The grindhouse is like ballet — truly appreciated by only a few blessed and special individuals. And for those individuals, here’s a picture of my legs…
I’ve got this one on DVD, actually. Considering that it was produced by the notorious Harry Novak, it’s actually fairly entertaining and not just in a “WTF” sorta way. Still, I have to admit that the main reason I like this trailer is because of that “I don’t have to tell you anything,” line because I used to say that a lot when I was a child (actually, I still say it a lot). Unfortunately, I never had undead followers to help back up my words.
Now, admittedly, some claim that I was occasionally a just a tad bit bratty when I was a child. (The running joke, among my sisters, is that LMB stands for Little Mean Brat.) However, I was never quite this bad…
Speaking of being bratty…A*P*E was originally entitled The New King Kong until a lawsuit changed the title. By all reports, A*P*E was meant to be a “serious” film but it was advertised as being a spoof after the film’s distributors saw the final results. A*P*E shows up on AMC occasionally.
While we’re on the amorous monster front…I haven’t seen this one but it appears to be some sort of Swept Away With Big Foot type of film. The vibe here is definitely grindhouse pretentious.
And finally, here’s the grindhouse documentary that started them all — the Italian Mondo Cane! None other than Giovanni Lombardo Radice has described this film as an example of “lingering fascism.” It also inspired Ruggero Deodato’s Cannibal Holocaust. Also, much like An Inconvenient Truth, it was nominated for a best original song Oscar. (Note to self: Write a future post on how much An Inconvenient Truth has in common with Mondo Cane…)
Finally, in conclusion, here’s one final scene from A*P*E…
A few years ago, I declared that January should just be renamed Statham because seriously, Jason Statham was in like almost every single freaking movie released that month. Seriously, it was like every time I turned on the TV, there was yet a new commercial featuring Jason Statham in some movie that I had absolutely no desire to see. “Oh look,” I’d say, “that’s Jason Statham swinging a sword. Oh, now he’s driving a car really fast. Oh, wow, now Jason Statham’s looking off to the side and squinting…”
Well, this January, Jason Statham is only starring in one film and it might be the best of his career. At the very least, it’s the first time I’ve been able to kind of see the guy’s appeal as a film star. That film is The Mechanic and it opened this week.
In the Mechanic, Jason Statham plays a contract killer. He’s known as a mechanic because he “fixes” problems. After Statham’s mentor (Donald Sutherland) is killed, Statham takes the man’s son (Ben Foster) under his wing and starts to teach Foster the tools of the trade. However, unlike the cool and detached Statham, Foster is a jittery and angry psychopath. However, despite their differing approaches, they are forced to work together when the same man (Tony Goldwyn) who ordered Sutherland’s murder decides to come after them.
As I stated before, I’ve never quite gotten the appeal of Jason Statham as an actor. In fact, as Jeff and I waited for the film to start, I said, “I’ve never really gotten Jason Statham.” As soon as I said that, this woman sitting in front of us turned around in her seat and I swear to God, she rolls her eyes at me in this way that said, “Bitch, please. Like Jason Statham would ever give your raggedy ass a second look.”
I proceeded to narrow my eyes in a way that said, “You best be watching what you say, you nasty ass ho.”
She cocked her head in a way that said, “Oh, no you didn’t!”
I flared my nostrils in a way that said, “Oh yes, I did, you hootchie ass skank…”
She leaned forward as if to say, “Gurl, you need to get Jesus in your life…”
I smirked as if to say, “Jesus? What does Jesus have to do with this?”
Before she could answer, the movie started.
Anyway, what was my point? Oh yes, Jason Statham. In the past, I’ve never gotten his appeal but in this film, I did. For the first time, I saw him as something other than just an expressionless English guy. Statham is athletic but, unlike a lot of other action movie stars, he’s not so ludicrously muscle-bound that you can’t believe him as some guy you might run into out on the street. Previously, I just thought that Statham was a bad actor but, with the Mechanic, I realized that, whereas other actors act with their eyes and their voice, Statham acts with his body. You look at Statham with his constant scowl and his cold eyes and you believe that he could kill someone in real life as well as in the movies. Statham is perfectly cast as a professional killer and The Mechanic wisely doesn’t try to suggest that the character is anything more than just a very disciplined sociopath. Much like the best pulp heroes, Statham’s mechanic is a hero by default. He’s a bad guy but everyone else in the movie is worse.
Also, there’s a scene about ten minutes into the film where Statham, fresh from killing a drug lord, changes clothes in a linen closet and as soon as he removed his shirt, I said, “Oh, I see the appeal now.”
Playing opposite of Statham, Ben Foster gives another one of his intense performances. Throughout the film, Foster is perpetually on the verge of exploding and his typically high energy performance provides a nice contrast to Statham’s typical nonperformance. He’s the Eli Wallach to Statham’s Clint Eastwood. However, Foster doesn’t just rely on theatric for his character. Instead, he gives a complex, multi-faceted performance as a character who, in the hands of a lesser actor, could have just been your average psychopath. He even manages to win some sympathy for a character who, on paper, wouldn’t seem to deserve it. Even more importantly, he brings out the best in Statham in a way that previous co-stars like Sylvester Stallone couldn’t.
Director West keeps the action moving quickly without ever letting the movie degenerate into just a collection of over-the-top set pieces. When the film does break out into action, West handles it like a pro and, as spectacular as the action may get, he still manages to keep things in the realm of the believable. However, West also invests the film with a dark, almost grim atmosphere that fills every scene with a feeling of impending doom and growing paranoia.
The Mechanic is a fast-paced, unapologetic thriller that, in its way, ultimately becomes a masterpiece of the pulp imagination. It’s very easy to imagine this as an Antonio Margheriti film from the early 80s, starring David Warbeck and Giovanni Lombardo Radice in the Statham and Foster roles. Both director West and the cast deserve to be applauded for making a grindhouse film for the 21st Century.
I’ve been under the weather since the day after Christmas (and you probably don’t want the details though they can be found on twitter because my twitter account is my place to be all TMI) so I fear that I’ve been running behind when it comes to posting on this site. Not only have I not written my review of True Grit and Rabbit Hole, but I haven’t written anything about that video of the beaver opening up the box of tampons yet.
So, wyle ah work on gittin mah purty lil self all caught up here (and attempt to phonetically recreate my natural country girl accent), here’s the final 2010 edition of Lisa Marie’s Grindhouse and Exploitation Trailers.
I love how all the imported, soft-core films of the early 70s were always advertised as being sensitive, coming-of-age stories. Christina Lindberg later starred as the iconic One-Eye in Thriller, A Cruel Picture (a.k.a. They Call Her One-Eye.)
Yes, the trailer’s in German and no, I don’t speak German. I speak French which I guess means I’d have to surrender if this trailer ever tried to enter me. BUT ANYWAY, this is actually an Italian film. Tony Anthony plays a blind gunslinger who is hired by a bunch of mail order brides to free them from a sadistic bandit played by Ringo Starr. Yes, that Ringo Starr.
If, like my friend Elly, you live in Australia, you can watch this movie on DVD. Unfortunately, outside of “region 4,” this movie is unavailable. I’ve never seen it though I read about it in Bruce Dern’s quite frankly weird autobiography. (I say weird with affection because, seriously — how can you not love Bruce Dern?) Anyway, Dern says that in the sex scenes in this movie, he and Adams were actually doing it. Apparently, the film itself is a take-off on The Collector — Dern kidnaps Adams, covers her body in tattoos, and then has sex with her. It actually sounds like kind of a disgusting movie, to be honest and the prospect I might see it is making me reconsider my plans to eventually relocate to Australia (sorry, Elly).
As for the trailer, I just think it’s really nicely atmospheric, especially in the slow-motion sequence at the beginning.
This is the old school slasher film that I always wish I had been around to be cast in. Why? Because of all the costumes, of course! If you’re going to be a victim in one of these movies, you might as well get to play dress up beforehand.
There are two trailers for this movie. This is the mainstream version and it is a heavily cut — and I mean HEAVILY CUT — version of the one that played in the grindhouses. You can find the uncut version on Stephen Romano’s Shock Festival. Anyway, this is one of those wonderfully satirical 70s films that was marketed as a standard grindhouse film. William Smith plays an FBI agent who is sent to Peckham, California to discover why the town’s men are being fucked to death. Actually, just looking at the men of Peckham, California — they should probably be happy with what they can get.
What better way to end 2010 than with the one and only Dario Argento? This is the trailer for his first worldwide hit, the classic giallo Deep Red. This is also the film where he first met and romanced Daria Nicolodi. Plus, this movie probably features the best performance ever from the late and underrated David Hemmings (who would end his career playing a small role in Gangs of New York, a film which also features Giovanni Lombardo Radice.)
As a sidenote, I’ve really enjoyed sharing these trailers through 2010 and I look forward to sharing more in 2011. Je te donne tout mon amour, mon lecteur.
How can you not be enthusiastic about a film with a title like “The Sinful Dwarf?” That said, I think Peter Dinklage could kick this guy’s ass. This was apparently a “lost film” until a copy was found in a janitor’s closet in Denmark. “What do you think of the blonde?” “hahahahahahaha”
This is actually a rather depressing rip-off of Maniac. The trailer makes it look a lot more interesting (and fun) than it actually is. Which, of course, is what a trailer is supposed to do. (The DVD, by the way, features a pretty interesting interview with the star of this film, Dan Grimaldi.)
3) Corruption
“No women will dare go home alone after seeing Corruption!” That’s right, boys, go see Corruption and you will get laid! You can say a silent prayer of thanks to Peter Cushing after…By the way, I’m planning on seeing Corruption on DVD but I’ll be sure to watch it at a male’s house or apartment in order to make sure that I have someone to escort me home afterward. So, if any of you guys out there have an hour or two to kill (so to speak)…
I like this trailer and I have a feeling I might find something to enjoy in the actual film is just because I come from a long line of swamp girls. That said, I don’t think I could be one myself. There’s too many little buggies and things flying around the swamp.
Is the haunting Theme From Swamp Girl stuck in your head now?
In previous editions of Lisa Marie’s Favorite Grindhouse and Exploitation Trailers, I haven’t highlighted any of the several hundred mondo film trailers that are out there because I kind of agree with something that Giovanni Lombardo Radice said: mondo movies are a remnant of fascism. And they are. But, I had to include Journey Into The Beyond here because how can you not enjoy listening to John Carradine?
If you happen to watch an Italian or Spanish slasher film made between 1979 and 1983, there’s a fairly good chance that Edmund Purdom will turn out to be the killer. Well, I guess Purdom got sick of being typecast because, in 1983, he directed a film of his own and it’s a holiday film!
The Italian horror cinema scene has always been dominated by such names as Mario Bava, Dario Argento and Lucio Fulci. Their films became Italy’s contribution to horror cinema and one cannot find a fan of the genre who don’t hold these three gentlemen in high regard. Other names of the Italian horror scene were not as well-known beyond the most hardcore horror fans and some just don’t deserve to be in the same company as the previously mentioned trio. One filmmaker who should be part of their company is one Michele Soavi. He rose through the ranks as an actor at first before moving on to becoming assistant directors for mentors such as Joe D’Amato and Dario Argento. The latter would become a major influence in Soavi’s work and would help produce some of his films. One of those Argento would end up producing for Soavi is the 1989 supernatural horror film, The Church (known in Italy as La Chiesa).
The Church wasn’t one of Soavi’s best films, but it was still one of the better horror films to come out of Italy during the waning years of the 80’s when Italian horror began a slow decline. Starring a very young Asia Argento (hard to believe that a career which began with reports of nepotism would turn out to be a successful one in and out of Italy) and an Italian-American actor named Tomas Arana (people would know him best as the ambitious Quintus in Ridley Scott’s Gladiator), the film starts off with a cohort of Teutonic Knights who destroy and kill a town suspected of witchcraft. The bodies of all killed soon get dumped into a mass grave and sealed with a huge metal cross and prayers to keep the evil that was done from ever coming out.
The beginning does have a somewhat ambiguous tone to it as we the audience don’t know if the villagers were indeed evil. Soavi definitely leaves that up in the air until the final third of the film kicks in and most of the horror scenes appear to satisfy gore fans. The knights destroying the village was well-staged and executed with some cool kill-scenes and effects.
It’s the middle reel where the film slowed down to the point that could lose the more casual horror fan. We get the usual non-believer researcer (Arana) who stumbles upon the ancient cross sealing the mass grave beneath the church that had been built over it down the centuries. Even this researcher and another knows that they should leave it alone, but being the scientists one of them proceeds to unseal the find with the reasoning that pursuit of knowledge should triumph over supersitition. Thus, the church becomes the scene of demonic possessions of various individuals. First, the initial researcher who opens unseals the cross then the parents of Asia Argento’s character before moving on to churchgoers who become trapped in the church after some demonic force seals all exits.
The rest of the film once that church seals itself is one person either getting killed by those possessed by the demons escaping from the sealed grave or someone getting possessed. This third act actually has a touch of Fulci’s nightmarish-style and less of Argento’s more dream-like quality. There’s a beautiful scene of Tomas Aranas’ character made-up to be some verdigrised-bronze angel statue, wings and all, embracing a very naked young woman that looked straight out of a Luis Royo painting. Another scene where regular Soavi actor Barbara Cupisti was shown in sexual congress with a demonic being that should give more than a few people nightmares despite being framed and shot in a beautiful manner.
The final nightmare scene of beauty which pushes The Church over into Fulci territory is when a mass of naked, muddied bodies of all those possessed entwine and writhe to form the likeness of a demon’s head. This sequence alone was worth watching through the much slower middle section of this film and Soavi’s eye for staging and lighting the scene made it look like something out of the pages of Dante Alighieri’s Divine Comedy.
One could say that The Church just didn’t live up to the usual quality one expected out of a Michele Soavi film after a he made the excellent giallo-slasher film Stage Fright just two years prior. This second full-lenght feature by Soavi showed him still honing his talent as a filmmaker which would finally culminate five years later in one of the best Italian horror films and one of the best films in the zombie subgenre with his Dellamorte Dellamore. Plus, even when he’s not on top of his craft like with The Church it is still worth a watch and better than the stuff released by his contemporaries like Bruno Mattei.
It’s time we got back to another edition of “The Daily Grindhouse” and this time we go into the lovely and wholesome fun that was the European cannibal subgenre which became popular from the mid-1970’s right up to the early 1980’s. The granddaddy and best of this subgenre will forever be Ruggero Deodato’s Cannibal Holocaust. That film help bring about the flood of cheap copies and knock-offs with each one trying to one-up Deodato’s masterpiece by amping up the violence and gore to try and get banned in as many countries as possible. One of these knock-off’s is Umberto Lenzi’s Cannibal Ferox aka Make Them Die Slowly.
It stars one of the heavyweights of Italian exploitation and grindhouse in Giovanni Lombardo Radice. It pretty much borrows part of the plot of Cannibal Holocaust then adds in a liberal helping of drug-dealers, mobsters and emeralds. Lenzi’s flick dumps the “found footage” style Deodato used for his film and instead goes a more traditional style. This lessens the impact of Lenzi’s film and definitely adds to fuel from critics and detractors who saw nothing of value in this film.
I wouldn’t say that Cannibal Ferox has no redeeming value whatsoever for it is an interesting flick. Gorehounds and lovers of this particular brand of grindhouse cinema have a special place in their heart for this flick with special mention going to the several kill sequences that occur throughout the film. Lead actor Radice gets the most elaborate and gruesome fate in this flick and I would say in most in the subgenre. No wonder in an interview years later he would regret ever filming this flick.
Oh yeah, Lenzi one up’s Deodato’s on-screen killing of a live turtle by doing a pig instead.
Like I said earlier, lovely and wholesome fun for the whole family.
Director Michele Soavi is probably best known for directing the last great Italian horror film, Dellamorte Dellamore. However, his word in that film has been so praised that, to a certain extent, Soavi’s earlier horror films have been overshadowed. This is a shame because Soavi was (and is) a great director and — before he temporarily retired from films in the mid-1990s — he directed four of the greatest Italian horror films ever made. The first of these films (and Soavi’s directorial debut) was the 1987 slasher film Stagefright.
As written by Luigi Montefiore (who, as an actor, was better known as George Eastman), Stagefright’s basic story function almost as a parody of a stereotypical 80s slasher film. On a dark and stormy night, an eg0-crazed, cocaine-addicted theatrical director (played by David Brandon) is running a rehearsal for his latest show, a campy musical about a fictional serial killer. However, even as his cast performs fictional mayhem on stage, a real killer escapes from a nearby mental hospital and makes his way to the theater. After the real killer murders the production’s wardrobe mistress, the director decides it would be a brilliant idea to rewrite his show to make it about the real killer. Not realizing that the real killer has snuck into the building, the director secretly locks his cast inside the theater and forces them to rehearse his new show. As you can probably guess, mayhem ensues and blood (a lot of blood) is spilled.
That the film worked (and continues to work over 20 years later) is a tribute to the talent of Michele Soavi. Obviously understanding that he was working with a genre piece, Soavi embraced the expectations of the slasher film and then pushed those expectations as far as he could. The end result is a film that works as both an old school slasher film and as a commentary, of sorts, on the genre as a whole. Soavi’s camera prowls every corner of the film’s theater, creating an atmosphere of truly claustrophobic dread. To me, the most effective thing about the film is that, for once, our victims actually do the smart thing. They stick together and try to fight off the killer as a group. And they end up failing miserably in a scene of horrific choas that shows Soavi at his best.
Soavi started his career as an actor and appeared in a countless number of Italian horror films in the late 70s and early 80s. (For whatever reason, Soavi always seemed to be getting killed in some awful way…) Perhaps that’s why, of all the great Italian horror directors, Soavi always seemed to have the best instincts when it came to casting. For a slasher film, Stagefright is well-acted by a cast made up of horror regulars. Barbara Cupisti is a properly likable protagonist in the role of “final girl” while the great Giovanni Lombardo Radice does good work in the small role of Brett, a flamboyantly gay actor. However, the film is dominated by David Brandon who snorts cocaine and barks out orders as if the fate of the world depended upon it.
(Soavi, himself, appears in a small role as an ineffectual policeman who, while people are dying all around, is more concerned with whether or not anyone else agrees that he looks like James Dean. And, it should be noted, there was a resemblance.)
As opposed to a lot of other directors involved with the Italian horror genre, Soavi had (and, I hope, still has) a genuine love of film and that love is obvious in his stylish direction here. There’s something truly exhilarating about seeing a movie made by someone who is truly in love with the possibilities of film and, because of that love, has no fear of pushing genre “rules” to their extreme.
Here’s the latest edition of Lisa Marie’s Favorite Grindhouse and Exploitation Trailers. (I know, I know — worst intro paragraph evuh! Following the tradition of the Pieces trailer, which can be found below, I’m keeping things simple. I’ll be back to my usual complicated self next week.)
Believe it or not, this was directed by Abel Ferrara, the same man who directed Ms. 45. Fear City is one of the few Ferrara films that I haven’t seen but the trailer just oozes sleaze doesn’t it? And speaking of sleaze, maybe that’s what all the men in this film were putting in their hair. Seriously, why not call it Gel City? And how about Billy Dee Williams there, sounding like the angel of the final judgment? Shut up, Billy Dee Williams!
This is one of Lucio Fulci’s final films and you’re either going to love it or you’re going to hate it. The film is surprisingly meta for an Italian horror film not directed by Michele Soavi. This is the one where Fulci plays himself and attempts to personally answer his critics. Anyway, the reason I love this trailer is because of the cat puppet that appears at the end. It’s so cute! (Ignore the quote from Clive Barker — he’s almost as much of a whore as Stephen King.)
I imagine this is another film that’s “exactly what you think it is.” I love trailers that show off what was considered to be chic and decadent in the past. This is one is from the 70s. (Surprised?)
While the rich people were partying in London, cannibals were apparently ruling the streets of Atlanta. According to actor John Saxon, starring in Cannibal Apocalypse made him suicidal. Cannibal Apocalypse is actually a pretty good film with an anti-war subtext and it features a great supporting performance from Giovanni Lombardo Radice so seriously — shut up, John Saxon! (Actually, Saxon gives a really great performance here — of course, his character is meant to be suicidal — and he’s the main reason that Cannibal Apocalypse works.)
Much like Cannibal Apocalypse, Cannibal Man is actually an allegory of alienation that’s disguised as a horror movie. Cannibal Man is a seriously strange movie and highly recommended.
As I’m sure I’ve mentioned before, I’ve always loved to dance. Before I embraced the movies, my life was about dancing. I was going to be Prima Ballerina and my mom paid for several years of ballet class to help me reach that goal. I obsessed on it the way that I obsess, today, on Lucio Fulci and Jean Rollin. However, my brilliant career was cut short by two things — 1) I’m about as graceful as a Clydesdale and 2) I ended up tumbling down a flight of stairs when I was 17 and essentially shattering my ankle. Actually, I guess those two things might be connected. Anyway, I can’t complain because giving up my affected love of ballet allowed me to discover my very true love of film. I was never really a great dancer (though I was, and am, very enthusiastic) but I’m very good at watching movies.
However, I still love to dance and I still love movies — even mainstream movies — that feature dancing. That’s why I’m so looking forward to seeing Black Swan next month. Until then, here’s 6 of my favorite dance scenes from the movies.
Let’s start off with one of my favorite “dance” scenes of all time, my man Giovanni Lombardo Radice and Lorraine De Selle breaking it down in Ruggero Deodato’s The House On The Edge of the Park. The man in yellow is David Hess.
If anyone’s ever wondered why I was crushing on Joseph Gordon-Levitt in Inception (as opposed to Tom Hardy, Cillian Murphy, or Leonardo DiCaprio), it was largely because of this scene from (500) Days Of Summer.
Murder Rock is kinda sorta like my own personal Holy Grail — it’s a grindhouse dance movie directed by Lucio Fulci! Plus, it costars Christian Borremeo, who co-starred in The House on the Edge Of The Park and Dario Argento’s Tenebrae.
Okay, so I think Nine was definitely the worst the movie of 2009. Yes, even worse than Avatar. However, I love this scene and I love the song featured in it, Cinema Italiano. Yes, technically, it’s a really terrible song that displays an astounding ignorance of Italian cinema. If anything, the lyrics appear to be describing the French New Wave. True, the song do make reference to “neo-realism” but you get the feeling no one involved with Nine ever saw Open City or The Bicycle Thief. But the thing is do damn catchy that I still find myself singing it in the shower. Like me, Kate Hudson is obviously not much of a singer or a dancer but she’s very enthusiastic.
An Unmarried Woman was apparently very groundbreaking in 1978. Seen now, it seems like a better title for it would be An Unmarried Woman Who Can Still Afford A Penthouse Apartment In New York City. Still, the late, great Jill Clayburgh’s performance holds up well and I like the film if just because it’s still one of the few movies out there that’s willing to acknowledge that an unmarried woman can still be a sensual, happy woman. The scene below captures perfectly the exhilarating joy of just surrendering to the music and dancing. Plus, for me, this is one of those “Hey, I do that too!” scenes. In fact, my ankle is still hurting as a result of rewatching this film last Friday.
1) A Black Veil For Lisa— There’s several things that I love about this trailer. I love the faux-noir narration. I love the teasing tone. I love the old school femme fatale attitude of lead actress Lucianna Paluzzi. But, to be honest, the main reason I love it is because it’s all about a redhead named Lisa. That and the line “Every man wants a Lisa…”
2) The Italian Stallion— This is the trailer for the re-release of Sylvester Stallone’s porn debut, A Party At Kitty and Stud’s. I’ve never seen the movie nor do I have much desire to see it but this trailer just amused me to no end. Whether its the awesomely phony line readings of Gail Palmer or the catchy and empty theme song, this trailer feels like a genuine time capsule.
3) The House On The Edge of the Park— Speaking of catchy but empty theme songs, Ruggero Deodato’s The House on the Edge of the Park features my personal favorite, Riz Ortolani’s infamous Do It To Me (Once More). It can be heard at the end of this trailer and once it gets stuck in your head, it’ll stay there forever. As for the trailer itself, it’s a perfect example of how a well-edited trailer can actually make a somewhat draggy film seem exciting (that said, this movie is one of my all-time guilty pleasures, as misogynistic and wrong-headed as it ultimately is). A few things I love about this trailer — the blue-tinted views of New York City, David Hess’s iconic psycho performance, the sight of my man Giovanni Lombardo Radice dancing, and the fact that the trailer actually manages to 1) get the movie’s name wrong and that 2) nobody ever bothered to fix it.
(Author’s note: Whoops! Before you watch this, I have to admit that I’d forgotten just how explicit, violent, and exploitive this trailer really is. So, consider this to be definitely NSFW — not that you should be watching any of these trailers at work, to begin with — and seriously, no joke, don’t watch this trailer if you are easily upset or offended. Honestly, if I saw this trailer without having any knowledge of how silly the actual movie really is, I would probably find this trailer to be deeply offensive. Well, no, actually, I probably wouldn’t. For the most part, I’m only offended by things that happen offscreen in the real world. — Lisa Marie Bowman)
4)The Texas Chainsaw Massacre— Yes, I know everyone’s probably seen this trailer a hundred times but it’s still probably one of the best and most effective trailers of all time. Plus, I’m from Texas so you know I had to mention this movie at some point. (I may have mentioned this in the past, but seriously — try to imagine this movie being as effective if it was called The Vermont Chainsaw Massacre.)
5) Mindwarp (a.k.a. Galaxy of Terror) — I’ve been eagerly awaiting the chance to buy this film on DVD ever since seeing this trailer on the latest 42nd Street Forevercompilation. Rumor has it that this film was actually directed by James Cameron, back when he was still interesting. Supposedly, this film features a very aggressive tentacle but, to be honest, I mostly just want to see Sid Haig’s arm get cut off. (Seriously, who doesn’t? Take that, Capt. Spaulding!)
6)Stage Fright— This is the wonderfully intense and claustrophobic trailer to the great Michele Soavi’s 1st film, Stage Fright, a movie I’m going to watch as soon as I finish up this post. So, with no further delay…
