Yes, I know this was the talk of the psychotronic town a couple of years ago. I was too busy watching other junk to get around to it, and I’ve got a weird (possibly anti-hipster) aversion to popular B-Movies, so that’s another cheap newscycle I missed out on. Anyway, I’m here and I’m sorry I missed the start of the party because, holy heck, this is one fun movie. Continue reading
Before we start, two observations that apply to all of these films and need to be addressed.
Firstly, they all look very good. Both in terms of production values and how they are shot, all of the movies show a surprisingly high level of technical ability within the crew. The cast are, mostly, similarly talented. Whilst there are a couple of bad performances, most are quite good IF you ignore the material they have to deal with. These are multimillion-dollar productions, and they have the look and feel of multimillion-dollar productions that don’t sap your will to watch. As such, any and all criticism has to be placed directly at the feet of the director and producer, Uwe Boll, for the active decision to make such god-awful movies when they could so very easily have made perfectly okay ones.
Secondly, the sex scenes are atrocious. They are not sexy, most of them are not needed, there is next to no chemistry between anyone involved, and even the ones that you can just about accept as part of the plot are excessively long to the point of dullness. These films were obviously made with a predetermined boob quota and the assumption that showing a breast is, in and of itself, erotically charged. The most pointless was in Along In The Dark, as it could have been cut from the film and made zero impact on any of the story even though it involved two of the main characters. The most offensive was in BloodRayne 3; wherein the hero and unconscious heroine in a van taking them to a concentration camp, with zero romantic build-up, decide to have wild, freaky sex because he groped her whilst she was unconscious. Everything else is somewhere between those two points, and all are down to “artistic” decisions Uwe Boll made.
Before being corrupted by Hollywood, and forever tainted by the evil of production budgets, Peter Jackson had a highly respectable career in New Zealand cinema as the foremost auteur of splatter comedy. Bad Taste, with it’s exploding sheep was his breakthrough moment, and Braindead arguably the highlights of his filmography and unarguably the bloodiest film ever at that time. But it’s his adventure into the world of puppetry that is “Meet The Feebles” that got run through the Trash or Treasure grinder this time, because what we really need right now is a meanspirited laugh and a hippo with a machine gun.
Since the fall of Saigon in 1975, American cinema has given us a steady stream of stories based on and around the ten-year conflict that saw America’s first significant military defeat. They’ve ranged from classic examples of New Hollywood with Apocalypse Now, to heartfelt action adventures like Rambo, and attempts at re-fighting the war in Missing In Action.
This list presents five of the best movies about Vietnam that you may not have seen or even heard of, obscured from the public’s conscious but still worth giving your time to. Each takes a different viewpoint, and a different narrative style and each is a singular movie in its own right. None are especially “fun” to watch, but then, as Larry Wayne Chaffin’s helmet in the classic photo said, “War is hell”