I’ve fucking loved Clive Barker ever since Hellraiser scared the shit out of me when I was seven. His fiction is truly frightening because while he will use gore he does not rely on it. What’s scarier is the unusual and obscure, and anyone who has read Books of Blood (a collection of his early horror stories), will know this.
In 1975, the popular Women in Prison (or WIP) genre of grindhouse cinema was injected with a dose of World War Two and came up with Don Edmond’s notorious sleaze, sex and violence classic Ilsa, She Wolf of the SS, a film which effectively created the template for what has since become known as Naziploitation, a grotty type of movie that exaggerated – in unflinching details – the sordid sexual deviation, torture and medical experimentation that was conducted under Hitler’s Third Reich regime, usually taking place within the walls of prisoner of war or concentration camps (Ilsa, She Wolf of the SS was famously shot on the still-standing sets of the Hogan’s Heroes television sitcom.)
I’ll just put it out there and say that I wasn’t expecting much from Jennifer’s Body. I hated Juno sooo much. It was a self-indulgent and awkwardly scripted film. I was expecting Jennifer’s body to be similar in terms of having an annoyingly quirky script or full of “I’m so cool because I know about this (insert band, artist, film)” blah blah blah pop references. It wasn’t anything like Juno which is great.
The concept of fan-created works is nothing new. From fan fiction, where new stories around existing properties are written for fun, through to paintings of favourite characters, there is a long tradition of this form of appreciation. But for three kids in Mississippi, the release of Steven Spielberg’s Raiders of the Lost Ark would lead to a much larger level of fan appreciation. Continue reading
The four entries in the Blind Dead series of films, all of them directed by the late Amando de Ossorio between 1972 – 1975, made for some of the most effective horror fare to come out of Europe that decade. Inspired by the legend of the Knights Templar (an order who flourished in the 14th Century before being disbanded following charges of heresy and witchcraft), the Blind Dead films thrive on atmosphere, haunting visuals and a disturbing sense of creeping dread, mixed in with a healthy dose of swinging seventies pop style and fashions – big hair, knee-high go-go boots, mini-shirts, short shorts, long sideburns and bell-bottom jeans.
Hank (Paul Dano) is a man with no reason to live. Alone, stuck on a desert island with no hope of rescue, he is just about to end it all when a corpse (Daniel Radcliffe) washes up on the beach. It quickly turns out this is no ordinary corpse.
First off, the corpse’s chronic and apparently endless flatulence allows it to be used as a jetski. And can also be used to fire projectiles. Soon, more talents are revealed, such as the ability to store large quantities of drinking water and a head so hard it can be used for campground construction.
Growing up during the ’90s in NZ it felt as if I lived in Britain. The Royal family were basically the Kardashians of the era, everyone watched Coronation Street and the music was all Brit-Pop. This may be triggering to some but I hate the Beatles, and being a 9/10 year old girl when they hit big, Oasis were essentially my Beatles. I still hate the Beatles and yes I realise the guitar at the beginning of Don’t Look Back in Anger clearly rips of that annoying Imagine song. I get it. I hear T-Rex and Bowie, but even if they are a tad derivative they definitely had their own sound.
The 3D format, which in the last decade has become a rather commonplace option for moviegoers (particularly when it comes to films of the comic book and science-fiction variety) was initially popularized in the mid-1950s as a ploy by Hollywood filmmakers to combat the rising popularity of television and its potential threat on box-office takings.
Another entry into the continuing series of flicks starring failed actor Caesar (director/writer Dave Campfield) and his half brother Otto (Paul Chomicki), all of which take a stab at the horror genre but with genuine love and understanding.