Entries Tagged 'jerks' ↓

I got an email from my ol' pal Scott Weinberg regarding the fact that Time Warner Cable has dropped FEARnet from their lineup, meaning that TWC subscribers no longer have insta-access to various horror movies. Not cool, amIright? I am. Read this to get the skinny...then call 1-877-FEAR-247 and tell the jerks in charge that you won't stand for this malarkey!

On second thought, maybe you shouldn't call them jerks. I think it's fine to use "malarkey", though. Godspeed, TWC subscribers! This doesn't affect me as I use DISH Network and I don't have FEARnet to begin with; While I think my "If I can't have you, NO ONE WILL!!" attitude works great in relationships, I think everyone should have access to horror movies, even if the choices include Snoop Dogg's Hood of Horrors. Make your voices heard!

In the Hey, I Like This Poster Better Than The US Version, Although I Must Admit It's Ripping Off The Poster For A L'Interieur department, comes this Japanese poster for The Broken, one of the After Dark 8 Films to Die For, in stores now now now!


Also, this week at AMC I wrote a piece about Peter Cushing and Christopher Lee, which you can, like, totally read. Huzzah, hooray, ahoy!

Be warned fair reader, this post will be chock full o' spoilers! If that makes you feel funny, then turn back now lest ye be doomed. Doomed! You hear me? You kids are all doomed! This post has a death curse!


So, the new Friday the 13th. What follows will probably be the most inconsequential review I've ever written, in that people are completely predisposed to seeing or not seeing this film, and I don't think anything is going to change anyone's mind about it one way or the other. I mean, it's Jason. It's Friday the 13th. Calling it the most craptacular piece of crap that ever crapped a crap won't make people avoid it, and claiming that this film healed the lame won't make people seek it out. It is what it is, and either it's your bag or it ain't.

Similarly, it seems the bar is set rather low for this movie; attending the screening and subsequent press day, I heard variations on "Well, it's just Friday the 13th" more than a few times, as if that alone means the film is exempt from anything that makes a movie worthwhile. I'm bothered by this attitude. Sure, it's "just" a slasher movie and as such, folks don't expect much from it. I think, however, that it's alright to expect that a slasher movie should mostly make sense, and that- above all else- it'll be a bit scary. How did Friday the 13th fare on those counts?

The film quickly makes haste telling the backstory about Mrs Voorhees's homicidal rampage over her son Jason's death; the 90 minutes in the original film are condensed to about 90 seconds of freeze frame flashbacks. Essentially..."You let him drown!" *chop*...out of the woods strolls young Jason to collect his mom's head, his mom's locket, and the machete used to kill her. Take note, Part 2 fans, he does not collect her sweater. Feel the sadness.

Twenty years later, a bunch of douchebags set out to find a giant marijuana crop hidden somewhere in the woods. How do they know about it? Eh, who cares. Just know that two couples and the obligatory nerd set out to find mass quantities of drugs in the hope of reselling it later to reap a profit...it gets dark and they need to set up camp for the night. They do so in Jason's territory. Yes, the Mary Jane MacGuffin here is the same one used in that other Platinum Dunes production, Texas Chainsaw Massacre. Let's hear it for...err, consistency.

One couple breaks off to explore the environs; they stumble across Jason's house, complete with mom's head, mom's locket, and a bed helpfully labeled "JASON". Upon finding the locket and seeing the photos inside, it's noted that Whitney (Amanda Righetti) bears a passing resemblance to the late Mrs Voorhees. Hmm.

When Jason finds all these kids stumbling around his domain, he quickly sets about doing his thing: by "his thing", of course, I mean "serving tea and petit-fours to his guests".

Okay, I don't actually mean that. But wouldn't that be kind of awesome? What really happens is, he kills them more than just a little bit, even working in a loose homage to Part VII. Whitney's fate, however, hangs in the air.

A month has passed and a new group of douchebags (this group is, like, douchebags with jerk sprinkles on top) head on up to Crystal Lake for a weekend of partying. Also cruising around Crystal Lake is Whitney's brother Clay (Jared Padalecki), convinced that his sister is still alive even though police searches have turned up nada. As he hands out fliers to the "locals", however, we're led to believe that something's wrong at Crystal Lake; one old weirdo lady (perhaps meant to be a more subtle, subdued Crazy Ralph) informs Clay, "Somebody go missin' round here, they gone for good." Again, I say: hmm.

So, the douchebags set about partaking in "teen activities", ie copious amounts of drugs, booze, and sex. Jason upgrades from a sack to the hockey mask after he finds it on the floor of a barn- a scene which has far less eerie impact than his simply standing on a dock being mistaken for someone else in Part 3. Jenna (Danielle Panabaker) finds Clay dreamy, however, and decides to help him search for his sister instead of hanging out with the doucheys. Eventually they find Jason's...underground lair...somewhere.... around the lake, where Jason has been keeping Whitney chained up.

In related majorly spoileriffic news, Jason kills everyone but the sibling combo. They chain him to a wood chipper, which apparently just grazes his head enough to smart real bad.

Then they unchain him, haul him to Crystal Lake, and dump him in. Then he pops out, the end.

Right off the bat, let me say: I really loved this incarnation of Jason. He's mean, he's fast, he's relentless, and he's definitely human- albeit a hulking human who apparently spends his days in the woods working out...and by "human" I don't mean he has a life story, necessarily- I just mean that he's not an unstoppable supernatural monster. Derek Mears really did a fantastic job with the character, and I'd rank it up there in my ultra-cool, extreme list of "Best Jasons Evarrrr".

Pretty much everything else in the movie, though...I just about hated. Please, don't bust out the "But it's a slasher movie, a Friday the 13th!, what did you expect?", because that just doesn't fly. Even in its own shallow, ridiculous universe, the film has to make sense.

Alright, so they've essentially done away with the plotline of the original film because people just want to see Jason, not some mom running around. I can deal with that- this is a complete franchise reboot. But...a young child is standing about 5 feet away from his mother as she's killed and he does nothing? I mean, no yelling, no anything. If he didn't drown and he's been lost, wouldn't he run to his mother? How did he find her? If he didn't actually drown, why is Mama V killing everyone?

Crystal Lake. Yes, the douchebag family has built a big beautiful home on the shores of Crystal Lake, where the teens head to party. This is not their first time at the house or frolicking on the water. Yet he comes after them- why didn't Jason kill them before?

The locals seem to know about Jason- and let me say, I kinda dig the idea that the locals know about him, that he's the boogeyman in the woods you don't talk about. But...how many people have gone missing around Crystal Lake? The authorities never find any evidence of missing people or of Jason himself? Kids go missing, and no one investigates the abandoned summer camp? Clay found his sister on the first day he hit the camp. Yes, law enforcement in slasher movies is generally inept, but if enough people go missing in a small area- so many that Kookadook Neighbor Lady Who Never Leaves Her House notices- and the perpetrator has a sprawling house and campus in the midst of it, you'd think the cops might figure it out.

And can we retire the "Hi kids, I'm here to help!" "Sheriff, BEHIND YOU!" *kill* horror movie cliche? Thanks in advance.

Speaking of the Kookadook Neighbor Lady Who Never Leaves Her House, the townsfolk (for lack of a better term) in Friday the 13th are just as "scary" and "gross" as those in Texas Chainsaw Massacre- in fact, they're even portrayed by the same actors. Again, let's hear it for...err, consistency. Yes, yes, we city folk are terrified of country folk, but is it a rule in Platinum Dunes Country that city folk are nothing but supermodels while country folk are nothing but filthy, stinky, toothless weirdos who would eat you as soon as look at you?

Notice I said "abandoned summer camp". As in, it's not being used. Of course, the setting isn't used in the film either. See, the action here takes place largely at Chez de Douchebag or in Jason's underground lair. Which is a disused mine.

Yes, someone built a mine underneath a summer camp. Next to a lake. What kind of mine? We don't know. Isn't it a bit...unsafe to build a camp over a mine? Or a mine next to a lake? Yes, we can assume so. Why is the mine there, and why is Camp Crystal Lake not utilized in a Friday the 13th movie? Well, during those interviews I did with the filmmakers I learned the answers to those questions. There is a mine (a general, all-purpose "mine") because director Marcus Nispel wanted one in the film. The film does not take place at summer camp because Michael Bay doesn't think camps are scary. And that's that.

All right then, is this campless Friday scary? Despite all of Jason's power and menace, I'd still have to say no. There are jump scares a-plenty, but there's no tension- and jump scare after sting after jump scare simply gets irritating. There's no stalking, no question about who might be lurking out there in the darkness. Harry Manfredini's famous score is sorely lacking here. That classic "ki ki ki ma ma ma" is used but once, at a time when it adds nothing to the atmosphere. How can you have a Friday film and not use that sound to its maximum potential? Again, you can thank Nispel- he thinks the sound "telegraphs" the scares and he just wanted Jason to "appear"...and thus "There are jump scares a-plenty, but there's no tension".

It mostly goes down like this: character stands looking at something with a big empty space behind him, Jason pops up, death. A few deaths might stand out as homages for Friday vets- otherwise they're not nearly as outrageous as those in that other recent slasher remake, My Bloody Valentine.

My biggest gripe, I think- even beyond the horrible characters populating this film, beyond the women as blow-up dolls, the guys as jerks- came at the end. I understand suspension of disbelief. I understand the "need" for Jason to pop up out of the water at the end. Though I try, however, I simply can't wrap my head around how they achieved that end. Upon enduring this horrible night, upon watching everyone get slaughtered, upon escaping Jason's lair after being held captive for a month, Whitney and Clay are going to loosen the tangled chains around Jason's neck, freeing his mangled body from a woodchipper...then they're going to haul his 200+ pound body all the way to the lake just to dump him in? This guy- he's just a guy, after all- who killed all those people? They're going to go through all this trouble and destroy the evidence? No...no, they're not. People don't do that. Yes, people do stupid things in horror movies all the time- splitting up, investigating noises, etc- but sometimes, screenwriters need to stop and say "You, know, this is a bit much..." and figure out ways to make the characters' stupidity seem plausible. Even in its own shallow, ridiculous universe, the film has to make sense.

Am I being too hard on it? Maybe. It's just a slasher movie, after all, right? It's Friday the 13th. Jason gets his mask, he kills people. That's what folks want, mission accomplished.

Come on, now. Write your own words.

Exhibit A

Exhibit B, a couple of hours later.

Yeah, I'm calling this shit out. I can't be bothered to scroll his archives to find out if there's more. Should I be flattered? Fuck that. This site isn't changing the world or anything, but I work really fucking hard at it. I spend an awful lot of time thinking of what to write, jokes to make, blah blah fucking blah, purely because I want to. If you can't think of anything original to say and you start cutting and pasting my words, then fuck off and don't come back. And really, don't link to me.

Look over to my sidebar on the right, and scroll all the way down to the bottom. See where it says don't steal my shit? Well, I put that there because you shouldn't steal my shit. Click that little button and see what it says.

A pox AND fire-farting cockroaches upon his house!


UPDATE (ooh, saying that makes me feel so Unsolved Mysteries)- apparently the offending blog has winked out of existence. An odd resolution, but a resolution nonetheless. I'm not going to delete this post, however, for reasons that are twofold:

1. This way, my expletive-riddled feelings regarding stealing are on record.
2. I haven't talked about fire-farting cockroaches in quite some time, and I'd like it if they got a little attention.

Thanks to everyone who sounded off here or there. The support is mucho appreciato.

Boy, speaking French makes me feel so cultured. What a day of feelings!

Remember when I recently posted the Top Ten Horror Movies of All Time According to Me? And how I said that B-Sol over at The Vault of Horror was going to tally up a bunch of Top Tens and make a Top Fifty? Well he did it, and you can read all about it right here! For those of you too lazy to click your mouse, I present...le top fifty, in eye-popping RED:

1. Halloween (1978) dir: John Carpenter
2. The Exorcist (1973) dir: William Friedkin
3. Psycho (1960) dir: Alfred Hitchcock
4. Night of the Living Dead (1968) dir: George Romero
5. The Texas Chainsaw Massacre (1974) dir: Tobe Hooper
6. Frankenstein (1931) dir: James Whale
7. The Shining (1980) dir: Stanley Kubrick
8. The Thing (1982) dir: John Carpenter
9. Alien (1979) dir: Ridley Scott
10. Nosferatu (1922) dir: F.W. Murnau
11. Dawn of the Dead (1978) dir: George Romero
12. Bride of Frankenstein (1935) dir: James Whale
13. A Nightmare on Elm Street (1984) dir: Wes Craven
14. Jaws (1975) dir: Steven Spielberg
15. The Blair Witch Project (1999) dir: Daniel Myrick & Eduardo Sanchez
16. The Haunting (1963) dir: Robert Wise
17. King Kong (1933) dir: Merian C. Cooper & Ernest B. Schoedsack
18. Rosemary’s Baby (1968) dir: Roman Polanski
19. Dracula (1931) dir: Todd Browning
20. The Evil Dead (1981) dir: Sam Raimi
21. Poltergeist (1982) dir: Tobe Hooper
22. Black Sunday (La Maschera del Demonio) (1960) dir: Mario Bava
23. The Phantom of the Opera (1925) dir: Rupert Julian
24. An American Werewolf in London (1980) dir: John Landis
25. Creature from the Black Lagoon (1954) dir: Jack Arnold
26. Friday the 13th (1980) dir: Sean Cunningham
27. Evil Dead II (1988) dir: Sam Raimi
28. Alucarda (1978) dir: Juan Lopez Moctezuma
29. Carrie (1976) dir: Brian DePalma
30. Bram Stoker’s Dracula (1992) dir: Francis Ford Coppola
31. The Fly (1986) dir: David Cronenberg
32. The Fog (1980) dir: John Carpenter
33. The Wolf Man (1941) dir: George Waggner
34. House on Haunted Hill (1959) dir: William Castle
35. Night of the Demon (1957) dir: Jacques Tourneur
36. Frankenstein (1910) dir: J. Searle Dawley
37. Dellamorte Dellamore (Cemetery Man) (1994) dir: Michele Soavi
38. Thriller (1983) dir: John Landis
39. The Addiction (1995) dir: Abel Ferrara
40. Aliens (1986) dir: James Cameron
41. Phantasm (1979) dir: Don Coscarelli
42. The Thing from Another World (1951) dir: Christian Nyby
43. Zombi 2 (1979) dir: Lucio Fulci
44. The Mist (2007) dir: Frank Darabont
45. Something Wicked This Way Comes (1983) dir: Jack Clayton
46. The Living Dead Girl (1982) dir: Jean Rollin
47. The Brain That Wouldn’t Die (1962) dir: Joseph Green
48. The Return of the Living Dead (1985) dir: Dan O’Bannon
49. Suspiria (1976) dir: Dario Argento
50. Salem’s Lot (1979) dir: Tobe Hooper

All but one of my choices made the list, meaning I have very few original opinions.

I don't know...I think I'm getting tired of the same old movies. Sure, sure, Halloween is amazing and all, but...enough already! I need something fresh and exciting to keep up with the break-neck pace of my active lifestyle, you know? Something that's as cutting-edge as I am.

It all makes me wonder about the criteria I apply in a "best of all time" situation like this, and why I'm reluctant to choose recent films. Is it because they've yet to stand the test of time? Does something have to hold up for 10, 15, 30 years before I think it's "worthy"? Maybe. I mean, if I were to make the list right this minute, I might very well include Inside, which rocked my face off wicked hard just the other day. Will I still feel that way about it in five years, or am I just harboring a crush? Where's Miss Cleo when you need her?

So, comment here, comment at the Vault of Horror, make your voices heard: "Where's THIS? What, no one included THAT? What a bunch of jerks!" Take a cue from anonymous:

None of the participants are qualified to judge these films. Only the general public who pay to go to the cinema should be allowed to vote. Critics should be outlawed!

I know..."anonymous". Shocking, right? I love how lists angry up the blood.

Ippolita (Carla Gravina) is a wheelchair-bound young woman whose paralysis is really the least of her problems after her copious daddy issues and sexual repression leave her with a nasty case of Satanitis.

Alberto De Martino's The Antichrist (1974; hacked up & released here as The Tempter in 1978) is undoubtedly inspired by William Friedkin's The Exorcist, which appeared in theatres just a year before. While the films' respective climaxes are similar, De Martino's effort delves much further into the sexual aspects and blasphemous nature of demonic possession than its predecessor.

After a visit to a wackadoo Catholic shrine fails to restore her ability to walk, Ippolita begins regressive hypnosis therapy with a psychiatrist. Through flashbacks, we learn that Ippolita's father (Mel Ferrer) drove the family car off the road, killing his wife and crippling his daughter when she was twelve.

Her spinal injury has since healed, however, which leads the shrink to conclude that 1) Ippi's trauma is mental, and 2) it must be some jerk of an ancestor who is...err, keeping Ippi in the wheelchair or something. Makes sense, right? I've decided to start blaming all of my bad luck and illnesses on my jerk ancestors. Obviously its their fault I've got commitment issues.

Anyway, it turns out that the jerk ancestor (also named Ippolita) pledged herself to Satan the night before she was due to enter the convent. As a result of this extreme lapse in judgment, she was burned at the stake as a witch.

Meanwhile, in modern day Rome...

Whilst in the grip of a jealous fit over her father's new girlfriend, Ippolita takes to her bed for a pout. She begins to remember the fateful night of the ritual hundreds of years before, and before you know it, our Ippi is naked and taking part in the ritual herself, even if only in her mind. For those of you who are curious, it seems that there are four steps you must take in order to pledge yourself to Satan:

1) lick some random blood, perhaps that of a toad
2) eat a toad's head
3) give a goat a rimjob
4) make sexy times with a dude in a goat mask

The entire sequence is disturbing and undeniably profane, despite the fact that De Martino keeps the action off screen. For example, there's a shot of the goat's anus as it's presented to Ye Olde Ippolita, then we cut to Ye Moderne Ippolita grotesquely licking air for a minute or so. The audience connects the dots, and the audience wants to barf.

Ippolita claims that no man as ever shown any interest in her; of course, now the Lord of Darkness has shown interest in her and she's more than satisfied, finally getting what she's been missing all these years. By "what she's been missing", of course, I mean sex.

Her ambulatory powers restored, Ippi heads out in search of more forbidden booty. In one of the film's best scenes, she wordlessly seduces a German teenager who's on a field trip; she breaks his neck after she gets what she wants. She then seduces her useless brother Filippo for a little good old fashioned afternoon incest.

If all this wasn't bad enough, Ippolita starts to act like a real jerk. She says horrible things to her father's girlfriend at dinner, she foams at the mouth, she stops washing her hair, and she makes furniture fly around the room. Her psychiatrist finally cries uncle, literally- Ippi's uncle is a priest, who pays a visit and determines she needs an exorcist.

Thanks to a ceremony we pretty much saw in The Exorcist, the demon is eventually cast of of Ippolita and the Antichrist bun in her oven disappears.

It's too bad that the exorcism itself was so familiar; ultimately, it's this third act that's the least interesting thing about The Antichrist. The blasphemy and profane sexuality witnessed early on really set this film apart from any other "possession" flick I've seen.

Though De Martino took great care in choosing his shots and creating color schemes, the film's dated matte effects are, unfortunately, pretty laughable. This shortcoming, however, is more than made up for by a riveting performance by Carla Gravina. She's run through the wringer in what must have been an exhausting shoot, and while Ippolita is anything but likable (even aside from, you know, that whole demon thing), Gravina lends the character enough sympathy that we're rooting for her anyway. I only wish that The Antichrist had been subtitled rather than dubbed.

Mel Ferrer, on the other hand, barely phoned in his performance.

The entire affair brings up the problem I have with most possession-based films: the powers granted to the possessee are inconsistent at best. Ippolita can crack the roof of the house and throw furniture around and the like, but she can't untie the ropes holding her to the wheelchair? What's the point of being possessed if you just hang out in your bedroom all the time? It sure seems like an inefficient way for Satan to get shit done.

Ah well. Overall, I really enjoyed The Antichrist despite the fact that I wasn't nearly as disturbed by it as I'd anticipated. Actually, not being wicked disturbed by a film that features goatilingus is almost more disturbing than the goatilingus itself.

Wait, what?
____________________

Film Club Coolies, y'all!

namtab
Acheter et entretenir ca tronconneuse (now with BILINGUAL action!)
StinkyLulu
Gorillanaut

The season finale of Ghostella's Haunted Tomb has been posted! Check out...dun dun dunnnn.....

VHS "Week" continues with one of the most memorable episodes of The Twilight Zone: "Living Doll"! Can I get a "Righteous!" up in here??

Telly Savalas (Kojak, y'all- holla!) is Erich Streator, a real crank of a guy who practically flips out when his wife and stepdaughter return home from a shopping trip wherein they have been so bold as to have made purchases. Amongst these purchases is Talky Tina- a large doll that can move a little and talk, "My name is Talky Tina and I love you" being her favorite phrase...

...until she starts talking to Erich, who's a big bully.


It doesn't take Tina long to get from "I don't think I like you" to "I think I could even hate you" with Erich, and at first he thinks it's his wife having one over on him. When Tina starts winking at him (seriously creepy) and won't say mean things in front of anyone else, he decides to get rid of her and tosses her in the garbage.

The phone rings and it's Tina: "My name is Talky Tina," she says to Erich, "and I'm going to kill you."

This episode is so awesome!

Throwing Tina away won't work- she manages to get out of the garbage can- so Erich takes to drastic measures: he puts her head in a vice, but she won't squish! He takes a blowtorch to her face, but it won't stay lit! He tries to cut her head off with a power saw, but it cannot pierce her eeeevil doll "flesh"! Erich is naturally freaking the fuck out, but Tina just giggles: "I can take it if you can!"


This episode is SO AWESOME!

Is Tina really capable of murder? Is she actually threatening Erich, or is he simply going all nutcake? This is The Twilight Zone, folks, so what do you think?

June Foray provides the voice for Talky Tina, and she also provided the voice for Chatty Cathy- that's so deliciously twisted. How many parents grew wary of those dolls after this episode aired?

June Foray also provided the voice for Witch Hazel, which is kind of beside the point...although I bring up Witch Hazel whenever I can because she's one of my favorite Looney Tunes characters. So there.

I found a copy of this on VHS (along with 3 other Twilight Zone episodes), but you can watch all the righteousness yourself courtesy of The Internet:

Living Doll: Part 1
Living Doll: Part 2
Living Doll: Part 3

In related news, the best part of The Twilight Zone's title sequence is when the bewigged artist's mannequin goes flying by.

I don't think I'm supposed to like Humongous quite as much as I do.

The main arguments against this 1982 film, director Paul Lynch's follow-up to Prom Night, are that it's boring, derivative, and devoid of scares. I can see how those would be valid criticisms or how one might end up with that opinion of Humongous, and yet- that's not how I view the film at all. Does that make any sense? It's a bit like seeing Fabio and thinking "Yes, I understand how people might find him attractive, but I myself do not."

In related news, I wonder whether or not anyone's been able to convince Fabio that the delicious, cholesterol-free, buttery spread he so enjoys is not, in fact, butter.

Back on topic! Humongous. It opens in that most predictable way: with a rape. It's Labor Day Weekend in 1946 and a drunken reveler forces himself on a young woman whose family is hosting the party. Her trusty German Shepherds come to her rescue and attack the attacker; she finishes him off with a rock.

I was checking out some reviews of the film earlier, and virtually every one railed against Lynch for shooting the rape scene from the victim's POV. Apparently this technique makes viewers uneasy. Uncomfortable during a rape scene? Good. Why is that a problem?

36 years after that night, a small group of...err, teens, I guess, are leaving a house where I...uh, guess they were staying all summer and they're boating to...uh...well, it's all a little vague. Listen, picky, all you need to know is that this is a horror movie and all the major food groups are represented: the nice guy, the final girl, the slut, the nerd, and the jerk. The nice guy (Eric), the nerd (Carla), and the jerk (Nick) are siblings; the nice guy and the final girl (Sandy) are dating, as are the slut (Donna) and the jerk. Carla, meanwhile, is considerate enough to sport glasses in keeping with the film's title. I do so love a theme!

Whilst slowly navigating through heavy fog at night, our gang comes across Bert, whose motorboat has given up the ghost. They take him on board and when dogs begin to howl in the distance, he tells them the tale of The Weirdo Old Lady of Dog Island. It seems there's a mysterious woman who's secluded herself on an island and lives with a gazillion dogs. The locals don't know much about her- she only heads to the mainland twice a year for supplies, and no one dares set foot on the island for fear of her dogs.

Hmm...I wonder who she could be? Though we, the audience, know that The Weirdo Old Lady of Dog Island is the rape victim from 36 years back, the telling of the tale is spooky. It's creepy. What can I say? I get sucked in easily.

A few plot contrivances later and our gang's boat goes boom- man, the jerk is such a jerk- and everyone swims for...wait for it...the shores of Dog Island! It's all so very unpredictable...and as such, you probably know where all this is headed, right? The rape victim had a baby, the baby grew up to be humongous, Mr Humongous is deformed and hasn't been socialized, Mr Humongous kills teenagers for food- you know the drill.

As I said earlier, I'm not going to argue that Humongous isn't terribly derivative (one crucial scene apes Friday the 13th Part 2 like nobody's business); somehow, though, I find it effectively derivative. Lynch utilizes odd camera angles to disquiet the viewer and- for better or for worse- keeps Mr Humongous almost completely hidden throughout the film. This has the curious effect of making the film one about survival rather than one about killing. The focus is on the teens, who are trying to find a way off the island. While exploring the ol' Humongous Homestead, they come across photo albums, diaries, and dessicated corpses and they get their Scooby Gang on, piecing together the puzzle to figure out what they're up against. They even develop a grudging sympathy for the lurking monster, and so do we. The characters are, unfortunately (yet expectedly) drawn too thin to really care about, but it helps that the performances, while not spectacular, are rather understated for a slasher-style film. They're essentially stereotypes, but they're not broad caricatures.

The biggest shame about Humongous is that it's so damn dark...I mean really, really dark. So much so that you can't figure what's going on for...oh, I'd say at least 1/4 of the movie. It's definitely a problem, and some viewers may not have the patience to endure it. As for me, I plan to buy up all the Our Lady of Guadalupe candles in the Spanish food section at my local Ralph's, light 'em, and create a shrine with the hopes that this will bring about a DVD release of Humongous- a nice, cleaned-up-n-brightened version so I can see what I've been missing.

I like this movie. I honestly enjoy it, and not in an ironic way- although there are plenty of early '80s chunks of cheese (headbands, dancing, cassettes, and...uh, using one's bare boobs to keep someone warm) sprinkled throughout. I like the exploring of the run-down house, I like the stalking sequences, I like the atmosphere...I just like Humongous. Your results, however, may vary, as the 2.3/10 rating on imdb suggests.

Bee Bee Dairy was a small chain of those coffee shop type restaurants that was one of my haunting grounds when I was in junior high and high school. It was the kind of place where old people sit at the counter all day nursing a corn muffin and a cuppa, so obviously it would appeal to me. I couldn't find any pictures of it online, and it seems that it might not even exist anymore. Despite the fact that I (unfortunately) don't get home all that often and when I do Bee Bee's never figures into my plans, the fact that it might be gone still made me a bit sad. I'm getting old. Where's my corn muffin?

I love corn muffins.

In other news, Wednesday is AMC day! This week I talk about horror comedies I didn't know were horror comedies. Slap my face and call me Myrtle!

Whatever that means.

This week in Ghostella's Haunted Tomb news, I give you...outtakes. Who doesn't love an outtake? Jerks don't. Don't be a jerk.

Over at his rad blog*, author Vince Liaguno talks about and links to his enlightening interview with Todd Farmer, the screenwriter for the upcoming My Bloody Valentine remake...and The Messengers...and Jason X. Go read it- Farmer divulges some info on the reality of horror by committee. The genre has had that antiseptic boardroom feel for years now, but it doesn't make the notion of it any less depressing. We need a horror revolution NOW!

Attention mall shoppers Film Club Folks: I'm changing the due date on this month's pick, The Car. I'll be in San Diego for Comic-Con the weekend before the original due date and I'm freaking out about everything I have to get done. Freaking out, I say! So, let's talk about The Car on Monday, August 4, shall we? I know lots of you are excited about this one, and so am I. By Brolin's beard, it will rock our faces off- so say we all!

In lieu of a photograph of Bee Bee Dairy, here's a photograph of a big bee that accompanied my review of The Swarm. That's probably better than a picture of Bee Bee Dairy, anyway.



*"rad blog" makes me sound young and hip, don't you think?