Insomnia File No. 8: From the Hip (dir by Bob Clark)


What’s an Insomnia File? You know how some times you just can’t get any sleep and, at about three in the morning, you’ll find yourself watching whatever you can find on cable? This feature is all about those insomnia-inspired discoveries!

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Last night, if you discovered that you couldn’t get any sleep around two in the morning, you could have turned to Showtime and watched the 1987 film, From The Hip.

In From the Hip, Judd Nelson plays a character named Robin Weathers.  Of course, his nickname is Stormy.  Robin has just graduated from law school and is working at a prestigious law firm.  He’s ambitious, he’s outspoken, and he’s totally frustrated.  As his co-workers (played, quite well, by David Alan Grier and Dan Monahan) continually remind him, nobody gets to try a case during their first year out of law school.  They advise him to be patient and to wait his turn.

However, a man who is capable of being patient would not be nicknamed Stormy.  It just wouldn’t make any sense.  So, Stormy Weathers schemes his way into the courtroom.  One morning, he intentionally withholds information from the senior partners, going out of his way to keep them from realizing that a trial is scheduled to begin that afternoon.  When senior partner Craig Duncan (Darren McGavin) discovers what Stormy has done, he fires him and makes sure that he never get hired at another law firm … oh wait.  No, he doesn’t because that would make too much sense.  Instead, he allows Stormy to try the case because, at this point, Stormy is the only one who knows anything about it.

The case is a simple assault case that involves two bankers and should be resolved easily but Stormy manages to drag it out for several days and his flamboyant style catches the attention of the media.  The other partners in the law firm — who are all old and boring — want to fire Stormy but Stormy’s client says that, if Stormy is fired, he’ll take his business and his money elsewhere.  Stormy becomes a minor celebrity but — in a rather clever little twist — it turns out that he and the prosecuting attorney are old friends from law school and they conspired to make each other look good.

Anyway, Stormy is now so famous that he gets assigned to defend a college professor, named Benoit (John Hurt), who has been accused of murder.  When it quickly becomes obvious that Benoit is not only guilty but will probably murder again, Stormy is forced to choose between ambition and morality…

When my friend Evelyn and I first started to watch From the Hip last night, I really thought I was going to hate it.  The hot pink neon credits screamed, “Bad 80s movie!” and, because I happen to know quite a few lawyers, I tend to be a 100 times more critical of movies about lawyers than I am when it comes to movies about, say, homicidal fishermen.

And, honestly, From The Hip is a heavily flawed film.  Judd Nelson is miscast and the scenes with his politically conscious girlfriend (Elizabeth Perkins) are painfully shallow and reek of limousine liberalism.  But, if you can get through the weak opening, the film itself is watchable and enjoyable in a dumb sort of way.  John Hurt does a great job as a sociopath and, miscast as he may be, it’s still fun to watch Nelson go insane in court.

From The Hip is not a great film but, in its way, it’s an enjoyable little time capsule.  Believe it or not, there was a time when Judd Nelson starred in a movies that were actually released in theaters.

Previous Insomnia Files:

  1. Story of Mankind
  2. Stag
  3. Love Is A Gun
  4. Nina Takes A Lover
  5. Black Ice
  6. Frogs For Snakes
  7. Fair Game

 

Horror Film Review: The Mutilator (dir by Buddy Cooper)


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Last night, the Alamo Drafthouse hosted a special one-night showing of an infamous horror film.  It was a film that was first released in 1985, the same year that I was born.  It was a film that was obviously made for a very low-budget, featuring a cast of unknown actors, many of whom appear to have been amateurs.  Much like Savage Weekend, it was a remarkably inept film that somehow managed to work almost despite itself.  It was also a film that featured a scene with a giant fishing hook that made me and my BFFs Evelyn and Amy all go, “AGCK!” at the same time.  The name of the film?  The Mutilator.

That’s right, The Mutilator.  Say what you will about this film, you can’t criticize that title.  When you see a movie called The Mutilator, you know exactly what you’re getting into.  And, though the film does get off to a bit of a slow start, it does ultimately live up to that incendiary title.  There is a lot of mutilation to be found.

(And some it involves getting stabbed in the vagina with a giant fishing hook … AGCK!)

The film also features perhaps the most brilliantly generic theme song in the history of the movies.  It’s called Fall Break and it’s all about teenagers having a good time.  There’s no mention of fish hooks or anything else like that!  Instead, it sounds exactly like something you’d expect to hear in a Crown International high school film, like The Pom Pom Girls or The Beach Girls.  Just listen to the song below and tell me that it isn’t the most insidiously generic thing that you’ve ever heard.

Anyway, as for the film itself, it opens with a kid named Little Ed finding a shotgun and accidentally shooting his mother in the back.  This leads to his father, Big Ed (Jack Chatham), becoming a drunk and declaring that his son will pay for what he has done.

Jump forward several years later and Ed Jr. (Matt Miller) is now in college.  When Big Ed calls and demands that Ed Jr. spend his fall break taking care of their beach house, Ed Jr. is reluctant to take the job.  But then his friends convince him that this would be a great chance for all of them to spend their fall break hanging out on the beach.

When they finally reach the beach house, Big Ed is nowhere to be found.  Ed Jr. figures that Big Ed has already gone back home.  After all, Big Ed’s battleaxe — which he usually leaves hanging on the condo wall — is gone.  “Dad loves his battleaxe,” Ed Jr. explains.

Of course, what Ed Jr. and his amazingly stupid friends don’t realize is that Big Ed is still in the house.  He’s in the basement, surrounded by empty bottles and sleeping with his battleaxe.  When Big Ed wakes up and discovers that his son and his friends are in the condo, Big Ed decides to kill them all.

And that’s pretty much what he does.

The Mutilator was directed by Buddy Cooper and the end credits are full of other people named Cooper.  This was Buddy’s only film and, for the most part, it’s definitely an amateur production.  And yet, that amateurishness works to the film’s advantage.  The start and the middle section of the film are so inept that when the murders start and when they turn out to be shockingly brutal and the gore effects turn out to be surprisingly effective, it’s a total shock.

Along with that fish hook (Agck!), we also get decapitations, drownings, strangulations, pitchforkings, and disembowlement by outboard motor.  Making all of this all the more disturbing is that nobody really struggles or screams and tries to escape while being attacked.  Instead, it’s almost as if they all realize that they’re in a slasher movie and the appearance of Big Ed and his latest weapon of choice almost puts them in a trance.  It’s as if almost all of them have accepted their fate.  And I realize that’s probably more due to inept directing and bad acting than anything else but still, it gives the film a disturbingly dream-like feel.  In the end, The Mutilator becomes one of those films that should not work and yet somehow does.

The Mutilator will be released on Blu-ray by Arrow Video in September.

Hallmark Review: Accidentally in Love (2011, dir. David Burton Morris)


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Another really simple one. I always feel bad reviewing one of these cause I feel like I’m cheating somebody. Also, this isn’t one I could watch where I could take screenshots. Oh, well. It is what it is.

The movie begins and we are introduced to Eddie Avedon (Ethan Erickson) who plays Mulligan the bunny on a children’s TV show. As soon as the camera shuts off, he shoves the kid costar on the show out of the way. He then proceeds to bitch and moan about the costume before he finally gets it off. Of course he hops in his car and soon ends up behind Annie Benchley (Jennie Garth). Benchley’s old run down car breaks down so Avedon keeps honking at her till he makes an attempt to go around her car. And by attempt, I mean he runs into her car. Setup!

We already know that obviously Avedon would rather be doing something else careerwise so we need to be introduced to Benchley. Benchley has a daughter who is losing her eyesight. She loves the character of Mulligan the bunny. So of course the two are going to end up together. The daughter kind of melts his heart. There are no surprises here or anything particularly interesting to mention.

The problem with this film is that I didn’t really think two leads had any chemistry together. Also, Jennie Garth doesn’t fit in the role of a single mother who is down on her luck working as a waitress with a kid going blind. Call it the fault of starring on Beverly Hills, 90210 for too long, but I just couldn’t look at her face and accept her in the role. I accepted him, but I also never really warmed up to him.

Still, it was okay. There were decent supporting performances from Avedon’s friend (Zack Ward), Benchley’s mother (Marilu Henner), Avedon’s agent (Fred Willard), and I even kind of liked the kid costar (Adam Karelin). This one will pass some time for you.

Horror on the Lens: The Amazing Colossal Man (dir by Bert I. Gordon)


For today’s horror on the lens, we present the 1957 film, The Amazing Colossal Man!

Directed by Bert I. Gordon, The Amazing Colossal Man tells the story of what happens when Lt. Col. Glenn Manning (Glen Langan) is exposed to an atomic blast, the force of which not only burns off his clothes but leaves him bald as well!  At first, everyone is convinced that there’s no way Glenn Manning will survive but, to everyone’s surprise, he does survive.

And he starts to get bigger!

That’s right — radiation does the craziest things!

Soon, Glenn’s a giant and he’s not very happy about it.  As the government tries to keep both the accident and the mutation a secret, Glenn grows more and more bitter and angry.  And it certainly doesn’t help matters when the scientists decide they want to inject him with a giant syringe.

Seriously, you’ve got to see this syringe!

Anyway, The Amazing Colossal Man is one of those fun sci-fi films that elitist critics love to criticize.  But you know what?  If you’re watching a movie like this because you want to nitpick every little detail, you’re missing the point.  The Amazing Colossal Man is a 1950s B-movie and, when taken on those terms, it’s a lot of fun.

Add to that, Glen Langan really throws himself into the title role!

Enjoy The Amazing Colossal Man!

The Daily Horror Grindhouse: Hell’s Highway (directed by Jeff Leroy)


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“This is the worst trip ever!”

— Monique (Beverly Lynne) in Hell’s Highway (2002)

It certainly is, Monique!  It certainly is.

Hell’s Highway is a stretch of road that runs through the desolate California desert.  The side of the road is decorated with crosses, each signifying another person who lost her or his life on the road.  There are only a few cars on this lonely stretch of highway.  One car belongs to a serial killer who dresses as a priest.  Another car is being driven by veteran porn actor Ron Jeremy, who ends up getting castrated in close-up.

And then there’s a group of college friends on a road trip.  They drink beer.  They smoke pot.  They occasionally stop to camp out on the side of the road.  And they also pick up a hitchhiker named Lucinda (Phoebe Dollar).

Picking up Lucinda was probably a mistake because, as soon as she gets in the car, she starts talking about how much she enjoys killing people.  She then pulls out a gun and tells them, “My name’s not really Lucinda but it’s close enough.”  The road trippers manage to kick her out of the car and drive away.

But it’s not that easy to get rid of Lucinda!

The next day, they once again come across her hitchhiking.  They run her over and then drive off with her large intestine still wrapped around the back bumper.

And yet, Lucinda continues to reappear!  No matter how many times they destroy her, Lucinda always returns…

Like so many of the films that I’ve reviewed for this October, Hell’s Highway is included in the Decrepit Crypt of Nightmares box set.  Like every other film included in that set, Hell’s Highway is a low-budget, direct-to-video gorefest that doesn’t really waste much time with anything as mundane as plausibility.  And yet, for what it is, Hell’s Highway is actually pretty effective.  Lucinda makes for an effectively creepy villain and all of her victims are so unlikable that you won’t feel too bad when they get killed.

Perhaps best of all, Hell’s Highway ends with one of those out-of-nowhere twists that makes so little sense that it becomes oddly brilliant.  Just when you think the film can’t get any stranger or any more implausible, it goes there.  And it goes there with such conviction that you can’t help but slightly admire it.

Perhaps despite itself, Hell’s Highway works surprisingly well.

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Horror Film Review: Stuff Stephanie In The Incinerator (1989, dir. Don Nardo)


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Wow! This was not what I expected at all. This is what I imagine Luis Bunuel would have made if he started his career as a low budget 1980s horror director. Since the characters have several names, I’m just going to refer to them by the actor’s names.

The movie begins and we are introduced to William Dame’s character as he seems to be a mechanic for planes. Two men show up, remove a ring from his finger, and proceed to knock him out by holding a plastic bag over his head. Then he wakes up in some house dressed in a tux and we meet Catherine Dee’s character.

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Next we are introduced to an old lady who appears to want him to have sex with Dee for her amusement, and then have sex with her, or Dee dies. This whole scene plays out like something surreal you would expect from Bunuel, The Twilight Zone, or the like, but then…

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just as Dame is about to have sex with the older lady, we are introduced to the third main character played by M.R. Murphy. I almost feel bad for giving away the twist that the old lady is a guy, but honestly, I could keep giving away twists all I want and it would still have something more up it’s sleeve.

I guess the best way I can sum it up is like this. We start off in what appears to be reality. Then we feel like we are in something truly surreal till the mirror breaks on that to reveal a new reality. This pattern of destroying the current setup for a new one repeats throughout the entire movie till it comes to it’s conclusion. But it’s not like we see them stop, then dress up for a new part. It’s like when a character wakes up from a dream, but it’s just another dream. Except it’s not annoying.

This is the one of the most interesting movies I’ve seen all year. I know this is not a movie for everyone. It’s weird, but it’s my kind of weird. It had me thinking about The Exterminating Angel (1962) and mostly The Criminal Life of Archibaldo de la Cruz (1955).

I’m not sure what else I can really say about this movie that doesn’t just lay out the plot for you. Doing that would ruin it if you wanted to watch it and it’s one of those movies I think loses so much in the translation to words. Here are a few of the highlights and some closing thoughts, followed by the movie itself which is available on YouTube.

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I guess my only real complaint about the movie is that they didn’t make it even more surreal. That, and I actually wanted it to keep going longer. I love that the movie nearly takes place entirely inside this one house. It gave it that claustrophobic feeling of The Exterminating Angel, while the resetting of the characters and their relationships kind of reminded me of The Discreet Charm Of The Bourgeoisie (1972). Seriously, this movie had me thinking about Bunuel throughout it. That’s a good thing!

Not for everybody, but I was very pleasantly surprised.

Horror Film Review: Rise Of The Animals (2011, dir. Chris Wojcik)


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I think this is the only other obviously shot on digital video low budget film from the 2010s I’ve seen this year. The other being the mildly enjoyable A Portrait of Female Desperation (2012). Which by the way has a user review left by who I can only assume is the director of the movie I recently reviewed called I Married With A Vampire. Somehow I think it’s the same Jay Raskin. But this isn’t a mockumentary like that movie was. This is about killer animals.

The movie begins with a house we see through a dutch tilt. Of course that means things aren’t right. And yep, the cat tries to attack a girl so she hits it with a frying pan and destroys it in a garbage disposal. Then cut to a kid that is her son calling her on the phone because it looks like the dad has just been killed by a killer squirrel.

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The squirrel tries to chase the kid down, but he gets to a car and jumps on top of it. The mom shows up and shoots the squirrel. But that’s when the dog jumps out of the car and kills her offscreen. We are left seeing the kid hopelessly running away from the killer dog when the opening credits roll.

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Clearly, Bill Cosby failed in Leonard, Part 6 because the animals have risen to destroy us. We now meet two of our three main characters. Two idiots driving around in a car for way too long in order to pad out the film. One delivers pizzas. They were going to go to a movie, but since they apparently live in that part of Texas where GPS fails, they don’t make it. However, they do find the Slumber Party Massacre Evil Dead cabin to deliver the pizzas too. Our main idiot spots a blonde with big tits so that means a sex scene. Sort of. But first this happens.

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This is one of the dumbest sex scenes I have ever seen. All you need to know is that he loves this girl, and she is who he will be looking for during the rest of the movie. The next morning is when shit gets real. And by shit getting real, I mean puppets attacking people.

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Hey, it’s still better than the CGI birds in Birdemic (2010)! Main idiot’s friend’s sister is at the party and she’s a bit of a badass in this. In fact, the rest of the movie can be summed up as Rachel (Stephanie Motta) and the idiots travel across country as she beats up animals.

Deer problem? She electrocutes that sucker till it burns.

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Horse problem? She beats that horse to the ground with her fists and legs.

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Bear problem? She cuts it’s head off with what I think is a sword she pulled out of thin air.

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The rest of the film plays out like a zombie movie with the world crumbling around these three people as the boy and girl develop a relationship. The main idiot is trying to find the blonde because he thinks hopelessly that they are meant to be together. There’s even the crazy apocalypse DJ on the radio while they are driving.

It’s a stupid movie, don’t get me wrong, but it’s kind of fun. I really appreciated that when they could, they used actual animals or puppets. They obviously learned from those ridiculous scenes in Birdemic.

This one is fun for a bad monster movie night.

Horror Film Review: Martin (dir by George Romero)


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When I say “George Romero,” you probably immediately think of zombies.  And why not?  Night of the Living Dead is perhaps the best known zombie film ever made and Dawn of the Dead is perhaps the second best known.  Day of the Dead and Land of the Dead both have their fervent admirers.  Without the work of George Romero, there would be no Walking Dead.  Without the zombie films of George Romero, countless children would have never grown up to become horror filmmakers.  Without George Romero, there would have been no Italian zombie films, which means that I would never have fallen in love with Italian horror and I wouldn’t have been tweeting about it that day in 2010 when Arleigh asked me if I wanted to be a contributor to this website.

Seriously, we all owe a lot to the zombie films of George Romero.

And yet, interestingly enough, Romero’s best film was one that did not feature a single zombie.  In fact, it’s a film that, despite the delusions of some of its characters, does not feature a single supernatural element.  It’s definitely a horror film but the horrors of the 1978 film Martin are the horrors of the human mind.

Martin (John Amplas) is young, nervous, socially awkward, and enjoys drinking blood.  The sun makes him slightly uncomfortable, though it does not make him burst into flames.  He has frequent black-and-white flashbacks, in which he sees himself pursued by villagers carrying torches and pitchforks.  Occasionally, Martin calls up a radio talk show and has actually gained an audience of listeners, who only know him as “the Count.”  Martin believes himself to be a vampire.  Of course, he’s not.  Instead, he’s just a creepy and mentally unbalanced necrophiliac.

Unfortunately, for Martin, his extremely religious uncle Tateh Cuda (Lincoln Maazel) is also convinced that Martin is a vampire.  Martin’s parents have died and Cuda has agreed to allow Martin to live with him in the dying industrial town of Braddock, Pennsylvania.  As soon as Martin arrives, Cuda greets him as “Nosferatu” and tells him that if he kills anyone in Braddock, Cuda will pound a stake into his heart.

(Of course, what Cuda doesn’t know, is that Martin already murdered a woman during the train ride from Indiana to Pennsylvania.)

Upon arriving at his new home, Martin works at Cuda’s butcher shop and, defying his uncle’s orders, gets to know his cousin Christine (Christina Forrest).  Martin finds himself torn between his fantasy life as a vampire and the chance to lead a normal existence in Braddock.  He meets a bored housewife, Mrs. Santini (Elyane Nadeau), and soon is having an affair with her but he still finds himself driven to search for blood.

Meanwhile, Cuda watches and continues to sharpen his stake…

Martin is a dark and grim (and yet, at times, darkly humorous) portrait of two people living under a shared delusion.  Just as Martin gains satisfaction by imagining himself as being a supernatural vampire known as the Count, Cuda feels that his purpose in life is to protect the community from bloodsuckers like his nephew.  Both of them need the other to function but they’re equally destined to destroy each other.  Amplas and Maazel both give excellent performances and Romero captures a tragic sort of beauty to Braddock’s decay.

Martin may be one of Romero’s less known films but it’s also one of his best.

Horror on the Lens: He Knows You’re Alone (dir by Armand Mastroianni)


For today’s Horror on The Lens, we present 1980’s He Knows You’re Alone!

He Knows You’re Alone is an old school slasher film, which means that it’s basically about one stalking killer and a bunch of people who have absolutely no common sense.  The gimmick here is that the slasher is stalks young brides-to-be.  Admittedly, this is all pretty standard stuff, though the film does have a clever opening and features some good cinematography and —

OH MY GOD, IS THAT TOM HANKS!?

Yes, He Knows You’re Alone is the debut film of Tom Hanks and he’s so young in this film that he still has a chin.  He plays a college student named Eliot.  Nowadays, He Knows You’re Alone is usually described as “starring Tom Hanks” but actually, Tom’s role is pretty small.  But he’s still probably the most likable person in the film.

Anyway, He Knows You’re Alone is an above average slasher flick and it’s definitely not safe for work so stop watching movies while on the clock!  Wait until you get home to enjoy He Knows You’re Alone!

 

The Daily Horror Grindhouse: Demon Slaughter (dir by Ryan Cavalline)


dsLike many of the films that I’ve reviewed so far this month, Demon Slaughter was included in the Decrepit Crypt of Nightmares box set.  I have to admit that the main reason I ended up watching Demon Slaughter was because it was only 62 minutes long.  Sometimes, you’re in the mood to watch an epic and sometimes, you’re in the mood to watch something that’s barely an hour long.

Anyway, Demon Slaughter was originally released in 2004 and it tells the story of Jimmy (Adam Berasi), who is some sort of criminal who apparently owes money to a bunch of other criminals.  So, naturally, Jimmy goes on a shooting rampage and kills a lot of people.  This, of course, leads to Jimmy’s girlfriend being brutally murdered.  Jimmy then flees to a cabin where he meets a red-faced demon, deals with a horde of zombies (many of who appear to be smiling as Jimmy shoots at them), and has a vision involving several naked women.  After a fairly impressive scene that features someone melting, Jimmy ends up getting into a theological discussion and the film’s final twist is revealed!

The first half of Demon Slaughter didn’t do too much for me.  There was nothing supernatural.  Instead, it was just people running around with guns, talking tough, and shooting at each other.  I imagine everyone had fun filming those scenes (boys always like to do the whole bang! bang!  You’re dead! thing) but it was kind of tedious to watch.  As well, the sound kept going in and out.  I’m not sure if that was a production issue or if it was just a problem with my DVD.

But then, once, Jimmy was in the cabin and shooting at all the zombies, the film got a bit more entertaining.  While the special effects weren’t exactly convincing, they did have a definite DIY charm to them.  Plus, that melting face was pretty cool!