Saturday, July 23, 2005
DEVIL'S REJECTS - IN THEATERS NOW!!
Saw DEVIL'S REJECTS for a second time last night. My buddy Pete Dudar and his wife Amy came all the way down from Maine to see it opening night.
I notice this movie has been getting kind of mixed reviews in the mainstream media, mainly because of the content. One mainstream reviewer who saw it at the same press screening i did said he liked it, but he wasn't sure how he could give it a positive review. This is pretty much going to be the norm. Even though DR is a solid, well-made movie - the fact that the horror is pretty hardcore this time around (no PG-13 bullshit here!) is going to alienate some people. And rightly it should. Rob Zombie doesn't pull any punches and it's not for people who like safe little scares. The three killers in DEVIL'S REJECTS are vicious muthafuckers, and don't spare anybody. Which is why I said it was a throwback to the 70's. Not because it looks like some kind of lame-ass remake, but because back in the 70's there was a lot more freedom to go all in the way when it came to horror movies, and this one is in that same spirit. There's gore, nudity, tons o' cussin, and well - one helluva motion picture. Of course, Rob Zombie also adds his own sensibilites to the mix - interesting use of music, and a lot of really funny scenes - creating something totally original in a landscape where most horror movies are cookie-cutter crud.
I cannot recommend this movie enough. If you have any interest in a real, hardass psycho movie that won't treat you like a baby, then you gotta see this one. This is what horror's all about!
INFERNALLY YOURS,
LLS
NECON 25 WAS A BLAST!
Well, last weekend we went to Necon 25 in Rhode Island, and it was a great time, as usual. This is easily the most laid-back, fun horror writer's convention. Other conventions might be better for selling your new book, or hooking up with an editor or an agent, but Necon is just about hanging out with friends and having a good time. There was a lot to like about it this year. Here's just a few of my "highlights."
Hanging out with the New England Group who have become part of my family at this point. It's good to have this time just to hang out and laugh for four days every year.
Meeting writer Jeff Strand and his wife. Jeff is an incredibly nice guy and I finally got me a copy of his book MANDIBLES. I love giant ant books!
Those late night parties that seem to last forever.
Talking to Lee Thomas about horror and risk-taking.
Talking about totally insane stuff with my buddy John Dixon, and hanging out with Larry Weinstein again - another great guy.
Finally buying artist Ray Carlson's "Ferret Man" picture (his title: "Outta My Way"), after years of seeing it and wanting to buy it.
James A. Moore's bear hug.
Talking to Darrel Schweitzer about giraffes trained to have sex with women in Roman times, and speculating on how Caspar died.
The return of the monkey mask, where I got to have long, serious conversations with people while looking like a total lunatic. HA HA
The Game Show on Saturday night, when the heavy hitters asked "next generation" writers Mary SanGiovani and Nick Kaufmann to take part in the proceedings. They both did us proud.
And to top it all off, here's some photos!
NECON PHOTOS
Wednesday, July 20, 2005
MY DEVIL'S REJECTS REVIEW
THE DEVIL’S REJECTS is Rob Zombie's sequel to his directorial debut, HOUSE OF 1,000 CORPSES, and it's one of the rare instances where the sequel totally outshines the original. Which is not to say that I didn't like HOUSE. I dug it a lot, and, despite its flaws, I thought it was a non-stop rollercoaster ride of a movie. However, it was a bit unfocused at times, and got a little too flashy with the use of visual effects. But that's okay, it was Zombie's first foray as a film director, and he was bound to make some mistakes. The fact is, though, he's learned from those mistakes. And how!
In HOUSE OF 1,000 CORPSES were were introduced to the insane Firefly family whose home was a chamber of horrors. As DEVIL’S REJECTS begins, the police are surrounding the house and the Fireflys are under seige. In the shoot-out that follows, Mother Firefly (here played by Leslie Easterbrook instead of Karen Black, who originated the role in HOUSE) is captured by the police, while Otis (Bill Moseley) and Baby (Sheri Moon-Zombie) escape. After stealing a car, they arrange to meet up with Captain Spaulding (Sid Haig) another member of their extended family (and a real highlight in HOUSE) who just so happens to dress like a demented clown and sells fried chicken from his bizarre museum. While killing time until Spaulding shows up, Otis and Baby amuse themselves by tormenting a family of country musicians who are staying at a rundown motel. This part of the movie is tense and often brutal, as we realize that the Fireflys are totally unpredictable and dangerous.
Once Spaulding finally arrives (he takes awhile), the three go to a wild western ranch/bordello run by Spaulding's brother, Charlie Altamont (Ken Foree) for sanctuary. Meanwhile Mother Firefly is interrogated by Sheriff Wydell (William Forsythe) whose brother was killed by the family in the previous movie. He's got a major hard-on for the remaining Fireflies, who the media has dubbed “The Devil's Rejects.” The rest of the movie is Wydell’s quest to find the three fugitives and kill them in the name of his dead brother. But they're not going to make it easy for him.
DEVIL’S REJECTS is an often harsh, but extremely watchable film that captures the feel of 70's horror movies without copying them, unlike a lot of recent imitators. From the insane opening credits on, you feel like you've fallen into a time warp where PG-13 scares are a thing of the past, and horror movies are vicious again. This movie is a hard “R” with lots of blood and swearing and some nice shots of Sheri Moon’s cute little ass. This time around, director Zombie is incredibly focused and the stranger elements of the first film (monsters who lived under the house, etc.) have been jettisoned to give center stage to the human monsters who are on the run. Aside from a few scenes that will probably bring a smirk to your face and are meant as comic relief (especially a scene where Michael Berryman and Ken Foree go to a hillbilly farm to buy some chickens and another scene where a movie critic explains the link between the Firefly family and Groucho Marx), the bulk of the movie is like a rattlesnake coiled and ready to strike. And strike it does. Again and again. Until you feel the delicious poison squirming in your veins.
The story and acting this time around are flawless, especially the triumvirate of Haig, Moseley and Moon. All three shine in this movie. Every bit their equal is Forsythe as the obsessed lawman Wydell, who is just as crazy as the criminals he is pursuing. Then again, it’s clear that a sane man wouldn’t stand a chance against them.
Some people are going to hate this movie and declare it further proof that western civilization is coming to an end. Other people are going to love the hell out of it.
Put me in the latter category. In fact, I'll go so far as to say that this is my favorite movie of the year so far (SIN CITY is the only film so far that comes close) and easily my favorite horror movie in years.
There are tons of great cameos, from Ginger Lynne Allen to P.J. Soles to Steve Railsback, to name a few. Pay attention or you’ll miss someone.
If you loved HOUSE OF 1,000 CORPSES then you're going to feel like you died and went to heaven (or hell, if you prefer) when you see DEVIL’S REJECTS. If you hated HOUSE, then this movie will still blow you away. It’s time to give the Devil - or rather, the Zombie - his due.
INFERNALLY YOURS,
L. L. Soares
Thursday, July 14, 2005
THE NOT-SO FANTASTIC FOUR
Well, I went in with very low expectations. The guy who directed it -Tim Story - previously directed the mediocre BARBERSHOP and then a total piece of shit called TAXI starring that insipid jackass Jimmy Fallon. Secondly I'd heard he didn't want to make a big, ambitious comic book movie like SPIDER-MAN or BATMAN BEGINS. He just wanted to make something that was "fun."
As I sat through the thing, I almost kinda liked it. Almost. Except for the fact that the plot is moronic, the acting for most part is pretty lame (except for two exceptions) and like the cliche about Chinese food, an hour later I was hungry again.
What I liked about it: Michael Chiklis as the Thing. The only member of the Fantastic Four who isn't bland, in my opinion. Chiklis did an okay job with Ben Grimm. Considering he really didn't have much to do. The only time he shines is when he tries to save a guy trying to commit suicide on a bridge (stupid scene, but the Thing gets to flex his muscles) and his final showdown with Doctor Doom.
And Julian McMahon as the guy with the cringe-inducing name of Victor Von Doom. If ever a character begged to have his name changed in the movie version, Von Doom is it. Everytime they said his complete name I almost burst out laughing. But McMahon did his best - even if, once again, the script pretty much abandoned him most of the time. At least the guy had some charisma and seemed to have a little fun with the role.
It's no surprise that both of these guys are stars of shows on the FX Channel (THE SHIELD and NIP/TUCK respectively), and that they turn in great performances on a weekly basis when their shows are on the air.
Everyone else - ugh! To start with, Ionn Gruffudd, who plays Reed Richards, was so bland that he barely seemed to be on screen. Sure I remember Richards in the comics being a brainiac and sometimes having poor social skills, but he was also a take-charge kind of guy and pretty self-righteous at times. He is the real leader of the team. You wouldn't know it from the movie, where he comes off as some wimpy nerd thrust into a leadership role he's not really suited for. Jessica Alba - who remains amazing eye candy - once again proves she is talent-deprived when it comes to acting. And she in no way is convincing as a scientist. She's pretty laughable, actually. Also - everyone's already said this - why would you hire someone as hot as Alba to be The Invisible Woman! She was much better used as a stripper in SIN CITY. And Chris Evans as Johnny Storm the Human Torch came off as a smug, arrogant bastard who just wants to party all the time - which is pretty much the character from the comics - but he's still annoying.
The idea of making Doom part of the FF's origin is misguided and stupid. Not 100% sure what his powers are in the comics - it's always kind of vague - he seems like a cross between Iron Man and Dr. Strange with his mix of technology and sorcery - but in the movie his body mutates into living titanium (I thought that was Colossus from the X-Men!) and he controls electricity.
Beyond this, there are way too many idiotic plot points to mention. From the fact that shuttle launches and space stations are treated casually as everyday occurances to a machine that is supposed to revert the characters back to their "normal" selves, yet doesn't work until Doom gives it a power boost. Yet Grimm is able to work the machine himself later on without Doom's help, in fact, nobody's help at all.
I enjoyed some scenes (especially the final big showdown with Doom) despite myself, but afterwards, the more I thought about this movie, the more stupid it seemed. And I really can't recommend it - unless if you wait to rent it on DVD. I can accept the fact that some movies have flaws. But this movie is all flaws - and it's amazing there's anything good about it at all.
It might be a little better than DAREDEVIL, though.
Before I saw this, I was hoping it would be a big hit, so that the sequel might feature Galactus and my favorite FF spinoff character - the Silver Surfer. Now I'm actually dreading this. If Tim Story is allowed to direct the sequel, he might turn the Surfer (if that's the plan) into yet another silly caricature. Noooo!
The thing is, the Fantastic Four have a problem. They're bland (well, except for Ben Grimm). The reason other superheroes have outshined them over the years is simply because - just because the FF were the first real Marvel characters (not counting Capt. America, the Sub-Mariner and the original Human Torch who appeared before, when Marvel was still called "Timely") doesn't mean they were the best. Although the Stan Lee/Jack Kirby run during the 60's was classic stuff and some of Kirby's best work ever. After that I don't think the series has ever come close to capturing its former greatness, even during John Byrne's stint on the book.
And they're certainly not getting a fair shake in the movie version.
Not one of the better superhero films in recent years by any stretch. But its huge box office guarantees more of the same.
Yuck.
I've actually seen a bunch of movies lately. Also saw the Sundance hit ME, YOU AND EVERYONE WE KNOW, starring performance artist Miranda July in her directorial debut. This one's been getting a lot of buzz as this year's little independent film that could. And it's worth checking out, although it might be a little overrated. July plays Christine, a quirky oddball who drives senior citizens around for a living when she's not making strange videotapes to submit to art galleries. Christine is a little out of step with the world around her, but she's very likable and actually kind of cute. There's also Richard (John Hawkes from the HBO show DEADWOOD), a shoe salesman who just broke up with his wife and who is taking it very badly. When Christine meets Richard and decides that he was meant for her, their strange mating ritual swings into high gear. At times, Christine seems like a stalker. But Richard is just as quirky (when he finds out his wife is leaving him he goes out onto the front lawn and sets his hand on fire - clearly the guy is not playing with a full deck either). Sometimes characters in independent films seem weird just for the sake of weirdness, but July's characters are endearing at least. There are also some subplots that are interesting, one involving two teenage girls who are sexually curious about a lunkhead who is Richard's coworker. The other involves the woman who runs the art gallery Christine wants to get into. This woman thinks she's having internet sex chat with a stranger who has a shit fetish. Turns out it's a misunderstanding, and he's really Richard's six-year old son who just happens to be fixated on poop. This last plotline is actually pretty hilarious. ME YOU AND EVERYONE WE KNOW is definitely offbeat, but chances are you'll find something to like about it.
Finally, I saw the new Isabelle Huppert film - MA MERE (My Mother)directed by Christopher Honore and based on a book by George Bataille (who has been compared to DeSade, which should give you some idea where this is headed). The film, refreshingly, is one of those rare NC-17 films (most controversial art films these days don't even bother getting a rating). In a sea of PG-13 Hollywood flicks, an NC-17 is something to look forward to. But MA MERE, for the most part, is a letdown. It involves Pierre (played by Louis Garrell, who happened to be in the last big NC-17 movie, 2003's THE DREAMERS, directed by Bernardo Bertolucci), a college student who goes to spend time with his parents. Soon after leaving for a business trip, his father dies, and Pierre learns that his mother Helene (Huppert) has been leading a double life - at night she goes to town and has sexual escapades with whoever she can find, including a woman named Rea (Joana Preiss). When Helene hooks her son up with Rea and watches them have sex in public, you know things are headed in a weird direction. And as the tension builds between mother and son, Helene gets scared and leaves town for awhile, leaving her son in the hands of another lover of hers, the young Hansi (Emma de Caunes), who introduces Pierre to the joys of S&M. When Helene finally returns and things really heat up between her and Pierre, things take a tragic turn.
I've always been a sucker for controversial films that dare to push the boundaries, and Isabelle Huppert, as usual, is a totally fearless actress (she seemed even more fearless in 2001's THE PIANO TEACHER), however there's a coldness and detachment to the film which renders any erotic content bland. In fact, toward the middle it moves pretty slow, losing any momentum that has been started when Pierre first learns about his mother's secret life. This happens a lot in "artsy" French films for some reason. And while there are some envelope-pushing scenes in MA MERE, and it's made me want to read some of Bataille's work, the movie itself is flawed enough where it might be worth waiting to rent it on DVD instead of searching for it at an art theater near you.
That's it for movies for this week. I also saw a concert - Lucinda Williams, whose work is a mix of country and rock, and who has been turning out an interesting body of work since I first noticed her, via her album CAR WHEELS ON A GRAVEL ROAD. Williams was excellent in concert, even if the concert did seem to go a little longer than necessary, and she tried out a lot of brand news songs, which were pretty strong for the most part, especially one called "Learning How to Live." If you're a fan of Williams, definitely see her in concert if she comes to a venue near you. If not, you might want to pick up one of her CD's.
Well, that's all for now. This weekend, Laura and I head out to our yearly pilgrimage to NECON, which is always a nice way to catch up with lots of old friends. Hopefully we'll get some new photos for the website.
Until then...Infernally Yours....
LLS
