I never got around to seeing this the first time it was released in the UK, mostly because I found the cover showing Antonio Resines’s bloody face rather too menacing for me to dare pick it up from the shelf in Blockbuster. Now it’s out in glorious HD, thanks to Arrow, and I got sent a screener of it so there was no backing out of watching it.
The subtext is explosions
As this film was made in Czechoslovakia during the Communist dictatorship, I went in assuming I would miss most of the cultural references within. I have some limited knowledge of Russian Science Fiction of that era, especially Solaris and Stalker, so I know that the genre was often deeply metaphorical, but comedy tends to hinge on the context of its time. I left feeling that I knew nothing more about that part of that then nation’s history, but with a deep awareness that some films are just damn funny and fun to watch.
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And now for a film that was made in 1983, made almost no impact in it’s native Japan, and is only now doing the round because someone was offered the 16mm print in 2022 and then Marty McFiles spent two years doing a fansub of it. It’s an hour long, it’s got some of the most hilariously realistic disappointing sex scenes in cinema, and it’s a delight of strangeness.
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The tagline for this is “The antisocial son of an alcoholic father and a bipolar mother grows up in 1960s Ireland”, so forgive me if that and the colour grade on the promo photos meant I went in thinking this would be some overly earnest misery-porn. What we have here is some high-quality bait-and-switch weirdness that simply has to be explored. And, yes, a bit of 60s Ireland misery-porn. Continue reading
For those who don’t know it, ALF was a mid-80s sitcom about and Alien Life Form living with a suburban middle-class family in a generically affluent part of mid-80s California. Other than ALF’s propensity for eating cats, it was mild mannered family entertainment hinging on culture shock and mild ill-mannered behaviour. As a series it touched on nothing of any real importance, other than being based on a flagrant disregard for immigration laws, and it go through it’s 102 episodes on the principle that anyone will laugh at a 3-foot-tall fury humanoid with a Connecticut accent. So whilst I knew the series ended on ALF being captured by the US Air Force I wasn’t expecting the movie to be an unrelenting nightmare.
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To avoid any possible confusion, it needs to be made clear that this is a comedic pastiche of two genres that seem to have a near infinite canon: Hallmark style Christmas romance movies and budget horror’s trading off the Amityville name. I’ll leave you to decide which one is a bigger scourge on the psyche of mankind (mostly because I can’t make my mind up on the answer) and give the general warning that all such films need. Simply put; unless you are versed in the content being parodied you may not get all the jokes that are trying to be told, and just think it’s the cheap, formulaic junk that’s being sent up.
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If you ever wanted to know what films Ken Loach would have made if he had been brought up on a steady diet of The Evil Dead and cheap speed on a sink estate in Maldon then do we have a treat for you! Made by the Chelmsford Film Society and distributed by independent film royalty Troma Entertainment, it tackles questions of reality, social degradation, mental health, and quantum physics. Mostly it does it by taking the piss and being cheap as hell, but that doesn’t mean it can’t be groundbreaking in it’s own rights.
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I went into this knowing practically nothing about it, either with it’s original title or AKA of “Rebel Waves”. Given the amount of post-apocalyptic nonsense I watch, and the number of books I read on the subject (like the rather excellent https://pulsestore.net/produit/after-the-world-ends/?lang=en After The World Ends by Claude Gaillard, that I encourage all fans of the genre to check out), that surprised me, but after about 10 minutes I’d worked out why. And for the cynics amongst you it wasn’t because it was yet another low cost Mad Max lite Continue reading
The promise of this Jack McHenry written and directed movie is straightforward: “Let’s take the micky out of the old Agatha Christie rip-off movies of the 30s”. It’s a simple, evocative, and, to the right kind of person, enthralling concept, and about the first 20 minutes of the film do a good job of it. But, much like the best murder mysteries, things suddenly go awry in the best possible manner. Continue reading
Rutger Haure died in 2019, and he’s still got two movies to come out because he was just such an unstoppable powerhouse of great acting. Apparently, he himself said he was only brilliant in two or three of his roles, which is clear modesty on his part. So I picked this to watch as he was on the front cover, and I can comfortably say that this isn’t one of his best. But it’s also too interesting to not share thoughts on, so here we go.
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Trash or Treasure 