Joyous news coming out of England . . . no, not the Royal Baby. We’ll finally be getting a definitive final cut of Robin Hardy’s classic thriller, The Wicker Man, this fall. This is the best Samhain treat fans of the Man could have ever hoped for. Restored footage, digital remastering, the whole nine yards. Hopefully, once the disc hits North American shores, the film will garner a new following. When most Americans think of The Wicker Man, their first thought is the Nicolas Cage movie. Fans of the original film bristle at this, especially because the remake was so thoroughly mocked and maligned, as if the presence of Nicolas Cage gives the entire story a bad name.
I implore you to reconsider.
I remember asking my mother when I was ten or so why there weren’t any good werewolf films. There were many vampire films and ghost stories, but werewolf films were a little scarce (still are in my opinion). My mother asked, “Have you seen Silver Bullet or The Howling?”
I later went to my All Movie Guide on my computer (before IMDb was being used regularly) and looked them both up. A few days later, my mother came home with a brown lunch bag and unceremoniously handed it to me. I held it for only a second, wondering what title it could be. My mother bought me VHS surprises all the time, in fact many still sit on my shelves, so I had an inkling of what was in the bag. Peeking inside, I saw The Howling on the Embassy label.
There are many words for Ninja III: The Domination but so little time to express the awesomeness of this weird piece of cinematic gold. Yes, it is the third film in a trilogy produced by Golan-Globus. No, it has nothing to do with the previous two films, but don’t let that stop you from watching this eccentric, romantic ninja flick. I said it, romantic. I imagine Scream Factory has a very long list of films that they want to release under their label, and I’m very glad that Ninja III: The Domination was part of their grand scheme.
Many of you already know about a company called Shout! Factory. Some of you know that they now have a subgroup that specializes in horror, known as Scream Factory, which has been releasing films on their label since last year. Their horror catalog is growing, and hopefully will continue indefinitely. Their latest releases for the month of July are The Incredible Melting Man and The Fog, the latter a horror classic from the master of horror himself, John Carpenter.
The Fog is an original idea composed by Carpenter and Debra Hill, a simple story, yet pulled off with such finesse. Carpenter haunts you with his mesmerizing score and his beautiful, well-crafted shots.
It’s summertime, which means some film fans are complaining that theaters are overrun with blockbusters, even though it’s a trend that’s existed since the ’90s and one that doesn’t seem to be losing any momentum. While it’s true that in many cases, Hollywood tentpoles focus more on big-budget effects than on a decent narrative, Pacific Rim is a delightful surprise that will remind you how enjoyable a truly well-done blockbuster film can be.
When I first heard Big Star, I wondered “Why weren’t these guys huge?” like all their other fans have been wondering for the last 40-plus years. Big Star: Nothing Can Hurt Me answers the why, but their lack of mainstream success still boggles the mind. When Brian Wilson sang “I Just Wasn’t Made For These Times,” he could have easily been singing about Big Star.
The story of Big Star is full of both good things—talent, camaraderie, ambition—and terrible ones—bad luck, personal demons, and death. This mixture of the bitter and the sweet is a good metaphor for Big Star’s music, which fuses the two in an unforgettable aural and emotional experience. This is what drew fans and critics to the band and what continues to characterize their legacy.
The Rambler is like a Jim Thompson science fiction novel adapted into a film. Its panoply of bizarre characters could be interpreted as either being influenced by David Lynch and Alejandro Jodorowsky or just pretentious. Yet, most of the seemingly random bits make a strange kind of sense in the world of an already nonsensical film. Everything is so specifically odd that it must mean something and not be an accident. There are only a few times when things appear to be weird for the sake of it. These scenes persist for so long they transform from disgusting to hilarious. Perhaps that’s the point.
There’s a fantastic quote from the mother of special effects wizard Greg Nicotero in Nightmare Factory, a new documentary from filmmaker Donna Davies. When she was pregnant with her son, Mrs. Nicotero says, she read a lot of “blood-curdling” novels, all the ones she could find. “It was fun and exciting to be scared,” she adds. This is why horror junkies are horror junkies. The obsession with the craft of special effects is what’s explored in Nightmare Factory, but it’s clear that the fear factor is the spark that ignites the flame.
iLL Manors, the turbulent, invigorating debut film from Ben Drew (a.k.a. hip hop artist Plan B), begins with Drew rapping about the harsh realities of life in a council estate. It’s the kind of intro that will either suck you in or turn you off immediately, but it will definitely get your attention. You should stick with the film, though, because it reveals an incredible depth of insight into and sympathy for a segment of society that is so frequently misunderstood, ignored, or forgotten: kids who grew up in the social services/foster care system and whose lives have been shattered as a result.
D Is For Dogfight by Marcel Sarmiento
Even to a horror fan, the idea of a film omnibus devoted to death could seem a bit morbid. The ABCs of Death is a complex, thoughtful glimpse at not only death, but also the work of 26 filmmakers from 15 different countries. Each director was assigned a letter and given complete artistic freedom to pick a word from the alphabet and design his or her own cinematic interpretation of death.