By Tim Murr
This July marks the 40th anniversary of Wes Craven’s landmark horror classic The Hills Have Eyes. It’s a story about an east coast American family taking a trip through the desert when they are besieged by a family of cannibals. The cannibals are loosely based on the real life Sawney Bean clan from the UK, known for attacking and eating travelers. Eventually, the Bean family was arrested and brutally put to death.
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By Tim Murr
Writer Kazuo Koike and artist Goseki Kojima’s manga epic Lone Wolf And Cub hit the stands in 1970. It was a massive success, with meticulous details, historical accuracy, and gorgeously realistic artwork. Lone Wolf And Cub would, and still does, have a strong influence across various artistic forms. By 1972, the series was already adapted into a film, a huge success itself which launched five sequels.
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By Tim Murr
Psychomania has been on my list to watch for a long time, though I never knew anything about it outside of the trailer. It features troublemakers that return from the grave to wreak havoc on an unsuspecting English town; there are motorcycles, action, cool costumes, witchy undertakings, shades of A Clockwork Orange and The Wild One, a badass 1970s soundtrack. That’s what the trailer for promises. The film itself breaks most of these promises and is instead a dry, absurdly comic B-movie, that’s too slow and doesn’t play up any of its strengths.
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By Tim Murr
“The box. You opened it. We came. Now you must come with us, taste our pleasures.”
Those iconic words spoken by Pinhead in the directorial debut of Clive Barker are still chilling nearly 30 years after they were first heard. The film Hellraiser, based on Barker’s own novella The Hellbound Heart, is a harrowing, shocking, graphic slab of supernatural erotic body horror. It divided critics and thrilled horror aficionados and launched a franchise that still, for better or worse, survives today, not to mention the various comic book series and tie-in books from Barker and several others that continue to be published in regular intervals.
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The people at the Vinegar Syndrome imprint are like late-night college DJs, the ones who pull out weird and obscure music, sharing songs they had to track down for years after hearing them once in a bowling alley. They’re the hardcore fans, the crazy ones, who not only reference movies you’ve never heard of, but can quote them verbatim. There is a need for people like that in this world, the cultural archaeologists, the keepers of the flame.
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Though it was made in 2006, New Orleans Music In Exile, is finally getting a Blu-ray release. The film, made by famed music documentarian Robert Mugge (Last Of The Mississippi Jukes, Gospel According To Al Green, The Kingdom Of Zydeco, among a great many), was shot in the rather immediate aftermath of Hurricane Katrina: two months later. Mugge and his crew had open access to a who’s who of New Orleans musicians and luminaries as they try to pick of the pieces of their lives and careers.
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It’s been a good year for Oliver Reed fans. Though the actor passed away in 1999, there have been several recent reissues of his work on Blu-Ray. First, there was Ken Russell’s The Great Composers box set from the BFI, which includes the rarely-seen but significant Reed performance in The Debussy Film. Then there was Hired To Kill, which Arrow Video reissued on May 17. And then, there’s Venom, reissued May 31 from Blue Underground.
I should make it clear that those last two movies are not exactly examples of Oliver Reed at his finest.
By Tim Murr
I was 19 when I saw Easy Rider the first time. I was a punk with a shaved head and had a generally negative attitude towards the world at large. I think I spent most of my time watching Dennis Hopper’s directorial debut with my arms crossed, not bored, but waiting to see what was supposedly so great about this “classic.” Though I found many facets of 1960s history fascinating, I assumed Easy Rider was just some hippy flick which wouldn’t resonate with me or my generation.
How is Hired To Kill an actual thing that exists? Getting the Blu-ray from Arrow Video solely on the basis of the press release describing the film’s co-star Oliver Reed “chewing up the scenery behind an elaborate moustache,” I did not recall any of the plot details when I popped in the disc. So it was with much disbelief and amusement that I watched 90 minutes of something so outrageous that it felt like a parody but was shockingly, not intended as such. If Astron-6 ever gets around to doing for action films what they did for Giallos with The Editor, the result would be akin to Hired To Kill. (more…)
Italian horror movies are a strange and different beast. American horrors rely mostly on jump scares and urban legends, things that go bump in the night. Italian fright flicks don’t care about your childhood scary stories. In fact, they don’t even care about linear storytelling. Most of them are simply a pastiche of set-pieces, offering gross-out after gross-out, with the barest thread of a plot holding everything together. It’s the visuals that matter, not the story.
That makes A Cat in the Brain all the more interesting. Lucio Fulci, king of the Italian gore movies, went straight up meta with this movie.