Lazy Sunday CXLIII: More Movies, Part XIII: Movie Reviews, Part XIII

I’m finally coming up for air after two very long weeks of week.  The multiple belated posts of the last week, including today’s, is indicative of the pace at which I’ve been working.

But no one wants to read (more!) about that.  In the spirit of laziness and yuletide exhaustion, I’m offering up another three-film retrospective, as I continue marching through past editions of Monday Morning Movie Reviews:

  • Monday Morning Movie Review: Viy (1967)” – It’s a Soviet horror film from the 1960s.  That should be enough justification to watch it.
  • Monday Morning Movie Review: The Stuff (1985)” – 1985’s The Stuff is one of those movies that looks like it was filmed in the 1970s, but it takes place firmly in the 1980s.  In that context, the satire of cultish consumerism and materialism run amok is pretty on the nose.  Still, it’s a good film, combining elements of consumer protection advocacy, mass media advertising, consumerism, ruthless business tactics, and addiction into a blob of creamy terror.
  • Monday Morning Movie Review: Star Wars (1977)” – Reviewing the original 1977 Star Wars is a bit ridiculous—what do I have to say that others have not already said, and better?—but I had the opportunity to watch it outdoors in a neighbor’s driveway on a big inflatable screen.  Pretty awesome, eh?

Happy Sunday!

—TPP

Other Lazy Sunday Installments:

Monday Morning Movie Review: The Advent Calendar (2021)

There’s a new Shudder exclusive just in time for Christmas:  2021’s The Advent Calendar, a Belgian production entirely in French (but with English subtitles).  The film stars the improbably lovely Eugénie Derouand as Eva, a paraplegic who—before a terrible automobile accident—was a gifted dancer.

A lot of the recent Shudder exclusives have been rather ho-hum.  I viewed one recently—I can’t even remember it’s name now!—that was essentially post-horror:  it was only atmospherically creepy, but nothing else about the film provoked scares.  Sometimes a horror movie is “scary” in the sense that it poses difficult questions (the way good science-fiction does), or presents some intriguing moral dilemma—or just depicts the terrifying consequences of a society pursuing a certain path.  That film didn’t even fit that criteria.

But The Advent Calendar does.  It’s not a particularly frightening film, but it presents a classic dilemma:  given the ability to improve your life dramatically at an extremely high cost—including sacrificing lives to achieve your goal—do you take the opportunity?  It’s a bit like The Monkey’s Paw, as another, less favorable review notes:  your wish comes true, but with horrifying unintended consequences.

Despite nearly botching the dilemma—more on that below—the film is compelling, and a fun watch (even if you’re reading subtitles the entire time).

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Lazy Sunday CXLII: More Movies, Part XII: Movie Reviews, Part XII

It was a grueling week for yours portly, and the weekend hasn’t been much easier.  There won’t be much resting this Sabbath; in addition to catching up on this quite belated post, I have quite a bit of prep work for the school week ahead, which includes not just writing review guides for exams (which also need to be written), but also preparing for the school’s annual Christmas concert.  One major beef I have with the time-honored five-day workweek is that it leaves little precious time to attend to what needs getting done around the house (like fixing a clogged drain and hanging my Christmas lights), and this school year I feel like I am constantly grading and creating assessments.

But enough moaning.  Here are three more film reviews, all three from August of this year, when I was deep in the throes of my ongoing love affair with Shudder, the horror streaming service:

  • Monday Morning Movie Review: The Man Who Killed Hitler and Then the Bigfoot (2018)” – I actually didn’t watch this one on Shudder.  Audre Myers of Nebraska Energy Observer asked me if I’d seen The Man Who Killed Hitler and Then the Bigfoot (2018), and encouraged me to write a review of it, so I did (I still have to write that review of 1999’s Bicentennial Man that she requested months ago—I’ll get to it eventually!).  The flick is nothing like what its exploitation-style name suggests (although the title character does kill both Hitler and the Bigfoot), but it’s still pretty good!
  • Monday Morning Movie Review: Hell Comes to Frogtown (1988)” – Now this is the flick I thought 
  • The Man Who Killed Hitler and Then the Bigfoot would be!  I loved this flick, which is about the title character, Sam Hell (Roddy Piper), infiltrating a post-apocalyptic world inhabited by frog people (thus, Hell Comes to Frogtown).  The world is completely ridiculous, but fun, with hot babe super scientists, villainous frog dictators, and a man whose virility is so legendary, women lick their chops at the sight of him.  It’s everything that made the 1980s great:  original storylines, comedic machismo, and pro wrestlers as actors.
  • Monday Morning Movie Review: Jakob’s Wife (2021)” – In August Shudder released a new exclusive film, Jakob’s Wife (2021), a feminist-inflected vampire story starring 80s scream queen Barbara Crampton.  While the feminist themes were a bit heavy-handed at points, the film handled the subject matter with a surprising degree of nuance.  For one, the film suggested (perhaps unintentionally) that female empowerment unleashed is a destructive, parasitical force—like a vampire.  Regardless, Crampton’s portrayal of the titular wife is excellent, and the script makes us sympathize with her.

Happy Sunday!

—TPP

Other Lazy Sunday Installments:

Monday Morning Movie Review: Nosferatu the Vampyre (1979)

I’m coming off a dizzyingly long Thanksgiving, and while I enjoyed quite a bit of unstructured time, I surprisingly did not have much time for writing.  Posts from the past week indicate the amount of phoning in I’ve done lately, and this week’s Monday Morning Movie Review will likely be no different.

The idea for this review came from my good buddy photog over at Orion’s Cold Fire.  On Halloween he wrote a large double review of the 1922 silent film Nosferatu and the Werner Herzog remake, Nosferatu the Vampyre (1979).

After reading his review, I found that Shudder had the Herzog remake—which photog correctly identifies as a tribute to the 1922 F. W. Murnau film—and watched it.  I will say that photog’s review really does an excellent job of detailing the highlights, so I’d encourage you to read it.  As he goes through much of the plot, I’ll leave that alone, and instead will give some of my thoughts on the film.

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Lazy Sunday CXL: More Movies, Part XI: Movie Reviews, Part XI

This Sunday’s collection of film retrospectives features a trio of darker and weirder fare, especially She’s Allergic to Cats (2016).  Perhaps the long Thanksgiving Break will give you an opportunity to watch a movie about a guy whose “true passion is making weird video art that nobody understands.”  ‘Tis the season… right?

With that, here are another three reviews for your delectation:

  • Monday Morning Movie Review: She’s Allergic to Cats (2016)” – This flick is described on Shudder.com thusly (and the description says it all):

    A lonely dog groomer in Hollywood searches for love, but his true passion is making weird video art that nobody understands. His menial routine spirals out of control when he meets the girl of his dreams, crossing boundaries between reality and fantasy as he dives deeper into his video experiments.

  • Monday Morning Movie Review: Near Dark (1987)” – What an excellent vampire movie!  Near Dark focuses on a relationship between a farm boy named Caleb and a strange girl called Mae.  Mae, of course, turns out to be a vampire, and ends up biting Caleb in his truck amid a frenzied, pre-dawn make-out session.  This bite transforms Caleb into a creature of the night, and as he runs—his body smoking in the harsh daylight—Mae’s cabal of white trash vampires snag Caleb, driving off with him.
  • Monday Morning Movie Review: Heathers (1989)” – Heathers was the writing debut of Daniel Walters, who (according to The Last Drive-in with Joe Bob Briggs) wanted to write a script that felt like a John Hughes film that Stanley Kubrick directed (Kubrick did not direct HeathersMichael Lehmann directed in his film debut).  Well, Walters achieved his goal—this is a very black satire on popularity, mass media, and high school power struggles.

Happy Sunday!

—TPP

Other Lazy Sunday Installments:

Monday Morning Movie Review: Bell, Book, and Candle (1958)

Well, it’s finally here—my hotly anticipated review of 1958’s Bell, Book, and Candle, starring Jimmy Stewart as a bumbling New York City publisher and Kim Novak as a seductive witch.  Audre Myers sent me this film on DVD a couple of months ago, and after a weekend of woodland adventures and grading papers (including grading papers in the woods), I sat down to watch it.

I’m so glad Audre sent it my way.  It’s a very fun romantic comedy about a witch, Gillian “Gil” Holroyd (Novak), who casts a love spell on publisher Shep Henderson (Stewart).  Thus ensorcelled, Shep breaks off his engagement with the haughty Merle Kittridge (Janice Rule), becoming magically obsessed with Gil.

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Monday Morning Movie Review: Wait Until Dark (1967)

A quick note of apology to Audre Myers, one of my regular readers:  Audre mailed me a DVD of the film Bell, Book, and Candle (1958) at the beginning of October.  I have been waiting for opportunity to watch it with my girlfriend, then was going to review it.

Well, it turns out when you live four hours apart from each other, your weekends get filled up pretty quickly with fun activities and/or family obligations outside of the house—or catching up on a shared television series.  Poor BB&C has fallen by the wayside.

As such, I’ve yet to watch what appears to be a wonderful film, sent by a very wonderful friend.  I do apologize, Audrey, but I will make time this week to hook up the Blu-Ray player and watch the film solo.  Expect a detailed, lovingly handcrafted review in one week!

As I’ve noted many times before, Shudder has some of the best (and so-bad-it’s-the-best) content of any streaming service I’ve ever encountered.  Something I appreciate about the service is that they don’t just stick to slashers, but really take an expansive approach to “horror” as a genre.  They go out of their way to deliver some excellent classics that probably don’t show up anywhere else.

One such film—one that I would not strictly classify as a “horror” film, but which certainly deals with a horrific scenario—is 1967’s Wait Until Dark, starring Audrey Hepburn as a blind woman living with her photographer husband in a basement apartment in New York City.  Hepburn’s character, Susy Hendrix, has only been blind for a year or so, the result of a tragic accident, so she is still learning how to attend to everyday tasks without sight.

That said, she is fairly capable, and manages well enough, though the film clearly demonstrates that she is vulnerable due to her disability.  The stage is set for conflict when Susy and her husband come into the possession of an old-fashioned doll.  Unbeknownst to them, the doll is filled with heroine smuggled from Montreal, and a trio of crooks are intent on recovering the stash.

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Monday Morning Movie Review: Halloween Kills (2021)

Halloween has come and gone, and we’re now entering the season of thankfulness—and then Christmas!  But I figured I’d squeeze in one more movie review related to the holiday, as my girlfriend and I saw—perhaps, it’s better to say, “endured”—2021’s Halloween Kills.

Halloween Kills is the sequel to 2018’s Halloween, itself a sequel to 1978’s Halloween (here’s a handy chart of all twelve Halloween films, and a diagram showing the different continuities within the bloated series).  Like Halloween II (1981), which starts immediately following the events of the original, Halloween Kills takes place on the same night as the events of Halloween (2018).  Confused yet?

Well, none of that much matters, besides the characters repeatedly mentioning the Michael Myers murders “forty years ago.”  Really, most of the movie is a sad attempt at making a statement about a mob mentality, itself muddled by the fact that the mob—which keeps chanting, “Evil dies tonight!”—is actually right about the necessity to annihilate Michael Myers once and for all.

Needless to say, it’s not a very good movie.  The 2018 Halloween was a great follow-up to the original (even taking into account that horror movie sequels are almost never good, or justified), and explored the theme of complacency in the face of a real existential threat.  Lori Strode’s character correctly understand that there is evil in the world, and Michael Myers is the relentless embodiment of it.  She therefore wisely takes major precautions to protect herself against the inevitable return of the man in the mask.

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Monday Morning Movie Review: Dracula (1931)

My local library has been screening the classic Universal Monster Movies every Saturday night this month, which is just about the greatest thing any library has ever done (besides, you know, storing all of that knowledge).  They kicked off the month with 1941’s The Wolf Man, but I think they saved the best for last—1931’s Dracula (this weekend they’re showing a non-Universal Monster flick).

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Lazy Sunday CXXXVI: More Movies IX: Movie Reviews, Part IX

We’re just one week from Halloween, and it looks like some serendipitous timing for this next filmic installment of Lazy Sunday, as the three films this week are either horror films or “horror-adjacent” in nature.  It’s perhaps a bit of an underwhelming example of serendipity, as I now pretty much exclusively watch horror movies on Shudder, but these reviews were from my pre-Shudder days, when I was watching most stuff on Hulu.

Of course, you don’t care about all of that.  You just want to read about movie reviews you probably already skimmed through months ago.  So, on with the retrospective!

  • Monday Morning Movie Review: The Wailing (2016)” – Asian horror is really where all the fresh stuff in horror flicks is coming from these days, or so it seems.  Asians harbor way fewer hang-ups than we do about politically correct stuff, so they’ll make movies that aren’t just agit-prop for Cultural Marxism and Grievance Studies majors.  2016’s The Wailing was a pretty good example of this phenomenon of East Asian horror, but there are far better ones (like 2017’s One Cut of the Dead, a brilliant zombie film that is really a film-within-a-film about making a film).  Also, the movie is excruciatingly long, especially if guttural Korean wailing isn’t your thing.
  • Monday Morning Movie Review: Color Out of Space (2019)” – My blogger buddy photog over at Orion’s Cold Fire and I published our reviews of The Color Out of Space simultaneously.  You can read his screed against this cinematic butchering of the Lovecraft story here.  We both drew the same conclusions:  it was an insufferable movie, which was really unfortunate because of its Lovecraftian source material and the presence of Nicolas Cage.  Those two combined should make for an insane experience.  Instead, this movie felt like a chore to watch, and none of the characters came across as likeable or sympathetic.  What’s funny, too, is that when I subscribed to Shudder, they were making a big deal about having this film on the streaming service.
    Even Nicolas Cage was bad in this film, and that’s hard to write as a Nick Cage fan.  Here was my assessment from the original:
    “It’s like the uncanny valley:  at a certain point, robots, animatronics, etc., are so realistic, they’re unsettling.  The viewer can tell that something is off, despite the enhanced realism.  In Color, Cage gets so crazy it loses its impact; instead of creating the unsettled feeling one gets around a raving derelict at a late-night bus stop, one gets the unsettled feeling of seeing a robot trying to be life-like.  It’s an unsettling portrayal, to be sure, but not in the way the filmmakers intended.”
  • Monday Morning Movie Review: Life Like (2019)” – I watch so many movies, I forget about most of them, even the ones I review.  That was the case with Life Like.  It was a decent film with an intriguing premise, but the wife came off as completely ungrateful for the incredible life she literally had fall into her lap, resulting in a near affair with a not-quite-android.  Yeesh!  I ended my review thusly:  “As Proverbs 21:9 says, it is better to live on the roof of one’s house than with a riotous woman.  We could probably add “hunky robots” to that, too.”

Well, that’s it for this last film retrospective before Halloween.  Here’s to a spooky, fun week!

Happy Sunday!

—TPP

Other Lazy Sunday Installments: