and room him with other boys who’ve had similar injections. Once released, Nicolas starts wondering if his mother and the other women in the village have been lying to him. He sneaks out at night and sees the women performing some bizarre ritual in the nude. Later, Nicolas notices that his mother has odd growths on her back that look like cephalopod suckers. However, what he’s about to discover about the injections will be more horrifying than he could’ve ever imagined.

     

    Review

    Going into Evolution, I had no idea what to expect other than a typical French film: slow and artsy. While it’s slower-paced and more about visuals, this is possibly one of the strangest movies I’ve seen lately. There are plenty of long, static shots that create a feeling of isolation, and the slow pace makes you feel uneasy. There’s very little dialogue, as the filmmakers rely more on the visuals than on having characters explain things. Much like The Human Centipede, I feel like the concept is more disgusting than what the movie presents us with. Thankfully, this film is much better than Tom Six’s notorious shocker, and I’m curious to see Lucile Hadžihalilović’s other work. Regardless of whatever issues I had, I have to commend her work, as this movie has an eerie presence. Above all else, this is undoubtedly a treat to the eyes.

    The acting is the stereotypical brooding, melancholy performance you would expect from a French arthouse film. Everyone delivers their lines so joylessly that it almost sucks the happiness out of you and put you to sleep. For his part, Max Brebant makes for a decent protagonist, being just as confused about what’s happening as we are. Plenty of people can relate to being a kid who doubts authority figures and questions everything they’re told. Julie-Marie Parmentier works as the mother figure who seems calm and peaceful, but has a dark side to her. There are some genuinely bizarre visuals sprinkled throughout, though they’ll confuse you more than scare you. Even at slightly over 80 minutes, the film feels padded and ends so abruptly that you’re unsure what you saw. Overall, Evolution certainly isn’t a bad movie, but it’s not one I see myself revisiting anytime soon.

     

    Buy Evolution from Amazon: https://amzn.to/3PbXqEK.

    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 Godfather (1972)

    The Godfather (1972)

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    In 1967, Paramount Pictures announced they would be backing the latest book by author Mario Puzo to adapt to film. Titled The Godfather, the book was published in 1969 and became an instant best-seller, selling over nine million copies. Following the publication, studio executive Robert Evans started looking for a director, preferring an Italian American to add authenticity. After getting turned down by Sergio Leone, Peter Bogdanovich, and Arthur Penn, Evans’ assistant suggested an up-and-coming Francis Ford Coppola. After finding Puzo’s book sleazy and sensational, Coppola initially turned it down but changed his mind due to financial problems. At the time, Paramount was not doing well as most of their past films bombed at the box office. The studio took issue with the casting decisions, inflating budget, and unconventional filming throughout the production. Despite these setbacks, Coppola’s The Godfather finally hit theaters in March 1972.

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    Synopsis

    Michael Corleone (Al Pacino) returns home from the war for the wedding of his sister Connie (Talia Shire). His father, Vito (Marlon Brando), is the don of a massive crime league who cares for his family. Unfortunately, Vito has his life threatened when drug baron Sollozzo (Al Lettieri) asks for his assistance and gets rejected. Vito’s put in the hospital while his son Sonny (James Caan) takes over and accepts the offer. Things progressively worsen as an all-out war between the five families breaks out, Vito worrying for his sons’ safety. He has Michael relocate to Sicily while Fredo (John Cazale) takes shelter in Las Vegas until everything blows over. While they’re away, Sonny gets gunned down by gangsters, but Vito doesn’t want anyone acting out in vengeance. Coupled with Vito’s failing health, Michael moves back home and takes the reins to try and preserve the family.

     

    Review

    Honestly, The Godfather is one of those movies where I’m not sure if there’s anything new I can add. All I can offer is my perspective on what’s considered one of the greatest films in American history. Incredibly, Francis Ford Coppola went from working with Roger Corman on low-budget quickies to directing an American classic. Working with cinematographer Gordon Willis, he adds a quiet, somber tone to the proceedings, even in the more violent scenes. This melancholy tone is further exemplified by composer Nino Rota’s brilliantly haunting score, which has become iconic. The cast includes so many great performances that it’s hard to narrow down to just a few standouts. Suffice it to say that there’s not a single weak, and everyone delivers a stellar performance. If I must single out a few standout actors, they’d have to be Marlon Brandon, Al Pacino, and James Caan.

    While on the surface, it seems like a bloody mafia movie, it’s a melancholy tale about family, betrayal, and loyalty. Marlon Brando gives Vito Corleone a calm, understated performance where you get all the information from his facial expressions. Al Pacino is similarly reserved, but he has moments where he explodes as he gets more entangled in the family. James Caan comes off as the cocky older brother trying to keep the family together but making bad decisions. Other highlights include Robert Duvall, Diane Keaton, Talia Shire, Abe Vigoda, and even character actors like Joe Spinell. I’d be remiss if I didn’t mention the incredible makeup effects by Dick Smith, who can make Marlon Brandon unrecognizable. The slow pace and three-hour runtime might put off modern audiences, but it’s considered legendary for a reason. Overall, The Godfather is a cinematic masterpiece everyone should see at least once.

     

    Buy The Godfather from Amazon: https://amzn.to/3waDE3W.

    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 Godfather (1972)

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