There are people who will love Wrong Cops. Others will probably cringe with embarrassment and/or confusion. Some might even run from the room screaming. These are all normal reactions to a Quentin Dupieux movie. His absurdist humor is certainly not for everyone.
I’ve never been a big fan of Troma so I’ve only enjoyed a small number of the films among their extensive catalogue. Some Troma films pop up occasionally that I’ve never heard of but I still give them a chance even though they usually leave a bad taste in my mouth. Recently I came across a film called Lust For Freedom released by Vinegar Syndrome. It’s a Troma release from back in the day directed by the guy who brought us the sequels to Class of Nuke ‘Em High. As we know, Troma hasn’t been doing well lately and I think they’ve been licensing their films to other companies. Now Vinegar Syndrome has reissued this movie and they didn’t pick up one of Troma’s pieces of trash, either.
Read Cait Brennan’s interview with Graham Parker.
At the end of the Seventies, a British gas station attendant, who was also a musician, got his record played on the radio. The next day, he had a contract offer from a major record label. Overnight success? A Cinderella story? Not quite.
The Kickstarter-backed documentary Don’t Ask Me Questions chronicles the rise, fall, and rise of Graham Parker and the Rumour, a band whose contemporaries included Elvis Costello and Squeeze. Their big US hit was “Local Girls,” one of the earliest videos to be played on MTV.
When their first album, Howling Wind, came out in 1976, the critical acclaim was instant and practically universal. They were widely regarded as the best live act in Britain. That doesn’t necessarily lead to stellar album sales, though, and as Parker says, “Everything was just a bit off.”
Oh look! Danielle Harris is in a new movie! . . . not. I’m getting pissed that filmmakers cast people like Danielle Harris, Kane Hodder, Tony Todd, Tiffany Shepis, and many others to act for five minutes and then kill them off or turn them into needless characters just so they can put their name on the front cover.
Camp Dread is a new movie that does not star Danielle Harris. It does star Felissa Rose (Sleepaway Camp) but they, of course, don’t put that on the cover. Felissa Rose is iconic and deserves a shout out on the cover of the film she is in. This isn’t the first time (and it won’t be the last) that a production company and distributor have done this. It’s a cheap selling point and it’s disgusting and insulting to everyone. I understand that the director can’t afford these actors and actresses during the whole production but it is still a cheap move and tiresome to see over and over.
I, along with many others, have been pleased with Scream Factory’s colossal catalogue for the past year and a half, as well as some of the astonishing releases they have planned for the near future. Along with their old-school horror/sci fi lineup, they are also acquiring new films and setting them up with the Scream Factory treatment.
Dead Shadows is one of the films that they have recently added to their roster of releases, after picking them up post-festival screenings. They first brought us Dead Souls, Cockneys Vs. Zombies, Chilling Visions (short film collection), and Beneath. Now they have released their first foreign language film, Dead Shadows.
It’s hard to believe that there are three films in the Outpost series. It does generate a small but loyal audience so that these Nazi zombie films can continue to be made, though. The Nazi zombie subgenre started back in the 1970s and is still around to this day. I’m not sure how or why it caught on but a handful of films were made. Now, there is a sort of renaissance going on with these Third Reich meat-eaters. Outpost: Rise Of The Spetsnaz is the latest and the second strongest in the series.
Religious horror films are truly terrifying. We have our slashers, monsters, and alien horror, but we know those can be easily dismissed. Sure, there are accounts of people dressing up and killing people and there are serial killers, but we are not surrounded by that. We hear about these things on TV and the Internet but it doesn’t hit close to home. Probably the only things that hit close to home are school shootings because that could literally happen anywhere, at any time, by anyone.
Kathleen Hanna was my dream girl growing up. It all started when I went to a record store and found a copy of Reject All American by Bikini Kill. I had no clue what it was but the cover intrigued me. I gave it a shot because it only had a 99-cent price tag.
I left the store with a few CDs that day (mostly punk) and listened to them throughout the rest of the week, but that night I popped that one in and it did a number on me. First, it sounded completely badass. It was raw and ferocious. The lyrics were well thought out and this girl singer was not fucking around. Between “Rebel Girl” and “Statement of Vindication,” this was the best album that I’d heard in years. I immediately found out who Kathleen Hanna was and tracked down everything she put her hands into.
How do people normally feel about made-for-TV horror? I’m not speaking about direct-to-video flicks, I’m talking about the ones that go straight to television and then are put on DVD and buried almost instantly. These movies are easily dismissed and frowned upon. I give them a chance when I can because every once in a while you find a gem. Sorority Horror House is one of those films.
Dirty, gross, and brilliant are a few words that come to mind while trying to describe Contracted, a new film distributed by IFC Midnight (not on Blu. . . sigh) that’s been somewhat of a hit on the festival circuit. I’ve known about Contracted for a little while but just haven’t gotten around to watching it until tonight. Now I’m sorry I waited so long to view this masterpiece. Yes, it’s a masterpiece.