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  • Ghostbusters (1984)

    Ghostbusters (1984)

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    In the early 1980s, Dan Aykroyd worked on a script based on his fascination with the paranormal and quantum physics. He originally wrote it intending to star alongside Eddie Murphy and John Belushi, but sadly Belushi died in 1982. Aykroyd then turned to his friend and fellow SNL cast member Bill Murray, who agreed to star and replace Belushi. Thanks to his previous success with Animal House, Meatballs, and Stripes, Ivan Reitman was chosen to direct personally by Aykroyd. Aykroyd’s script was considered too large to film, so Harold Ramis (Animal House, Caddyshack, Stripes) was added for further rewrites. Sigourney Weaver, Ernie Hudson, Rick Moranis, Annie Potts, and William Atherton joined the cast for a 6-week New York shoot. Richard Edlund supervised the visual effects, Elmer Bernstein composed the music, and Ray Parker Jr made a tie-in song. Finally, on June 8, 1984, Ghostbusters was released to the general public.

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    Synopsis

    Paranormal scientists Peter Venkman (Bill Murray), Ray Stantz (Dan Aykroyd), and Egon Spengler (Harold Ramis) are fired from Columbia University. In response, they decide to open their own business, Ghostbusters, where they hunt and capture ghosts for clients. Meanwhile, Dana Barrett (Sigourney Weaver) visits them after something strange happens at her apartment, namely a strange creature growling “Zuul”. Business starts blowing up after they successfully capture a ghost, and hire Winston Zeddemore (Ernie Hudson) as the fourth Ghostbuster. Trouble starts brewing when EPA inspector Walter Peck (William Atherton) visits to see the containment unit, threatening a court order. Soon enough, Dana and neighbor Louis Tully (Rick Moranis) get possessed by spirits awaiting the arrival of Gozer the Gozerian. To make matters worse, Peck shuts off the containment unit, releasing all previously captured ghosts and signaling Gozer’s return. With the world’s fate at stake, will the Ghostbusters save the day?

     

    Review

    Ghostbusters is often considered to be one of the best comedies of the 1980s and for good reason. First off, the cast is near perfect, with Murray, Aykroyd, Ramis, and Hudson playing off each other well. As per usual, Murray’s dry wit and smart-alec attitude steal the show, delivering some of the film’s best lines. Aykroyd is fun as the optimist of the group, while Ramis has some great moments with his deadpan delivery. Unfortunately, Hudson doesn’t have much in terms of characterization, but he does work as a straight man to the others. Much like he would later do in Die Hard, Atherton is great as the bad guy you love to hate. Weaver has some solid chemistry with Murray, and Moranis is fun as the affable but goofy neighbor. Also, Annie Potts’ Jeanine has some great banter with the main Ghostbusters, especially with Murray and Ramis.

    The special effects are spectacularly vivid and hold up surprisingly well for a film that’s over 30 years old. There are some cool optical effects, as well as some impressive puppets and animatronics that help make these creatures believable. Reitman directs the film in a way to where it feels more like a horror film than a comedy. Combined with Elmer Bernstein’s score, it helps make the film stand out from other comedies of the time. Oscar-winner John DeCuir’s production design is phenomenal, adding to the film’s scope and giving a sense of scale. With all of the on-site shooting, New York City becomes a character itself, given all the recognizable landmarks and locations. From the NY Public Library to the 8 Hook and Ladder building, these are just as iconic as everything else. Overall, Ghostbusters succeeds thanks to its great cast, fantastic effects, solid direction, and quotable dialogue.

     

    Buy Ghostbusters from Amazon: https://amzn.to/3cS0gdQ.

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

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    Where to watch Ghostbusters (1984)

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  • Sweet Sweetback’s Baadasssss Song (1971)

    Sweet Sweetback’s Baadasssss Song (1971)

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    Originally a cable car grip, Melvin Van Peebles was told to become a filmmaker off the suggestion of a passenger. He filmed some short films around 1957 and tried taking them to Hollywood, but no one would offer him work. Following this, he decided to move with his family to the Netherlands, only for his marriage to fall apart. However, his shorts caught the attention of the Cinémathèque Française, so he filmed another short before moving on to writing. In 1968, Ven Peebles directed his feature film debut, The Story of a Three-Day Pass, which caught Hollywood’s attention. After winning an award at the San Francisco International Film Festival, he directed his first Hollywood feature, 1970’s Watermelon Man. While it was a hit and he was offered a three-picture deal at Columbia, Van Peebles decided against it. Instead, he decided to produce his passion project, 1971’s Sweet Sweetback’s Baadasssss Song.

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    Synopsis

    An orphan raised in a brothel, Sweetback (Melvin Van Peebles) performs for their sex show due to his sexual prowess. During one of these shows, two white cops ask his boss Beetle (Simon Chuckster) to use Sweetback as a patsy. The cops arrest Sweetback as well as a Black Panther member named Mu-Mu (Hubert Scales) along the way. Later, the cops pull over to beat up Mu-Mu, so Sweetback uses his handcuffs to beat the cops to death. Now on the run, Sweetback tries looking for help only to be turned away for one reason or another. He tries Beetle with no luck, he asks an ex to no avail, and he’s turned down by a priest. Meanwhile, the Commissioner (John Dullaghan) is hunting down Sweetback while also trying to find where Mu-Mu has hidden. Will Sweetback manage to survive, or will The Man take him down for good?

     

    Review

    There’s no doubt that Sweet Sweetback’s Baadasssss Song has a powerful energy to it, particularly with its filmmaking and editing. There are so many jump cuts, slow-motion sequences, superimposition shots, and quick-cut edits that make the film feel chaotic. On one hand, this can leave many viewers bewildered and disoriented, but on the other, it fits the narrative. As Sweetback’s situation gets progressively worse, the editing gets more and more frenetic, giving it a very nightmarish quality. Some might see this style of filmmaking to be sloppy and haphazard, but this helps the film stand out. Cast-wise, aside from Melvin Van Peebles in the title role, no one, in particular, is very memorable or noteworthy. Also, as impressive as the frenetic filmmaking and editing are, it can make the film hard to follow. Still, his goal was to make a Black power film, and Van Peebles certainly succeeded.

    Sweet Sweetback’s Baadasssss Song is not only an important part of cinematic history but also of black history. While not the first film made by a black director, it was the first film independently produced by African Americans. It was also one of the first to have African Americans in the lead roles as opposed to supporting parts. This film’s success started a new genre in the 70s, blaxploitation, including Shaft, Super Fly, Blacula, Dolemite, and Foxy Brown. Also, this film helped inspire a new generation of black filmmakers, most notably Spike Lee and Robert Townsend. Aside from its significance in black and cinematic history, it also shows how impactful independent filmmaking can be. This should be shown in film schools, not just for its historical impact, but also to inspire aspiring filmmakers. Overall, Sweet Sweetback’s Baadasssss Song is a powerful film that tackles issues of corruption and racial bigotry.

     

    Buy Sweet Sweetback’s Baadasssss Song from DiabolikDVD: https://bit.ly/30johb5

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  • Tammy and the T-Rex (1994)

    Tammy and the T-Rex (1994)

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    It’s always fascinating to look back through a now-famous actor’s career and see where they got their start. Examples include Jennifer Aniston in Leprechaun, Johnny Depp in A Nightmare on Elm Street, and Leonardo DiCaprio in Critters 3. In this case, we’re looking at the debut of Denise Richards and the late Paul Walker, Tammy and the T-Rex. Released in 1994, the film was co-written and directed by Stewart Raffill (The Ice Pirates, Mac and Me). Interestingly, the concept came about because someone who owned theaters in South America who had access to an animatronic T-Rex. Produced on a budget of less than $1 million, the film was shot and released within a month. Originally an R-rated film, the distributor cut it for a PG-13 until Vinegar Syndrome released an uncut version in 2019. Now with the production history out of the way, let’s examine Tammy and the T-Rex.

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    Synopsis

    Tammy (Denise Richards) and Michael (Paul Walker) are madly in love despite protests from her ex-boyfriend Billy (George Pilgrim). Meanwhile, the nefarious Dr. Wachenstein (Terry Kiser) has acquired a robotic T-Rex that he plans to bring to life. That night, Michael sneaks into Tammy’s room when Billy and his gang chase him down to teach him a lesson. They leave him at the local wild animal park where he’s mauled by a lion and put in a coma. Tammy and her gay friend Byron (Theo Forsett) visit Michael in the hospital when Wachenstein arrives to take Michael away. Alongside assistant Helga (Ellen Dubin), Wachenstein takes Michael to his lab, extracts his brain, and implants it in the T-Rex. The dinosaur soon wakes up and goes on a rampage, all while trying to find Tammy and get her back. Soon, the police get involved while Wachenstein tries getting the dinosaur back.

     

    Review

    Tammy and the T-Rex is one of those movies where you’ll know if you’re interested just by the title. Most people will scoff at the title and not give it a chance, but certain audiences will be drawn in. While I will admit that this isn’t a cinematic masterpiece, it’s still an enjoyably ridiculous film that provides laughs aplenty. Part of what makes it especially funny is how most of the cast take the material so seriously. Kiser and Dubin play up their roles as over-the-top as possible, while Richards and Walker are playing it fairly straight. Even with their relative inexperience, Richards and Walker have surprisingly good chemistry with each other and feel like a couple. There are also fun appearances from character actors George ‘Buck’ Flower, Sean Whalen, Ken Carpenter, and John Franklin. Whether their performance is ridiculous or serious, every cast member gives it their all.

    Effects-wise, the T-Rex itself looks like something you’d find at an amusement park or a low-end science museum. The walking scenes are either the T-Rex being dragged along or shots that are someone wearing dinosaur shoes. Also, there are many scenes where the T-Rex’s arms are someone wearing dinosaur gloves, but they’re nowhere near attached. Going back to the T-Rex walking, there are some composite shots of the dinosaur moving that look hilariously awful. Of course, given the film’s low budget, many of these can be excused, and they add to the film’s charm. Probably the film’s biggest flaw is the inconsistent tone, going from high school romance to a mad scientist plot. Along with the inclusion of some extremely graphic gore scenes, it leaves you wondering who exactly this was made for. Overall, Tammy and the T-Rex is a disjointed mess that still has plenty to offer.

     

    Buy Tammy and the T-Rex from DiabolikDVD: https://bit.ly/2MhPDWR

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  • Ghoulies II (1987)

    Ghoulies II (1987)

    [et_pb_section fb_built=”1″ _builder_version=”4.16″ global_colors_info=”{}”][et_pb_row column_structure=”2_3,1_3″ _builder_version=”4.16″ global_colors_info=”{}”][et_pb_column type=”2_3″ _builder_version=”4.16″ global_colors_info=”{}”][et_pb_text _builder_version=”4.16″ global_colors_info=”{}”]Released in 1985, Ghoulies was a massive success for Empire Pictures, making over $35 million on a $5 million budget. The film was also a hit on home video, so naturally, a sequel was to follow soon after. Charles Band had been tossing around an idea with his father Albert Band about the creatures taking over a circus. Unfortunately, much of the original cast and crew, including writer/director Luca Bercovici, did not return for the sequel. Instead, veteran director Albert Band would be stepping up, having not directed since 1979’s She Came to the Valley. Dennis Paoli (Re-Animator, From Beyond) wrote the screenplay and John Carl Buechler’s effects shop would again design the creatures. While the original was filmed in California, this would be filmed at the Empire Studios in Rome, Italy. So two years later, Empire Pictures released 1987’s Ghoulies II.

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    Synopsis

    The local carnival funhouse, Satan’s Den, has been running into financial troubles with businessman Philip Hardin (J. Downing) threatening foreclosure. While Larry (Damon Martin) wants to keep it running, his magician turned alcoholic Uncle Ned (Royal Dano) has given up. Meanwhile, the mischievous Ghoulies have hitched a ride on Satan’s Den as it makes its way to the local carnival. Taking up residence in the funhouse, the Ghoulies start attacking, though the carnival-goers think they’re part of the act. Soon, Satan’s Den is making a profit to Hardin’s chagrin, so he starts hitting on Larry’s girlfriend Nicole (Kerry Remsen). Once several of the other carnival workers start disappearing, the guests realize the Ghoulies are real and panic erupts. Alongside fellow carnie Sir Nigel Penneyweight (Phil Fondacaro), it’s up to Larry and Nicole to stop the Ghoulies. Will our heroes succeed, or will the Ghoulies become the next carnival act?

     

    Review

    While Ghoulies was enjoyable enough, it was also kinda slow and didn’t have much going for it besides the puppets. Ghoulies II, on the other hand, is much more fun, has better acting, and the puppets look amazing. First off, moving the setting from a generic haunted house to a carnival helps this film stand out. Also, the acting is much improved over the previous film, with some highlights being Martin, Dano, Remsen, and Fondacaro. Dano has some fun moments as an old drunk, and Fondacaro once again shows underrated of an actor he is. Downing is pretty fun as the stock corporate tightwad that you love to hate, and his death scene is satisfying. Plus, for a film that had a lower budget than the original, the puppets honestly look way better. They’re much more detailed, have better articulation, and each has a more unique design.

    Alongside the puppet and creature effects from John Carl Buechler and crew, there’s some great stop-motion from David Allen. The production design from Empire and Full Moon regular Giovanni Natalucci is fantastic, creating an authentic living and breathing carnival. The cherry on top of the sundae is the inclusion of “Scream Until You Like It” from W.A.S.P. Not only is it an awesome song, but it was written specifically for the film and W.A.S.P. enjoyed the experience. As much fun as the film is, my only gripe is that the love triangle subplot is uninteresting and dull. Also, while there are some gruesome moments to be had, much of the violence seems like it was cut out. Even with those gripes aside, this is still an enjoyable monster movie and a step up from the previous installment. Overall, Ghoulies II is a fun B-movie best enjoyed with friends and alcohol.

     

    Buy Ghoulies II from Amazon: https://amzn.to/3UzWGOq.

    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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  • Critters 2: The Main Course (1988)

    Critters 2: The Main Course (1988)

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    Released in 1986, Critters was a modest hit at the box office, making over four times its budget back. Also, the film received favorable reviews, Siskel and Ebert giving it both thumbs up and rating it 3/4 stars. Naturally, with that kind of success, New Line Cinema asked for a sequel, given their penchant for franchises. Unfortunately, the original writer and director, Brian Muir and Stephen Herek did not return to helm the sequel. Instead, up-and-coming writer David Twohy was hired alongside co-writer Mick Garris, who would be making his directorial debut. Garris was chosen due to his work on the Steven Speilberg produced Amazing Stories series and *batteries not included. Much of the original cast and crew returned, including the Chiodo Brothers fresh off of making Killer Klowns from Outer Space. So, two years after the original, we got Critters 2: The Main Course.

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    Synopsis

    Two years after the last film, Brad Brown (Scott Grimes) has returned to his hometown of Grover’s Bend. Meanwhile, alien bounty hunters Ug (Terrence Mann) and Lee, alongside Charlie (Don Opper), learn the Crites are still on Earth. Once there, Lee takes on a female form (Roxanne Kernohan) and they set out to find and destroy the Crites. Elsewhere, Brad is visiting his grandmother (Herta Ware) when he attracts the attention of young reporter Megan Morgan (Liane Curtis). Turns out Brad is pretty well-known for what happened years ago, and she wants to learn more. Soon enough, the Crites make themselves known, going on a rampage through the town and killing everyone in their path. With some help from former sheriff Harv (Barry Corbin), Brad leads the townsfolk in taking out the carnivorous critters. Can they be stopped, or will Grover’s End be their latest feast?

     

    Review

    Whether or not it was made to ride off the coattails of Gremlins, Critters was an enjoyable time. And while Critters 2: The Main Course is also enjoyable, it’s missing much of what worked in the first film. For instance, the first film was a blending of horror and comedy, whereas the sequel feels more comedic than scary. Granted, there are some shockingly gruesome sequences here and there, but there are just as many goofy moments. On the one hand, the emphasis on comedy does make this a more fun film than the previous installment. On the other hand, the weird shift in tone makes this feel like it’s not even in the same universe. That being said, much of the comedy here does work, partially because the actors are playing it straight. Plus, the more comedic moments never get in the way of the more serious scenes.

    Like the previous film, the Chiodo Brothers did excellent work in bringing the Crites to life, perhaps more so here. The puppets seem more articulated, more expressive, and they even have different characteristics to make them stand out. Cast-wise, everyone does a great job, with returning actors Grimes, Mann, Opper, and Lin Shaye turning in solid performances. Admittedly, it is distracting not having M. Emmet Walsh back as Harv, but Barry Corbin makes up for this. For a first-time director, Mick Garris does a fine job, giving the film a slick studio picture look. While Muir and Herek are missed here, the work by Garris and Twohy is sufficient enough here. While this lacks the more low-budget feel of the previous film, this still is enjoyable enough to warrant a recommendation. Overall, Critters 2: The Main Course lacks the predecessor’s bite but is still work a look.

     

    Buy The Critters Collection from Shout! Factory: https://bit.ly/3dSwczC

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  • Critters (1986)

    Critters (1986)

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    In the early 1980s, filmmaker Stephen Herek got his start working as an editor for B-movie king Roger Corman. He was the assistant editor on Android, The Slumber Party Massacre, and Space Raiders, where he met Brian Muir. The two began a friendship while working on 1984’s City Limits, and Brian presented Stephen with a script he wrote. Seeing the potential in the screenplay, Herek decided this would be his next project as well as his directorial debut. They pitched their concept to Sho Films, who agreed to develop the film with New Line Cinema as the distributor. For the creature effects, they hired The Chiodo Brothers, who previously worked on Tim Burton’s Vincent and Pee-wee’s Big Adventure. Brian Muir decided to be credited as Dominic, his middle name, which he later regretted due to the confusion. After a six-week filming schedule and post-production, Critters was finally released in 1986.

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    Synopsis

    In the far-off reaches of space, a group of aliens known as Crites escapes from an asteroid prison. Two bounty hunters are sent to find and destroy the Crites, and they chase them down to planet Earth. They end up in the small town of Grovers Bend, where the bounty hunters assume human forms and start searching. Meanwhile, the Crites start making their way through the town and wind up at the home of the Brown family. The family consists of Helen (Dee Wallace), Jay (Billy “Green” Bush), Brad (Scott Grimes), and April (Nadine van der Velde). As the Crites and bounty hunters run rampant, local Sheriff Harv (M. Emmet Walsh) is having to deal with this. Once the Crites arrive at the Brown family’s house, it becomes a fight for survival against the diminutive creatures. Will the family survive, or will they be the Crites’ next meal?

     

    Review

    First and foremost, I should mention how Critters has been compared to Gremlins since its release and labeled a knock-off. While they share a similar premise of tiny monsters attacking people, the two are completely different from one another. Plus, Herek and Muir have refuted that Critters was written before Gremlins and was rewritten to avoid comparisons. Much like Ghoulies, this may have gotten greenlit because of the success of Gremlinsbut wasn’t a direct rip-off. That being said, Critters is easily the best if not one of the better films spawned after Gremlins. The cast is excellent, featuring veteran actors Billy Bush and M. Emmet Walsh, as well as genre favorite Dee Wallace. Plus, younger actors Scott Grimes and Nadine van der Velde give exceptional performances and are fully dedicated to the film. Also, there are some early appearances from Billy Zane and Lin Shaye.

    While not as intricate or detailed as the Gremlins, the Critters are still impressive given the low budget. As designed by the Chiodo Brothers (Killer Klowns from Outer Space), they have a unique look and plenty of movement. For a first-time director, Herek does a good job behind the camera, making effective use of shadow and low lighting. Admittedly, after the opening scene of the Crites escaping from prison, the film takes a while to get going. Thankfully, the characters are fun to watch, and there’s plenty of humor and character development to keep you invested. Once it gets going, it’s a great thrill ride as the family tries fighting off the Crites and surviving. Plus, at a brisk 86 minutes, the film never outstays its welcome or feels like it’s dragging to the end. Overall, Critters is a solid creature-feature made with tons of talent and heart.

     

    Buy The Critters Collection from Amazon: https://amzn.to/3X406JU.

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

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    Where to watch Critters (1986)

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  • Bad Channels (1992)

    Bad Channels (1992)

    [et_pb_section fb_built=”1″ _builder_version=”4.16″ global_colors_info=”{}”][et_pb_row column_structure=”2_3,1_3″ _builder_version=”4.16″ global_colors_info=”{}”][et_pb_column type=”2_3″ _builder_version=”4.16″ global_colors_info=”{}”][et_pb_text _builder_version=”4.16″ global_colors_info=”{}”]The early 1990s were a golden time for Full Moon Features, pumping tons of low budget direct-to-video classics. Of course, their biggest hit was the Puppet Master series, but they had plenty of other titles in the mix. Charles Band always had a steady stream of filmmakers to turn to, including David DeCoteau, Stuart Gordon, and Ted Nicolaou. I’ve covered the works of Ted Nicolaou in past Full Moon Fridays, namely TerrorVision, Subspecies, and Bloodstone: Subspecies II. While working on his vampire series, Nicolaou was working on a more out-there project, something outside Full Moon’s comfort zone. This film would incorporate Nicolaou’s three favorite things into one: UFOs, rock and roll music, and comedy. It would feature various rock groups of the time and seem to go after the MTV crowd. What we finally got was the 1992 oddball sci-fi comedy Bad Channels.

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    Synopsis

    Shock jock DJ “Danger” Dan O’Dare (Paul Hipp) has taken a job at radio station 666 KDUL in Pahoota, California. He’s scheduled for an interview with reporter Lisa Cummings (Martha Quinn), but she blows him off over a rigged contest. While continuing his radio broadcast, the station is invaded by an alien named Cosmo (Mike Deak) and their robot companion. Dan and the station’s engineer Corky (Michael Huddleston) find themselves trapped while trying to warn the outside world. Unfortunately, no one believes them and thinks it’s all an elaborate stunt despite their desperate pleas for help. Soon, Cosmo’s plan is revealed: he’s using the radio to capture women, shrink them, and put them in glass jars. Meanwhile, Sheriff Hickman (Victor Rogers) thinks Dan is up to something, and station manager Vernon Locknut (Aaron Lustig) gets nervous. Will the alien be stopped, or will the girls forever remain trapped and shrunk?

     

    Review

    While it’s not one of the more well-known Full Moon movies, Bad Channels is still something of a hidden gem. Like many of his other movies, Nicolaou’s direction is top-notch, using atmospheric shots that incorporate dynamic lighting and shadows. Paul Hipp makes for a decent lead, mixing a fun, smarmy attitude with some more serious moments later on. Martha Quinn’s intentionally exaggerated performance is pretty fun, and it adds to the film’s charm, though it can be grating. Aside from that, the rest of the acting is decent, but no one else stands out aside from the leads. However, Full Moon fans will be happy to see appearances from regulars Sonny Carl Davis and Charlie Spradling. The musical numbers by Fair Game, DMT, and Sykotik Sinfoney are easily the film’s highlights, each better than the last. Whether you like hair metal, grunge, or something slightly weird, there’s something for you.

    As enjoyable as the film is, Bad Channels is still not as good as Nicolaou’s TerrorVision despite having similar themes. For a film that’s under 90 minutes long, many scenes feel padded out to reach feature-length runtime. This isn’t helped by the musical numbers which, though fun, feel like they’re dragging out to cover the entire song. That being said, the film’s soundtrack is still worth a listen, especially with the score done by Blue Öyster Cult. Also, much of Dan O’Dare’s past antics are talked about, but we’re never really shown any of it. The same goes for the alien, who we know virtually nothing about other than he’s after women to take home. Even still, the film is still an enjoyable watch for those who want to dig deep into Full Moon’s library. Overall, Bad Channels is a flawed but fun sci-fi comedy with some rock music added.

     

    Buy Bad Channels from:

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  • The Gentlemen (2019)

    The Gentlemen (2019)

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    Born in 1968, British filmmaker Guy Ritchie first arrived on the scene with the 1995 short film The Hard Case. Shortly after, he met up-and-coming producer Matthew Vaughn, who would produce his debut feature, Lock, Stock and Two Smoking Barrels. Released in 1998, the film went on to be a critical and commercial hit, establishing Ritchie as a filmmaker. His follow-up feature, 2000’s Snatch, was another hit, though his next film, 2003’s Swept Away, was a massive flop. After a brief hiatus, Ritchie returned with 2005’s Revolver and 2008’s RocknRolla before hitting it big with 2009’s Sherlock Holmes. Following its 2011 sequel, Ritchie focused more on studio films, including 2015’s Man From U.N.C.L.E. and 2017’s King Arthur. Both were critical and commercial disappointments, and while 2019’s Aladdin made tons of money, it didn’t fare well critically. In 2020, Ritchie finally returns to his roots with The Gentlemen.

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    Synopsis

    Marijuana kingpin Mickey Pearson (Matthew McConaughey) has decided to retire and settle with his wife Rosalind (Michelle Dockery). He plans on selling his business to billionaire Matthew Berger (Jeremy Strong) for the sum of $400 million. However, Asian gangster Dry Eye (Henry Golding) learns about this and tries to persuade Mickey into selling him the business. Mickey turns him down, which leads to one of his drug farms getting raided and a small gang war erupts. This is intercut with sleazy private investigator Fletcher (Hugh Grant) telling the story to Mickey’s right-hand man Raymond (Charlie Hunnam). Along with telling the story, Fletcher is also blackmailing Raymond for the information he’s gathered on Mickey and his dealings. Many twists and turns happen along the way, people are betrayed, and the characters’ real motivations are exposed. Who will come out on top, and who will meet a rather unfortunate death?

     

    Review

    After years of making studio pictures ranging from good to mediocre, The Gentlemen is Ritchie’s successful return to his roots. First off, the cast assembled is phenomenal, each one having their moments to shine and sharply witty dialogue. McConaughey is as cool and charismatic as ever, Dockery is stunning and fierce, and Grant is delightfully sleazy. Hunnam gives probably his best performance here, Golding is wildly over-the-top, and Colin Farrell also gives a solid performance. As per usual with Ritchie’s films, the dialogue is well-written and sharp, and there are some great back-and-forths between characters. Also, the direction is slick and fast-paced, and the editing helps keep that frenetic pace going without overloading you. While a lot is going on plotwise that can be tough to follow, it’ll start to click after a while. In other words, it’s Guy Ritchie being at his most Guy Ritchie.

    While it’s somewhat cliche to say “they don’t make movies like this anymore”, it is the case with The Gentlemen. This movie is rough, tough, gritty, cool, has tons of profanity and offensive language, and doesn’t care about mass appeal. As much as I do praise this film, I will admit it has its shortcomings, namely with its plot. Given the many twists and turns that happen, it can come across as convoluted and feel repetitive after a while. There’s so much information being thrown at you so fast that you need to pay attention and stick with it. It’s better to give it a second watch to pick up on details you may have missed and appreciate more. Most modern audiences probably won’t give it a second watch since they prefer one-and-done movies, but that’s their loss. Overall, The Gentlemen is a welcome return to Guy Ritchie’s directorial roots.

     

    Buy The Gentlemen from Amazon: https://amzn.to/3frTZYP

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  • The Last House on the Left (1972)

    The Last House on the Left (1972)

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    Well before he turned New Line Cinema into “The House that Freddy Built”, Wes Craven was an English professor. After directing some short films, Craven became fascinated with filmmaking and decided to leave teaching for the film industry. Around this time, producer/director Sean Cunningham had just made his first film, 1970’s The Art of Marriage. He followed this up with 1971’s Together, where he hired Craven to synchronize dailies, eventually becoming the assistant editor. They became fast friends, and Together was a hit, so distributor Hallmark Releasing tasked them with making a horror film. Craven and Cunningham decided to make something that had never been seen before, which featured graphic violence that was in-your-face. With a budget of $90,000, and a fairly inexperienced cast and crew, Craven set off to shot his directorial debut. The result was the notorious and controversial 1972 shocker, The Last House on the Left.

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    Synopsis

    Mari Collingwood (Sandra Cassel) is turning 17, and she plans on spending it with her friend Phyllis (Lucy Grantham). They’re planning on attending a Bloodlust concert, but they make a stop in the city to score some grass. They run into Junior (Marc Sheffler), who promises them Columbian weed and takes them up to his place. There, the girls meet Krug (David Hess), Weasel (Fred Lincoln), and Sadie (Jeramie Rain), who’ve recently escaped from prison. Under Krug’s leadership, they kidnap the girls and take them to the woods to torture and eventually kill them. Meanwhile, John (Richard Towers) and Estelle Collingwood (Eleanor Shaw) get worried after Mari doesn’t return home. The local sheriff (Marshall Anker) and deputy (Martin Kove) set off to find the girls but to no avail. Soon, the Collingwoods learn what’s happened after the gang arrives at their home and plan their revenge.

     

    Review

    The Last House on the Left is an effectively shocking film that certainly earns its reputation and controversy. The extremely low budget and lack of recognizable names help make the film feel more authentic and raw. Given his lack of experience at the time, Craven’s direction is still top-notch and you can see the potential. Also, for a cast of relative unknowns, everyone delivers a solid performance, the standouts being Hess, Lincoln, Cassel, and Grantham. Despite having no prior acting experience, David Hess is a force to be reckoned with, exuding charisma and intensity. Fred Lincoln is effectively sleazy as Weasel, and Cassel and Grantham are likable and deserve credit for what they endure. The score, also by Hess, helps set a somber mood, and the oddly upbeat songs offset the more gruesome sequences. Plus, many of the songs are insanely catchy and will stick with you for a while.

    Of course, the filmmakers have admitted to taking the plot from 1960’s The Virgin Spring, but I won’t fault them. Plenty of movies have used similar plots from other films, and it can work if it’s done well. Thankfully, Last House stands on its own very well, though the film isn’t perfect, particularly when it comes to tone. For every disturbing and graphic sequence, there’s an out-of-place comedic scene involving either the parents or the bumbling cops. I get that they wanted to offset the violence with more lighthearted material, but it felt jarring and was distracting. That being said, the violent scenes are presented in such a gruesome and realistic fashion that they stand out more. The film has a message about how we’re desensitized to violence and how good people can be driven to it. Overall, The Last House on the Left is effective if somewhat flawed.

     

    Buy The Last House on the Left from Amazon: https://amzn.to/3aHnYIB

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  • Troll (1986)

    Troll (1986)

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    Well before meeting and working with Charles Band, special effects designer John Carl Buechler got his start with Roger Corman. He’s worked on the special and makeup effects for Corman on films like Forbidden World, Sorceress, Love Letters, and Deathstalker. While working on 1982’s Android, Buechler presented Corman a treatment for a film about an evil troll running amok. Corman passed on the idea, so Buechler held onto it for years until he started working for Band years later. Buechler presented the treatment to Band, saying he wanted to direct, and Band agreed to finance the project. However, Buechler found himself busy working on the effects for other Band productions, including Trancers, From Beyond, and Ghoulies. As such, he handed off scriptwriting duties to journalist/screenwriter Ed Naha, who coincidentally had also worked with Corman. Finally, after so many years, Buechler got to direct the 1986 fantasy horror film Troll.

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    Synopsis

    The Potter family has recently moved into their new San Francisco apartment, and things seem normal at first. While exploring the building, young Wendy (Jenny Beck) is attacked by an evil troll wielding a magic ring. The troll, known as Torok (Phil Fondacaro), uses the ring to disguise himself as Wendy and blend in. While parents Harry Sr. (Michael Moriarty) and Anne (Shelley Hack) are duped, Harry Jr. (Noah Hathaway) is suspicious. Soon, Torok sets his plan in motion, using his ring to turn the tenants into pods that sprout various creatures. Harry Jr. seeks advice from neighbor Eunice St. Clair (June Lockhart), who reveals she’s a witch who fought Torok. Eventually, Torok’s influence starts turning the apartment into a fantasy world that threatens to consume humanity and take control. Harry Jr. must venture into the fantasy world, save his sister, and stop Torok before it’s too late.

     

    Review

    Much like the titular character, Troll is an odd little thing, yet that’s what makes it so interesting. For one, this has one of the most eclectic casts you could ever imagine, especially for the relatively low budget. There’s The NeverEnding Story‘s Noah Hathaway, classic actress June Lockhart, character actor Michael Moriarty, Sonny Bono, and even Julia Louis-Dreyfus! Indeed, years before she appeared in National Lampoon’s Christmas Vacation and Seinfeld, Julia Louis-Dreyfus was turned into a forest nymph. In fairness, everyone in the cast does do a great job, particularly Hathaway, Lockhart, and Phil Fondacaro in dual roles. He plays the titular Torok, as well as a human character named Malcolm Mallory, an English teacher suffering from leukemia. To his credit, Fondacora does an amazing job showing a real depth you wouldn’t expect in this kind of movie. Plus, it must’ve been tough working in that troll costume.

    For a first-time director, Buechler does a surprisingly good job behind the camera, thanks in part to cinematographer Romano Albani. Once Torok’s influence starts spreading, there’s tons of fog and moody lighting that creates a creepy and foreboding atmosphere. The creature effects are also top-notch, Torok’s design, in particular, is a highlight, and there’s some stop motion animation. I’d say my only problem is that Troll doesn’t seem to know what audience it’s made for. It’s too dark for kids, but it’s also too ridiculous for adults, so the somewhat inconsistent tone makes it confusing. Still, the weird tone, the out there creatures, and the eclectic cast makes this stand out all the more. It may not appeal to everyone, but it’s such a weird oddity that it’s worth discovering, preferably with drinks. Overall, Troll is an enjoyably strange film with plenty of charm to be found.

     

    Buy Troll from Amazon: https://amzn.to/3btuFPH

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