Allan Caggiano, who by his own admission has no formal training, set out with a four-person production crew to make a movie and for that I applaud him. He also said that “reviews (even the harsh ones) are greatly appreciated” so on the off change he gets to read this I hope he doesn’t think I’m being unfair with what’s about to be said. Making any kind of film is a soul-breaking task, and at the very least he brought into the world something that a group of us spent a pleasant hour and a half watching.
Does it count as World Cinema if a film is from Argentina, is a post-apocalyptic zombiefest and you have to read the subtitles? No clue; but as soon as I found out it existed I knew I had to watch Soy Tóxico, as that combination is something you don’t come across often. And I am so glad I did! Continue reading
I wasn’t sure how to write this review, but after I did a bit of reading I found out that the producers had no idea about how to make this film. Half of it is an interesting proto-slasher, directed by Michael Haworth and stating a giggle of up-and-coming stars of British Cinema (and Frankie Avalon on his way down). The other half is an interesting drama, using the backdrop of swinging London and mostly the same cast. Sadly, you can see the welds. Continue reading
Because “Why not?”, and as it makes picking viewing easier, Trash Or Treasure is going through every movie in “Science Fiction – Double Feature”, the opening song for that trash culture classic The Rocky Horror Picture Show.
Michael Rennie was ill, the day The Earth stood still. But he told us where we stand
I’m not sure what I was expecting when I finally got around to watching this “must see classic” of trash/psychotronic culture. Obviously, having read about it in a thousand cult movie guides, I was expecting the constant presence of sex and violence that is Tura Satana and the satirical sleaze of Russ Meyer’s oeuvre, of which this film delivers in spades. But I wasn’t prepared for what else was lurking under the tight top of this juggernaut of a cinematic experience. Continue reading
The general pattern for b-movie horror movie trilogies is, to my mind, a relatively established, disappointing and inevitable one. The first film is a success, frequently because the people involved in making it are new to the business or coming in as outsiders so don’t know/care about the preconceived notions of “how to do it right” (Evil Dead, Ginger Snaps, Night Of The Living Dead). The second, often not planned when the first was made and often with a bigger budget, is often made soon after as an attempt to cash in on the success of the first by building on whatever part of the mythos or scares stuck with the audience the most (Friday The 13th Part 2, Hellbound, Evil Dead 2). The third part is normally where the wheels come well and truly off the bus in spectacular fashion, as the core talent moves on (Halloween 3), the budget falls away as the makers realise the core audience will buy anything with its name on it (Wishmaster 3), or it shifts into a new direction (Army Of Darkness).
It’s hard to write the intro to this Derick Martini movie because after watching it and thinking about it for three days I can’t begin to work out what the hell the film was trying to accomplish. It’s not especially strange, although it’s certainly off-beat, and it’s certainly not dumb. It just seems to be what happens when you get a bunch of really talented people together and forget to have anything to say for 98 minutes. Continue reading
Currently, this bit of obscure techno-thriller is sitting at 4.4/10 on IMDB. This is quite fair, as it’s quite badly and very cheaply made. But, when I watched it as part of the Bela Lugosi’s Shed Poor Quality Film Club, I unironically enjoyed it. It’s possibly because I spent most of the time working out the film director and writer Donald M. Jones was trying to make, or I just have an unquenchable thirst for proto-cyberpunk concepts. Either way, I wanted to share news of its existence.
I can vaguely remember this making a splash as an indie darling when it first came out, with the buzz being split between the marketing gimmick of Morgan Freeman doing something quirky and the marketing gimmick of being officially available online at the same time it was in the cinema. It got a reasonable amount of sofa-based interview TV, made some noise as “a touching, romantic comedy”, and then dropped out of view. So when we picked it for viewing, based mostly on the title but also because of Morgan Freeman, and had very little expectations as to what would happen next.
As a long-time reader of The Fortean Times, and having a general interest in the more esoteric bits of social history, I was keen to find out what this dramatization of the Cottingley Fairies story would be like. I could remember it making some noise when it first came out, but that was mostly because it was a British costume drama that had some bits of CGI in it rather than because it was a great film. So I was also curious if was going to be bogged down with The Great British Worthiness that meant we had tried to pretend we never had a genre cinema industry after the 70s. Continue reading