#bleeds through in every scene and in every aspect of this film. an obvious plot and a plodding script do nothing to help and honestly this

[mariocki]

The Forgotten (Don't Look in the Basement, 1973)

"Perhaps I shouldn't have come here at all."

"I don't think there's any point in our talking about your leaving, Miss Beale. You forget, you were very anxious to take this job. I made special provisions for you to be here."

"I realise that, but I don't know what to do!"

"I'm the doctor and you're the nurse, and what I do decides what you will do!"

[cinemamablog]

5 Bloodthirsty Women Directed by Women

I can only make an educated guess about why women feel so drawn to vampiric or cannibalistic characters, but I have a hunch: cis women experience an intense and personal blood-letting on a monthly basis. It’s not pretty, and personally, I feel like a badass for making it through another week of heavy bleeding while going about my life and work. So I’m guessing women are drawn to the opportunity to externalize and make public such an intimate (but often treated as repulsive) aspect of our lives and anatomies.

In honor of Women in Horror Month and the US Blu-ray release of the Soska Sister’s Cronenberg reimagining, Rabid, Let’s start with my review of Rabid, and then we’ll travel back in time to the 1970s and onward.

1. Rabid (2020), Jen & Sylvia Soska

Rabid follows the sick fate of a socially anxious fashion assistant, Rose, as she undergoes experimental surgery to restore her mangled face to a state of normalcy. Rose begins to suffer from hallucinations of acting out on cannibalistic (you might even say rabid) desires. Or are they hallucinations? The question doesn’t linger long, since there wouldn’t be much of a movie for the audience to watch if the attacks only occurred in Rose’s imagination.

The Twisted Twins’ manifesto against the science of transhumanism, built on the foundation of David Cronenberg’s body horror classic of the same name, Rabid plays better the further its auteurs stray from their source material. References to the original film stick out in a negative manner, so that even if you don’t understand the reference, you have the gut feeling that it doesn’t belong in THIS movie.

For instance, Rose’s doctor and surgeon is named William Burroughs and it took me out of the movie, as I wondered: “wait, what does the writer William S. Burroughs have to do with this movie’s themes?” I know he hung out with the Beat poets, obsessed over occultism and chaos magick, and wrote the novel Naked Lunch. And then it clicked for me: David Cronenberg directed the film adaptation of Naked Lunch. Here I was, Googling “William S. Burroughs + transhumanism” and it wasn’t even that deep; just another thrown-in Cronenberg reference.

On the positive side of Rabid, the lead actresses, Laura Vandervoort and Hanneke Talbot, turn in impressive performances. All the male characters in Rabid act stilted and almost inhuman, which I love because that’s how most guys seem to me: an alien approximation of humanity due to growing so out of touch with themselves. (The men in the Soskas’ American Mary behave in a similar fashion, so I’m hoping it’s an artistic choice for them.) The third act delivers on the body horror promised by the very presence of the name “Cronenberg” on the Blu-ray cover, but I only wish my favorite sisters had littered the path to the third act with a few more gruesome treats to enjoy along the way.

2. The Velvet Vampire (1971), Stephanie Rothman

One of legendary producer/director Roger Corman’s few female proteges, Stephanie Rothman directed a desert sun-soaked, bisexual camp masterpiece. The plot of The Velvet Vampire follows a dimwitted California couple as they accept a mysterious and sexy woman’s invitation to her desert home. She lives in the desert, and despite a lack of respectful fear of the sun, maintains the deathly pallor of her skin. Since the audience knows the name of the film is literally The Velvet Vampire, the film lacks a sense of mystery, but makes up for it in over-the-top seduction scenes and a unique aesthetic for a horror film during this time period, when the costumed Hammer films were at their peak: a very American, very ‘70s romp in the desert. Sucking the poison from a snake bite has never been hotter, both figuratively and probably literally; that desert looks scorching.

3. Jennifer’s Body (2009), Karyn Kusama

Let’s take a break from vampires and rabid surgical victims, because Diablo Cody wrote a demonic masterpiece with her critically-panned, but universally adored, horror film, Jennifer’s Body, directed by genre favorite Karyn Kusama (The Invitation, Destroyer). 

The victim of a misogynist ritual at the hands of pretty pop punk boys (the most dangerous boys of all), a boy-crazy demon possesses Megan Fox’s character Jennifer’s body, driving her to eat her male classmates one-by-one to maintain her human shell. A lesbian subtext flows through the movie, as Jennifer’s best friend Needy’s (Amanda Seyfried) intense loyalty fails to hide an obvious romantic attachment, which the demon inside of Jennifer exploits. Megan Fox kills it as Jennifer and deserves plenty of recognition for originating this iconic role. Also, the entire soundtrack is a certified bop and instantly brings me back to high school, but in a good way. Please, movie studios, bring back pop punk soundtracks, like in the good old days of Jennifer’s Body and Snakes on a Plane.

4. A Girl Walks Home Alone at Night (2014), Ana Lily Amirpour

Iranian-American director Ana Lily Amirpour’s debut feature takes place in a fictional dystopian town in Iran: Bad City. Shot in atmospheric black and white (is there any other kind of black and white?), the film follows a nameless, lonely, and skateboarding vampire as she dabbles in vigilante justice and basic human connection. Perhaps this simple movie wouldn’t play as well as it does without its unique look and unsettling performances, but to be fair, visuals and acting are a huge part of any great movie. Not every movie has to follow an epic, three act plot and A Girls Walks Home Alone at Night thrives on its own terms.

5. Raw (2016), Julia Ducournau

My personal favorite movie about cannibalism, Raw takes place in a veterinary school as the lead character, Justine (Garance Marillier), discovers an unignorable and genetic propensity for devouring human flesh, long evaded by her strictly vegetarian diet. The film draws a clear line connecting Justine’s cannibalistic revelation with her sexual awakening, even mixing the two elements (cannibalism and sex) in a gruesome love scene between Justine and her bisexual roommate. Justine’s sister Alexia (Ella Rumpf) confides a similar taste for human flesh and takes Justine under her wing, which drives the plot to a disturbing conclusion. For what it’s worth, Raw also features the most stressful bikini wax ever shot on film.

[weekendwarriorblog]

The Weekend Warrior Home and Drive-In Edition June 26, 2020 – MY SPY, IRRESISTIBLE, THE GHOST OF PETER SELLERS and more!

June comes to an end as we passed through the summer solstice over the weekend. The 4th of July is next week, and the opening of movie theaters in New York and L.A. is edging closer, yet it still feels like the summer of 2020 will be forever known as the summer that never happened. I’m not even sure if I’ll be trying to predict the box office until things settle down, and we get into some semblance of normalcy, and that may never happen if scientists are to be believed that COVID will return in the fall.

The big release for the week isn’t actually coming to theaters but to Amazon, and it might be the biggest movie to air on the streamer to date. As you may have guessed from the title, I’m talking about the STXfilms action-comedy MY SPY, starring David Bautista, which was one of the first movies to be delayed when COVID hit back in March, but that was after it was already delayed a number of times before that. The simple high-concept premise has Bautista playing super-spy JJ, who is demoted to keep an eye on the wife of a suspected gunsmuggler with his tech assistant (Kristen Schaal). No sooner do they start this surveillance mission, the woman’s 9-year-old daughter Sophie (Chloe Coleman) catches them and she blackmails JJ to teach her how to be a spy.

Yup, this new comedy from Peter Segal (Get Smart, Second Act) is as high concept as you can possibly get, and yet, and quite surprisingly, My Spy is rated PG-13, as opposed to be a straight-up kiddie friendly PG, but you can read more about that in my review.

Mini-Review: It seems like every potential muscle-bound action star has to have one of these movies in their filmography where they’re teamed with a young child co-star that inevitably steals all their scenes – I won’t bother to list them all. Former WWE star and Marvel regular, Dave Bautista, has a precocious co-star in Chloe Coleman, who is so delightful as Sophie you can easily forget that this is straight-up formula comedy  

I’ll be honest about the fact that totally unironically, I’ve been looking forward to seeing My Spy since I first saw a preview at Cinema-Con back in 2019. It was a bummer to miss the press screening in March, because it meant having to wait three extra months to finally watch it on my computer. Surprise, surprise, the movie more than met up to my expectations, as I found it funny, cute and from time to time, it even throws in a few unexpected surprises.

I’m definitely in the camp that Bautista hasn’t done anything particularly great as an actor outside playing Drax in the MCU, and JJ isn’t that much smarter or less muscle-bound. The set-up for his character to connect with Coleman’s Sophie is pretty obvious, but there’s no denying that Bautista and Coleman are so adorable and hilarious as an on-screen duo that it more than makes up for any of the misgivings one might have about what is meant as an accessible movie with mainstream appeal.  (In other words, this was never meant as an artfilm, so if you’re one of those snobby critics who gushed all over last year’s Uncut Gems, and you refuse to accept that there’s an audience for My Spy, then you’re a fucking hypocrite, plain and simple.)

Speaking of the F-word, I have to mention My Spy’s rating, which is not the PG one might normally expect, though it’s not due to violence or bad language or anything that awful that you couldn’t watch and enjoy this with your 8 to 10 year old. I felt I should get that out there in case any parents have misgivings.

Besides the main duo, there’s some nice added comedy from Kristen Schaal, as well as the seemingly obligatory gay neighbors, played by Devere Rogers and Noah Dalton Danby, who somehow manage to avoid stereotypes while providing a recurring bit of humor.

The movie starts getting a little predictable when Sophie pushes JJ to start dating her now-single mom, and things start losing a little steam as the movie gets away from the JJ/Sophie bonding and back to the actual plot, and that’s where the movie’s biggest problems lie. When the “villain” of the piece shows up, things get back into the usual formula that most will be expecting anyway. I will add that director Peter Segal seems to be particularly well suited at directing this, particularly when it gets into some of the action in the last act.

Sure, some of My Spy’s funniest jokes have shown up in various trailers, but turns out that it’s a fairly warm and funny movie that does its job in providing solid family entertainment.

Rating: 7/10

Jon Stewart returns to political comedy with his new movie, IRRESISTIBLE, (Focus Features), starring his former “Daily Show” correspondent Steve Carell as Gary Zimmer, the Democratic strategist who failed so horribly running the 2016 Presidential election. Undaunted, Zimmer hopes to revive the party by rallying behind a likeable everyman, Col. Jack Hastings (Chris Cooper), as he runs for mayor of the small town of Deerlaken, Wisconsin. It would seem like an odd decision but clearly, the Republicans know that Zimmer has something bigger planned so they send their own strategist, Faith Brewster (Rose Byrne), to get behind the incumbent Republican mayor.

It’s pretty obvious this movie is probably more in Stewart’s wheelhouse than his previous film, Rosewater, but it also has more mainstream appeal and could help Stewart continue to get directing work in the future. Sure, there have been many similar political comedies like this that have tried to find the audience -- Bob Roberts, Primary Colours, Wag the Dog,Swing Vote -- but I’m not sure any of those came out when the country has been as divided as it is now.

It’s pretty nice seeing Stewart reuniting with Carell, who does a decent job in this fish-out-of-water comedy that mostly relies on how a DC bigwig might acclimate to a sociable smalltown – think Groundhog Day to the Nth level – which makes this comedy fall more into the vein of  Matt Damon and John Krasinski’s Promised Land, which I thought was a very underrated political film.

I’m a big Rose Byrne stan, and once again, we can see how delightfully funny she can be when playing such an awful person like Faith Brewster, but there’s quite a bit of fun awkward sexual tension between her and Carell. Another part of the equation is Hastings grown daughter, played by Mackenzie Davis, and most people watching this will probably hope this doesn’t go too far into that romantic realm, and thankfully, it doesn’t.

Irresistible may be a little predictable at times, but there’s a nice turn towards the end that makes up for some of the more obvious aspects of the storytelling, and Stewart certainly seems to be enough in his element to make this not too horrible an experience.

This week’s “Featured Film” is Peter Medak’s documentary, THE GHOST OF PETER SELLERS (1091), about how Hungarian filmmaker ran into problems with Sellers while trying to make the 1973 pirate comedy Ghost in the Noonday Sun, an experience that almost ruined the filmmaker’s career. It’s kind of interesting for a filmmaker to take an in-depth look back at his own failures, but Medak’s story is particularly touching, only because it didn’t seem like he stood a chance when Sellers refused to show up on set and then brought in his equally eclectic best friend Spike Milligan to work on the script and create even more chaos.

Honestly, I have never seen Ghost in the Noonday Sun, but I enjoy a lot of Medak’s films that followed, including The Changeling and the excellent Romeo is Bleeding, so I went into this doc knowing that this incident didn’t completely kill Medak’s career, but obviously, it had a huge effect. It ends up being a fairly emotional film as Medak interviews some of the producers on the film as well as Milligan’s widows and others who were around during that period. He also learns new things about how he was dismissed from the project and used as a scapegoat for all the problems faced by the production, which began when the boat built for the movie crashed upon arriving in Cypress.  I generally like movies about the making of movies even when I haven’t seen the original movie, and Medak finds a way to offer some true sentiment and emotional insight into his tenuous relationship with Sellers.

Out now on VOD is Laura Holliday’s DADDY ISSUES (Gravitas Ventures), starring Kimberley Datnow as a Henrietta, a 20-something stand-up who has moved from London back to L.A. to take over the family business after her father dies and leaves her the company. She takes on this challenge in hopes of earning her now dead father’s approval.

I knew from almost the minute this started that I was going to hate this twee high concept indie that seems like so many other indie movies where the person putting it together had so many ideas but not enough actual story glue to hold all those ideas together. It’s fairly obvious from the slice of “Henry’s” stand-up set that begins this movie that she isn’t particularly funny. On top of that, she seems like another one of those spoiled and entitled Millennials who just isn’t happy unless she’s getting her own way. When the story quickly shifts  to L.A., and she’s surrounded by even more annoying Millennials, it gets even worse, especially because it feels the need to follow her best friend and housemate on their own journeys as well.

I have to say, as someone who didn’t automatically hate the recent Valley Girl remake, that Daddy Issues is infinitely worse, not only because it doesn’t have the fun musical numbers but just because it seems like such a precious endeavor that doesn’t seem like it will really be able to connect with anyone other than the filmmakers.  I found Datnow’s Henrietta to be so pathetic and again, not very funny, so getting through this movie was grueling, to say the least. At one point, Henri falls for an asshole named Hunter whom she had one date with. When that doesn’t work, she tries to reconnect with a couple other idiotic guys, but then she goes back with Hunter, and the whole time I was watching this movie thinking, “What’s the point? Are there really people this stupid and annoying on the planet?” (That’s rhetorical.)

Jon Swab’s RUN WITH THE HUNTED (Vertical) stars Michel Pitt, Ron Perlman and Dree Hemingway, and it will premiere On Demand this Friday. At first, it follows a young boy named Oscar (Mitchell Paulson), who commits a murder and runs away from home, leaving his childhood friend Loux wondering where he went after saving her from an abusive father. Oscar joins a band of misfit kids who pick pockets and commit crimes, but 15 years later, Loux goes looking for Oscar (now played by Michael Pitt).  

I’m not even sure where to begin with this indie crime-thriller that’s so flawed from beginning to end, it was tough to get through most of it.  The first hour deals with the younger Oscar and much of it deals with him getting in with a teen girl named Peaches and a young gang of hoodlums, led by Mark Boone Junior and Ron Perlman. It’s kind of interesting seeing Perlman playing the leader of a group of young pickpockets and thieves since he played the protector of those sorts of kids in one of my favorite movies, The City of Lost Children. That’s really the only thing those two movies have in common, as this feels like another poorly-realized attempt at… possibly modernizing Oliver Twist? (I mean, the band le by Pitt’s character are even referred to as “The Lost Boys,” so it’s obvious that Swab didn’t care too much about originality.

The sad truth is that Pitt has been fairly mediocre as an actor lately, after showing so much promise in his early days, and Run with the Hunted doesn’t really offer anything particularly new to what’s generally a pretty tired genre. Perlman is one of the better parts of the movie along with Isiah Whitlock (last seen in Da Five Bloods), and they have a fine scene together, but otherwise, the material is weak, and it leads to a dull and often outright dumb offering.

I still haven’t figured out what Eurovision Song Contest: The Story of Fire Saga is, but apparently, it’s a spoof comedy starring Will Ferrell and Rachel McAdams that will debut on Netflix this Friday. It also reunites McAdams with her Wedding Crashers director, David Dobkin, so I’ll definitely check it out, since it looks very funny. 

Mini-Review: I have to admit this movie seemed to come from out of nowhere. I really felt like I only started hearing about it when the trailer debuted last week, but otherwise, I had no idea that Ferrell had reteamed with his Wedding Crashers director and with that film’s romantic lead, Rachel McAdams. What this spoof comedy has going for it is that it combines a number of things I enjoy, including music and Iceland.

Will Ferrell plays Lars Erikson, one half of the synth duo Fire Saga, with his childhood friend Sigrit (McAdams), the two of them having the life-long dream of representing Iceland in the annual Eurovision Song Contest. Lars also has to contend with his disapproving father, played by Pierce Brosnan, but in general, everyone in their Icelandic town thinks they’re awful. They seem like longshots to represent Iceland in the song contest but an unfortunate incident leaves them as the only option.

We might as well get out of the way the fact that this is essentially a one or two joke comedy that follows the formula of so many other Will Ferrell movies, including Blades of Glory, but if you’re a fan of his comedy, then you’ll probably enjoy his latest offering, which he also co-wrote and produced. When Dan Stevens shows up as the Russian competitor, Alexander Lemtov, who has machinations for Sigrid, it’s pretty easy to figure out where things are going.

Either you like what Ferrell does while in full-on “idiot mode” or not, and Fire Saga’s on-stage mishaps probably offer the biggest laughs. The other level of humor involves just how silly the actual Eurovision is, even though it’s obviously more of a European thing than it is something that Americans will understand. I’ve always loved Rachel McAdams, and I generally think she’s better when she’s doing comedy, as she makes for a great counter to Ferrell’s zaniness.

In general, the movie allows actors like McAdams, Stevens and Brosnan to goof around and have a fun time being as outlandish as Ferrell.  (Just watching Brosnan trying to pull off an Icelandic accent may be worth the price of admission alone.)

Make no mistake that this is not a small movie, and it’s quite a huge production when you consider all the enormous musical numbers representing the different international contestants. I could have easily seen this doing decently in theaters, although its 2-hour run time does seem a bit frivolous since there’s also quite a bit that could have been trimmed.

As much as Eurovision Song Contest leans heavy on its main overall joke about Fire Saga being quite inept, particularly Ferrell’s Lars, I generally enjoy this type of spoof of comedy even when it ventures into very predictable territory. In the end, Eurovision Song Contest offers as many laughs as Popstar: Never Stop Stopping, even if it’s not quite as heady as a movie like Walk Hard.

Rating: 7/10

Former lawyer turned filmmaker, Cam Cowan’s documentary, Madagasikara (Global Digital Releasing), takes a look at three women in Madagascar fighting for the survival of their families and education of their children amidst domestic political instability and the poverty that’s been caused by it. Cowan made his first trip to Madagascar in June 2014 and spent four years filming and doing post on the documentary which will debut on Amazon Prime and Docurama Friday after its festival run, but will be available platforms down the line.

The Blind Melon/Shannon Hoon doc All I Can Say (Oscilloscope) has the singer returning from the grave by compiling the many videos he filmed of himself between 1990 and 1995 before his death at the age of 28.  Co-directed by Danny Clinch, Taryn Gould and Colleen Hennessy, it will hit virtual cinemas as well as record stores and music venues this Friday.  (Not quite sure how that all works, but hey, I was never really a Blind Melon fan anyway.)

Coming to Virtual Cinema on Friday is Ina Weiss’ The Audition (Strand Releasing) that follows a violin teacher named Anna Bronchy (Nina Hoss) who finds talent within Alexander, a student at the music-focused high school, neglecting her own family in the process.

Opening in Virtual Cinema Friday through almost 50 arthouse theaters across the country, including Brooklyn’s BAM, is the British-Nigerian drama, The Last Tree (Artmattan Films) from filmmaker Shola Amoo, which received a number of awards at the British Independent Film Award after its Sundance 2019 World Premiere.

Film at Lincoln Center’s Virtual Cinema will present Three Short Films by Sergei Parajanov (FilmLinc), featuring work by the Armenian-Georgian filmmaker that range from 1967 through 1988. FilmLinc will also premiere Bora Kim’s 2018 South Korean film, House of Hummingbird (West Go USA/Kino Marquee), a Berlinale prize winner set in that country I 1994, as it follows a 14-year-old through a series of romances and indiscretions.

Film Forum’s own Virtual Cinema will conclude its Alaistar Sim trilogy with the 1951 comedy, Laughter in Paradise, directed by Mario Zampi, as well as screen Zhang Yimou’s 1995 film Shanghai Triad, starring Gong Li. (There’s actually a lot of movies available via Virtual Cinema that will end this Friday, including two series of Kid Flicks shorts, so definitely try to go through the listings and catch what you can!)

This week also sees the third and final volume of Time Warp: The Greatest Cult Films of All-Time with Volume 3 looking at “Comedy and Camp,” once again hosted by Joe Dante, John Waters, Ileana Douglas and Kevin Pollak. Some of the movies covered in this volume include Fast Times at Ridgemont High, Rock and Roll High School, Office Space, Monty Python and the Holy Grail and Showgirls with guests that include Gina Gershon, John Cleese, Fred Willard, Jon Heder and many more. I really have enjoyed this documentary series, and if you’re a fan of movies that are just a little outside leftfield, this is a great addition to your library.

Available on DVD this Friday is the documentary No Small Matter (Abramorama), co-directed by Danny Alpert, Greg Jacobs and Jon Siskel, which looks at early childhood education and how that has changed how kids learn, now at an earlier age than ever.

This week’s big virtual festival is the 25th Nantucket Film Festival, which will be running from June 23 – 30 with a combination of films and events like a number of “In Their Shoes..” talks with Norman Lear and screenwriter Eric Roth (both hosted by my pal Ophira Eisenberg), as well as one with improv comics, Thomas Middleditch and Ben Schwartz, that one moderated by Michel Ian Black. Also, the Oxford Film Festival will screen two features virtually starting on Friday, Mindy Beldsoe’s The In Between and Braden King’s The Evening Hour, although the latter can only be viewed in Mississippi.You can get tickets for both on Oxford’s Eventive site.

Also this weekend, there are a few returning shows, but they’re coming to HBO Max only, and that includes the third season of Search Party and the second season of Doom Patrol, which originally premiered on DC Universe. So yeah, there’s definitely a lot to watch this weekend.

Netflix will also release George Lopez’s new stand-up special, George Lopez: We’ll Do It In Half on Saturday and the third season of the German series, Dark.

Next week, it’s the 4th of July weekend, and we’ll have more movies not necessarily in theaters!

By the way, if you read this week’s column and have bothered to read this far down, feel free to drop me some thoughts at Edward dot Douglas at Gmail dot Com or drop me a note or tweet on Twitter. I love hearing from readers … honest!