If you’ve skipped over this before then I won’t hold that against you. The title belongs on a batch-produced teen’s horror novel that, the trailer looks like the footage was taken off of a VHS via a camcorder, and the cast is filled with “ooh, I remember when they were in good films!”. But I’m here to tell you that whilst there are a couple of problems with it, what we have here is a genuine, bona fide, hidden gem of a movie. Why didn’t it get bigger? Well, because it’s got that kind of quirkiness that makes it hard to sell to a mainstream audience and fun to watch for a psychotronic one.
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Route 666 (2001) is worth a detour to see
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rson commits crime, they think they go away with it, turns out they didn’t”, I’ve saved you watching everything from Hound of the Baskervilles to Wolf of Wall Street), And thirdly because it’s so ignorant of all the amazing work that’s been done in the genre, even within the “confines” of it’s three-act framework.
It feels good to go outside of your comfort zone, so as a straight punk-rocker I thought that it was about time I entered into a world that I’m not especially versed in and, to be honest, don’t always feel comfortable with: Rock Opera. And cause its LGBTQ+ History month, and I’ve been having the name pop up on my radar for as long as I can remember, I thought I’d give the film of the “Off-Broadway*” classic, Hedwig and the Angry Inch, a try. Written, directed, and starring the co-writer and star of the theatrical version – John Cameron Mitchell – it was a box office bomb. This was almost certainly because it was released in 2001 and is about an East German “girly boy” who’s rocking their way through late 80s and early 90s America, to stalk their now-famous ex-boyfriend. Still, if it was a big success I wouldn’t get to enthuse about it here.
Ever since James Cameron asked the eternal question, “can I get away with ripping off an episode of The Outer Limits?”, time travel movies have followed a fairly set rote; man comes back from apocalypse, finds Partner/Scientist/Chosen One/Tits McGuffin, fights things through a combination of True Guts and Slow-Motion, and saves the day/saves the future/sets up a time-paradox you can drive a lorry through. So, after picking up and reading the back of the 2002 Takashi Yamazaki directed Returner, I was expecting more of the same but with a bit of gun-fu.
Trash or Treasure 