The Sachettis have recently lost their only son Bobby to a car accident and move from the city into an old house in the middle of nowhere, hoping to be able to get past the pain. When the grieving mother Anne tries to explain to her husband Paul that the presence she feels in the house might be the ghost of their son, he scoffs at first, but agrees to let their psychic friends May and Jacob visit in an attempt to put Ann’s mind at ease. As it turns out, the presence in the house isn’t Bobby; it’s something much darker and more malevolent.
This plot seems like it would make for a fantastic movie. Unfortunately, We Are Still Here isn’t that movie. It’s painful to watch such a promising premise go so dreadfully awry.
By Brendan Ross
Cop Car is a Colorado-set thriller about two rambunctious young boys who discover an abandoned police cruiser and, with an underdeveloped sense of right from wrong, end up taking it for a joyride. Things get sticky when it turns out sheriff Kevin Bacon was only temporarily parking his cruiser while busy disposing of a corpse in the woods. Upon returning to find that his car was highjacked, Bacon sets out to find the young boys responsible before they check the trunk. Dun dunn dunnnnnn.
I think it’s safe to say that a lot of people are sick of zombies. And yet, The Walking Dead continues to be one of the most popular shows on television, even producing a spinoff (Fear The Walking Dead) that’s gotten some good buzz. There are those who might be tempted to just give up on the show—and zombies—altogether. Yet The Walking Dead remains one of the most compelling and innovative dramas on television.
When I stated on Facebook that I was watching the 1980 Italian horror-fi movie, Contamination, I got heat from a couple of people.
“Why?”
“How come you’re watching that?”
And I thought, I’ve built a career out of watching horrible films and writing about them. There’s no reason why this should be a surprise.
Then it struck me: maybe there are people out there who don’t intentionally seek out and watch films they know aren’t great. Wow. That floors me. It leaves me wondering how to recommend Contamination, which is a gigantic piece of shit that I adored.
Welcome to The Official Popshifter Podcast, Episode #02, “57 Maidens and No Wrestling at TIFF”
Featuring Managing Editor Less Lee Moore and Featured Contributor Jeffery X Martin! Enjoy and thanks for listening.
The 1970s were a time of sexual revolution. Women’s liberation, bra-burning, birth control pills, swingers, orgies, and who knows what else? It’s not like people didn’t know about sex before, but in the ’70s, sex exploded (which sounds gross). Suburban couples were lining up around the block to see Deep Throat and Behind the Green Door, two pornographic films that found both mainstream success and legal troubles, as both films were placed on trial for obscenity.
Obscenity still has an elastic meaning, and at times the line between artistic license and simple prurient leanings is blurry and hard to see. That’s precisely where 1974’s Immoral Tales lives, in that strange tesseract on the corner of Softcore Porn and Arthouse Loophole.
By Brendan Ross
4:00 a.m. A payphone rings outside of an all-night diner in L.A. Our protagonist warily answers it, opening up the line to a frantic missile silo employee lamenting about imminent nuclear destruction set to hit in 70 minutes. Gunshot sounds are heard in the background. A man’s voice takes over the phone.
“Forget everything you’ve just heard and go back to sleep”
This ominously sets the scene for the remaining 70-minute run time of Miracle Mile. The previous 20 minutes, however, set a much different tone.
By Brendan Ross
The year is 2017 (30 years in the future) and due to some economic turmoil, the United States has essentially turned into a sparsely populated wasteland. Businessman Sam Treadwell (David Andrews), who lives in one of the few remaining civilized communities, comes home after a hard day of businessman work to his “Cherry 2000” (Pamela Gidley), a female love robot. She already has dinner ready for him, and after a healthy dose of preprogrammed ego catering words they are ready to make love. On the kitchen floor. While the future dishwasher runs in overdrive covering the floors, counters, and both of them with soapsuds. Unfortunately, even in the distant future of 2017 electronic water damage still has not been eradicated and Cherry short circuits.
Most people have a movie they only show to certain people, a movie so strange or weird that you would rather everyone not know you like it. In some cases, that movie is a test. The thought process is: if I show you this movie, and you still like me, then we can be friends. If you like me and the movie, then we can get married.
Towards the beginning of La Grande Bouffe one of the characters states, “Gentlemen, we are not here to have a vulgar orgy.” It is a droll bit of dialogue eventually revealed to be alarmingly ironic.