Weekly Trailer Round-Up: Aquaman, Spider-Man: Into the Spider-Verse, The Mule, Vice, On The Basis of Sex, Mortal Engines

Posted on October 7, 2018 by Jedadiah Leland

Last week the internet was abuzz after the release of an extended, five-minute trailer for Aquaman. That trailer kicks off this week’s trailer round-up. Aquaman will be released on December 21st.

Coming out the week before Aquaman, the animated Spider-Man: Into The Spider-Verse will provide a new look at everyone’s favorite webslinger and will help us all emotionally recover from the end of Avengers: Infinity War. Spider-Man: Into the Spider-Verse is in theaters on December 14th.

Clint Eastwood is a machine. At an age when most people are retired, Eastwood is still cranking out movies and winning awards. The Mule is based on the true story of the world’s oldest drug runner. Eastwood directed and, for the first time since Trouble With The Curve, stars. The Mule will be released on December 14th.

In Vice, Christian Bale is transformed into former Vice President Dick Cheney. This film was directed by Adam McKay so it’s portrayal of Cheney and George W. Bush (played by Sam Rockwell) will probably not be a positive one. Vice will be released on December 25th and will answer the question: “Does anyone other than Adam McKay care about Dick Cheney anymore?”

Vice will be getting some competition on Christmas from another politically charged biopic. On the Basis of Sex stars Felicity Jones as Ruth Bader Ginsburg.

Finally, if you’d rather escape the real world in December, Mortal Engines will be released on December 14th.

Horror Film Review: Invaders From Mars (dir by William Cameron Menzies)

Posted on October 7, 2018 by Lisa Marie Bowman

The aliens have arrived! They landed one night in the middle of a thunderstorm and now, they’re hiding underground in a sandpit. Only David McClean (Jimmy Hunt) was awake to witness their arrival. He was supposed to be asleep but who could sleep through all that thunder and lightning? (Not to mention the sound of the flying saucer!) Unfortunately, no one’s going to believe David because he’s only 12 years old!

That’s the premise at the heart of Invaders from Mars, a nicely surreal science fiction film from 1953.

In order to humor David, a few people do go to the sandpit to look for this supposed UFO. They include his scientist father (Leif Erickson) and a few local cops. They all return saying that they found nothing. They also all return in a really bad mood. David’s formerly loving and humorous father is suddenly distant and rather grumpy. And he no longer speaks like himself. Instead, he is now rigidly formal, like someone still getting used to speaking a new language. Maybe it has something to do with the strange mark on the back of his neck….

David goes into town and soon discovers that several townspeople are acting just like his father. It’s almost as if something is controlling them! Well, what else can David do but go to the local observatory and get the U.S. Army involved!?

Invaders from Mars may be disguised as a children’s film about a flying saucer but it actually deals with some very adult issues. What do you do when you know that you’re right but no one is willing to listen to you? Do you stubbornly cling to what you believe or do you just become a mindless and unquestioning zombie like everyone else? Do you remain independent or do you get the mark on your neck? Of course, it should also be pointed out that Invaders From Mars was made at a time when people were very much worried that America was being invaded from within by communists and subversives, all of whom would rob Americans of their individual freedoms just as surely as the aliens in David’s town. Invaders From Mars came out two years before Invasion of the Body Snatchers but they both deal with very similar issues.

What sets Invaders From Mars apart is that it’s told from a child’s point of view. It plays out like a nightmarish fairy tale. The film was directed by the famous production designer, William Cameron Menzies and he gives the entire film a nicely surreal look. The town is just a little bit too perfect while the inside of the spaceship is a maze of corridors, all overseen by a ranting head in a crystal ball.

The film’s ending was probably chilling to audiences in 1953. For modern audiences, it’s a bit of groan-inducing cliché. Still, the ending itself makes sense when viewed in the context of the entire film. (It’s literally the only ending that makes sense.) Still, ending aside, Invaders From Mars is a classic sci-fi film and one well worth watching this Halloween season.

Horror on the Lens: Robot Monster (dir by Phil Tucker)

Posted on October 7, 2018 by Lisa Marie Bowman

Today’s horror film is a true classic of its kind, the 1953 science fiction epic Robot Monster.

Now, I should admit that this is not the first time that I’ve shared Robot Monster in October. I share it every year and, every year, YouTube seems to pull the video down in November. That sucks because Robot Monster is one of those weird films that everyone should see. So, I’m going to share it again. And, hopefully, YouTube will let the video stay up for a while.

As for what Robot Monster is about…

What happens with the Earth is attacked by aliens? Well, first off, dinosaurs come back to life. All of humanity is killed, except for one annoying family. Finally, the fearsome Ro-Man is sent down to the planet to make sure that it’s ready for colonization. (Or something like that. To be honest, Ro-Man’s exact goal remains a bit vague.)

Why is Ro-Man so fearsome? Well, he lives in a cave for one thing. He also owns a bubble machine. And finally, perhaps most horrifically, he’s a gorilla wearing a diver’s helmet. However, Ro-Man is not just a one-dimensional bad guy. No, he actually gets to have a monologue about halfway through the film in which he considers the existential issues inherent in being a gorilla wearing a diver’s helmet.

Can humanity defeat Ro-Man? Will Ro-Man ever get his intergalactic supervisor to appreciate him? And finally, why are the dinosaurs there?

All of those questions, and more, are cheerfully left unanswered but that’s a large part of this odd, zero-budget film’s considerable charm. If you’ve never seen it before, you owe it to yourself to set aside an hour and two minutes in order to watch it.

You’ve never see anything like it before.

Enjoy!

Lisa’s Oscar Predictions For October

Posted on October 6, 2018 by Lisa Marie Bowman

And now, we take a short break from TSL’s annual horrorthon to bring you Lisa Marie’s Oscar predictions for October!

Be sure to check out my predictions for January, February, March, April, May. June. July, August and September!

Best Picture

Black Panther

Boy Erased

Can You Ever Forgive Me?

First Man

Green Book

If Beale Street Could Talk

The Mule

Roma

A Star is Born

Vice

Best Director

Damien Chazelle for First Man

Bradley Cooper for A Star Is Born

Alfonso Cuaron for Roma

Peter Farrelly for Green Book

Barry Jenkins for If Beale Street Could Talk

Best Actor

Christian Bale in Vice

Bradley Cooper in A Star is Born

Clint Eastwood in The Mule

Robert Redford in Old Man and the Gun

John C. Reilly in Stan & Ollie

Best Actress

Glenn Close in The Wife

Lady Gaga in A Star is Born

Felicity Jones in On The Basis of Sex

Nicole Kidman in Destroyer

Melissa McCarthy in Can You Ever Forgive Me?

Best Supporting Actor

Mahershala Ali in Green Book

Timothee Chalamet in Beautiful Boy

Bradley Cooper in The Mule

Sam Elliott in A Star is Born

Michael B. Jordan in Black Panther

Best Supporting Actress

Claire Foy in First Man

Nicole Kidman in Boy Erased

Regina King in If Beale Street Could Talk

Sissy Spacek in Old Man and the Gun

Michelle Yeoh in Crazy Rich Asians

The TSL’s Horror Grindhouse: Rasputin, The Mad Monk (dir by Don Sharp)

Posted on October 6, 2018 by Lisa Marie Bowman

In turn of the century Russia, there lived a man named Grigori Rasputin.

He was a monk, though some considered him to be more a servant of the devil than of God. Legend has it that he was a man who rarely bathed and who made it a point to live in the wild, a part of nature. His hair was long and unkempt and he was known for his wild eyes. Depending on who is telling the story, Rasputin’s stare is described as either being seductive or frightening. Rasputin had a reputation for being a great healer, as well as a great seducer. (It is said that Rasputin offered up as his defense that it was necessary to sin so that he could be forgiven by God.)

Despite being a controversial figure (and, in the eyes of same, an instrument of the devil), the charismatic Rasputin became well-known in Russian social circles. In fact, the stories of his powers as a healer eventually reached the household the Tsar. The Tsar’s son suffered from hemophilia and was frequently ill. Rasputin was brought into the royal palace to cure him and, according to contemporary accounts, he was somehow able to do just that. It was said that only Rasputin could stop the boy’s bleeding.

It was also said that Rasputin grow to have a good deal of influence over the Tsarina. In fact, he was seen as having so much influence that certain members of the royal court started to view him as being a threat to their own power. On December 30th, 1916, Rasputin was murdered. There are many stories about how Rasputin was murdered but it’s generally agreed that the conspirators first tried to poison him, just to discover that Rasputin was apparently immune to cyanide! Eventually, Rasputin was shot twice and then dumped in the Malaya Nevka River. Stories about how difficult it had been to kill Rasputin only added to his legend.

After his death (and the subsequent communist revolution that led to the murders of the Tsar and his family), Rasputin became a legendary figure. Because of his connection to the occult, it’s perhaps not surprising that he’s also been the subject of a number of biopics. Everyone from Klaus Kinski to Lionel Barrymore to Alan Rickman has played the mad monk. (Apparently, Leonardo DiCaprio has been attached to an up coming film about Rasputin.)

And then there’s Christopher Lee. Christopher Lee played Rasputin in the 1966 Hammer Film, Rasputin, The Mad Monk. It’s probably one of Lee’s best performances, as well as one of his most lively. Lee plays Rasputin as being a cunning charlatan, one who may act like a madman but who always know exactly what he’s doing. The film makes perfect use of Lee’s imposing physical presence and, when Rasputin uses his powers of hypnotism, Lee stares with such intensity that you never doubt that he’s a man who knows how to get exactly what he wants. Lee makes you believe that, through sheer willpower, Grigori Rasputin very well could have become one of the most important men in Russia.

As for the film itself, it’s a briskly paced retelling of Rasputin’s final years, hitting all of the expected points without ever digging too far beneath the surface. Rasputin cures the sick and seduces their mothers, wives, and sisters and uses his powers of hypnotism to hold most of St. Petersburg under his control. Many of the usual Hammer performers (including Barbara Shelley, as the Tsarina’s servant and Joss Ackland as a bishop) make an appearance and the fact that no one makes the least bit of effort to sound Russian just adds to the film’s charm. It’s an entertaining look at a fascinating historical story and, most importantly, it features Christopher Lee at his chilling best.

Scenes That I Love: The Witch Melts In The Wizard Of Oz

Posted on October 6, 2018 by Lisa Marie Bowman

I’ve reviewed two movies about witches today and I should be posting a review of a movie about Rasputin in a few more hours. Needless to say, all of this witch talk might be disturbing to some. Well, fear not! Today’s scene that I love is for you!

Italian Horror Showcase: The Long Hair of Death (dir by Antonio Margheriti)

Posted on October 6, 2018 by Lisa Marie Bowman

This 1964 Italian horror film takes place in a feudal village in the 15th century. It’s a time of fear, corruption, and ignorance, which is a dangerous combination. The village is ruled over by the corrupt Count Humboldt (Giulliano Raffaelli). With his villagers panicking about every day problems like poor crops, banditry, and disease, the Count understand that the best thing to do is just blame it all on a witch. Of course, it doesn’t do much good to blame a witch unless you also burn her and that’s exactly what the count decides to do Adele Karnstein. When Adele’s daughter, Helen (Barbara Steele), goes to the castle to make an appeal for her mother’s life, the Count responds by raping her and then tossing her over the edge of a cliff.

Adele’s other daughter, Lisabeth (Halina Zalewska), is adopted by the Count and grows up in his castle. Eventually she is married off to the count’s evil and greedy nephew, Kurt (George Ardisson). Knowing fully well what Kurt’s family did to her mother and her sister, Lisabeth is not all happy about the arrangement but what can she do? She has absolutely no one to help her.

And then, one night, lightning strikes Helen’s grave. Not only does the grave fly open but Helen is now suddenly walking around the village and heading for the castle. Except, of course, she is now calling herself Mary. When Mary arrives at the castle, Kurt is immediately taken with her, so much so that he starts to plot the murder of Lisabeth. However, is it possible that this is all a part of Mary’s plan?

Meanwhile, the black plague has once again struck the village and again, the villagers are starting to demand a sacrifice….

Obviously, the main reason to see The Long Hair of Death is for Barbara Steele’s performance in the dual roles of Helen and Mary. In the early 60, Steele appeared in several Italian gothics and she almost inevitably always seemed to play a character who, after being unjustly killed by a member of the upper class, returned from the dead to get revenge. (This was a template that was set down by her best-known Italian film, Mario Bava’s Black Sunday.) While I’ve read that it’s a role that Steele got tired of playing, that doesn’t change the fact that she was very good at it. Steele’s characters always returned to punish the men who had previously used and abused her, which is one reason why her performances remain popular to this day.

That’s certainly the case with The Long Hair of Death, in which the entire film is basically leading up to Kurt being punished for both his sins and the sins of his uncle. George Ardisson gives a wonderful performance as Kurt, effortlessly going from arrogant and lecherous to terrified and helpless without missing a beat. Director Antonio Margheriti plays up the story’s gothic atmosphere, giving the film an occasionally dream-like feel. He emphasizes not just the villainy of the Humboldts but also the superstition of the villagers, making clear that evil cannot prosper without ignorance.

The Long Hair of Death is hardly perfect. The middle part of the film drags and the low-budget is occasionally a hindrance. (The village often looks like it’s made out of cardboard.) But the film comes alive whenever Barbara Steele is on-screen and the ending is a brilliantly macabre. Lovers of Italian gothic horror will find much to appreciate about The Long Hair of Death.

Horror Film Review: From Within (dir by Phedon Papamichael Jr.)

Posted on October 6, 2018 by Lisa Marie Bowman

Strange things are happening in Grovetown, Maryland.

Sitting out on the dock, Sean (Shiloh Fernandez) reads from a book while his girlfriend, Natalie (Rumer Willis), waits. After he finishes reading, he promptly shoots himself in the head.

Natalie staggers back to her father’s dress shop and says that someone is following her. She then ducks into a backroom and stabs herself in the neck with a pair of scissors.

The next day, Natalie father (Jared Harris) hangs himself in the back of his shop.

And the deaths continue, one after another. One girl crashes her car while screaming that someone is following her. Another cuts her wrists on a broken window. A recovering alcoholic drinks drain cleaner….

Normally, all of this death would be a cause for panic (or, at the very least, a sudden surge of people moving out of town) but the citizens of Grovetown are all confident in their ability to survive. That’s because almost all of them are members of the same megachurch, led by the charismatic Pastor Joe (Steven Culp). They believe that the deaths are the results of witch’s curse. Perhaps all they have to do is kill the witch’s descendants….

Now, the witch’s son, Aidan (Thomas Dekker), is willing to admit that yes, it’s possible that his mother put a curse the town. And it’s also possible that it was the suicide of his brother Sean that unlocked the curse and activated all of the deaths. But Aidan still swears that it’s the townspeople themselves who are choosing to commit suicide. If anything, the curse is just pushing them toward the inevitable….

Of course, complicating things is the fact that Aidan has kind of fallen in love with Lindsay (Elizabeth Rice) and Lindsay is dating Dylan (Kelly Blatz), the fanatical son of Pastor Joe. Aidan and Lindsay think that they may have found a way to stop the curse but Dylan is more interested in just killing Aidan. Working with Dylan is a white trash pyromaniac named Roy (Adam Goldberg) and you really haven’t lived until you’ve seen Adam Goldberg play a white trash pyromaniac.

Anyway, From Within is a film about which I have mixed feelings. On the one hand, the film is full of creepy moments. On the other hand, it keeps getting bogged down in its attempt to say something meaningful about religious fanaticism. I mean, we know that Pastor Joe, Dylan, and Roy are all bad news as soon as they start talking about how religious they are because this is a movie and religious people are always evil hypocrites in movies. At times, this movie comes across as if it thinks it’s the first movie to ever suggest that maybe not all religious people are as perfect as they claim.

Far more effective are the scenes involving the curse. Whenever someone falls victim to the curse, they find themselves being chased by their own doppelgänger, which leads to some incredibly creepy moments. (When the doppelgänger appeared in a mirror and compelled one woman to drink bleach, it totally freaked me out.) These scenes reminded me a bit of It Follows, though it’s important to note that From Within was released in 2008, seven years before It Follows.

From Within is an uneven film, a bit frustrating in its pretensions but undeniably effective in its scares.

Horror on the Lens: What Waits Below (dir by Don Sharp)

Posted on October 6, 2018 by Lisa Marie Bowman

What waits below?

Find out in today’s horror on the lens!

First released in 1984, What Waits Below is a film about a bunch of soldiers and explorers that make the mistake of exploring a cave system in Central America. Needless to say, they’re not alone in that cave!

This film, to be honest, starts a bit slow but things do pick up once they get underground. Included in the cast is Richard Johnson, who all good horror fans remember for his role as Dr. Menard in Lucio Fulci’s Zombi 2.

Enjoy!

The TSL’s Horror Grindhouse: Bits and Pieces (dir by Leland Thomas)

Posted on October 5, 2018 by Lisa Marie Bowman

You’re sitting down and you’re watching the 1985 slasher film Bits and Pieces on YouTube.

“The Bits and Pieces Murderer has struck again!” a television news reporter solemnly intones after a homeless woman finds a dismembered body in a trash bag.

Meanwhile, in a dark bedroom, a phone rings and wakes up Lt. Carter (Brian Burt), a balding man with a mustache. He answers it and is told that the murderer has struck again. “SHIT!” he yells….

A few blocks away, a sweaty man named Arthur (S.E. Zygmont) sits in a filthy basement, surrounded by plastic mannequin heads, half-eaten breakfasts, and flies. He hears a voice telling him to kill and he says, “Yes, mommy…”

Down the street, in a club that appears to be populated largely by elderly woman, the world’s greasiest male strippers perform while a deathless song plays in the background. Do you want/want my body/do you like it like that....

The next morning, college student Rosie Talbot (Suzanne Snyder) tells her mother about the strip club. “I was surprised by the wide variety of the routines,” she says as her mom nods along. Rosie says she never would have had the courage to go to the club if not for her best friend, Tanya (Sheila Lussier). However, for some reason, Tanya is not answering her phone….

That night, Arthur has flashbacks to being abused by his mother so he kills again. When the latest body is found, Lt. Carter receives that call. “SHIT!” Lt. Carter yells….

The next morning, Rosie looks at the newspaper and sees a drawing of the girl who was found in the trash bag and she immediately screams because it looks just like Tanya! She meets Lt. Carter who asks her if Tanya had any strange sexual proclivities. “What type of sexist question is that!?” Rosie shouts….

Later, Rosie walks through a strip mall and runs into her friend Jennifer (Tally Chanel). Rosie tells Jennifer about Tanya but then mentions that she did meet a really handsome policeman and that’s been the only good thing about her day. “That sounds promising!” Jennifer says….

Meanwhile, Arthur lurks behind them, unnoticed despite his unwashed hair, his skinny black tie, and the look on his face that practically screams, “I am a psychopathic murderer and I’m stalking you.” A random man bumps into Arthur and Arthur falls to the ground. “Watch it, apple ass,” the man snaps….

A few hours later and Lt. Carter calls Rosie at home. Carter tells her that this is a social call. Would she like to spend the day at the beach with him? That seems like a great way to forget about all the dead people who are piling up around the city. “I’m really looking forward to it!” Rosie says….

Meanwhile, Arthur flashes back to his mother’s boyfriend forcing him to put on lipstick….

And so it goes.

There’s actually a pretty charming little story about this film. It was told by a student who had just completed a film class. On the last day of class, the professor announced that he was going to show the class an example of how “not to make a good movie.” The movie that he showed was Bits and Pieces and the professor was the also the film’s director. (For the record, the director also appears in the film, as the guy who calls Arthur an apple ass.)

Bits and Pieces may be a bad movie but it’s so amazingly inept that it becomes oddly fascinating. The night scenes were clearly filmed at night, meaning that it’s often next to impossible to see what anyone’s actually doing for at least 10% of the movie. In the role of Arthur, S.E. Zygmont gives a performance that’s so over-the-top that it bring to mind the “Egyptian feast” scene in Herschell Gordon Lewis’s Blood Feast. (“You waaaaaaant to plaaaaaay….” Arthur hisses, at one point.) As well, I don’t know if there’s many other movies out there that mix scenes of brutal murder with scenes of a middle-aged police detective and a young college student happily frolicking on the beach. I guess brutal murder and intense emotional pain brings out the romantic side in some people. The fact that the blood and gore looks real while everything else feels fake gives the film a strangely surreal feel.

Bits and Pieces is currently on YouTube, proving that even inept movies will live forever.