Only a few more to go until we reach our final victim. Films 21-25 had a lot to offer, from the technicolor soaked Blood and Black Lace from the grandfather of giallo Mario Bava to creepy and visually striking King/Hill adaptation of In the Tall Grass from the “we need to see much more from” Vincenzo Natali. Godzilla makes an appearance checking off the “giant lizard” requirement in Ebirah, Horror of the Deep and If you thought Mr. Potter was mean in It’s a Wonderful Life wait until you see him mentally command miniature assassins in The Devil-Doll. Of course, the week wouldn’t be complete without a clunker, so thank you The Invisible Ray for keeping that particular record alive and well.
Enough chit-chat. Steer clear of the radiation and let’s jump in. Continue reading
It maybe nothing more than a glint in the distance, but the end of Hooptober 6(66) is in site. And maybe it’s the chill in the air, but I’m starting to find more and more to like, whether it’s the art-heavy exploration of black identity and horror in Ganja & Hess, the finger pointing at capitalism and consumer culture in The Stuff, and even in the vampirism = art of Bliss. Those films coupled with some of the most terrifying moments I’ve witnessed in a horror film and Cujo and what so far is my film of the year for 2019, One Cut of the Dead make for some fun watching this killer season.
So enough talk. Check your pup for foamy lips and let’s get into this week’s films. Continue reading
We’ve hit the halfway point in films for Hooptober 2019, and the drive to see blood-drenched visceral horror has yet to abate. In fact, maybe it’s gotten a bit stronger, because this week’s outings were light on any actual terror. Between the jump to a more action oriented tone in It: Chapter Two and the tongue-in-cheek humor embedded in the core of both Bride of Re-Animator and the first two Slumber Party Massacre films horror didn’t feel like the first priority. As for the abominable Miner’s Massacre, well…the less said the better.
So grab your glowing hypodermic and let’s jump in. Continue reading
Strolling into the second week brought a few surprises to Hooptober 2019. Who in the world would have suspected I would find and genuinely enjoy some subversion in Friday the 13th Part VI: Jason Lives? And that a classic Universal Monster film like The Mummy’s Tomb would be the weakest film in the bunch? In between we have some strong outings from Australia in the giant mutant gore of Boar, the slick and dream-like French giallo Knife+Heart, and we finally learn what those chair towers are all about in the French Canadian “zombie” apocalypse Ravenous.
It’s been a full week, so grab your rosary and your preferred religious text and let’s jump in. Continue reading
The past is only as dead as we allow it to be. It may be behind us, but the present reveals echoes and traces that inform the whole of our experience. It’s been an easy hit to simply cry out that the old Opeth is dead; what remains now is a vague simulacrum, going through the motions in a pale imitation of vague and obscure heroes of yesteryear. But there’s another view, one where a band sheds its skin but the bones remain, framing a personal and vital change in direction that comes to full blossom with new album In Cauda Venenum. It’s not just another step in the band’s ongoing evolution, it’s a firm realization of where they want to be. Continue reading