Midnight Movie Madness: bleak future and killer bots

“Screamers” – (1995, USA/Canada/Japan, 108 minutes – rated R)

On a mining colony called Sirius 6B in the late 21st century, the survivors of two warring factions may have to join forces to survive a new threat: self-replicating weapons evolving of their own accord since being “fielded” by one side. “Screamers” are scavenging robots produced in underground factories for the alliance, burrowing just below the surface until they launch themselves at their prey, their razor sharp blades whirring at a painfully high pitch sounding like a scream. Scary and gory stuff.

Watch the trailer here:


They then slice their target to pieces and drag the gruesome remains below ground.

Variety one

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JBoD double matinee: Oz encounters and a skin flick

“Incident at Raven’s Gate” – (1988, Australia, 94 minutes – rated R)

This was also released as “encounter at Raven’s Gate”, most likely due to elements reminiscent of Steven Spielberg’s “encounters of the third kind”. However, the aliens in “incident at Raven’s Gate” aren’t the least bit friendly, as we’ve seen now in many a horror film from Oz, everything out in the Bush is menacing.

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Spoofing old horror: “creatures of the Pink lagoon”

“Creatures of the Pink lagoon” – (2006, USA, 71 minutes – NR)

Sometimes trying to decide on a good movie to review doesn’t mean the movie has to be all that great. I think there should be something interesting about it which doesn’t necessarily figure in the budget number, cast or other factor, since the review is always going to be subjective after all.

It’s black & white, not in color!

And since I’ve been fighting the flu most of the week, with cocktails of Sudafed and Vodka, I got in the mood for some silliness.

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De Felis Catus Mysterii

Reincarnation:
1
a : the action of reincarnating : the state of being reincarnated b : rebirth in new bodies or forms of life; especially : a rebirth of a soul in a new human body
2
: a fresh embodiment with tuna breath…
Hmmm….

The chiseled face, the wrinkles...
Gotta be it


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Midnight Movie Madness: a “death note” everyone has to pay

Death note” – (Anime series, Japan 2006, NR)

I always enjoyed serialized sci-fi and horror shows broadcast late at night, re-runs of “Star Trek: Voyager” or “Friday the 13th: the series”.
If you do as well, I recommend watching “death note”, a Japanese

Light and Ryuk

animated series about a student, Light Yagami, who finds a notebook with special powers, the Death Note. The titular notebook is the artifact of Light’s doom, something he could have bought from Louis Vendredi’s shop in “Friday the 13th: the series“. The note, dropped on purpose into the human world by Ryuk, a demon-like Shinigami (death deity), has the following rules written in it, which Light attempts to refine and perhaps even circumvent: “the human who uses the note can neither go to heaven nor hell. If the time of death is written within 40 seconds after writing the cause of death as a heart attack, the time of death can go into effect within 40 seconds after writing the name”.
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Updated – The Zombie movie genre: minor exploratory surgery

Since George Romero’s “night of the living dead” in 1968, the genre seems to have been growing across genres (comedy, sci-fi) and media (comics, novels, video games), and depending on the country of origin, even says something about cultural mores.
Night of the living dead” had some interesting things to say about race and class relations, which perhaps had to be expected as it was made in the late ‘60s.
And “dawn of the dead” (1978), also from Romero, had consumerism as a subtext and used a mall as location which introduced different dynamics.

BFS’ dangerous duo: Tango & Cash

But really, zombie flicks are about bloody mayhem which provides relief after a long day at work, dealing with people you might wish were dead. So without further ado, let’s look at a serious offering from France. “They came back” (2004) from Robin Campillo will not satisfy your urges for carnage because there is none to be had.
What “they came back” does offer is more along the lines of what they call “l’etrange, le bizarre, l’insolite”: it is eerie and at times really disquieting, particularly the couple instances reintroducing children to their parents.

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Behold, a pale van

The horseman” – (96 minutes, Australia 2008)

Not to be confused with “the horsemen” (USA2009)

I’m really not a fan of revenge movies, I don’t particularly care for the “Dirty Harry” series, much less “Death Wish”. You can guess by extension, that the so-called “torture porn” movies are even less my thing as far as entertainment goes.
The Australian film “the horseman” seems on the surface to fit in neatly with at least the first two, but “horseman” is more of a Western for me.

Watch the trailer:

Strange? Maybe, but would you consider “the searchers” (John Ford, 1956) a revenge movie..?
The language of Westerns is spare, and plain. Surviving in the face of great odds and hardships, natural or otherwise, dictates humility and economy.

Some films have clever dialogue and good one liners. It is telling that the imdb page for “the horseman” has no ‘memorable quotes’, not one, and that is a really good thing. This isn’t Schwarzenegger or Tarantino territory.
I will not include spoilers in this review. The premise is that a man receives news of his daughter’s death under more than questionable circumstances. We understand from the first few minutes that she was a runaway, and had taken part in some cheap, semi-underground porno.
The man (Peter Marshall) wears a pest control uniform with his name, Christian, on it. Make what you will of the occupation or the name.
When Christian finds out about the porno film, he sets out to find the people who made it and kill them. The majority of reviews call this a revenge movie, and again, I don’t see this as Christian’s motivation. Rather, I see a man needing cleansing from the filth that reached him through his daughter.
He was done and ready to go home about mid-way through the film, there was no desire to keep on killing, especially after having bonded with a runaway (Caroline Marohasy) the age of his daughter, he’d done what needed doing.
The cinematography is stark, shadows are intense and light feels at times like a harsh glint. In fact, watching Christian’s face is like watching the planes and contours of a steel hammer. Reading his expressions is noting the imperfections in the metal, Marshall’s performance is minimalist and perfectly suited and nuanced.
His violence is purposeful, as opposed to the sadism demonstrated by another later in the film. And for realism, simply keep in mind a scene involving a handcuffs’ key, and later on, the way a man sounds after getting stabbed in the chest (no, not with the key).

There is nothing pleasant about “the horseman”, thankfully. It is however very well acted and suspenseful, a proper and very distinct descendant of “get Carter” (Mike Hodges, 1971) and should make first time director Steven Kastrissios someone to keep an eye on. The same certainly applies to the cast, Marshall in particular.

The horseman” gets 4 jellybeans.

4 beans


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Midnight Movie Madness

I sell the dead!” – A Man Could Go Quite Mad (85 minutes, USA 2008)

“Never trust a corpse…”

Amongst the various genres, horror, and I suspect humor to a lesser extent, fans have quite an eclectic variety of interests, from zombie movies to vampires, slapstick to satire, but they are quite passionate about them, perhaps even… Picky.
So blending genres is always tricky, especially when dealing with a public who knows what it likes. Quite the balancing act.
The exceptions are rare enough to be noted and recommended, such as the Sam Raimi-Bruce Campbell “team”, Neil Gaiman-Dave McKean or the craftsmen behind “I sell the dead”. Larry Fessenden has been at it a long time, and knows film making in and out. He both produced and acted in “I sell the dead!”, Glenn McQuaid’s true directorial debut, even though “I sell the dead!” was developed from a previous, shorter effort, “the resurrection apprentice”.

Arthur Blake (Dominic Monaghan) sits in a prison awaiting his execution after being convicted of grave robbing. There, he is visited by am Irish priest (Ron Perlman), who has a curious interest in criminals such as Blake and his partner Willie Grimes (Larry Fessenden). In flashbacks, Blake describes his adventures from street urchin to businessman-corpse supplier in association with Grimes, against strong competition from the Murphy clan, a ghoulish collection of killers.
Along the way, increasingly horrific supernatural encounters seem to promise the rivals riches, but at a terrible price.

When dealing with a low budget genre movie made by hard working enthusiasts who know their craft and share real affection for film, as well as each other, the result is… Infectious. There usually are aspects to forgive given budget constraints, but not here: the decors, costumes, music and McQuaid’s script and direction all blend with and support the actors.

And what performers… Ron Perlman, Dom Monaghan, Fessbenden are of course excellent. But John Speredakos is devilishly creepy, as is Angus Scrimm , of course. Heather Robb and Brenda Cooney are remarkable, and James Godwin’s got to be seen to be believed.
The interplay between the two grave robbers Arthur Blake (Dominic Monaghan) and Willie Grimes (Larry Fessenden) make me wonder about Charles Dickens and Wilkie Collins.

There is ambition which shows through, from producers Peter Phok and Fessenden, to McQuaid and this talented crew, but there is also experience: the film is consistently good to great without anything for the audience to ‘forgive’, as I stated earlier.

Watch it after Midnight, with a bottle of Scotch or Whisky. Then the next day, when you can’t remember how it ends, shave your eyeballs and watch it again.

“I sell the dead!” receives 4 jellybeans.

4 beans


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Midnight Movie Madness

Dead Alive – Everything you always wanted to know about zombies but were afraid to ask (97 minutes New Zealand 1992)

They’re not dead exactly, they’re just… sort of rotting.”

In the pantheon of horror-comedies, “Dead Alive” easily ranks up there with “Evil Dead: army of Darkness” and “Shaun of the dead”. I’ll say right now that you probably shouldn’t eat custard or strawberry ice cream when watching this early effort from Peter Jackson (“Lord of the Rings”, “King Kong”, “the frighteners”), in the days when special effects included stop motion and gallons of movie blood. Lots of movie blood. So much blood, that “Dead Alive” is reputed to be the bloodiest movie of all time.
1957: the latest acquisition of the Wellington zoo is a rare and dangerous Sumatran rat-monkey, whose bite causes humans to turn into ravenous zombies. The creature looks suspiciously like Kitsune, by the way. Unfortunately for Lionel (Timothy Balme), his domineering mother Vera (Elizabeth Moody) is intent on sabotage as he tries to enjoy his first date there with Paquita (Diana Penalver). Standing too close to the cage, Vera gets bit and stomps the rat-monkey to squishy bits in her rage. Lionel takes her home and tries to hide her horrific condition from everyone, leading to problems growing as fast as the body count.
Virtually everything in this gem is outrageous and the carnage is way past the top, into the stratosphere. It also provides answers to vital questions about zombies:

–         What happens when two zombies fall in love

–         Why you shouldn’t take the resulting offspring to the park

–         How to feed a captive zombie when its head is halfway off

–         How to immobilize a zombie with a garden rake and a vise

–         Why animal stimulant shouldn’t be used to poison zombies

And much, much more… Jackson and writers Stephen Sinclair and Frances Walsh (Jackson’s spouse) packed a lot of chuckles and groans in what may be the definitive splatter-fest.

Jackson’s camera work and skillful direction  keep things lively and all the efforts spent recreating the look of the fifties, with cars, clothes and even hair styles of the era greatly enhance the movie’s charm. Performances are above the average for the genre, especially from the leads, but Father McGruder (Stuart Devenie) fighting off zombies in his graveyard is a classic (“I kick *** for the Lord!”), well worthy of Bruce Campbell’s best, as is Uncle Les (Ian Watkin) showing a lot of spine as the zombies overrun Lionel’s house. Also keep an eye out for Peter Jackson’s cameo as the undertaker’s assistant pumping Vera with embalming fluid…

The JBoD rating for this movie is 4 jellybeans (out of 5)

4 beans


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