Film Review: Deep Red (1975)

Also known as: Profondo Rosso (original Italian title), Profoundly Red (European English title), Dripping Deep Red (US pre-release title), The Deep Red Hatchet Murders (US DVD box title), The Hatchet Murders (US censored version)
Release Date: March 7th, 1975 (Italy)
Directed by: Dario Argento
Written by: Dario Argento, Bernardino Zapponi
Music by: Goblin, Giorgio Gaslini
Cast: David Hemmings, Daria Nicolodi, Macha Meril, Eros Pagni, Giuliana Calandra

Rizzoli Film, Seda Spettacoli, 127 Minutes (original), 101 Minutes (R rated cut), 105 Minutes (export cut)

Review:

“It seems there are just some things you can’t do seriously with liberated women.” – Marcus Daly

This was the first giallo film that Dario Argento directed after what’s unofficially referred to as his “animal trilogy”, which featured the films The Bird With the Crystal Plumage (1970), The Cat O’ Nine Tails (1971) and Four Flies On Grey Velvet (1971). This also came after Argento took a break from the giallo style with 1973’s The Five Days, which was a dramedy about the Italian Revolution.

Like most of Argento’s giallos, this film was a proto-slasher movie that employed some pretty good, artsy gore. You know, the type that isn’t just gore for the sake of gore but is instead creative, full of vivid color, especially in regards to blood and other bodily fluids, and done so masterfully with practical, real effects that you kind of just stare in awe of it.

The story is about a killer that seemingly kills at random and that you are only given small clues about over the course of the film. Eventually, the crime is solved but there are great film-noir-esque twists throughout the picture and the most haunting thing about this movie isn’t the killer but it’s the picture’s atmosphere.

I’ve often mentioned about how film-noir influenced giallo and how giallo influenced slasher films. This is a movie that, honestly, makes one of the best supporting arguments for my theory. In a lot of ways, it pulls from the best bits of Argento’s previous giallos but it also reminded me a lot of Mario Bava’s Blood and Black Lace, which might be the best example of giallo bridging the bizarre gap between classic noir and slashers.

I thought that some bits of the movie were bonkers and insane, like the bit with the robot doll. But stuff like that is so surreal, cool and terrifying in its own way that it actually makes the picture work better in how it overwhelms you with weird, creepy shit.

Certain things don’t have to make sense and Deep Red is an example of how bizarre, nonsensical moments can actually throw your scent off just to hit you with something else unexpected and jarring. This was something that Argento would actually get even better at, as can be seen in films like SuspiriaInferno and Phenomena.

Deep Red is not Argento’s best picture but it is well constructed, visually rich and it delivers the type of experience a giallo fan should greatly enjoy.

Rating: 8/10
Pairs well with: other Dario Argento giallo films of the ’70s and ’80s.

Comic Review: Everglade Angels

Published: February, 2020
Written by: Scott Lobdell, Blake Northcott
Art by: John Upchurch

Northworld Publishing, 48 Pages

Review:

I backed this campaign on Indiegogo several months back and I was really excited to finally get my copy of the graphic novel.

For one, I love slasher movies. I also live and grew up on the edge of the Florida Everglades. So combining those two things is a win/win for me.

Additionally, this was written by Scott Lobdell, a writer I’ve liked for years, and Blake Northcott, a mutual follower on Twitter, who has a great personality, a solid perspective on how to manage her social media, and most importantly, a stupendous track record.

That being said, I really liked this quite a bit.

The characters were all cool and well developed in the minimal space they had to live and breathe. I also liked the backstory for the villains.

The art is also really good and for a crowdfunded book, this truly is in the upper echelon of comics I’ve seen. It’s actually better than most of the mainstream comics coming out in 2020. I especially like the colors and overall visual aesthetic of the book.

There’s not much else I can say without spoiling too much and I’d rather people go out and pick this up, assuming they still can somewhere.

I’m not sure if any follow ups are planned but I’d probably support a sequel.

Rating: 7.5/10
Pairs well with: other horror/slasher comics. It really reminded me of Hack/Slash stories.

Film Review: The Marshes (2018)

Release Date: 2018 (Australia)
Directed by: Roger Scott
Written by: Roger Scott
Music by: Tristan Coelho
Cast: Dafna Kronental, Sam Delich, Mathew Cooper, Zac Drayson, Amanda McGregor, Eddie Baroo

28 Productions, 85 Minutes

Review:

Holy fuck this was a dreadfully bad movie!

That sucks because I saw a pretty glowing review for this but that reviewer must have been someone that worked on the film or the director’s mother.

The story taps into the Australian legend about the Swagman. He’s a sort of Boogeyman that lives in the marshes. Other than that, I don’t know anything about him and the film doesn’t do much to spell it out for you either. So those watching it that aren’t privy to Australian folklore are pretty much left in the dark. Honestly, maybe it’s not even a real legend and I’m just assuming that because the plot here is so thin that a bulimic ’90s supermodel is in awe of it.

The worst thing about this film is that you don’t care about the peril that the main characters are in. Why? Because there isn’t a single character in the movie that is remotely likable. They’re all know-it-all douchebag Millennials that are so into themselves and their bullshit that they’re pretty damn insufferable. So I guess these type of youngsters aren’t exclusive to just the United States. And that’s not a shot at Millennials in general, just the dominant type of Millennial.

Anyway, there are also two redneck characters but they’re even worse than the three leads.

The Marshes tries really hard to be a slow burning suspense thriller but it fails in that regard. Not a lot happens and it takes awhile to get to the good stuff but the slow build is kind of just derivative shite, mostly boring and totally predictable.

When it comes to the killer, he’s not that exciting or cool. His powers are confusing and you never fully see him or get to understand him on any level.

This film is a complete failure of storytelling, character development, pacing and just about everything else that’s important to a motion picture.

Well, on a positive note, it’s pretty short.

Rating: 2.5/10
Pairs well with: the crappiest of crappy foreign slasher films.

Film Review: Silent Night, Deadly Night, Part 2 (1987)

Release Date: April 10th, 1987
Directed by: Lee Harry
Written by: Lee Harry, Joseph H. Earle, Dennis Patterson, Lawrence Appelbaum
Music by: Michael Armstrong
Cast: Eric Freeman, James L. Newman, Elizabeth Kaitan, Jean Miller, Lilyan Chauvin (archive footage), Robert Brian Wilson (archive footage), Linnea Quigley (archive footage)

Silent Night Releasing Corporation, 88 Minutes

Review:

“[about to shoot a man carrying a garbage can] Gaaarbaaage daaay!” – Ricky Caldwell

While I enjoyed Silent Night, Deadly Night, I’ve never seen the sequels except for the fifth one that stars Mickey Rourke as the creator of killer Christmas toys.

Seeing this one now, I was surprised to discover that I like it more than its predecessor. While the first third-to-half of this film is bogged down by flashbacks of the original movie, once this becomes its own story, focused on the younger brother of the original killer, the film becomes pretty awesome.

Frankly, you can probably just start with this film as everything important from the first movie is shown in this chapter and honestly, you’re not missing much from the scenes that were omitted.

While this movie has been panned for years because of how bonkers and absurd it can seem at face value, I absolutely love the performance of Eric Freeman as the killer younger brother. His performance is over the top but that just adds to the insanity and tone of the film, which honestly, would’ve been kind of drab without his intensity. He makes the picture work and if I dare be so bold, he saves it from just being a rehash of shit we’ve already seen.

The whole sequence surrounding the infamous “garbage daaay!” moment is schlock of the highest caliber. From the moment he kills his girlfriend’s ex, his girlfriend, the cop and then goes on a gun toting killing spree that ends in a damn good car stunt, we’re treated to one of the most entertaining, bizarre and unintentionally stupendous cinema moments of ’80s horror.

While the average person would find this movie off-putting and stupid, I found it to be a true hidden gem that hits the right notes, perfectly, for those of us that like hearty helpings of ’80s horror schlock. Plus, it’s a Christmas movie.

Rating: 6.75/10
Pairs well with: it’s predecessor, but then again, that whole movie is basically re-told in the first half of this film. So I guess the sequels, which all veer off in their own weird directions.

Film Review: Jack Frost (1997)

Release Date: November 18th, 1997
Directed by: Michael Cooney
Written by: Michael Cooney, Jeremy Paige
Music by: Chris Anderson, Carl Schurtz
Cast: Christopher Allport, Stephen Mendel, F. William Parker, Rob LaBelle, Shannon Elizabeth, Jack Lindine, Zack Egniton, Brian Leckner, Marsha Clark, Eileen Seeley, Kelly Jean Peters, Scott MacDonald

Frost Bite Films Ltd., Moonstone Entertainment, Storyteller Films Ltd., A-Pix Entertainment, 89 Minutes

Review:

“Gosh. I only axed you for a smoke.” – Jack Frost

I’ve heard people refer to this as the movie that made Shannon Elizabeth famous. Actually, I think this is the movie that Shannon Elizabeth made famous after she blew up from her part in the original American Pie and rumors that she was also nude in this flick.

Apart from Shannon Elizabeth, there really isn’t anything in this film worth looking at.

It’s a horror comedy about a killer that has his body turned into shapeshifting sentient snow. So basically, he’s a killer snowman with some nonsensical snow-based powers and lots of really bad one-liners.

While this isn’t a movie made by Full Moon, it has a similar vibe in its cheapness, its terribly bad humor and its lack of anything that will make you want to sit still for 89 minutes. Well, except the infamous Shannon Elizabeth scene but that only takes up about three percent of the film’s run time.

The special effects are bad, the acting is bad, the jokes are even worse and the film is pretty boring, even though it features one of the strangest horror monsters of its time.

There’s not much else to say about the movie, as there isn’t much worth talking about other than Shannon Elizabeth. But you can just watch her important scene online and skip the other 97 percent of the movie.

Rating: 2.25/10
Pairs well with: it’s sequel and other terrible, terrible horror movies.

Film Review: Black Devil Doll (2007)

Release Date: October 31st, 2007 (limited)
Directed by: Jonathan Louis Lewis
Written by: Shawn Lewis, Mitch Mayes
Music by: The Giallos Flame
Cast: Jonathan Louis Lewis, Heather Murphy, Natasha Talonz, Erika Branich, Precious Cox, Christine Svendsen

Lowest Common Denominator Entertainment, Rotten Cotton, 73 Minutes

Review:

“Rated X by an All-White Jury!” – tagline

I never knew of this film’s existence until I was sitting with some friends in Frankie’s Tiki Room in Las Vegas and clips of the movie were edited into a video mixtape that was playing on all the TVs in the bar. The scenes of a Black Panther Chucky-like doll violently fucking and then murdering big breasted white girls intrigued me and I had to track down the film.

The same friends and I then had a party where we watched this on DVD, as you could actually get those from Netflix, back in the day. We had our own Tiki horror party and paired this up with Ed Wood’s Orgy of the Dead, which is basically just a horror themed nudie cutie from the ’60s. I reviewed that ages ago here.

Anyway, this is a dumb movie but I say that lovingly. It’s the sort of dumb, edgy boi, violent, offensive, cinematic trash that can easily entertain me. Since this was only 73 minutes, and actually felt shorter, this was the perfect running time before the joke ran dry and I zoned out.

The story is about a Black Panther who is set to be executed but his soul is then trapped in a little doll, similar to the origin of Chucky. Except this doll likes to fuck and kill big titted women. It’s exploitation at its finest with a supernatural twist.

And that’s basically all this movie is. A plot barely exists and this is mostly just softcore porn scenes with ’70s grindhouse style gore thrown in with a wisecracking killer doll that delivers great one-liners like a pro.

This film won’t resonate with most people bit it wasn’t made to.

It’s really hard to track this down now but if you come across a copy, you should definitely seize the opportunity.

I also remember that there was a sequel sitcom series that was in development. However, it was being crowdfunded and I don’t think it made its goal. If it does exist and you’ve seen it or know how to track it down, let me know in the comments below.

Rating: 5/10
Pairs well with: Black Devil Doll From Hell, Dolly Dearest, Dolls and the Child’s Play movies.

Film Review: Psycho IV: The Beginning (1990)

Release Date: November 10th, 1990
Directed by: Mick Garris
Written by: Joseph Stefano
Based on: characters by Robert Bloch
Music by: Graeme Revell, Bernard Herrmann (original themes)
Cast: Anthony Perkins, Henry Thomas, Olivia Hussey, C. C. H. Pounder, Warren Frost, John Landis, Kurt Paul, Sharen Camille

Smart Money Productions, Universal Pictures, NBC, Showtime, 96 Minutes

Review:

“All that faith and no potatoes.” – Norman Bates

For being a made-for-TV movie and the third sequel in a series, Psycho IV isn’t half bad. Hell, I even like it a bit more than the third film, even if it is missing Jeff Fahey, who killed it in that picture.

The cast in this one is really well-rounded though between the returning Anthony Perkins, as well as Henry Thomas, Olivia Hussey and C. C. H. Pounder. Honestly, this is a really well acted picture that saw its main players give it their all with really solid and compelling results.

The picture starts with Norman Bates being cured but we’ve seen that in the two previous pictures until events pushed him over the edge and back towards his serial killing slasher self.

What’s different and unique about this picture is it involves Norman calling a radio show discussing boys who have murdered their mothers. He uses the name “Ed” while on the air but he talks through his past, primarily his early years, in an effort to fight off his killer tendencies from returning.

With that, this film serves as both a sequel and a prequel. It takes place after Psycho III but it spends a great deal of time flashing back to his life before the events of the original Psycho. It delves into his bizarre relationship with his mother and how it shaped him into the man he became.

Henry Thomas, most famous for playing Elliot in E.T. the Extra-Terrestrial, shows that he was a good actor and he creates a young Norman that is sympathetic yet disturbed.

However, his performance is enhanced by the talent of Olivia Hussey, who plays his mother Norma Bates. The film examines the sexual tension between mother and son and it’s really the plot of this movie that gave birth to the concept that became the Bates Motel television series. And honestly, I prefer this version of a Psycho prequel.

Adult Norman, still played by Perkins, who really committed his life to this role and who always delivers an A-plus performance, shared most of his scenes with the always good C. C. H. Pounder. While the scenes they share are over the phone, as both act out their scenes in different rooms separate from each other, the two had perfect chemistry and their discussions are emotional and believable.

But giving credit where credit is due, a lot of this also probably has to do with the quality of the editing and the overall film direction. These two actors were on completely different sets, probably filming on completely different days but their combined efforts worked and it carries the picture at its most important parts.

What’s fantastic to me, is that I never expected much from Psycho sequels. The first one is perfection and anything else, I thought, would diminish it. But I was wrong. While none of the sequels are as good as the original Hitchcock film, each is still good in their own way and every chapter feels like it enhances the larger story that is Norman Bates’ complete life.

I hope that Anthony Perkins was pleased with the end result of all these films.

Rating: 7/10
Pairs well with: The other Psycho films.