tag:blogger.com,1999:blog-34611431631237975132024-03-13T11:46:06.967-04:00The Gentlemen's Blog to Midnite CinemaGentlemen's Guide to Midnite Cinemahttp://www.blogger.com/profile/06891511704370342117noreply@blogger.comBlogger1183125tag:blogger.com,1999:blog-3461143163123797513.post-26797261891586978232021-10-09T13:05:00.003-04:002021-10-09T15:05:33.461-04:00The Twonky - 1953<p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEj616mBso66n4RQPGJ_wzt4frgKblGsuCOKAymT42AZvgMvZlXhih3vQw897KTM0QUC1B1rQWkO5LXL5undo1Cv_zHLEQ3UPUOcc1l5rld2C2SCXInjiXaHgdG3VpjgC0WCEavm8KjivRNpG-ix8SlziVMSt68vBopKZIFNHxg91CvoSplskoNX5bFaEg=s875" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="875" data-original-width="580" height="320" src="https://blogger.googleusercontent.com/img/a/AVvXsEj616mBso66n4RQPGJ_wzt4frgKblGsuCOKAymT42AZvgMvZlXhih3vQw897KTM0QUC1B1rQWkO5LXL5undo1Cv_zHLEQ3UPUOcc1l5rld2C2SCXInjiXaHgdG3VpjgC0WCEavm8KjivRNpG-ix8SlziVMSt68vBopKZIFNHxg91CvoSplskoNX5bFaEg=s320" width="212" /></a></div><br /> <p></p><p style="margin-bottom: 0in;"><span style="font-family: inherit;">“<span>I
had the twonkies when I was a child.” - Coach Trout</span></span></p>
<p style="margin-bottom: 0in;"><span style="font-family: inherit;">“<span>It
shaved me today.” - Kerry West</span></span></p>
<p style="margin-bottom: 0in;"><span style="font-family: inherit;">“<span>Something
is happening, but you don't know what it is.” - Bob Dylan</span></span></p>
<p style="margin-bottom: 0in;"><span style="font-family: inherit;"><br />
</span></p>
<p style="margin-bottom: 0in;"><span style="font-family: inherit;">A
philosophy professor battles The Twonky. Colleges will survive into
the dystopian period.</span></p>
<p style="margin-bottom: 0in;"><span style="font-family: inherit;">Writer-Producer-Director
Arch Oboler has one of the great punchline names (3 vowels and 3
consonants.) He directed Five (1951), The Bubble (1966), and Bwana
Devil (1952.) Hans Conried was in Peter Pan and The Great Dictator
and The 5000 Fingers of Dr. T. Janet Warren appeared in The Ghost
of Frankenstein and Buck Privates. William H. Lynn was in The
Outcasts of Poker Flat. The movie is based on a short story by Henry
Kuttner. The title music by Jack Meakin sounds like a bonk, a plonk
and a twonk.</span></p>
<p style="margin-bottom: 0in;"><span style="font-family: inherit;">Meet the device with a 'super-atomic brain.' To give away the secret of
'The Twonky' would be a miscarriage of justice. Maybe the secret of
'The Twonky' is a thing we weren't meant to know. Post-war America
met its greatest enemy in the ubiquity of the television set. It is
true that no one could anticipate the long-term ramifications of
beaming visual media into the home. Conried's character is a
philosophy professor; philosophy was dead the minute the television
was invented. Finally, in the dystopian future of 1953, Technology
will ultimately and totally control our lives; we should have
listened to Hulot in Mon Oncle. Conried's protagonist character
lives in a palace with a twelve-inch television. Hollywood loves
deflating stuffy intellectuals with the introduction of unknown
phenomena. Early on there's a joke about 'obstetrical history' that
has to appreciated for its ironic understatement. What exactly is a
'red cent'? Who doesn't love a 'wubba-wubba' soundtrack? 'Coach
Trout' is a humorous character name. That character is the voice of
cynical realism (one who's usually less than functional except to
deliver exposition) At one point, Coach Trout drops a load of
incredibly detailed information pertaining to the fantastic, and one
goes, 'Wait. How did he know that?' Coach Trout orders his students
to 'Smash the Twonky!' That's sagacious advice. Then the elderly
Coach looks at the co-ed's backside and implies something rather
sexual. That wouldn't fly today. An absent wife is compared to an
“entertainment.” 'I got no complaints' sounds like a motto of
middle-class conformity. There's some special fx magic as the Twonky
ties a knot for Kerry West. Disney might have taken this premise and
overcharged in the color go-go 1960s; alas, until the third act, most
of the movie takes place in Conried's house, and that tends to limit
the scope. The trilling on the soundtrack is incessant. The middle
part of the last century was a time of much humorous drinking. That
television prefers Sousa over Mozart, which might be a preference for the popular over the high-brow. The police threaten to send
our protagonist to Alcatraz. The sassy black maid tells Conried that
she has a larger television. The college is integrated, so I guess
that's progressive. The Twonky can change genders. That's
progressive too. A clerk brags about his experience with
'time-payment merchandise.' The Twonky is as nightmarish as a Dalek.
This is something like a slightly more humorous take on a body
snatching movie. Women come to collect money and never leave. Is
this a horror movie or a comedy? Is The Twonky Oboler's masterpiece?
Stay tuned on your orthicon tube to this very channel.</span></p>
<p style="margin-bottom: 0in;"><span style="font-family: inherit;">The
Twonky is on Youtube in atrocious quality, missing, in fact, the
title card. It was apparently recorded from a television broadcast.
I want to live in any town where they show on The Twonky on
television. I might even watch The Twonky on my Twonky! The movie
is 69 minutes long, so there's that to its credit. Other sources give a running-time in the 80+ minute range, so I don't know if anything is missing. No one wanted a partial Twonky. File it next to
the Babadook and The Hidan de Maukbeiangjow.</span></p>Walt Kafkahttp://www.blogger.com/profile/15198644577019542659noreply@blogger.com1tag:blogger.com,1999:blog-3461143163123797513.post-10944506545189695862021-10-02T11:17:00.001-04:002021-10-02T11:27:10.399-04:00The Head (1959)<p> </p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgPKGIr_mFqix63zFwsLXIARh92aLpesWRmTzN_D4hbIwaNcysXK9tK7CjSOF7k5YDc0ZFI-karD9l_PFYHYC_h14UGhNEMrD7HsvJwiGAn7d2OBoGSP7gpFWhGsHms-MPlCyV6HyNWDDsx/s700/The+Head+1959.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="700" data-original-width="465" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgPKGIr_mFqix63zFwsLXIARh92aLpesWRmTzN_D4hbIwaNcysXK9tK7CjSOF7k5YDc0ZFI-karD9l_PFYHYC_h14UGhNEMrD7HsvJwiGAn7d2OBoGSP7gpFWhGsHms-MPlCyV6HyNWDDsx/s320/The+Head+1959.jpg" width="213" /></a></div><br /><p></p><p></p><p style="margin-bottom: 0in;">“Put down that telephone. You really
are insane.”</p>
<p style="margin-bottom: 0in;">“I think that, on the contrary, men
are certainly going to look at you.” - Dr. Burke</p>
<p style="margin-bottom: 0in;">“Are you an undertaker? You hold
me like I was dead.” - Lily</p>
<p style="margin-bottom: 0in;">“The last chance was to perform the
dog operation on your head.” - Dr. Oud</p><p style="margin-bottom: 0in;">A mysterious stranger arrives.
Something's coming to a head at the Tam-Tam club.</p>
<p style="margin-bottom: 0in;">Director Victor Trivas has a few
directorial credits, but his writing credits are more numerous,
including Hell on Earth (1931) and The Stranger (1946.) Barbara
Valentin was a sex symbol in Horrors of Spider Island (1960.)
Producer Wolf C. Hartwig produced that film and a whole bunch more.
Christiane Maybach was in A Study in Terror. Horst Frank was in The
Cat o' Nine Tails (1971.) Michel Simon worked from the mid-20s to
the mid-70s. Karin Kernke was uncredited in Schoolgirl Report 12
(1978.) Paul Dahlke had a career from the mid-30s to the mid-80s.</p>
<p style="margin-bottom: 0in;">It is an important lesson: Science will
not stop until it destroys us all. Another lesson: Someday our matter will become the matter of others. Better lesson: The soul of a
harlot is scientifically transportable to the body of a deformed
virgin. We have here a German variation on the mad scientist trope.
That character says things like, “I have beaten death” and “I
have saved your brain for mankind” and “You'll learn that
everything is possible!” and even "The price of my genius was madness." Well, that's all pretty clear. Our good doctor is a real tragic superman, alright. He makes something 'Serum Z,' and that's
nothing but fun. Such films wrestle with the dangers of becoming
addicted to the erotic tease of scientific progress. Sex is science,
after all. It's a clear progenitor to The Brain that Wouldn't Die. This is a better
produced film by far, but you may have more fun with 'Jan in a Pan.'
Stan in a pan? The film picks up the thematic trope of 'obsessive,
doomed love' too. The good doctor says things like, "You belong to me alone!" Unfortunately, the development of the plot sinks
in a gloomy black and white swamp. There's some cool tech in the lab
to keep the film in line with its type. Vital signs are indicated by
a polygraph type squiggle. I suppose only very rich people in the
1950s had TVs installed into their walls. The film provides the
expected continental sex appeal, uh, for those who care more for
anatomy than surgery. The sets are spacious, if unrealistic in
practical function; a spiral staircase runs through the center of the
house, from the lab to the upstairs quarters. Your ostensible noble
scientist is a drunken Lon Chaney Jr type with a Nietzsche mustache;
his less than noble colleague takes it to another level of science to
keep him alive. That shot of the moon looks a lot like a blacked-out
shot of the sun. The wide trick shot is unconvincingly matted. A lab is destroyed with a superimposition. The
serious German inspector is a classic type, but he plays a very small
part, doing not much in the way of inspecting. The end title card is in a fun, spooky font. There's a painting in the artist's studio that I don't think
you would have seen in an American film at this time. At one point
the stripper refers to being in 'Europe,' so there's that
geographical certainty. But, really, how many other films give you a
female hunchback? Come on, Irene!</p>
<p style="margin-bottom: 0in;">'The Head' can be viewed on Youtube in
a dubbed print of abysmal quality. Some reels have visible matting
at the top of the frame. Does the harsh splicing of music indicate
the removal of offending material? Use your, uh, noggin, and figure
it out.</p><br /><p></p>Walt Kafkahttp://www.blogger.com/profile/15198644577019542659noreply@blogger.com0tag:blogger.com,1999:blog-3461143163123797513.post-29859400147645665772021-09-10T19:00:00.001-04:002021-09-10T19:00:53.239-04:00Miami Golem (1985)<p> <span> </span></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiPWiOwFErIua0GvLQdR0kBwzgFRHgC-j13Fx0IALJ5ZJXGofcXbK-_3lwaYNM-B6jKWfZvC_9XUZFYiY2o81sfPmRW7FFB7r-39W-3gbrE0ZfAwQ5thLIfef1cXfC1FHV8jsfyOMpiJAoT/s800/miamigolem.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="800" data-original-width="565" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiPWiOwFErIua0GvLQdR0kBwzgFRHgC-j13Fx0IALJ5ZJXGofcXbK-_3lwaYNM-B6jKWfZvC_9XUZFYiY2o81sfPmRW7FFB7r-39W-3gbrE0ZfAwQ5thLIfef1cXfC1FHV8jsfyOMpiJAoT/s320/miamigolem.jpg" width="226" /></a></div><br /><div class="separator" style="clear: both; text-align: center;"><br /></div><p></p><p style="margin-bottom: 0in;"><span style="font-family: Courier New, monospace;"> </span><i><span style="font-family: Courier New, monospace;"> </span><span style="font-family: inherit;">Golem</span></i><span style="font-family: inherit;">
- “An artificial human being in Hebrew folklore endowed with life.”
- Merriam Webster.</span></p><p style="margin-bottom: 0in;"><span style="font-family: inherit;"> “Your
face. It's all banged up. We should stop at a hospital.” -
Joanna Fitzgerald.</span></p><p style="margin-bottom: 0in;"><span style="font-family: inherit;"><br /></span></p><p style="margin-bottom: 0in;"><span style="font-family: inherit;"> A
television reporter finds himself drawn into a plot to steal an
incredible scientific discovery. A ditzy secretary has had enough of the Man's crap.</span></p><p style="margin-bottom: 0in;"><span style="font-family: inherit;"> Alberto
De Martino (1929-2015) had been writing and directing films since the
early 1960s (Will anyone claim this veteran as a personal favorite?)
It appears <i>Miami Golem
</i>was
his very last directing credit, topping off two and a half decades of
solid work. Among his credits are westerns and comedies and
western-comedies and peplums too. <i>Holocaust
2000 (1977) </i>was
not Kirk Douglas' proudest Hollywood hour. De Martino directed the
Neil Connery vehicle <i>Operation
Kid Brother </i>too.
<i>Miami Golem</i>
comes subsequent to the particularly infamous <i>Puma
Man (</i>but
let's forget it was mentioned) Star David Warbeck is here only a few
years removed from having crossed over to <i>The
Beyond. </i>Laura
Trotter was one of the residents of <i>Nightmare
City. </i>John
Ireland had been in films since the mid 1940s. <i>Miami
Golem</i>
belongs to that trend of Florida-set Italian films of the period,
including <i>American
Rickshaw, Cruel Jaws, Miami Supercops, Cut & Run; </i>itself
a subset of the group of Italian films set in diverse American
locations.</span></p><p align="JUSTIFY" style="margin-bottom: 0in;"> </p><p align="JUSTIFY" style="margin-bottom: 0in;"> <span style="font-family: inherit;"><span> </span>We
love Italian films because the filmmakers understand the necessity of
zipping along; in other words, keep exposition minimal, and, as
quickly as possible, find the most interesting and exploitative
element of the story. Stay on target! Deploy your nudity
strategically when the plot begins to sag in the second act.
Helicopters and explosions are super cinema value! Splatter the
orange stuff around as much as possible. Over here in America, Roger
Corman had a similar model; even his PG movies keep it going with the
Ramones or the occasional car action. True to fashion, we can say
that <i>Miami Golem
</i>keeps
it moving and does not overstay its welcome. Something new happens
every ten minutes. This is not a film laboring under the illusion
that it's an 'important' treatise. Unfortunately, there's no visual
flare here, no Spontaneous Spider Attack, no raison d'etre for
anything really, and so it's harder to overlook the illogical
progression of this particular sequence of events. The love interest
is a total blank – Nice Body, Unfortunate Hair. You would think
any story involving other worlds would tend to raise the dramatic
stakes. Alas, it's just another sunny day in Miami. Don Dohler did
more for the promotion of aliens out in the hinterlands. Here, alas,
there's no money in the budget for an amazing technicolor saucer.
Warbeck's character is pushed along through action and exposition; as
for motivation, the viewer is left to infer that, maybe, he's in it
for the excitement of the news game. He's a near zero on
characterization. The basic frame of the movie is a Hitchcockian
plot of a man finding himself in over his head, albeit with
splashings of <i>Ghostbusters</i>,
<i>Close
Encounters</i>.
It's not as much fun as it sounds. A fan boat chase precedes <i>Miami
Vice</i>.
There was one in <i>Invasion,
U.S.A. t</i>oo.
This is not one of those Italian films from the later 80s fortunate
to have been shot with live sound; the whole thing bogs down under
its canned audio. That's a cool poster. It should be tattooed on
the moviegoer's neck: “The woman on the poster is not in the
movie.” There's a strobing climax right out of <i>Alien.
</i>The
thing is in the jar like <i>The
Jar. </i>People
are tossed around l<i>ike
The Exorcist.</i></span></p><p align="JUSTIFY" style="margin-bottom: 0in;"><span style="font-family: inherit;"><span style="text-align: left;"> An
alternate title is </span><span style="text-align: left;"><i>Miami
Horror. </i></span><span style="text-align: left;">Times
are strange when </span><span style="text-align: left;"><i>American
Rickshaw </i></span><span style="text-align: left;">has
a fancy special edition bluray (but then Martino surely gets more
respect than De Martino.) Can </span><span style="text-align: left;"><i>Miami
Golem </i></span><span style="text-align: left;">stay
forever a stepchild in the cold? Like an avid beachcomber without
his matching carcinogenic tan? In the meantime, while we wait, the
curious can find the film on Youtube in awful quality with Turkish
subtitles or slightly better quality with Japanese subtitles.</span></span></p>Walt Kafkahttp://www.blogger.com/profile/15198644577019542659noreply@blogger.com0tag:blogger.com,1999:blog-3461143163123797513.post-45585707944120307302021-08-15T16:34:00.096-04:002021-08-15T17:06:33.270-04:00Journey To The Seventh Planet (1962)<div class="separator" style="clear: both;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjiv40WexdTQKkLkUU8zqEReWhfqPPP8ExvKss8wbYdKwiFAnyJWF_qeeX4HTSStaPSFBp-abkjEb0aSuCrOR7GuvoKOSsKW-HGuQho7CF-eZ2aR2cF14qrx5Eiexn3WPD9npXQr5EfHxrs/s2048/JOURNEY-TO-THE-SEVENTH-PLANET-3121LB-scaled.jpg" style="display: block; padding: 1em 0px; text-align: center;"><img alt="" border="0" data-original-height="2048" data-original-width="1359" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjiv40WexdTQKkLkUU8zqEReWhfqPPP8ExvKss8wbYdKwiFAnyJWF_qeeX4HTSStaPSFBp-abkjEb0aSuCrOR7GuvoKOSsKW-HGuQho7CF-eZ2aR2cF14qrx5Eiexn3WPD9npXQr5EfHxrs/s320/JOURNEY-TO-THE-SEVENTH-PLANET-3121LB-scaled.jpg" /></a>
</div><div><br /></div>
People once gazed at the stars in wonder and dreamed of awesome possibilities,
those blinking lights in a black canvas firing creative imaginations in print
and on screen. Pulp magazines of the 1940s and 50s were filled to the brim with
tales of rocket-ships roaring through space and swashbuckling heroes of Mars.
These bled into Hollywood b-movies throbbing with radioactive giant insects and
invaders from Mars alongside mad scientists and beasts from under the sea. This
leads us to Journey To The Seventh Planet, from 1962, a film produced between
Denmark and AIP studios, directed by Sid Pink. Mr. Pink (haha!) is an
interesting character, somewhat an early pioneer of 3D movies and was an early
distributor of spaghetti westerns before the Leone boom. He produced or
distributed a string of genre movies from the early 1950s to the 1970s, along
with a smattering of films to his own name of which this is one.<div><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgsP4A4B0fRflWnBu-jwEMsGF_9OeQKsnAvjjXs57n2ZseQJJYHwmbwLDdV83A2G3m_jeYS0BI1gsLnmb2gJ_j2wfACU7ZaCPNdJEPSO00yFHkvAuYb6-xJF9FZxrN6mvjDkcHdEBP4A82F/s960/vlcsnap-2021-08-15-18h36m51s156.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="576" data-original-width="960" height="192" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgsP4A4B0fRflWnBu-jwEMsGF_9OeQKsnAvjjXs57n2ZseQJJYHwmbwLDdV83A2G3m_jeYS0BI1gsLnmb2gJ_j2wfACU7ZaCPNdJEPSO00yFHkvAuYb6-xJF9FZxrN6mvjDkcHdEBP4A82F/s320/vlcsnap-2021-08-15-18h36m51s156.png" width="320" /></a></div><br /><div><br /><div><br /></div><div>Journey To The Seventh Planet is set in the year 2001, when the world is
now unified behind the United Nations and in echoes of Star Trek, rockets blast
into the cosmos as part of a space fleet to explore. A crew of five square jawed
astronauts land on Uranus to find, not the world of sun seared rocks they
expected but a lush land of pine woodland. Nothing is what it seems, with dream
women appearing out of nowhere and a picture postcard village, complete with
windmill. The rugged space adventurers pull on their nifty spacesuits to
investigate and adventure ensues! They find that nothing is what it seems, and encounter strange beasts in dank caves and a glowing space brain than plans to use them for nefarious purposes! Gasp! </div><div><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgRU9Bu-9TTt8oVs27TWsuqHI_JdcE2-Cj6Z59GyogeozWHTtR_dhXXtgSD0l3qHpI7ZkpeUNVcXF_q-vMgiRVNOr2JMQKj5NbAgifmIpgsbxC-nSRjrDpCYkJJdZx8CPSuay4HSs4dcsE0/s1154/tumblr_074cd5240c232674b84a290e52d4e598_8773425b_1280.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="490" data-original-width="1154" height="136" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgRU9Bu-9TTt8oVs27TWsuqHI_JdcE2-Cj6Z59GyogeozWHTtR_dhXXtgSD0l3qHpI7ZkpeUNVcXF_q-vMgiRVNOr2JMQKj5NbAgifmIpgsbxC-nSRjrDpCYkJJdZx8CPSuay4HSs4dcsE0/s320/tumblr_074cd5240c232674b84a290e52d4e598_8773425b_1280.png" width="320" /></a></div><br /><div><br /></div><div>I had a lot of fun with this, I expected nothing and got a lot back. It had a pea sized budget but the makers got a lot out of their money as far as I can see. There is nifty costumes, including fab blue spacesuits, and even some stop motion monsters and some good old bug eyed aliens. Yes there is some stock footage of rockets but its inserted into the picture well. Hell the movie is cheesy and dated and sexist as hell, but zips along at a rocket pace, never dwelling too long on any particular area before rolling on to the next scene. on the negative side the cast is a bit of a charisma blackhole apart from 50s sci-fi mainstay John Agar, but they are all Danish actors dubbed into English. But its not Kubrick's 2001 and the film doesn't try to be. Agar is my favourite part of the film, he comes across as a Flash Gordon type that probably has a whisky bottle shoved down his trousers and three women in every spaceport. Story wise alas with the passage of time its a plot folk will have seen before, over and over, particularly the Star Trek episode "Shore Leave" but at only 77 minutes its a breezy pulp tale and doesn't outstay its welcome. I dug it.</div></div><div><br /></div><div>Most Valuable Thing: John Agar. His randy but cheery astronaut brings a dose of spark to the crew.</div><div><br /></div><div>Make Or Break: When the crew put on their suits and go exploring.</div><div><br /></div><div>Score: 6 outta 10</div>Charlie Parkerhttp://www.blogger.com/profile/06141349823079178860noreply@blogger.com0tag:blogger.com,1999:blog-3461143163123797513.post-79873784174558401742019-05-01T11:17:00.000-04:002019-05-01T11:17:03.345-04:00The Evil That Men Do (1984)<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEizYw4berYFGq3-0Dl_jnD9hTRijpGBSVVKZCRJkjlHq9ULJWpVB_FoS9Ws32Bjy3Y3cXP-NHY1sNXMqxK4a9FQLlJPXBKeUtslONBYXrkr0Nxir2h7WlgJpSBl4O71jyNydjT5Ex0MYrc/s1600/The+Evil+That+Men+Do.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="346" data-original-width="220" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEizYw4berYFGq3-0Dl_jnD9hTRijpGBSVVKZCRJkjlHq9ULJWpVB_FoS9Ws32Bjy3Y3cXP-NHY1sNXMqxK4a9FQLlJPXBKeUtslONBYXrkr0Nxir2h7WlgJpSBl4O71jyNydjT5Ex0MYrc/s400/The+Evil+That+Men+Do.jpg" width="253" /></a></div>
<div style="text-align: center;">
<br />
<br />
<div class="MsoNormal" style="text-align: justify;">
Over the span of his career, Charles Bronson worked with a variety
directors on more than one project. The
director that most fans associate with Bronson would likely be Michael Winner. After all, Winner was directing Bronson when
the actor was at his peak and the two collaborated on the first three films in
the iconic <i>Death Wish</i> series. Together, Bronson and Winner made six films
together. There was, however, one other
director that Bronson worked with more than Winner. That director’s name is J. Lee Thompson and
the duo would end up making nine movies together! Thompson is probably best known for directing
such films as <i>Cape Fear</i> and <i>The Guns of Navarone, </i>but in the 80’s
Thompson and Bronson made several violent B-movies for production companies
such as Cannon Films. Both men were in
the twilight of their career and resorted to low-budget exploitation to keep
the checks coming in. Some of these
films turned out to be pretty entertaining pieces of trash cinema. Films like <i>10 to Midnight, Kinjite: Forbidden Subjects</i>, and the film being
reviewed, <i>The Evil That Men Do</i>.<o:p></o:p></div>
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<br /></div>
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A sadistic expert of torture, notoriously referred to as “The
Doctor”, contracts his services out to oppressive governments who want to keep
their dissidents in check. After a
failed assassination attempt on The Doctor, the rebellion reach out to Holland,
a retired CIA assassin, to kill The Doctor and end his cruel methods of
torture. Holland decides to go
undercover and present himself as a family man so that he may get close to The
Doctor and take him out before he is forced to leave Guatemala. Along the way, Holland will have to go
through various henchmen and villainous characters before he reaches his
target. Scenes of action and bloody violence
transpire as Holland lay waste to this evil cast of characters.<o:p></o:p></div>
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<br /></div>
<div class="MsoNormal" style="text-align: justify;">
Bronson plays Holland, the former CIA agent, who’s retired to the
Cayman Islands to work on his tan and befriend stingrays he’s affectionately
named Quasimodo. Bronson’s limitations
when it comes to emoting actually work to his advantage in this role. His character is cool, calculating, and has no
reservations about murder if the end justifies the means. This is the kind of role that fans of the
actor have come to expect when they go into a Bronson film. There are plenty of scenes in <i>The Evil That Men Do</i> where Bronson gets
to show off what a badass he is. We get
to see him toss a guy off the balcony of a high-rise apartment, throw a knife
through a man’s neck, and the highlight of the film: squeeze a sexual
predator’s testicles until the attacker passes out! There are some half-assed attempts to make
Holland appear to be a man with morals and a belief in the rebel’s cause by
having him do the job for free, but mostly he’s just shown murdering people
with extreme prejudice.<o:p></o:p></div>
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<br /></div>
<div class="MsoNormal" style="text-align: justify;">
Much like <i>10 to Midnight</i>
the year prior, J. Lee Thompson brings the violence and sleaze to his direction
of <i>The Evil That Men Do</i>. Right from the opening, Thompson treats the
audience to a torture scene involving electrodes applied to a man’s nipples and
testicles. The scene ends with the
grisly death of the man and this opening will set the tone for the rest of the
film. I’ve already referenced some of
the scenes of violence that can be found in this film but it wouldn’t be a
Bronson / Thompson collaboration without some sleazy moments in between. After all, Thompson is the man who was able
to convince Charles Bronson to not once but twice act in a scene where he holds
a sex toy while he delivers some dialogue.
I guess Chuck really needed the cash at this point in his career. In <i>The
Evil That Men Do</i> we get a scene where Bronson convinces a goon to join him
and the woman posing as his wife in a threesome back at their hotel so he may
set a trap for the unknowing victim.
Another scene has Bronson hiding underneath a bed, waiting to strike
while two lesbians have sex above him! Thompson’s
collaborations with Bronson may not have reached the depths of Michael Winner’s
<i>Death Wish</i> films in terms of
depravity, but he certainly gave Winner a run for his money.<span style="color: red;"><o:p></o:p></span></div>
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<br /></div>
<div class="MsoNormal" style="text-align: justify;">
It may be predictable, but <i>The Evil That Men Do </i>provides exactly
what most fans of Charles Bronson want from these type of films. Bronson is really nothing more than an
instrument of death who massacres one despicable baddie after another until
there are none left. If his victims were
camp counselors he might be mistaken for Jason Vorhees! Because the villains of the film are so
awful, we take joy and excitement from their gruesome death scenes. I do
feel that it was a bit of a misstep in not making Bronson’s character more vulnerable. His seemingly indestructible presence doesn’t
allow for any suspense or tension to occur.
There was a missed opportunity to have The Doctor capture Bronson and
put him through one of his torture sessions only to have Bronson amazingly
survive the torture and escape. I guess
by this point ol’ Charlie Bronson couldn’t be bothered to break a sweat in one
of his latter-day films.</div>
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<o:p></o:p></div>
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<br /></div>
<div class="MsoNormal" style="text-align: justify;">
<b>MVT:</b> Bronson and Thompson both deliver but they’ve had better
efforts. The cast of villains are the
type of deplorable characters you want to see get their just deserts. Therefore, they collectively get my Most Valuable
Thing.<o:p></o:p></div>
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<br /></div>
<div class="MsoNormal" style="text-align: justify;">
<b>Make or Break Scene:</b> The moment when Bronson grabs a handful of an
attacker’s genitals and squeezes until the man passes out.<o:p></o:p></div>
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<br /></div>
<div style="text-align: justify;">
<span style="line-height: 107%;"><span style="font-family: inherit;"><b>Score:
7/10</b></span></span></div>
</div>
Bryan Davidsonhttp://www.blogger.com/profile/03485898846762316737noreply@blogger.com8tag:blogger.com,1999:blog-3461143163123797513.post-4111611281325093722019-03-05T14:48:00.002-05:002019-03-05T14:48:36.480-05:00House of Traps (1982)<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhW4vUovV89IcoTlrMvqwe5lkCZmtt-Jo63-pIarTg8zsmwu63_-MsgYOkwSnqcqPxcOvtYT2pIBGu5ZBRR5Ejm7k3Dz5_eEZbr6j7I5uqE3mOeg-Eiw466o_R3e6iqeBTPBrf8HIeteTc/s1600/House+of+Traps.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="295" data-original-width="220" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhW4vUovV89IcoTlrMvqwe5lkCZmtt-Jo63-pIarTg8zsmwu63_-MsgYOkwSnqcqPxcOvtYT2pIBGu5ZBRR5Ejm7k3Dz5_eEZbr6j7I5uqE3mOeg-Eiw466o_R3e6iqeBTPBrf8HIeteTc/s1600/House+of+Traps.jpg" /></a></div>
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As film fans, we all discovered our favorite directors as we’ve
navigated through a sea of movies and each one’s specific filmography. It usually starts with one amazing film and
afterwards we must seek out the rest of this person’s output. This is followed by a domino-effect of knocking
off one great film after another until you reach the more obscure and less than
perfect films released. Selfishly, we
want to turn our friends and family onto these filmmakers so that we have
someone to discuss their work with, but also to take some credit for turning
them onto great cinema. Additionally, we
want them to have the same thrilling experience we had when we saw these films
for the first time and have them thank us for the recommendation. That’s why when attempting to convert our
friends to liking what we like, we always give them the best of the best. It’s too risky to give them one of our
favorite filmmaker’s lesser efforts if we intend on them continuing on with the
rest of their works. For instance, if
you were trying to convince someone that they should check out the work of
Brian De Palma you probably wouldn’t have them start with <i>Raising Cain</i>. Not a bad film,
but it likely won’t knock their socks off.
The masterworks should take priority over all others. The flawed films should be explored once
they’re hooked. In the case of master martial
arts filmmaker, <a href="http://kungfumovieguide.com/profile-chang-cheh/" target="_blank">Chang Cheh</a>, his 1982 film, <i>House
of Traps</i>, falls into the latter camp.
By no means a bad film, but rather one that should be seen once all of
the classics have been viewed first.<o:p></o:p></div>
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Potential viewers of <i>House
of Traps</i> should know one thing going in; the plot to this film is
convoluted as hell! We are quickly given
the back story to a family feud that has raged on for generations. The information dump is so quick that we as
viewers are a bit confused if the current state of the feud is over greed and
the desire for power or simply revenge.
A prince is planning a revolt against his uncle, the emperor, and anyone
who wants to join the revolution must break into the emperor’s palace and steal
one of the empire’s priceless valuables as a way of showing devotion to the
cause. Anyone who joins the rebellion
signs a contract which is kept, along with the valuables, in the titular House
of Traps. This is when things begin to
get complicated. Numerous characters
come in and out of the story, there are several double-crosses, and we’re not
sure if we’re supposed to side with the prince who’s leading the rebellion or
the emperor who has dispersed spies to infiltrate the enemy and learn the
mystery of the House of Traps. Because
the plot is so confusing and Cheh is giving us perspectives from both sides of
the feud, we’re given a lot of exposition and scenes of dialogue that I can
only assume is an attempt to keep the viewer up to speed on everything that’s
going on. It makes for a frustrating
watch, especially if you’re just looking for a kung-fu film that’s light on
plot and heavy on fight sequences. It’s
best to just let the movie wash over you and not get too caught up with the
overly-complicated plot.<o:p></o:p></div>
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<br /></div>
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There’s still plenty to like with this <a href="http://www.hkcinema.co.uk/Articles/shawbronews.html" target="_blank">Shaw Brothers</a>’ production,
despite the confusing storyline. <i>House of Traps </i>has the usual production
value that makes these films so charming and what one comes to expect from the
Shaw Brothers if you’re already a fan, especially of their kung-fu films. You get the colorful costumes, stagey set
design, awesomely fake facial hair, bright-red blood, excellent fight
choreography, supernatural abilities, cool weapons, and cool characters with
cool names like the Black Fox. Most
importantly, the movie has the House of Traps and it sure delivers on its
promise. The multistory house has three
levels of potential death within it for all those who attempt to take back the
emperor’s valuables and the rebellion’s list of supporters. The ground level has guards hidden behind a
sliding wall (How do they occupy their time waiting behind that wall the whole
time?) and spikes that rise from the floor.
The second level has trapdoors and the third and final level has a
spiked cage and one more surprise that I won’t disclose, as it’s not revealed
until the finale of the film. It’s a
very cool set that’s utilized three or four times throughout the runtime and
each time it is we learn more about the secrets that the House of Traps has in
store.<o:p></o:p></div>
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<i>House of
Traps </i>finishes on a high note with amazing fight sequences and plenty of
bloodletting. The very end is comedically ironic,
immediately following all of the carnage that has just taken place. It left a smile on my face and made it easier
to forgive the convoluted plot. It
should be noted that this film features the <a href="https://www.denofgeek.com/us/movies/martial-arts/260721/kung-fu-legends-the-venom-mob" target="_blank">Venom Mob</a> in one of the group’s
last films together. If I were trying to
turn a friend onto Chang Cheh’s films, or just classic kung-fu films, this isn’t
where I would have them start. <i>The Five
Deadly Venoms</i> or <i>The One-Armed Swordsman</i> would definitely be a better option to
begin your education on Chang Cheh, the filmmaker. For those of us who’ve seen our share of
martial-arts films, this is solid and definitely worth a watch if you’re a fan
of the Shaw Brothers’ aesthetic.<o:p></o:p></div>
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<br /></div>
<div class="MsoNormal">
<span style="font-family: inherit;">MVT:</span> The actual house of traps, of
course!<o:p></o:p></div>
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<span style="background: white;"><br /></span></div>
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<span style="font-family: inherit;">Make or Break Scene:</span> The first introduction to the house of traps.<o:p></o:p></div>
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<br /></div>
<span style="line-height: 107%;"><span style="font-family: inherit;">Score:</span></span><span style="font-family: "calibri" , sans-serif; line-height: 107%;">
</span><span style="line-height: 107%;"><span style="font-family: inherit;">7/10</span></span></div>
Bryan Davidsonhttp://www.blogger.com/profile/03485898846762316737noreply@blogger.com0tag:blogger.com,1999:blog-3461143163123797513.post-19618631804350283902019-02-25T12:05:00.000-05:002019-02-25T12:05:28.629-05:00The People Who Own the Dark (1976)<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgEhVQpcRy284jFcpgLya372NQk8gZf13QyEQRR7jH43y3URd0TBQcRmv8l-wt-6IjBntj4GyQSJBZOxhHXB78OiG-s2hWZluI4aTeDHUL5QpYP5Lmiwvo-roONDr_Vu4GJsPODKDODCdY/s1600/The+People+Who+Own+the+Dark.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="268" data-original-width="182" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgEhVQpcRy284jFcpgLya372NQk8gZf13QyEQRR7jH43y3URd0TBQcRmv8l-wt-6IjBntj4GyQSJBZOxhHXB78OiG-s2hWZluI4aTeDHUL5QpYP5Lmiwvo-roONDr_Vu4GJsPODKDODCdY/s1600/The+People+Who+Own+the+Dark.jpg" /></a></div>
<div style="text-align: center;">
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<span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;">More than fifty years on and the influence of <i style="mso-bidi-font-style: normal;">Night of the Living Dead</i> can still be felt in modern day
filmmaking.<span style="mso-spacerun: yes;"> </span>Certainly, Richard
Matheson’s <i style="mso-bidi-font-style: normal;">I Am Legend </i>novel came
first and was a source of inspiration for George Romero and other filmmakers to
adapt the story.<span style="mso-spacerun: yes;"> </span>It’s pretty apparent,
however, that <i style="mso-bidi-font-style: normal;">NOTLD</i> had a larger and
more direct influence on genre-cinema following its release.<span style="mso-spacerun: yes;"> </span>There must be a countless amount of films
that were either influenced by or shamelessly ripped off from <i style="mso-bidi-font-style: normal;">NOTLD</i> and the range of their quality is
as wide as Romero’s influence on the horror genre.<span style="mso-spacerun: yes;"> </span><i style="mso-bidi-font-style: normal;">The
People Who Own the Dark </i>is an example of a film that wears its influences
on its sleeve but does enough different to stand out from the rest of the
imitators.<span style="mso-spacerun: yes;"> </span>Clearly, it takes as much
from <i style="mso-bidi-font-style: normal;">Omega Man</i>, a more direct
adaptation of <i style="mso-bidi-font-style: normal;">I Am Legend</i>, as it does
from <i style="mso-bidi-font-style: normal;">NOTLD</i>, but the Spanish setting
and distinct touches made by director León Klimovsky give this film its own
identity.<o:p></o:p></span></div>
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<span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;">The film is slow to get out of the gate.<span style="mso-spacerun: yes;"> </span>We’re introduced to each of the characters
one by one as they go about their day-to-day lives.<span style="mso-spacerun: yes;"> </span>Each of the characters are preparing to
attend a party later that evening, hosted by a pair of wealthy socialites.<span style="mso-spacerun: yes;"> </span>The location of the party takes place at a
hillside castle in rural Spain.<span style="mso-spacerun: yes;"> </span>The
castle setting adds to the gothic mood of the film and works perfectly once the
siege starts to occur.<span style="mso-spacerun: yes;"> </span>I should mention
that I watched the 82 minute US cut of the film.<span style="mso-spacerun: yes;"> </span><a href="https://www.imdb.com/title/tt0073550/alternateversions?tab=cz&ref_=tt_trv_alt" target="_blank">The Spanish release, apparently, runs 94 minutes with additional scenes of dialogue.</a><span style="mso-spacerun: yes;"> </span>Even at 82 minutes, the film does feel slow
at times.<span style="mso-spacerun: yes;"> </span>Especially for the first act,
when all of the characters are being established and the introduction to the
party occurs.<span style="mso-spacerun: yes;"> </span>If you stick it out through
the initial setup, I think most will get something out of the remainder of the
film and be glad they stuck with it.<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;">Director León Klimovsky’s subtext
and social commentary within this genre-film begin to reveal themselves once we
learn exactly what kind of party is taking place.<span style="mso-spacerun: yes;"> </span>It seems these members of the social elite
have a taste for decadence and have arranged a masquerade party where they may
indulge in their most animalistic desires with the female partygoers, who turn
out to be paid prostitutes.<span style="mso-spacerun: yes;"> </span>Anything
goes, as long as it’s out in the open in front of the rest of the guests.<span style="mso-spacerun: yes;"> </span>Stanley Kubrick’s <i style="mso-bidi-font-style: normal;">Eyes Wide Shut </i>definitely came to mind as this scenario played out.<span style="mso-spacerun: yes;"> </span>Before any kind of orgy can breakout, the
castle starts to shake and the partygoers believe they have just experienced an
earthquake.<span style="mso-spacerun: yes;"> </span>The partygoers return from
the cellar to discover all the housemaids who remained on the ground level are
now blind.<span style="mso-spacerun: yes;"> </span>After a trip into the local
village where it’s discovered that everyone on the earth’s surface is now
blind, the partygoers realize they’re dealing with something much worse than an
earthquake.<span style="mso-spacerun: yes;"> </span>It’s deduced that a nuclear
explosion has occurred and the survivors must leave the area to avoid any
fallout.<span style="mso-spacerun: yes;"> </span>They decide to return to the
castle but not before one of them turns paranoid and stabs one of the blind
villagers.<span style="mso-spacerun: yes;"> </span>This act of violence triggers
the socialites’ gradual demise and sets up Klimovsky’s commentary on class
division and unrest between the working class villagers and the wealthy elite.<o:p></o:p></span></div>
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<div class="MsoNormal">
<span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;">This is the point in the story where it starts to
feel like a real horror film.<span style="mso-spacerun: yes;"> </span>The blind villagers
swarm the castle much like the zombies in </span><i style="mso-bidi-font-style: normal;"><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;">NOTLD
</span></i><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;">trying
to enter the farmhouse.<span style="mso-spacerun: yes;"> </span>In some ways,
the situation in <i style="mso-bidi-font-style: normal;">The People Who Own the
Dark</i> feels more terrifying than <i style="mso-bidi-font-style: normal;">NOTLD.<span style="mso-spacerun: yes;"> </span></i>Because the threat are actual people and
not undead, shuffling zombies, the danger that the partygoers find themselves
in feels more real.<span style="mso-spacerun: yes;"> </span>To add to this, the
blind mob work together and are able to strategize as how to besiege the
castle.<span style="mso-spacerun: yes;"> </span>They come through the ceiling,
they’re able to drive cars, they start fires, and they’re capable of using
firearms.<span style="mso-spacerun: yes;"> </span>This makes them feel more threatening
than any braindead zombie.<span style="mso-spacerun: yes;"> </span>As is usually
the case in these kinds of films, characters start turning on one another as
the situation turns dire.<span style="mso-spacerun: yes;"> </span>Spanish cult
film star, Paul Naschy, is amongst the cast playing a Harry Cooper type
character.<o:p></o:p></span></div>
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<div class="MsoNormal">
<span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;">I certainly don’t want to spoil the ending of
this film, but let’s just say that it’s bleak as hell!<span style="mso-spacerun: yes;"> </span>There’s an excellent use of Beethoven’s 9<sup>th</sup>
Symphony during a bus ride at the end of the film.<span style="mso-spacerun: yes;"> </span>As I’ve discovered more of these Spanish
horror films from the 60’s and 70’s, my appreciation for their quaintness and
leisurely paced storytelling has really grown on me.<span style="mso-spacerun: yes;"> </span>The first act of the film could certainly
stand to move more briskly but the third act finishes so strongly that I was
able to overlook that.<span style="mso-spacerun: yes;"> </span>The Spanish
horror films from this era would be a nice bridge from some of the Hammer
horror films that came out of England in the 50’s and 60’s to the more extreme
horror films produced in Italy during the 70’s and 80’s.<span style="mso-spacerun: yes;"> </span>On the surface, <i style="mso-bidi-font-style: normal;">The People Who Own the Dark </i>may look like just another adaptation
of <i style="mso-bidi-font-style: normal;">I Am Legend</i>.<span style="mso-spacerun: yes;"> </span>Personally, I think director León Klimovsky
brings enough originality and subtext to the production that it makes for an
interesting viewing experience.<o:p></o:p></span></div>
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<br /></div>
<div class="MsoNormal">
<span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;">MVT: León Klimovsky<o:p></o:p></span></div>
<div class="MsoNormal">
<span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"><br /></span></div>
<div class="MsoNormal">
<span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;">Make or Break Scene: The bus trip with Beethoven’s 9<sup>th</sup> playing
on the radio.<o:p></o:p></span></div>
<div class="MsoNormal">
<span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"><br /></span></div>
<div class="MsoNormal">
<span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;">Score: 6.75/10<o:p></o:p></span></div>
<br />Bryan Davidsonhttp://www.blogger.com/profile/03485898846762316737noreply@blogger.com0tag:blogger.com,1999:blog-3461143163123797513.post-75996212118641171572019-02-18T13:47:00.000-05:002019-02-18T13:47:59.851-05:00Hit List (1989)<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjhC1m0pIZKr4nu3D_DTeLM0OcKs1pM5-XzB9EV_bhOgRSyCT0FxN2uAYojCY0Q8dDKWlLVAs335zaiaOYiDJ6Zh_BR87IP3YDau8Yddh9UwQob9txXIyQXsSgREn9As4YVnFraou8Rsag/s1600/Hit+List.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="268" data-original-width="182" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjhC1m0pIZKr4nu3D_DTeLM0OcKs1pM5-XzB9EV_bhOgRSyCT0FxN2uAYojCY0Q8dDKWlLVAs335zaiaOYiDJ6Zh_BR87IP3YDau8Yddh9UwQob9txXIyQXsSgREn9As4YVnFraou8Rsag/s1600/Hit+List.jpg" /></a></div>
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<div style="margin-bottom: .0001pt; margin: 0in;">
<span style="font-family: "calibri" , sans-serif; font-size: 11pt;">If you’re a child of
the 80’s and had an obsession with movies, you know what a wondrous place the
video store was at the peak of the video rental boom. Walking
through aisles of VHS covers and having those lurid covers tantalizing your preadolescent
mind was quite an experience. It almost gave you a feeling that you
were somewhere you shouldn’t be. The VHS sleeves for movies
like <i>Zombie, I Spit on Your Grave</i>, and <i>Driller Killer</i> will
forever be imprinted on my brain. Then there were the odd or curious
looking box art. The ones that had you guessing what they were about
and what type of movies they were. Films like <i>Happy Birthday
to Me</i> or <i>The Exterminator </i>had interesting but
somewhat ambiguous covers. If it weren’t for them being shelved in a
specific section of the store, you weren’t sure what you were in
for. One such film, for me anyway, was <i>Hit List</i>. The
image of the car running over a man always piqued my curiosity. Was
this a horror film? An action film? What was
it? Once I discovered it was directed by William Lustig and involved
a psychotic hitman played by Lance Henriksen, I had to track it
down. And the fact that this movie remains available only on VHS
makes it that much more curious.<o:p></o:p></span></div>
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<span style="font-family: "calibri" , sans-serif; font-size: 11pt;">Essentially, <i>Hit
List</i> is a crime-thriller with flourishes of action and
horror. After a gangster is arrested for drug trafficking, he’s
forced to turn state’s evidence and testify against his criminal
boss. The mob boss, worried that his lieutenant will rat him out,
decides to put a hit out and ensure that no testimony is made; except that the
hitman makes a vital error and goes to the wrong house during his assassination
attempt. After disposing of a man and woman he assumes are federal
agents providing witness protection, he kidnaps a boy he believes to be the son
of his target, whom he can’t find anywhere in the house. This
sequence of events sets in motion the revenge / rescue angle of the film and
will make up the majority of the runtime going forward.<o:p></o:p></span></div>
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<br /></div>
<div style="margin-bottom: .0001pt; margin: 0in;">
<span style="font-family: "calibri" , sans-serif; font-size: 11pt;">Jan-Michael Vincent
plays Jack Collins, the family man whose son has been kidnapped, wife attacked,
and friend murdered during the home invasion. Collins is hell-bent
on rescuing his son and finding the person responsible for turning his life
upside down. In order to make this happen, he’ll have to recruit the
help of the gangster turned informant and intended target, Frank DeSalvo,
played by Leo Rossi. DeSalvo has his own vendetta to settle, now
that he knows his boss (Rip Torn) tried to have him whacked. Together,
Collins and DeSalvo will have to fight off mafia thugs, elude the police, and
battle a highly trained killer in order to save the kid and win the day.<o:p></o:p></span></div>
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<span style="font-family: "calibri" , sans-serif; font-size: 11pt;">Just like his prior
films, Lustig’s cast for <i>Hit List </i>is made up of recognizable
character actors. Lance Henriksen, Leo Rossi, Rip Torn, and Charles
Napier, who plays the lead FBI agent, are all familiar faces to movie fans and
they all do a solid job in their respective roles. Henriksen and
Torn, in particular, are a lot of fun in their over-the-top performances as villainous
characters. The only issue with the cast is the leading man role,
played by Jan-Michael Vincent. Most will probably know Vincent from
the TV show, Airwolf. According to a </span><span class="MsoHyperlink"><span style="font-family: "calibri" , sans-serif; font-size: 11.0pt;"><a href="http://horror.com/php/article-1924-1.html" target="_blank">2008 interview</a></span></span><span style="font-family: "calibri" , sans-serif; font-size: 11pt;">, Lustig states that Vincent was drunk during the shooting of the
film and it’s pretty apparent from the moment he steps onscreen. He
seems to struggle delivering his lines and I think you can even see him have
trouble staying upright in some scenes. In addition to this, he just
simply can’t emote the grief that is necessary for his
character. When it’s explained to him that his wife is in a coma and
that she has lost their unborn child, Vincent’s reaction to this soul-crushing
news seems more appropriate for someone who has just been told that their
favorite flavor of ice cream has been discontinued. Lustig
does his best to limit Vincent’s dialogue and shoot around his embarrassing
performance, but there’s only so much you can do when your leading man is a
disaster. Jan-Michael Vincent almost sinks this entire
film. Fortunately, the rest of the cast brings it and a strong third
act saves this movie from being a dud.<o:p></o:p></span></div>
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<br /></div>
<div style="margin-bottom: .0001pt; margin: 0in;">
<span style="font-family: "calibri" , sans-serif; font-size: 11pt;">In that same
interview, Lustig admits that he needed work and that this project was a director
for hire job. It definitely has that feel when compared to his
earlier efforts, such as <i>Maniac</i> and <i>Vigilante</i>. <i>Hit
List </i>doesn’t have the same grit or nihilism that those films
had. Also, this film was shot in sunny Los Angeles instead of the
rough streets of a pre-</span><span style="font-family: "calibri" , sans-serif; font-size: 11.0pt;">Giuliani New York City, where
Lustig filmed his previous movies. This gives <i>Hit List</i> a more
polished aesthetic, overall. Still, Lustig delivers on the violence
and action set-pieces, especially in the finale of the film. There
are a few memorable sequences that occur within the film. There is a
scene where Henriksen slips into a prison like a ninja and assassinates a
potential witness after he takes out the prison guards. There’s a
fun shootout that takes place in a laser tag arena. And there’s the
standout car chase that eventually leads to a crazy sequence where Henriksen’s
character is hanging from a truck as he tries to kill the driver. I
don’t want to spoil the end of this wild scene, but let’s just say that there
is truth in advertising in regards to the VHS box art for this movie.</span><span style="font-family: "calibri" , sans-serif; font-size: 11pt;"><o:p></o:p></span></div>
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<span style="font-family: "calibri" , sans-serif; font-size: 11pt;">Nobody would claim
that <i>Hit List</i> is one of Bill Lustig’s best films; including
the director himself. It doesn’t have that grindhouse feel of his
earlier films and it doesn’t have a screenwriter like a Larry Cohen to inject
some social commentary into the film, as he did for <i>Maniac Cop</i>. And
it certainly doesn’t help that your leading man is blotto through the film’s
entirety. Lustig and the supporting cast manage to somehow save this
movie from being a complete disaster. It’s a testament to Lustig’s
skills as a director that he was able to salvage this film from what must have
been a difficult shoot and turn in a decent action-thriller. It may
not be a cult classic, but <i>Hit List</i> deserves better than to
linger in VHS obscurity.<o:p></o:p></span></div>
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<br /></div>
<div style="margin-bottom: .0001pt; margin: 0in;">
<span style="font-family: "calibri" , sans-serif; font-size: 11pt;">MVT: The supporting
cast of Lance Henriksen, Leo Rossi, Rip Torn, & Charles Napier<o:p></o:p></span></div>
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<br /></div>
<div style="margin-bottom: .0001pt; margin: 0in;">
<span style="font-family: "calibri" , sans-serif; font-size: 11pt;">Make or Break Scene:
The action packed finale!</span><br />
<span style="font-family: "calibri" , sans-serif; font-size: 11pt;"><br /></span>
<span style="font-family: "calibri" , sans-serif; font-size: 11pt;">Score: 6/10</span></div>
Bryan Davidsonhttp://www.blogger.com/profile/03485898846762316737noreply@blogger.com0tag:blogger.com,1999:blog-3461143163123797513.post-42020004516659555422019-02-06T12:26:00.000-05:002019-02-06T12:26:15.440-05:00Hide and Go Shriek (1988)<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhHy8XfeoaQ2FMdmGfRQ1kuNCsep4wRS79OqRywhyphenhyphenGuUcbHHhTji_Gbfq6xukQPoPvky1Mfw1MxMGX9hTCY2rgX0vUT-9ygBROKgaz1-0w5yZliUtFv-tA5jFb0mL9fYPioT753hrspUlI/s1600/Hide+and+Go+Shriek.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="268" data-original-width="182" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhHy8XfeoaQ2FMdmGfRQ1kuNCsep4wRS79OqRywhyphenhyphenGuUcbHHhTji_Gbfq6xukQPoPvky1Mfw1MxMGX9hTCY2rgX0vUT-9ygBROKgaz1-0w5yZliUtFv-tA5jFb0mL9fYPioT753hrspUlI/s320/Hide+and+Go+Shriek.jpg" width="217" /></a></div>
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When you’re a horny teen desperately looking for a place to
party, you’ll go anywhere you can to pound cheap beer and try to score with your
boyfriend or girlfriend.<span style="mso-spacerun: yes;"> </span>God knows how
many odd locations I’ve gone to all in an effort to escape parental authority
and take part in some juvenile behavior with my closest friends.<span style="mso-spacerun: yes;"> </span>The group of teens in the late period
<a href="https://horror.fandom.com/wiki/Slasher_film" target="_blank">slasher</a>, <i style="mso-bidi-font-style: normal;">Hide and Go Shriek</i>, choose, of
all places, a furniture store to party at.<span style="mso-spacerun: yes;">
</span>After store hours, of course!<span style="mso-spacerun: yes;"> </span>Now,
we never had a furniture store available to us, but I’m certain my friends and
I would have jumped at the chance to drink and get wild in such a place.<span style="mso-spacerun: yes;"> </span>So, this location doesn’t seem like an odd
setting for a slasher movie to me.<span style="mso-spacerun: yes;"> </span>Luckily,
my friends and I were never stalked and chased by a psychopathic killer through
our party spot.<span style="mso-spacerun: yes;"> </span>The same cannot be said
for the kids in this film; and if that’s the tradeoff for getting to drink and
screw in a furniture shop after hours, then you can have it!<o:p></o:p></div>
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The group of kids in <i style="mso-bidi-font-style: normal;">Hide
and Go Shriek</i> are made up of your stereotypical teens in slashers.<span style="mso-spacerun: yes;"> </span>We have the prankster, the creep, the nerd, the
slut, the virgin, and the couple in love.<span style="mso-spacerun: yes;">
</span>Being that it’s the late 1980’s, we also get some amazingly bad fashion
and hairstyles!<span style="mso-spacerun: yes;"> </span>The clothes are mostly
baggy and loud.<span style="mso-spacerun: yes;"> </span>One character is even
wearing a pair of dinosaur earrings!<span style="mso-spacerun: yes;"> </span>As
expected, the hair on the female cast is BIG and the males are a mix of
mini-mullets and spiked hairdos.<span style="mso-spacerun: yes;"> </span>One of
the male characters seems to have modeled his look after the 80’s fictional
character, <a href="https://www.syfy.com/syfywire/max-headroom-everything-you-need-to-know" target="_blank">Max Headroom</a>.<span style="mso-spacerun: yes;"> </span>The character
even wears his sunglasses in doors…at night…Big <a href="https://en.wikipedia.org/wiki/Corey_Hart_(singer)" target="_blank">Corey Hart</a> fan, this guy.<span style="mso-spacerun: yes;"> </span>The cast that make up the teens are mostly
unknowns.<span style="mso-spacerun: yes;"> </span>The only face I recognized was
Sean Kanan, who plays John.<span style="mso-spacerun: yes;"> </span>Most will
know him from The <i style="mso-bidi-font-style: normal;">Karate Kid Part III</i>,
as <a href="https://thekaratekid.fandom.com/wiki/Mike_Barnes" target="_blank">“Karate’s Bad Boy” Mike Barnes</a>.<span style="mso-spacerun: yes;"> </span>There
is really only one cast member that stands out from the rest and that’s Bunky
Jones, but I’ll come back to her later.<o:p></o:p></div>
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The film opens with an anonymous character applying makeup
in the mirror.<span style="mso-spacerun: yes;"> </span>In the next scene, the
character is shown picking up what may or may not be a transgender prostitute
and later murdering the prostitute in a back alley.<span style="mso-spacerun: yes;"> </span>It’s quickly established that there’s a
killer on the loose and we’re not certain of their gender.<span style="mso-spacerun: yes;"> </span>Clearly, an attempt to keep us guessing who
the killer is.<span style="mso-spacerun: yes;"> </span>We’re then introduced to
our group of teens and then we’re off to the furniture store for some
post-graduation partying!<span style="mso-spacerun: yes;"> </span>As odd as this
location may seem for a party, it does make for a great setting for a slasher
film.<span style="mso-spacerun: yes;"> </span>Because it’s after store hours and
the teens want to avoid drawing any attention to the shop, the interior of the
store is dimly lit, creating a lot of shadows.<span style="mso-spacerun: yes;">
</span>There are also several mannequins spread about the store which keeps the
viewer guessing as to whether or not it’s the killer.<span style="mso-spacerun: yes;"> </span>When the killer does arrive on the scene we
get POV shots of the killer lurking about and peeping in on the teens as they strip
and get down to business.<span style="mso-spacerun: yes;"> </span>This all adds
up to a pretty unnerving setting which makes for some genuinely creepy moments.<o:p></o:p></div>
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Slasher fans who expect their slashers to be bloody and gory
shouldn’t be disappointed with this one.<span style="mso-spacerun: yes;">
</span>When the killer starts attacking the teens, the film doesn’t shy away
from the gruesome details.<span style="mso-spacerun: yes;"> </span>There are two
standout deaths in the film.<span style="mso-spacerun: yes;"> </span>One where a
character is impaled onto an art sculpture and the second being a decapitation
by freight elevator, thanks to some early special effects work from Screaming Mad George.<span style="mso-spacerun: yes;"> </span>Some may feel that
the body count isn’t high enough.<span style="mso-spacerun: yes;">
</span>Personally, I found there to be enough stalking and slashing to satisfy my
needs as a fan of the slasher sub-genre.<o:p></o:p></div>
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<i style="mso-bidi-font-style: normal;">Hide and Go Shriek</i>
is not without its issues.<span style="mso-spacerun: yes;"> </span>Firstly, it’s
a darkly lit film.<span style="mso-spacerun: yes;"> </span>Too dark, in some
scenes.<span style="mso-spacerun: yes;"> </span>I realize it’s intended to be
dark so that the killer can hide in the shadows, but it can be difficult at
times to make out what exactly is on screen.<span style="mso-spacerun: yes;">
</span>I can’t even imagine what it must have been like to watch this on VHS
back in the day.<span style="mso-spacerun: yes;"> </span>Also, after the initial
setup, the film drags a bit until the killer begins to attack the group.<span style="mso-spacerun: yes;"> </span>The group of teens work within the tropes and
trappings of the slasher genre, but individually they’re not that
interesting.<span style="mso-spacerun: yes;"> </span>The actors are mostly
serviceable but no one really standouts until the final act and that is when
Bunky Jones, playing Bonnie, gets her moment to shine.<span style="mso-spacerun: yes;"> </span>Once Bonnie discovers the mutilated corpses
of her friends, she comes completely unraveled.<span style="mso-spacerun: yes;">
</span>Bunky Jones’ portrayal of a teenage girl who is terrified beyond belief
is one for the ages.<span style="mso-spacerun: yes;"> </span>Some may find all
of her shrieking and whining to be shrill and overbearing.<span style="mso-spacerun: yes;"> </span>I, however, found her performance to be a
highlight of the film and I appreciated that she swung for the fences with her
depiction of the hysterical Bonnie.<span style="mso-spacerun: yes;"> </span>Her
reading of the line “I DON’T UNDERSTAND!” has to be heard to be believed.<span style="mso-spacerun: yes;"> </span>Highly entertaining.<o:p></o:p></div>
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I don’t think anyone would claim that <i style="mso-bidi-font-style: normal;">Hide and Go Shriek</i> is a top-tier slasher.<span style="mso-spacerun: yes;"> </span>Not even the hardcore slasher fans.<span style="mso-spacerun: yes;"> </span>It is, however, a solid entry into the
sub-genre with several entertaining moments scattered throughout the
runtime.<span style="mso-spacerun: yes;"> </span>It has an eerie setting, bad
fashion, gory murder scenes, overacting, unconventional moments, and an ending
that reaches <a href="https://www.grindhousedatabase.com/index.php/Giallo_Cinema:_Spaghetti_Slashers" target="_blank">giallo</a> levels of absurdity.<span style="mso-spacerun: yes;">
</span>This film doesn’t attempt to reinvent the genre, but it does enough
different to make it a memorable watch and not come off as just another
disposable slasher, which there were more than enough of during this period.<o:p></o:p></div>
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<b>MVT:</b> Bunky Jones.<span style="mso-spacerun: yes;"> </span>She
goes for it in the final act!<o:p></o:p></div>
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<b>Make or Break Scene:</b> The reveal of the killer.<span style="mso-spacerun: yes;"> </span>This will likely make or break the movie for
you.<o:p></o:p></div>
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<b>Score:</b> 6.75/10<o:p></o:p></div>
<br />Bryan Davidsonhttp://www.blogger.com/profile/03485898846762316737noreply@blogger.com0tag:blogger.com,1999:blog-3461143163123797513.post-12404771768055658622019-01-30T10:27:00.000-05:002019-01-30T10:27:40.996-05:00Psychic Killer (1975)<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiVLb6LEYtzHHoAcDdcde9h-XpNM1A4ZS4JPiR1F99VJJfl-ENwHyy7mbVqS7Z7UpC334EnAr3lFvRSAgsNBqquHXrHVsMIlUX79QeGfhr2wE5oRz374hh0mGSOQ8c3uAEHrUkZ9O1USdY/s1600/Psychic+Killer.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1200" data-original-width="630" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiVLb6LEYtzHHoAcDdcde9h-XpNM1A4ZS4JPiR1F99VJJfl-ENwHyy7mbVqS7Z7UpC334EnAr3lFvRSAgsNBqquHXrHVsMIlUX79QeGfhr2wE5oRz374hh0mGSOQ8c3uAEHrUkZ9O1USdY/s320/Psychic+Killer.jpg" width="168" /></a></div>
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The ability or power to perform acts of vengeance through
astral projection would be quite desirable to anyone who had an ax to
grind. Don’t get me wrong, I wouldn’t
use this power for acts of murder or violence but maybe something embarrassing
for my enemies. For example, a
depantsing of one of my foes in a public place.
That would probably bring me satisfaction. If one were more bloodthirsty and felt their
enemies deserved death for what they had done, you could potentially make a
pretty interesting film from that premise.
<i>Psychic Killer</i> from 1975
attempts to tell a thrilling story from this idea, but unfortunately the idea
is the only thing interesting about this movie in the end.<o:p></o:p></div>
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<i>Psychic Killer</i> is
an early example of the slew of psychokinesis horror and thriller films that
were being made during the 70’s and early 80’s.
<i>Psychic Killer</i> even came one
year earlier than <i>Carrie</i>, which is
the film that launched this sub-genre into popularity. Unlike <i>Carrie</i>,
<i>Psychic Killer</i> fails to generate any
sympathy for the suffering protagonist, Arnold Masters, played by Jim
Hutton. Hutton does his best with what
he’s given, but after the first act his character spends much of the movie
sitting in a chair as his unseen spirit does the violent deeds. The film also fails at being an effective
proto-slasher. <i>Psychic Killer </i>and <i>Patrick</i>,
from 1978, share a lot in common. With
the exception of one kill, <i>Psychic Killer</i>
simply doesn’t deliver when it comes to a good murder sequence like <i>Patrick</i> was
able to do three years later.<o:p></o:p></div>
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We’re introduced to Arnold Masters as he awakes from a
nightmare and attempts to escape from an institution for the criminally
insane. He claims he’s innocent of
killing the doctor who treated his now deceased mother. Masters holds a very strong grudge against
those who incarcerated him and those he feels neglected his mother prior to her
death. Masters befriends another
imprisoned patient who, with the help of an amulet, teaches Masters the art of
astral projection. After the real
murderer of the doctor is convicted, Masters is exonerated and released from
the institution. He is now ready and
capable of exacting his revenge on those who have caused him so much pain
through his newly learned powers.<o:p></o:p></div>
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The film starts off promising. Hutton does well early on expressing his character’s
torment and we begin to get behind him.
There’s a pretty amazing dummy death in the first act and an
introduction to a slimy psychiatrist who’s taking advantage of one of his
female patients. The setup of the astral
projection is decent and makes for an interesting mode for revenge. Unfortunately, when we get to the scene with
the psychiatrist the film begins to slowly go downhill. Masters chooses the psychiatrist as his first
victim but there’s really no payoff with his death. He’s killed off-screen with just a dribble of
blood running from his mouth as he lies motionless on the ground. Most of the murder sequences are a
letdown. The film doesn’t go far enough
with the gore, with the exception of one scene but by then it’s too little too
late, and it fails at building any suspense.<o:p></o:p></div>
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At times it didn’t seem like the filmmaker was sure what
kind of film he wanted to make. It’s
setup like it’s going to be a thriller but there are no thrills or
suspense. The editing doesn’t work and
the score is forgettable. Because our
killer can’t be seen stalking his victims, we’re never on the edge of our seat
waiting for him to strike. It just sort
of happens. The film doesn’t work as a
horror film either due to the already mentioned lack of violence and gore. There’s a shower scene death that’s decent
but not that memorable and a death at a butcher shop near the end that’s pretty
good but by then you’re pretty much checked out of the movie. It even at times feels like the director was
going for some dark comedy. An attorney,
whom Master’s blames for his imprisonment, is shown singing opera at a construction
site just before he is crushed flat by a pillar like in a cartoon. The intentional comedy falls flat and there
isn’t enough unintentional comedy to save the picture.<o:p></o:p></div>
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It doesn’t help that the film is a bit confusing at
times. This should never be the case in
a low-budget B-movie, such as this. When
Masters is preparing for his out-of-body experience, we get quick black and
white dreamlike sequences that show a person harming Masters’ mother. We’re not sure until later who these people
are. In the case of the lawyer, I wasn’t
sure who he was and why Masters wanted him dead until I had deduced that he could
be the only character left on Masters’ hit list. Another example of this is the murder of the
butcher, played by Neville Brand. There
is never a motive given for why Masters wants this character dead or how the
character is linked to Masters’ mother.
It just seems like the filmmakers wanted to increase the body count and
they had access to Neville Brand for an afternoon.<o:p></o:p></div>
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<div class="MsoNormal">
The psychokinesis thriller is an interesting sub-genre that
has brought audiences many entertaining films over the years. <i>Psychic
Killer</i> has the honor of being one of the first of its kind and perhaps even
inspired some of the films that would follow.
Sadly, that’s as much praise as I can give this one. When I think of some of the most entertaining
movies that could be lumped into this sub-genre, films like <i>Carrie, Scanners, and The Fury</i>, I’m
reminded of their spectacular endings and having to pick my jaw up off the
floor. When I think back to the end of <i>Psychic Killer</i>, I’m reminded of its
lackluster ending and having to pick my eyelids up off my face.<o:p></o:p></div>
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<b>MVT:</b> The premise of the film. It had so much potential.<o:p></o:p><br />
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<b>Make or Break Scene:</b> The murder of the lawyer. This scene broke it for me. No suspense, no gore, no laughs.</div>
<span style="line-height: 107%;"><b><span style="font-family: inherit;">Score:</span></b><span style="font-family: "calibri" , sans-serif; font-size: 11pt;"> 4/10</span></span>Bryan Davidsonhttp://www.blogger.com/profile/03485898846762316737noreply@blogger.com0tag:blogger.com,1999:blog-3461143163123797513.post-54916856248068985282019-01-23T11:26:00.000-05:002019-01-24T08:27:18.074-05:00The Sisterhood (1988)<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhwKX8JkfWSAT1tMiWwzR1cT64_7ManRKlnhB_7I9IS4FQ8lrhdhr6B_vYvHJEPJ8betmDrJ_VmUG5dDaIap5yLp18UfS5ZyamIrgLLZOhQFMxgGNjF9VTozBjeSqhiHiXLUb2vKASnm8o/s1600/The+Sisterhood.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="268" data-original-width="182" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhwKX8JkfWSAT1tMiWwzR1cT64_7ManRKlnhB_7I9IS4FQ8lrhdhr6B_vYvHJEPJ8betmDrJ_VmUG5dDaIap5yLp18UfS5ZyamIrgLLZOhQFMxgGNjF9VTozBjeSqhiHiXLUb2vKASnm8o/s320/The+Sisterhood.jpg" width="216" /></a></div>
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Having now seen six films from <a href="https://www.grindhousedatabase.com/index.php/Cirio_Santiago:_Master_of_Filipino_Genre_Cinema" target="_blank">Cirio Santiago</a>, I know what
I’m in for when I hit play on one of his movies. A paper-thin plot, wooden acting, explosions,
sloppy fight choreography, shoot-outs, and female nudity. Santiago knows how to check off all the boxes
for genre filmmaking. His films are
never great but I never find them to be boring or truly awful, either. I like to describe Cirio Santiago’s films as
cinematic junk food. They satisfy when
you have a craving but they’re not going to have much long lasting value. <i>The
Sisterhood</i> is yet another example of Santiago’s vending of cinematic junk
food and that’s OKAY! As long as you go
into his movies knowing what to expect. <o:p></o:p></div>
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<i>The Sisterhood</i> is
a sort of mashup of the <a href="https://www.grindhousedatabase.com/index.php/Post-Apocalypse_Now:_Cult_Classic_Cinema_of_the_Wasteland" target="_blank">post-apocalypse</a> and sword and sorcery sub-genres that
flooded VHS rental shops back in the 80’s.
The characters’ costumes are either made up of tattered shirts and
shoulder pads or capes and furs. Most of
the locations used in this film were either shot in a rock quarry or a desert
location; AND the two primary modes of transportation in this post-nuclear
landscape seems to be either horseback or repurposed combat vehicles. Tropes from both sub-genres are present. We even get some sorcery and magic powers,
likely mutations brought on by nuclear fallout, and the “sisterhood” are even
referred to as witches.<o:p></o:p></div>
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Santiago attempts a female empowerment angle to the
proceedings, which isn’t new territory for the director. Previous films, such as <i>Silk</i> and <i>The Muthers</i>,
also showcased strong women capable of holding their own against the vicious
men who act as their adversaries.
Unfortunately, Santiago’s good will and efforts towards feminism is
undercut by topless shots and female characters scantily clad and dolled up
with makeup. Cosmetics are a necessity
in a post-apocalyptic world? Granted,
this is a low budget genre film targeted at a specific audience and I
appreciate the effort, but still, it comes off as disingenuous. This film would actually make an interesting
double with <i>Mad Max: Fury Road</i> as a
contrast and compare exercise.<o:p></o:p></div>
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There’s little to no plot to speak of in <i>The Sisterhood</i>. Basically, we follow three female characters
as they travel across “the wasteland” in an effort to free their fellow sisters
from slavery in a male dominated world.
As to be expected, there are plenty of battles and adventures along the
way. Obviously, this is a low budget
affair. The soundtrack, specifically,
sounds like some dude banging away on a Casio keyboard in his parents basement
somewhere in Ohio. So, don’t go in
expecting anything on the level of <i>Beyond
Thunderdome</i>. Keep your expectations
mitigated and turn your brain off after you hit that play button. A six pack of your favorite beer will likely
help increase your level of enjoyment.<o:p></o:p></div>
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<b>MVT:</b> Cirio Santiago: He consistently does a lot with a
little.<o:p></o:p></div>
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<b>Make or Break Scene:</b> The Sisters storm a rock quarry hideout
with a tank!<o:p></o:p></div>
<span style="font-family: "calibri" , sans-serif; font-size: 11.0pt; line-height: 107%;"><b>Score:</b> 6/10</span>Bryan Davidsonhttp://www.blogger.com/profile/03485898846762316737noreply@blogger.com0tag:blogger.com,1999:blog-3461143163123797513.post-28557518780113562142019-01-09T12:54:00.000-05:002019-01-09T12:54:59.397-05:00Daughter of Darkness (1993)<br />
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<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj2aV2j34efEwNhOmGTVVAgQrmm0jp_InAnKzAVGysz5LWkNM8ATaf97Pz98apdFRZshiZXUTfxUcwvsy04PExG5407nEJO95PWaul5Heh7bmJlxpdUs-e7o6667pVlgY0hYKAVD2h1Y6s/s1600/Daughter-of-darkness.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="341" data-original-width="250" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj2aV2j34efEwNhOmGTVVAgQrmm0jp_InAnKzAVGysz5LWkNM8ATaf97Pz98apdFRZshiZXUTfxUcwvsy04PExG5407nEJO95PWaul5Heh7bmJlxpdUs-e7o6667pVlgY0hYKAVD2h1Y6s/s320/Daughter-of-darkness.jpg" width="234" /></a></div>
<o:p></o:p><br />
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<div class="MsoNormal">
Ah, <a href="https://www.timeout.com/hong-kong/film/gory-days-a-history-of-category-iii-films" target="_blank">Category III</a> Hong Kong cinema; How does one sell this
onscreen depravity to the uninitiated?<span style="mso-spacerun: yes;"> </span>Perhaps,
determining if you’re already a fan of trash cinema from other regions of the
world is the best place to start.<span style="mso-spacerun: yes;">
</span>Specifically, films from Italy and Japan during the 1970’s &
80’s.<span style="mso-spacerun: yes;"> </span>If you’re a fan of films such as <i style="mso-bidi-font-style: normal;">The New York Ripper, Night Train Murders, White
Rose Campus, and Rape! 13<sup>th</sup> Hour</i> then Category III films are the
next logical step in your education of trashy world cinema.<o:p></o:p></div>
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The Category III film <i style="mso-bidi-font-style: normal;">Daughter
of Darkness</i> from 1993 is not a bad place to start, but probably not as
infamous as say <i style="mso-bidi-font-style: normal;">Red to Kill</i> or <i style="mso-bidi-font-style: normal;">Ebola Syndrome</i>.<span style="mso-spacerun: yes;"> </span><i style="mso-bidi-font-style: normal;">Daughter
of Darkness</i> may not reach the heights, or depths depending on your
perspective, of those films but it certainly delivers the violence and
debauchery that they’re known for.<o:p></o:p></div>
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Viewers going into <i style="mso-bidi-font-style: normal;">Daughter
of Darkness</i> for the first time expecting extreme sex and violence right from
the jump may be confused for the first half an hour or so, as it kind of plays
out like a twisted, slapstick sex-comedy.<span style="mso-spacerun: yes;">
</span>We are introduced to an overly animated and extremely pervy police
detective played by the always entertaining Anthony Wong.<span style="mso-spacerun: yes;"> </span>Right from the start, Wong is giving a
completely over-the-top performance with extremely animated facial expressions
that would make Jim Carrey blush.<span style="mso-spacerun: yes;"> </span>When a
young girl named Fong enters the police station claiming that she has
discovered her entire family murdered in their home, our story is set in motion
and it’s going to be a wild and shocking ride to the end.<o:p></o:p></div>
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It's during the beginning of Wong’s murder investigation
where we get the majority of the comedic bits.<span style="mso-spacerun: yes;">
</span>Wong’s character is a Chinese Mainland detective and there’s some less
than subtle commentary going on with his very goofy performance.<span style="mso-spacerun: yes;"> </span>He enters the crime scene like a bull in a
china shop; walking directly through blood, posing for pictures with the
bodies, and just generally disrupting the crime scene and destroying
evidence.<span style="mso-spacerun: yes;"> </span>We also get to see what an
absolute pervert Wong’s character is and his fascination with breasts during
these opening scenes!<span style="mso-spacerun: yes;"> </span>The character of
Officer Lui is setup as a morally corrupt buffoon but he eventually shows that
he’s a fairly effective investigator and a somewhat likable character by the
end.<o:p></o:p></div>
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Once Officer Lui gets around to questioning Fong about the
massacre of her family, he quickly realizes that her story doesn’t add up.<span style="mso-spacerun: yes;"> </span>At this point in the film it becomes kind of
a wacky procedural with Lui getting himself into some silly situations as he
interviews the locals about Fong and her family.<span style="mso-spacerun: yes;"> </span>Lui eventually learns that a fellow police
officer named Kin is somehow involved in this crime and that’s when the story
starts to turn dark.<span style="mso-spacerun: yes;"> </span>It’s discovered
that Kin and Fong are romantically linked and that they had planned to run off
to Hong Kong to get married and escape the abusive home life that Fong was experiencing
with her family.<span style="mso-spacerun: yes;"> </span>When Lui presses Kin on
his involvement and the fact that the bullets used in the murders come from a
police issued gun, Kin confesses to the crimes.<span style="mso-spacerun: yes;">
</span>This, however, doesn’t sit well with Lui.<span style="mso-spacerun: yes;"> </span>So, he decides to once again interrogate Fong
to find out what really happened that fateful night.<o:p></o:p></div>
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Like other Category III films, such as <i style="mso-bidi-font-style: normal;">Dr. Lamb</i> and <i style="mso-bidi-font-style: normal;">The Untold Story</i>,
the horrific details are told through flashback, and boy are they
horrific!<span style="mso-spacerun: yes;"> </span>Fong’s home life with her
family is a living nightmare!<span style="mso-spacerun: yes;"> </span>She is
verbally and emotionally abused by her mother and siblings and physically
harmed by her father (possibly step-father (?)).<span style="mso-spacerun: yes;"> </span>Rape, incest, and torture playout on screen
before we reach the ultra-violent demise of this foul family.<span style="mso-spacerun: yes;"> </span>One can never hear the song “Row, Row, Row
Your Boat” the same after witnessing this shocking and appalling scene.<span style="mso-spacerun: yes;"> </span>This entire sequence is definitely where the
film earns its Category III status.<span style="color: red;"><span style="mso-spacerun: yes;"> </span></span>The whole thing ends tragically and
will leave you with a feeling of hopelessness.<span style="mso-spacerun: yes;">
</span>No doubt, this is an exploitation film, first and foremost, but there is
a halfhearted attempt towards social commentary concerning Mainland China,
specifically their judicial system and the way everything concludes with the
case at the very end of the film.<o:p></o:p></div>
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<i style="mso-bidi-font-style: normal;">Daughter of Darkness</i>
is a very solid exploitation film and a prime example of what some of the more
infamous Category III films have to offer.<span style="mso-spacerun: yes;">
</span>It’s a bit uneven in terms of the tonal shift that the film makes about
a third of the way through, but that’s also what makes the film
interesting.<span style="mso-spacerun: yes;"> </span>I would probably recommend
something like <i style="mso-bidi-font-style: normal;">Run and Kill</i> or <i style="mso-bidi-font-style: normal;">The Untold Story</i> to those looking to dip
their toe into the cesspool of Category III, but this isn’t a bad place to
start either.<o:p></o:p></div>
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<b>MVT:</b> Anthony Wong and William Ho as the sadistic father are
both entertaining to watch, but both characters are a bit one note.<span style="mso-spacerun: yes;"> </span>Lily Chung as Fong shows a bit more diversity
and really earns the <b>MVT.</b><span style="mso-spacerun: yes;"> </span>A brave
performance that isn’t simply a victim in this film.<o:p></o:p></div>
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Make or Break Scene: Opening – Anthony Wong’s entrance to the
crime scene.<span style="mso-spacerun: yes;"> </span>Goofy antics amongst a
bloodbath of a murder scene.<o:p></o:p></div>
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<b>Score:</b> 7/10<o:p></o:p></div>
<br />Bryan Davidsonhttp://www.blogger.com/profile/03485898846762316737noreply@blogger.com0tag:blogger.com,1999:blog-3461143163123797513.post-69805796756806907402019-01-02T12:00:00.000-05:002019-01-03T11:59:57.104-05:00Season for Assassins (1975)<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgZPHCf-lJ3j07icyMu_A_GYPsQLpNKV_YHoJSI4CKv9t64Jse-jGm1sllkfAC7Mm6zfCqd_wZiR3wcEOZ8omLO91uqxiJI6NUe5eQc2wF-KsFyGLvbJzhBlxZqWNgvphgvZweyyQB_yU8/s1600/Season+For+assassins.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="822" data-original-width="530" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgZPHCf-lJ3j07icyMu_A_GYPsQLpNKV_YHoJSI4CKv9t64Jse-jGm1sllkfAC7Mm6zfCqd_wZiR3wcEOZ8omLO91uqxiJI6NUe5eQc2wF-KsFyGLvbJzhBlxZqWNgvphgvZweyyQB_yU8/s320/Season+For+assassins.jpg" width="206" /></a></div>
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Within the Italian <a href="https://www.grindhousedatabase.com/index.php/Poliziotteschi:_Italian_Crime_Cinema" target="_blank">poliziottesco </a>genre, there was a
sub-genre of “youth gone wild” films.
These films would typically portray the Italian youth as entitled,
violent sociopaths who committed crimes out of sheer boredom. <i>Savage Three, Like Rabid Dogs, and Young,
Violent, Dangerous</i> are all examples of this sub-genre. <i>Season for Assassins</i> is another such film,
but in this film’s case there’s more focus on the loved ones of the young
criminals and how their lives are impacted by the selfish acts of said
criminals.<o:p></o:p></div>
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<i>Season for Assassins</i> focuses on the life of a young
petty-thief named Pierro, played by Joe Dallessandro. Pierro has aspirations of becoming a criminal
kingpin by working his way up from the bottom of the underworld. He and his hooligan friends are shown pulling
off burglaries for small sums of money, when of course they’re not riding
around Rome terrorizing those who get in their path. The opening plays out much like the opening
of <i>A Clockwork Orange</i>, but that’s as far as the comparisons go. Gradually, different characters in Pierro’s
life are introduced. We learn that
Pierro is a father to a newborn and that he has a wife named Rossana. Rossana is a former prostitute who is now
committed to being a mother, even though Pierro is neglecting both her and the
child. We are also introduced to
Pierro’s family priest, Father Eugenio, who has faith in the young man and
attempts to help Pierro stay on the straight and narrow, despite Pierro
constantly brushing him off. Finally, a
third significant character enters Pierro’s personal life, a naïve, young girl named
Sandra, who Pierro strikes up a romantic relationship with. These three characters will all eventually be
negatively impacted by Pierro’s selfish and destructive lifestyle. In one particular case, the impact is fatal.<o:p></o:p></div>
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While Pierro is going around wreaking havoc, a very jaded
and disgruntled police captain, played by screen legend Martin Balsam, is
nipping at the heels of Pierro and hoping to finally set the right trap that
catches the hoodlum. Balsam’s character
is supposed to act as the counterpoint to Father Eugenio. Where Eugenio sees hope for the young man,
Balsam sees a thug and lost cause who will inevitably hurt and/or kill several
people before he gets himself killed or caught.
I suppose another parallel could be drawn from this and <i>A Clockwork
Orange</i> in terms of the debate over whether or not criminals can truly be
reformed. Unfortunately, this question
is handled rather clumsily in <i>Season for Assassins.</i><o:p></o:p></div>
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It’s commendable that director Marcello Andrei attempts to construct
emotional depth within the characters of his piece, but most of them still come
off as one dimensional. With the Pierro
character, specifically, there’s a scene where he’s shown to be physically ill
by the violent actions that he allows to occur against one of his loved
ones. However, this is the only moment
in the movie where the character seems to show any remorse or humanity. We are never given Pierro’s backstory to have
a better understanding of how he got to this point in his life and potentially
feel some empathy for the character.
Another problematic aspect to the film is that Andrei can’t seem to
decide if he’s making a melodrama or an exploitation film. The scenes between Pierro and his young
mistress, Sandra, bounce from being honest and genuinely dramatic one minute to
being sleazy and exploitative the next.
It makes for a very uneven viewing experience.<o:p></o:p></div>
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<div class="MsoNormal" style="text-align: left;">
Despite these flaws, <i>Season for Assassins</i> is certainly worth
seeking out for the hardcore Eurocrime fans.
Joe Dallessandro brings a sadistic charm to the Pierro character, which
is entertaining to watch. The character
may be one note but Dallessandro plays that note well here. Balsam’s portrayal of the grizzled, old
police captain brings some class and legitimacy to the picture. And Andrei peppers in enough violence and action
to keep things interesting throughout the runtime, even if it is 10 to 15
minutes too long. <i>Season for Assassins</i>
isn’t going to show you something you haven’t seen before from the crime drama,
but you could definitely do much worse from this ever broad genre of film.<o:p></o:p></div>
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<b>MVT:</b> Joe Dallessandro<o:p></o:p></div>
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<b>Make or Break Scene:</b> Bumper car scene – Attack on the young
couple</div>
<div class="MsoNormal">
<span style="font-family: "calibri" , sans-serif; font-size: 11pt;"><b>Score:</b></span><span style="font-family: "calibri" , sans-serif; font-size: 11pt;"> 6.5/10</span></div>
Bryan Davidsonhttp://www.blogger.com/profile/03485898846762316737noreply@blogger.com0tag:blogger.com,1999:blog-3461143163123797513.post-26033077531550662642018-05-23T00:00:00.000-04:002018-05-23T00:00:05.841-04:00Nothing Underneath (1985)<div class="separator" style="clear: both; text-align: center;">
<a class="hoverZoomLink" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjAU-n5fJbl8I_euM-s1IvKJ5JZUajtlbNMOeXbqBLy0aaT8p1cxwD4Qd2NYZg1uyVcvalKiAJjgVvgE32QAuzwAxbe2wNF1H4pnTVQr5YCHJl0b3edPju5xnCYLuDOZKnIu3KMutunAZ75/s1600/4243-nothing-underneath-0-230-0-345-crop.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" class="hoverZoomLink" data-original-height="345" data-original-width="230" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjAU-n5fJbl8I_euM-s1IvKJ5JZUajtlbNMOeXbqBLy0aaT8p1cxwD4Qd2NYZg1uyVcvalKiAJjgVvgE32QAuzwAxbe2wNF1H4pnTVQr5YCHJl0b3edPju5xnCYLuDOZKnIu3KMutunAZ75/s320/4243-nothing-underneath-0-230-0-345-crop.jpg" width="213" /></a></div>
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UnhideWhenUsed="true" QFormat="true" Name="heading 7"/>
<w:LsdException Locked="false" Priority="9" SemiHidden="true"
UnhideWhenUsed="true" QFormat="true" Name="heading 8"/>
<w:LsdException Locked="false" Priority="9" SemiHidden="true"
UnhideWhenUsed="true" QFormat="true" Name="heading 9"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="index 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="index 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="index 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="index 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="index 7"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="index 8"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="index 9"/>
<w:LsdException Locked="false" Priority="39" SemiHidden="true"
UnhideWhenUsed="true" Name="toc 1"/>
<w:LsdException Locked="false" Priority="39" SemiHidden="true"
UnhideWhenUsed="true" Name="toc 2"/>
<w:LsdException Locked="false" Priority="39" SemiHidden="true"
UnhideWhenUsed="true" Name="toc 3"/>
<w:LsdException Locked="false" Priority="39" SemiHidden="true"
UnhideWhenUsed="true" Name="toc 4"/>
<w:LsdException Locked="false" Priority="39" SemiHidden="true"
UnhideWhenUsed="true" Name="toc 5"/>
<w:LsdException Locked="false" Priority="39" SemiHidden="true"
UnhideWhenUsed="true" Name="toc 6"/>
<w:LsdException Locked="false" Priority="39" SemiHidden="true"
UnhideWhenUsed="true" Name="toc 7"/>
<w:LsdException Locked="false" Priority="39" SemiHidden="true"
UnhideWhenUsed="true" Name="toc 8"/>
<w:LsdException Locked="false" Priority="39" SemiHidden="true"
UnhideWhenUsed="true" Name="toc 9"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Normal Indent"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="footnote text"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="annotation text"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="header"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="footer"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="index heading"/>
<w:LsdException Locked="false" Priority="35" SemiHidden="true"
UnhideWhenUsed="true" QFormat="true" Name="caption"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="table of figures"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="envelope address"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="envelope return"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="footnote reference"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="annotation reference"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="line number"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="endnote reference"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="endnote text"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="table of authorities"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="macro"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="toa heading"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Bullet"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Number"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Bullet 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" Priority="10" QFormat="true" Name="Title"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Signature"/>
<w:LsdException Locked="false" Priority="1" SemiHidden="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text Indent"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" Priority="11" QFormat="true" Name="Subtitle"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text Indent 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="FollowedHyperlink"/>
<w:LsdException Locked="false" Priority="22" QFormat="true" Name="Strong"/>
<w:LsdException Locked="false" Priority="20" QFormat="true" Name="Emphasis"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Plain Text"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="E-mail Signature"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Top of Form"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Normal (Web)"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Acronym"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Address"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Cite"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Code"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Definition"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Keyboard"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Preformatted"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Typewriter"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Normal Table"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Outline List 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Outline List 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Outline List 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Colorful 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table 3D effects 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Elegant"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Subtle 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Web 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" Priority="39" Name="Table Grid"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" Name="Placeholder Text"/>
<w:LsdException Locked="false" Priority="1" QFormat="true" Name="No Spacing"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading"/>
<w:LsdException Locked="false" Priority="61" Name="Light List"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 1"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 1"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 1"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 1"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 1"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 1"/>
<w:LsdException Locked="false" SemiHidden="true" Name="Revision"/>
<w:LsdException Locked="false" Priority="34" QFormat="true"
Name="List Paragraph"/>
<w:LsdException Locked="false" Priority="29" QFormat="true" Name="Quote"/>
<w:LsdException Locked="false" Priority="30" QFormat="true"
Name="Intense Quote"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 1"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 1"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 1"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 1"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 1"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 1"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 1"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 1"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 2"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 2"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 2"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 2"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 2"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 2"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 2"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 2"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 2"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 2"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 2"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 2"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 2"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 2"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 3"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 3"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 3"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 3"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 3"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 3"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 3"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 3"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 3"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 3"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 3"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 3"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 3"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 3"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 4"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 4"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 4"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 4"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 4"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 4"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 4"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 4"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 4"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 4"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 4"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 4"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 4"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 4"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 5"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 5"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 5"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 5"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 5"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 5"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 5"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 5"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 5"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 5"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 5"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 5"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 5"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 5"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 6"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 6"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 6"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 6"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 6"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 6"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 6"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 6"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 6"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 6"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 6"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 6"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 6"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 6"/>
<w:LsdException Locked="false" Priority="19" QFormat="true"
Name="Subtle Emphasis"/>
<w:LsdException Locked="false" Priority="21" QFormat="true"
Name="Intense Emphasis"/>
<w:LsdException Locked="false" Priority="31" QFormat="true"
Name="Subtle Reference"/>
<w:LsdException Locked="false" Priority="32" QFormat="true"
Name="Intense Reference"/>
<w:LsdException Locked="false" Priority="33" QFormat="true" Name="Book Title"/>
<w:LsdException Locked="false" Priority="37" SemiHidden="true"
UnhideWhenUsed="true" Name="Bibliography"/>
<w:LsdException Locked="false" Priority="39" SemiHidden="true"
UnhideWhenUsed="true" QFormat="true" Name="TOC Heading"/>
<w:LsdException Locked="false" Priority="41" Name="Plain Table 1"/>
<w:LsdException Locked="false" Priority="42" Name="Plain Table 2"/>
<w:LsdException Locked="false" Priority="43" Name="Plain Table 3"/>
<w:LsdException Locked="false" Priority="44" Name="Plain Table 4"/>
<w:LsdException Locked="false" Priority="45" Name="Plain Table 5"/>
<w:LsdException Locked="false" Priority="40" Name="Grid Table Light"/>
<w:LsdException Locked="false" Priority="46" Name="Grid Table 1 Light"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark"/>
<w:LsdException Locked="false" Priority="51" Name="Grid Table 6 Colorful"/>
<w:LsdException Locked="false" Priority="52" Name="Grid Table 7 Colorful"/>
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<br />
<div class="MsoNormal" style="line-height: normal; text-align: justify;">
One of the
more interesting things that the Giallo genre has going for it is its
dalliances with the supernatural.<span style="mso-spacerun: yes;"> </span>Many
times, there will be a psychic or some spectrally focused aspect to the story,
and these are often uncovered as being totally banal.<span style="mso-spacerun: yes;"> </span>Just look at the opening to Dario Argento’s <i style="mso-bidi-font-style: normal;">Profondo Rosso</i>, where noted psychic
Macha Meril foresees death as water slops out of her mouth, and a raven flies
over the audience.<span style="mso-spacerun: yes;"> </span>Or look at Emilio
Miraglia’s <i style="mso-bidi-font-style: normal;">The Night Evelyn Came Out of
the Grave</i>, where a dead woman makes appearances as characters are knocked
off, one by one.<span style="mso-spacerun: yes;"> </span>The thing of it is,
yes, typically these elements are nothing more than red herrings, but sometimes
they remain unexplained.<span style="mso-spacerun: yes;"> </span>This shifts the
atmosphere of a film, because the audience knows that the killer has to be a
human while simultaneously harboring a tiny mote of doubt that maybe, just
maybe, they’re not.<span style="mso-spacerun: yes;"> </span>It positions a
conflict between the rational and the fantastic, generating a level of tension
in its uncertainty.<span style="mso-spacerun: yes;"> </span>So, we have siblings
Bob (Tom Schanley) and Jessica (Nicola Perring) in Carlo Vanzina’s <i style="mso-bidi-font-style: normal;">Nothing Underneath </i>(aka <i style="mso-bidi-font-style: normal;">Sotto il Vestito Niente</i>) who share a
mild psychic connection.<span style="mso-spacerun: yes;"> </span>When Jessica is
assaulted in Milan, her brother physically reacts in Wyoming, like Dumas’ Corsican
brothers.<span style="mso-spacerun: yes;"> </span>But Vanzina cheats this aspect
in order to give us a few Killer’s POV shots.<span style="mso-spacerun: yes;">
</span>Why would Bob be able to see what the killer sees if his rapport is with
his sister, unless his sister is the killer, which she couldn’t be since she’s
being stalked by the killer, right?<span style="mso-spacerun: yes;"> </span>It’s
the kind of superfluous, sloppy construction that marks this film as a low rung
on the Giallo ladder.</div>
<div class="MsoNormal" style="line-height: normal; text-align: justify;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; text-align: justify;">
Anyway, Bob
abandons his job as a park ranger to fly to Milan in search of his sister who
went missing after his vision of her being menaced.<span style="mso-spacerun: yes;"> </span>There, he meets a bunch of fashion models and
teams up with Commissioner Danesi (Donald Pleasance) to get to the bottom of
things.<span style="mso-spacerun: yes;"> </span>Meanwhile, people are being
stabbed with a very large pair of scissors (I guess at this point, they should
just call them shears).</div>
<div class="MsoNormal" style="line-height: normal; text-align: justify;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; text-align: justify;">
Bob is a
dullard hero.<span style="mso-spacerun: yes;"> </span>He has no real personality
to speak of.<span style="mso-spacerun: yes;"> </span>At the local general store,
he gets all excited because his sister finally made the cover of a fashion
magazine.<span style="mso-spacerun: yes;"> </span>Sure, we might all get excited
when a family member succeeds, but Bob takes it to another level of
gee-whiz-ness.<span style="mso-spacerun: yes;"> </span>He’s not so much a fish
out of water as a fish who’s never seen the stuff before.<span style="mso-spacerun: yes;"> </span>It’s as if his job out in the wilderness has
left him completely oblivious to the civilized world.<span style="mso-spacerun: yes;"> </span>Bob is intended as an everyman, an entry into
the world of high fashion as an identifier for the audience.<span style="mso-spacerun: yes;"> </span>Unfortunately, all he winds up being is a
sort of gormless yokel.<span style="mso-spacerun: yes;"> </span>This might not have
stood out so egregiously if the audience didn’t already know more about the
world (fashion and otherwise) than Bob does.<span style="mso-spacerun: yes;">
</span>The movie gives no insight, makes no revelations, about fashion, models,
or anything else.<span style="mso-spacerun: yes;"> </span>Vanzina and company
portray the models and their lifestyle exactly the way it’s expected to
be.<span style="mso-spacerun: yes;"> </span>The interesting thing, if it can be
called interesting, is that the film is adapted from a novel by the
pseudonymous Marco Parma (actually Paolo Pietroni, editor of <i style="mso-bidi-font-style: normal;">Amica</i> magazine; you can guess what the
mag’s focus is), and, from what I’ve read about it, is far more complex and,
probably, more satisfying than the film version.<span style="mso-spacerun: yes;"> </span>The filmmakers appear to have stripped away
any of the depth or commentary present in the book to fashion (pardon the pun)
a standard-as-they-come mystery.<span style="mso-spacerun: yes;"> </span>Bob is
a reflection of this, as an underwhelming protagonist in every possible way.</div>
<div class="MsoNormal" style="line-height: normal; text-align: justify;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; text-align: justify;">
The world of
fashion in the film is possibly meant as a cynical analogy for the apathetic
carnality of people in general and the “elite” in particular.<span style="mso-spacerun: yes;"> </span>Scumbag diamond merchant George wants cocaine
and sex, and he takes these things whenever he wants them.<span style="mso-spacerun: yes;"> </span>Women are nothing but holes for him to
fill.<span style="mso-spacerun: yes;"> </span>Money is meaningless to him, since
he has so much of it.<span style="mso-spacerun: yes;"> </span>He draws models
into his web with the promise of wealth or at least a passing brush with
it.<span style="mso-spacerun: yes;"> </span>They do what he wants because he can
give them what they want, and the superficiality of it all is standard fare for
stories about models.<span style="mso-spacerun: yes;"> </span>Naturally, Jessica
stands out as the one who resists George and his advances.<span style="mso-spacerun: yes;"> </span>Certainly, she’ll do coke with him, but she
won’t have sex with him, and this only brings out the even bigger asshole in
George.<span style="mso-spacerun: yes;"> </span>George is the price to be paid
to breathe in the rarefied air of model-dom.<span style="mso-spacerun: yes;">
</span>Resistance is met with retaliation and abandonment.<span style="mso-spacerun: yes;"> </span>Further, when models start getting stabbed,
it can be seen as a comeuppance for their shallow venality.<span style="mso-spacerun: yes;"> </span>Their willingness, nay enthusiasm, to debase
themselves for a glamorous lifestyle is unforgivable in the eyes of the film.<span style="mso-spacerun: yes;"> </span>It’s a moral we see constantly in stories
centering on this universe, and <i style="mso-bidi-font-style: normal;">Nothing
Underneath</i> is no different.</div>
<div class="MsoNormal" style="line-height: normal; text-align: justify;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; text-align: justify;">
I think that
the title <i style="mso-bidi-font-style: normal;">Nothing Underneath</i> is appropriate.<span style="mso-spacerun: yes;"> </span>There is nothing underneath this film’s
surface that we haven’t seen before.<span style="mso-spacerun: yes;"> </span>To
be fair, the film is slick as all get out (kind of like a fashion magazine,
no?), though I wouldn’t go so far as to call it stylish.<span style="mso-spacerun: yes;"> </span>The characters are uninteresting, and even
Pleasance’s presence is not enough to elevate this material.<span style="mso-spacerun: yes;"> </span>The central mystery of the piece is blatantly
obvious (that is to say, nonexistent), and the killer’s identity is evident
from the second time we meet the person.<span style="mso-spacerun: yes;">
</span>The only aspect that does remain outside the audience’s grasp until the
end is the motivation, and while it is mildly intriguing, the filmmakers still
don’t do anything to make it stand out (aside from a quick sexual tease,
reminiscent of the film in total).<span style="mso-spacerun: yes;">
</span>Vanzina and his cohorts took something that screams out for an overdose
of Eighties excess and gave us vapid vacuousness.<span style="mso-spacerun: yes;"> </span>Maybe this was intentional as commentary on
the meaninglessness of lives spent looking fantastic.<span style="mso-spacerun: yes;"> </span>But the end result is as shallow as the
subject is skin deep.</div>
<div class="MsoNormal" style="line-height: normal; text-align: justify;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; text-align: justify;">
<span style="font-size: large;"><b>MVT:</b></span><span style="mso-spacerun: yes;">
</span>The women in the film are attractive enough, though some of their
clothing choices are tragic.</div>
<div class="MsoNormal" style="line-height: normal; text-align: justify;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; text-align: justify;">
<span style="font-size: large;"><b>Make or Break:</b></span><span style="mso-spacerun: yes;"> </span>Following suit with the film’s
two-dimensionality, I’ll go with any scene where we see a little female skin.</div>
<div class="MsoNormal" style="line-height: normal; text-align: justify;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; text-align: justify;">
<span style="font-size: large;"><b>Score:<span>
</span>3/10</b></span> <span style="mso-spacerun: yes;"> </span><span style="mso-spacerun: yes;"> </span></div>
Toddhttp://www.blogger.com/profile/17565536760363686390noreply@blogger.com0tag:blogger.com,1999:blog-3461143163123797513.post-63067938352283672272018-05-16T00:00:00.000-04:002018-05-16T00:00:07.400-04:00Roadie (1980)<div class="separator" style="clear: both; text-align: center;">
<a class="hoverZoomLink" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEikdVr7uEcmO1vvWehhvhnKf2Y9MvJ1g_LV2MIK435qInNW7nBx-Sw_-zbvw8U8R_4xExHMdxzHG5271vvqDqRgIadPftq7rqDgUmcBAz2OZlqfNrhPejRJ5p8BCURXMeExtDcYznDkAvwo/s1600/Roadie+poster.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" class="hoverZoomLink" data-original-height="1000" data-original-width="642" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEikdVr7uEcmO1vvWehhvhnKf2Y9MvJ1g_LV2MIK435qInNW7nBx-Sw_-zbvw8U8R_4xExHMdxzHG5271vvqDqRgIadPftq7rqDgUmcBAz2OZlqfNrhPejRJ5p8BCURXMeExtDcYznDkAvwo/s320/Roadie+poster.jpg" width="205" /></a></div>
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" Priority="10" QFormat="true" Name="Title"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" Priority="1" SemiHidden="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" Priority="11" QFormat="true" Name="Subtitle"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" Priority="22" QFormat="true" Name="Strong"/>
<w:LsdException Locked="false" Priority="20" QFormat="true" Name="Emphasis"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" Priority="39" Name="Table Grid"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" Priority="60" Name="Light Shading"/>
<w:LsdException Locked="false" Priority="61" Name="Light List"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1"/>
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<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1"/>
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<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3"/>
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<w:LsdException Locked="false" Priority="72" Name="Colorful List"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid"/>
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<w:LsdException Locked="false" SemiHidden="true" Name="Revision"/>
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<w:LsdException Locked="false" Priority="30" QFormat="true"
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<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 2"/>
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<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 3"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 3"/>
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<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 5"/>
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<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 6"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 6"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 6"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 6"/>
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<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 6"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 6"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 6"/>
<w:LsdException Locked="false" Priority="19" QFormat="true"
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<w:LsdException Locked="false" Priority="21" QFormat="true"
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<w:LsdException Locked="false" Priority="31" QFormat="true"
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<w:LsdException Locked="false" Priority="32" QFormat="true"
Name="Intense Reference"/>
<w:LsdException Locked="false" Priority="33" QFormat="true" Name="Book Title"/>
<w:LsdException Locked="false" Priority="37" SemiHidden="true"
UnhideWhenUsed="true" Name="Bibliography"/>
<w:LsdException Locked="false" Priority="39" SemiHidden="true"
UnhideWhenUsed="true" QFormat="true" Name="TOC Heading"/>
<w:LsdException Locked="false" Priority="41" Name="Plain Table 1"/>
<w:LsdException Locked="false" Priority="42" Name="Plain Table 2"/>
<w:LsdException Locked="false" Priority="43" Name="Plain Table 3"/>
<w:LsdException Locked="false" Priority="44" Name="Plain Table 4"/>
<w:LsdException Locked="false" Priority="45" Name="Plain Table 5"/>
<w:LsdException Locked="false" Priority="40" Name="Grid Table Light"/>
<w:LsdException Locked="false" Priority="46" Name="Grid Table 1 Light"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark"/>
<w:LsdException Locked="false" Priority="51" Name="Grid Table 6 Colorful"/>
<w:LsdException Locked="false" Priority="52" Name="Grid Table 7 Colorful"/>
<w:LsdException Locked="false" Priority="46"
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<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 1"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 1"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 1"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 1"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 2"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 2"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 2"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 2"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 2"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 2"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 2"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 3"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 3"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 3"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 3"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 3"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 3"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 3"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 4"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 4"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 4"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 4"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 4"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 4"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 4"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 5"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 5"/>
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<br />
<div class="MsoNormal" style="text-align: justify;">
Why did the armadillo cross the
road?<span style="mso-spacerun: yes;"> </span>So Alan Rudolph could show that
his film <i style="mso-bidi-font-style: normal;">Roadie</i> begins and ends in
the state of Texas.<span style="mso-spacerun: yes;"> </span>Here’s the
layout.<span style="mso-spacerun: yes;"> </span>Young, hyper Travis Redfish
(Meatloaf) lives at his father Corpus’ (Art Carney) salvage company and makes
deliveries for Shiner Beer.<span style="mso-spacerun: yes;"> </span>Catching
sight of young Lola (Kaki Hunter), a groupie-in-training, Travis finds himself
swept up into the whirlwind lifestyle of a rock ‘n roll roadie.</div>
<div class="MsoNormal" style="text-align: justify;">
<br /></div>
<div class="MsoNormal" style="text-align: justify;">
One might think, at first blush,
that this film would concern itself with the idea of the call of the open
road.<span style="mso-spacerun: yes;"> </span>But this is not the case.<span style="mso-spacerun: yes;"> </span>Travis has no desire to go on tour with
musicians.<span style="mso-spacerun: yes;"> </span>He doesn’t feel the pull of
an opportunity to live life.<span style="mso-spacerun: yes;"> </span>The only
reason he becomes the world’s greatest roadie is because his mindset is
antithetical to that of those around him.<span style="mso-spacerun: yes;">
</span>This comes from his background with his dad.<span style="mso-spacerun: yes;"> </span>Corpus and Travis are able to rig and create
all manner of contraptions to make life easier.<span style="mso-spacerun: yes;">
</span>They have a phone booth in the house that extends itself outside if
someone wants a little privacy.<span style="mso-spacerun: yes;"> </span>Travis
makes his entrance (at home and in the film) on a makeshift crane/elevator that
carries him between floors.<span style="mso-spacerun: yes;"> </span>Corpus
surrounds himself with a multitude of televisions, all tuned to different
stations.<span style="mso-spacerun: yes;"> </span>The thing of it is that the
Redfishes are pretty much idiot savants (with the exception of sister Alice Poo
[Rhonda Bates], who is just an idiot).<span style="mso-spacerun: yes;">
</span>To call them simple folk would be understating things.<span style="mso-spacerun: yes;"> </span>For example, none of them can pronounce
“Pomona,” though Corpus’ enunciation is the one they stick with because he’s
the smartest of them (hey, I had a friend who used to pronounce “San Jose” as
“San Joes,” so who am I to judge?).<span style="mso-spacerun: yes;"> </span>Corpus
installed homemade braces on Alice’s teeth.<span style="mso-spacerun: yes;">
</span>The best illustration of the Texans’ shitkickerhood, however, is the
scene where Corpus, Alice, and BB (Gailard Sartain) are eating ribs and
drinking beer.<span style="mso-spacerun: yes;"> </span>Their faces are covered
in pork and barbecue sauce, and the mere idea of table manners is utterly
foreign.<span style="mso-spacerun: yes;"> </span>This tableau is a snapshot of
Travis.<span style="mso-spacerun: yes;"> </span><i style="mso-bidi-font-style: normal;">Roadie</i> is basically <i style="mso-bidi-font-style: normal;">Being
There</i> with <i style="mso-bidi-font-style: normal;">Deliverance</i>’s Hoyt
Pollard as the protagonist.<span style="mso-spacerun: yes;"> </span>Or maybe
just a quasi-<i style="mso-bidi-font-style: normal;">Forrest Gump</i> antecedent
minus most of the sentimentality.</div>
<div class="MsoNormal" style="text-align: justify;">
<br /></div>
<div class="MsoNormal" style="text-align: justify;">
At the center of the film is the
mismatched relationship between Travis and Lola.<span style="mso-spacerun: yes;"> </span>These are two extremely flawed people,
neither of whose world view is all that appealing.<span style="mso-spacerun: yes;"> </span>Travis’ instant love for Lola is
amusing.<span style="mso-spacerun: yes;"> </span>He declares that, “That’s the
first woman I’ve ever known who I’ve cared for as a human being,” after seeing
her for a split second.<span style="mso-spacerun: yes;"> </span>Lola knows that
Travis is into her, and she knows how to manipulate him into getting her
way.<span style="mso-spacerun: yes;"> </span>Her goal in life is to be a
groupie, but first, she has to have sex specifically with Alice Cooper as a
sort of deflowering ritual.<span style="mso-spacerun: yes;"> </span>Lola
delights in her sexuality, but she’s naïve in its meaning and about life in
general.<span style="mso-spacerun: yes;"> </span>Much like Travis, she wears
blinders to allow for her point of view, because nothing else exists or, at the
bare minimum, is less than important.<span style="mso-spacerun: yes;">
</span>She is thrilled to inform Travis that she’s only sixteen (the grin on
her face when she labels herself “jailbait” is a bit bizarre).<span style="mso-spacerun: yes;"> </span>She picks up a box of cocaine, thinking it’s
Tide laundry detergent, and has it maneuvered off her by a little old
lady.<span style="mso-spacerun: yes;"> </span>Her usefulness to rock ’n roll
lies in her body, not her brains, and she’s okay with that.<span style="mso-spacerun: yes;"> </span>At first.<span style="mso-spacerun: yes;"> </span></div>
<div class="MsoNormal" style="text-align: justify;">
<br /></div>
<div class="MsoNormal" style="text-align: justify;">
Travis resents that Lola is eager
to give it up to anybody who plays a musical instrument.<span style="mso-spacerun: yes;"> </span>He feels protective of her, but he never bothers
to tell her this.<span style="mso-spacerun: yes;"> </span>It’s easier for him to
react to her and lash out as needed; all emotion, no thought.<span style="mso-spacerun: yes;"> </span>Lola resents that problem solving comes so
easily to Travis, and he is more desired by everyone in the music biz than she
is.<span style="mso-spacerun: yes;"> </span>She feels that she is meant to be a
Muse, but it’s Travis who inspires others.<span style="mso-spacerun: yes;">
</span>He powers a concert with manure and solar energy.<span style="mso-spacerun: yes;"> </span>He fixes a feedback issue with potatoes.<span style="mso-spacerun: yes;"> </span>Their odd couple relationship is essential to
the film, but it loses interest due to their steadfastly willful ignorance.<span style="mso-spacerun: yes;"> </span>These two are at their best when they both
dig in their heels and defy each other, even though I wanted to smack their
heads together many, many times.<span style="mso-spacerun: yes;"> </span>The
film, of course, resolves itself in Hollywood fashion, which not only undercuts
the characters but also takes the perspective of one of them as being more
“correct” than the other, when both are myopic and rather uninformed.</div>
<div class="MsoNormal" style="text-align: justify;">
<br /></div>
<div class="MsoNormal" style="text-align: justify;">
Any love that a viewer may have
for <i style="mso-bidi-font-style: normal;">Roadie</i> relies on two things.<span style="mso-spacerun: yes;"> </span>First is their desire to spot all the cameos
(Roy Orbison, Hank Williams Jr, Peter Frampton, ad infinitum) and listen to
some music.<span style="mso-spacerun: yes;"> </span>In some ways, it’s a concert
film, though it’s hardly <i style="mso-bidi-font-style: normal;">Woodstock</i>,
being narratively driven as it is.<span style="mso-spacerun: yes;"> </span>The
performances are staged detours to keep the people who don’t care about the
story in their seats.<span style="mso-spacerun: yes;"> </span>Even when the
characters are not at a concert, any montage on the road is accompanied by a
song, using shorthand to portray bonding rather than actual bonding.</div>
<div class="MsoNormal" style="text-align: justify;">
<br /></div>
<div class="MsoNormal" style="text-align: justify;">
Second, and a far higher hurtle
to clear, is one’s tolerance for Meatloaf.<span style="mso-spacerun: yes;">
</span>While I admire the man’s verve, he is nigh-psychotic throughout the
entire film.<span style="mso-spacerun: yes;"> </span>Meatloaf is cranked up to a
thousand, squirming his body all around, flopping his long, stringy hair
thither and yon.<span style="mso-spacerun: yes;"> </span>You may have seen Chris
Farley’s impression of Meatloaf at some time or another, but let me tell you,
Farley captured maybe one-eighth of the actual man’s bounce.<span style="mso-spacerun: yes;"> </span>The thing of it is, Meatloaf does show
glimmers of talent in front of the camera (and he would go on to prove that he
has decent acting chops).<span style="mso-spacerun: yes;"> </span>Nevertheless,
his bug-eyed performance in <i style="mso-bidi-font-style: normal;">Roadie</i> is
both grating and a little scary.<span style="mso-spacerun: yes;"> </span>Whether
this comes from his unfettered enthusiasm, his substance abuse issues, or a
combination of both is immaterial.<span style="mso-spacerun: yes;"> </span>It’s
all there on screen, good, bad, and ugly.<span style="mso-spacerun: yes;">
</span>There are several moments when he looks like he legitimately wants to
eat whomever it is he is looking at (and I mean that in the cannibal sense, not
as some crack against obese people).<span style="mso-spacerun: yes;"> </span>The
film does muster up some sweetness and charm, but it also does so after
screaming in your face for almost its entire length, so it feels more like
apologetic backpedaling (right or wrong) than the end game intended from the
beginning.</div>
<div class="MsoNormal" style="text-align: justify;">
<br /></div>
<div class="MsoNormal" style="text-align: justify;">
<b style="mso-bidi-font-weight: normal;"><span style="font-size: large;">MVT:</span><span style="mso-spacerun: yes;"> </span></b>There is a wild amount
of energy in the film.<span style="mso-spacerun: yes;"> </span>To the point of
exhaustion, but it’s there.</div>
<div class="MsoNormal" style="text-align: justify;">
<br /></div>
<span style="font-size: large;">
</span><div class="MsoNormal" style="text-align: justify;">
<span style="font-size: large;"><b>Make or Break:</b></span><span style="mso-spacerun: yes;"> </span>The throwdown
between Blondie and Snow White (a fictitious[?] band made up of little people)
is truly glorious.</div>
<div class="MsoNormal" style="text-align: justify;">
<br /></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-size: large;"><b>Score:<span> </span>6.25/10</b></span> </div>
Toddhttp://www.blogger.com/profile/17565536760363686390noreply@blogger.com0tag:blogger.com,1999:blog-3461143163123797513.post-36736505335921549562018-05-15T01:55:00.000-04:002018-05-15T01:55:10.416-04:00Dark Waters (1993)<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjqXzXzta8Wp_-zc8nty8HHfhpoBB1wb3qWJVCriLwp46Pz2XAdmbCqhCvXi4SflDoJ4OBTpqdR8iA3GBWggJUl_EzxFTLUmITkvwg4fKsoSHVN2BMmVtAP-DLCQzqt7qdwY97To7HRtJ8/s1600/MV5BYmM0YjFkNjktZjdjNC00N2Y3LWFlN2YtNTBkOGI3ZjJkNzEzXkEyXkFqcGdeQXVyNDUxNjc5NjY%2540._V1_UY268_CR6%252C0%252C182%252C268_AL_.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="268" data-original-width="182" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjqXzXzta8Wp_-zc8nty8HHfhpoBB1wb3qWJVCriLwp46Pz2XAdmbCqhCvXi4SflDoJ4OBTpqdR8iA3GBWggJUl_EzxFTLUmITkvwg4fKsoSHVN2BMmVtAP-DLCQzqt7qdwY97To7HRtJ8/s1600/MV5BYmM0YjFkNjktZjdjNC00N2Y3LWFlN2YtNTBkOGI3ZjJkNzEzXkEyXkFqcGdeQXVyNDUxNjc5NjY%2540._V1_UY268_CR6%252C0%252C182%252C268_AL_.jpg" /></a></div>
<br />
Directed by <a href="https://www.imdb.com/name/nm0047798/?ref_=tt_ov_dr">Mariano Baino</a><br />
Run Time: 94 minutes<br />
<br />
<br />
The word that's used a lot describe this movie is Lovecraftian and it does check just about every box on themes found in the works of H.P. Lovecraft. There's a creepy forgotten island, a cultish group hiding a secret, something evil and menacing just lurking out of sight, and the always necessary book of occult knowledge. However this movie has more in common with Argento's <i>Suspiria</i> and <i>Inferno </i>and Fulci's <i>The Beyond</i> and <i>The House by the Cemetery</i> than any of Lovecraft's works. As the overall feel and look of this film has more in common with a supernatural gaillo with Lovecraft elements than a film about horror and terror beyond human understanding.<br />
<br />
<br />
<br />
<br />
The movie opens in the early 1970's with a group of nuns standing on a cliff holding crosses. These are nuns belong to the order of the artist nuns and will be found through out the film holding crosses in scenic locations. The focus of the scene is on a nun who's a fan of upside down crosses and a priest who looks like a low budget young stand in for Harvey Keitel. The nun is given a creepy mcguffin plate (like the one in the image at the top of the page) by a young girl and the priest is reading a book of forbidden lore during a violent rain storm. These actions cause a point of view killer to hunt down the nun and the priest in quite beautiful and grim ways to die. The room where the priest is in becomes flooded due to the violence of the rain storm and dies either from the point of view killer or a floating cross.<br />
<br /><i></i>
The nun, being the smarter of the two character, waits until the rain stops and then becomes point of view killer bait. Hoping that high cliffs may scare off the pov killer, the nun holds the evil mcguffin disk and shows it to the ocean. However the pov killer is a quick climber and shoves the nun off the cliff to her death.<br />
<br />
Jump twenty years later and we are introduced to Elizabeth. A young woman who grew up on this strange island but after her mother's death left with her father to live in London. Upon her father's death she discovered that her father had been making payments to the order of the artist nuns. So Elizabeth decides to kill two cliches with one action by ignoring her father dying wish and visit the island where she was born. This sends her on the path to pull apart the mystery of the nuns and the terrible secret they hide.<br />
<br />
On one hand this is a beautiful and dark film to watch. From the first to last frame this movie is full of memorable moving imagery. Along the lines of <a href="https://www.google.ca/search?safe=off&tbm=isch&q=salvator+rosa&chips=q:salvator+rosa,online_chips:rosa+witches&sa=X&ved=0ahUKEwiA_KOY-YbbAhWIr1QKHQonBz0Q4lYIKCgA&biw=1600&bih=786&dpr=1">Salvator Rosa's Witches</a> that are alive. Then there is the other side of this movie which is made of bullet riddled scraps of paper that masquerades as the plot. Mariano Baino clearly was inspired by Lovecraft and Argento but the narrative is all over the place. The nuns are a menacing force through out the film but it is never clear why. The point of view killer has nothing to do with the plot and just seems to be there to kill people at random. Which leads to the most unforgivable part of this movie, Lovecraft threats are at their best when they are not seen. I can't go into detail without spoiling it but this movie would have been better if the nameless evil was seen less.<br /><br />That being said it is a solid rental movie and enjoyable dark gothic visual ride with a few bumps here and there.<br />
<br />
<b>MVT</b>: The location and (I assume) the residents in the area were the movie was shot. It went a long way to selling feel and atmosphere.<br />
<br />
<b>Make or Break</b>: The scene with Elizabeth in her bright red raincoat climbing up a rain swept stairs towards the monastery went a long way to selling me on this movie.<br />
<br />
<b>Score</b>: 5.8 out of 10Vldsterhttp://www.blogger.com/profile/12863526192265320717noreply@blogger.com0tag:blogger.com,1999:blog-3461143163123797513.post-29224529281666138832018-05-09T00:00:00.000-04:002018-05-09T00:00:04.923-04:00Rat Man (1988)<div class="separator" style="clear: both; text-align: center;">
<a class="hoverZoomLink" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiCNTwb7EamrlAq_-d5lOhpDcQBvGRRX3P7_HPkDy3SIbBgnanZHWk4erQIvZbW0YSwfu2p_U2bao-hnHnQU9-p2PIU7hPbjQo8FGcs-fWhVFe5hMSyKu2kWA958kAZbqm-EnxRfJ9jl8wE/s1600/Rat+Man+Poster.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" class="hoverZoomLink" data-original-height="1000" data-original-width="632" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiCNTwb7EamrlAq_-d5lOhpDcQBvGRRX3P7_HPkDy3SIbBgnanZHWk4erQIvZbW0YSwfu2p_U2bao-hnHnQU9-p2PIU7hPbjQo8FGcs-fWhVFe5hMSyKu2kWA958kAZbqm-EnxRfJ9jl8wE/s320/Rat+Man+Poster.jpg" width="202" /></a></div>
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<br />
<div class="MsoNormal" style="text-align: justify;">
I was not a huge fan of the show <i style="mso-bidi-font-style: normal;">Friends</i>, even when it was at its most
popular.<span style="mso-spacerun: yes;"> </span>Maybe it’s because I was
severely inebriated much of the time it was first being shown.<span style="mso-spacerun: yes;"> </span>Maybe it’s because these characters and their
lifestyle were so alien to me.<span style="mso-spacerun: yes;"> </span>Maybe
it’s because the show isn’t very good.<span style="mso-spacerun: yes;">
</span>Maybe it’s a combination of a multiplicity of factors.<span style="mso-spacerun: yes;"> </span>Regardless, there was one bit they did on the
show that has always stuck with me, and I still refer to it to this day.<span style="mso-spacerun: yes;"> </span>Ditzy blonde Phoebe is talking with smarmy
Chandler, and she inquires why Spider-Man isn’t pronounced like Goldman,
Silverman, etcetera.<span style="mso-spacerun: yes;"> </span>Chandler,
astonished by this (more or less his permanent state of being throughout the
series), explains that it’s “because it isn’t his last name, like Phil
Spiderman.<span style="mso-spacerun: yes;"> </span>He’s a Spider…Man.”<span style="mso-spacerun: yes;"> </span>I catch myself far too often pronouncing the
names of superheroes like Phoebe would, and, even though it’s not laugh out
loud funny, I do find it endlessly amusing.<span style="mso-spacerun: yes;">
</span>This is possibly the elitist comic book fan in me taking a poke at
people who “aren’t in the know” or maybe just taking a poke at elitist comic
book fans themselves.<span style="mso-spacerun: yes;"> </span>That said, even
though Peter Parker is not, in fact, part spider (I’m not as up on the
character as I once was, so this may have changed), the little fella dubbed
Mousey (Nelson de la Rosa, whom most people know, ironically enough, from the
John Frankenheimer/Richard Stanley version of <i style="mso-bidi-font-style: normal;">The Island of Dr. Moreau</i>) in Giuliano Carnimeo’s (under the genius
pseudonym Anthony Ascot) <i style="mso-bidi-font-style: normal;">Rat Man </i>(aka
<i style="mso-bidi-font-style: normal;">Quella Villa in fondo al Parco</i>, which
translates roughly to <i style="mso-bidi-font-style: normal;">That Villa at the
Bottom of the Park</i>, which may very well be a better title or may simply be
the film’s producers desperately trying to cash in on <i style="mso-bidi-font-style: normal;">The Last House on the Left</i> sixteen years later; leave it to the
Italians to beat a dead horse into glue) most definitely is part rat.<span style="mso-spacerun: yes;"> </span>The problem is, he’s also part monkey, so, if
anything, the film should have been called <i style="mso-bidi-font-style: normal;">Rat
Monkey</i>, but I guess that just sounded more like a nature documentary than a
horror film.<span style="mso-spacerun: yes;"> </span>I would rather watch that
fictional documentary than either <i style="mso-bidi-font-style: normal;">Friends
</i>or <i style="mso-bidi-font-style: normal;">Rat Man</i> ever again.</div>
<div class="MsoNormal" style="text-align: justify;">
<br /></div>
<div class="MsoNormal" style="text-align: justify;">
Crusty, sweaty Dr. Olman (Pepito
Guerra) is set to unveil Mousey to the world at the next scientician conference
when the little rascal makes good his escape.<span style="mso-spacerun: yes;">
</span>Next thing you know, bikini models like Marilyn (Eva Grimaldi) are being
spied on and chased around, and her sister Terry (the divine Janet Agren) has
to team up with perpetually-open-shirted crime writer Fred (David Warbeck) to
track her down and save her.<span style="mso-spacerun: yes;"> </span></div>
<div class="MsoNormal" style="text-align: justify;">
<br /></div>
<div class="MsoNormal" style="text-align: justify;">
<i style="mso-bidi-font-style: normal;">Rat Man</i> owes the entirety of its existence to two sources.<span style="mso-spacerun: yes;"> </span>One is the Slasher film.<span style="mso-spacerun: yes;"> </span>On top of Mousey’s natural predilection for
murdering people thither and yon accompanied by copious amounts of blood,
Carnimeo delights in two types of Slasher-esque shot whenever Mousey is around
(which is constantly; this little fucker is more ubiquitous than air).<span style="mso-spacerun: yes;"> </span>The first is the classic point of view shot,
and, of course, it’s from Mousey’s perspective.<span style="mso-spacerun: yes;">
</span>The thing of it is, these POV shots are overused, so they are not nearly
as effective as they could be.<span style="mso-spacerun: yes;"> </span>Every now
and then, it might be nice to build a little tension by not signaling to the
audience that the tiny terror is lurking just out of sight.<span style="mso-spacerun: yes;"> </span>The second type of shot which is repeated
early and often is the extreme closeup.<span style="mso-spacerun: yes;">
</span>There are multiple cutaways to a detail of Mousey’s dark, little
eyeball.<span style="mso-spacerun: yes;"> </span>Later, there are closeups of
his fangs and claws as he attacks.<span style="mso-spacerun: yes;"> </span>These
shots, in my opinion, work better than the flood of POV shots, but even these
wear out their welcome and detract from what the audience wants to see, namely,
the “critter from the shitter” (that’s part of one of the film’s taglines, and
he does, indeed, crawl out of a toilet at one point in the movie) gnawing away
at young, pink flesh and innards for minutes on end.</div>
<div class="MsoNormal" style="text-align: justify;">
<br /></div>
<div class="MsoNormal" style="text-align: justify;">
The other major influence on this
movie, as you may have guessed, is H.G. Wells’ <i style="mso-bidi-font-style: normal;">The Island of Dr. Moreau</i>.<span style="mso-spacerun: yes;"> </span>To
be more precise, Carnimeo and company ignored the anti-vivisection angle of the
novel, focusing on the juicier aspects.<span style="mso-spacerun: yes;">
</span>For example, Mousey is a combination of animals in humanoid form.<span style="mso-spacerun: yes;"> </span>Dr. Olman walks around in a Panama suit, was
shunned by the scientific community for his activities, and cares more about
proving the value of his work (the purpose of his experiments is never
explained to us) than he does for any living thing.<span style="mso-spacerun: yes;"> </span>Olman has a loyal assistant, Tonio, who fills
the Montgomery role, though far more incompetently.<span style="mso-spacerun: yes;"> </span>Marilyn and skanky photographer Mark (Werner
Pochath) come to be at Olman’s villa because of a car wreck instead of a
shipwreck, but the effect is the same.<span style="mso-spacerun: yes;">
</span>Mousey revolts against Olman and causes havoc on the villa and its
occupants, and this is the heart of what the film is in its entirety.<span style="mso-spacerun: yes;"> </span>It’s little more than a drawn out, constant
stream of “animal” attacks, none of which are suspenseful, and none of which
are all that satisfying in the gore department, either.<span style="mso-spacerun: yes;"> </span>Why Fred and Terry are in the film at all is
mindboggling, since all they do is tool around looking vaguely inquisitive, are
flat as a pancake character-wise, and serve no narrative function whatsoever
other than to facilitate the indifferently obvious “twist” ending (though, I’ll
be honest, I could stare at Agren all day, every day).</div>
<div class="MsoNormal" style="text-align: justify;">
<br /></div>
<div class="MsoNormal" style="text-align: justify;">
I’ve read in several places how
this film is supposed to be a sleazy piece of trash.<span style="mso-spacerun: yes;"> </span>I can verify the latter half of that
statement, but the sleazy part has me confused.<span style="mso-spacerun: yes;">
</span>There’s some nudity from Grimaldi, there’s some shitty gore (including a
skull sitting in a puddle of what looks like Ragu spaghetti sauce), and Mousey
himself certainly appears greasy as all hell.<span style="mso-spacerun: yes;">
</span>But outside of that, <i style="mso-bidi-font-style: normal;">Rat Man</i>
is tame stuff.<span style="mso-spacerun: yes;"> </span>Worse than that, it is
hardly a movie, as it doesn’t attempt to develop a story in any way.<span style="mso-spacerun: yes;"> </span>It’s a very simple idea that, instead of
doing anything interesting with, the filmmakers simply padded out with
somnolent sequences that don’t go anywhere.<span style="mso-spacerun: yes;">
</span>Mousey may be a critter, but perhaps he and this film would have been
better off left in the shitter.<span style="mso-spacerun: yes;"> </span><span style="mso-spacerun: yes;"> </span><span style="mso-spacerun: yes;"> </span><span style="mso-spacerun: yes;"> </span><span style="mso-spacerun: yes;"> </span></div>
<div class="MsoNormal" style="text-align: justify;">
<br /></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-size: large;"><b>MVT:</b></span><span style="mso-spacerun: yes;"> </span>I want to give it to
Janet Agren, just for being Janet Agren, but I’m going to have to go full-pig
and give it to Grimaldi for stripping down and showing off her appreciable
assets.</div>
<div class="MsoNormal" style="text-align: justify;">
<br /></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-size: large;"><b>Make or Break:</b></span><span style="mso-spacerun: yes;"> </span>Probably
around the third or fourth time Carnimeo cut back to Terry and Fred driving
around in the dark, as if they’re going to find anything remotely interesting
in what is the ultimate in cinematic blue balls.</div>
<div class="MsoNormal" style="text-align: justify;">
<br /></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-size: large;"><b>Score:<span> </span>4.5/10</b></span></div>
Toddhttp://www.blogger.com/profile/17565536760363686390noreply@blogger.com0tag:blogger.com,1999:blog-3461143163123797513.post-24799246757984355112018-05-02T00:00:00.000-04:002018-05-02T00:00:04.160-04:00Curse of the Dog God (1977)<div class="separator" style="clear: both; text-align: center;">
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<w:LsdException Locked="false" Priority="39" SemiHidden="true"
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<w:LsdException Locked="false" Priority="39" SemiHidden="true"
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<w:LsdException Locked="false" Priority="39" SemiHidden="true"
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<w:LsdException Locked="false" Priority="39" SemiHidden="true"
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<w:LsdException Locked="false" Priority="39" SemiHidden="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" Priority="62" Name="Light Grid"/>
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<w:LsdException Locked="false" Priority="31" QFormat="true"
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<w:LsdException Locked="false" Priority="32" QFormat="true"
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<w:LsdException Locked="false" Priority="33" QFormat="true" Name="Book Title"/>
<w:LsdException Locked="false" Priority="37" SemiHidden="true"
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<w:LsdException Locked="false" Priority="39" SemiHidden="true"
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<w:LsdException Locked="false" Priority="41" Name="Plain Table 1"/>
<w:LsdException Locked="false" Priority="42" Name="Plain Table 2"/>
<w:LsdException Locked="false" Priority="43" Name="Plain Table 3"/>
<w:LsdException Locked="false" Priority="44" Name="Plain Table 4"/>
<w:LsdException Locked="false" Priority="45" Name="Plain Table 5"/>
<w:LsdException Locked="false" Priority="40" Name="Grid Table Light"/>
<w:LsdException Locked="false" Priority="46" Name="Grid Table 1 Light"/>
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<w:LsdException Locked="false" Priority="48" Name="Grid Table 3"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark"/>
<w:LsdException Locked="false" Priority="51" Name="Grid Table 6 Colorful"/>
<w:LsdException Locked="false" Priority="52" Name="Grid Table 7 Colorful"/>
<w:LsdException Locked="false" Priority="46"
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<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 1"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 1"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 1"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 1"/>
<w:LsdException Locked="false" Priority="51"
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<w:LsdException Locked="false" Priority="52"
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<w:LsdException Locked="false" Priority="46"
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<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 2"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 2"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 2"/>
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<br />
<div class="MsoNormal" style="text-align: justify;">
I don’t know much about Folk
Horror other than that, whenever it’s brought up, most people simply point
meaningfully to Robin Hardy’s <i style="mso-bidi-font-style: normal;">The Wicker
Man</i>, and their audience nod their heads in enlightened agreement.<span style="mso-spacerun: yes;"> </span>And fair play, because that is the ne plus
ultra of the subgenre.<span style="mso-spacerun: yes;"> </span>From what I understand,
Folk Horror is rooted firmly in European traditions, but, when I look at
something like Shunya Ito’s <i style="mso-bidi-font-style: normal;">Curse of the
Dog God </i>(aka <i style="mso-bidi-font-style: normal;">Inugami no Tatari</i>),
I have to wonder why films from other cultures can’t be included?<span style="mso-spacerun: yes;"> </span>Maybe they are, and I’m simply ignorant of
the fact, but a lot of Asian Horror that involves itself with the supernatural
tends toward the struggle between modernity and tradition.<span style="mso-spacerun: yes;"> </span>Perhaps proper Folk Horror’s ties to
religious themes is the key, since they specialize in Christian/Pre-Christian
ideologies in conflict, and Christianity isn’t the religion that most think of
when they think of Asia.<span style="mso-spacerun: yes;"> </span>Even in Ito’s
film, the only religion represented is Shinto, but the eponymous Dog God is an
ancient, rural force taking revenge on a man who is contemporary and interested
in exploiting a small village for its Uranium deposits (that is, something
which brings more modernity, both good and bad).<span style="mso-spacerun: yes;"> </span>Still, this man, Kano (Shinya Ohwada),
quickly embraces the concept of the Dog God and the old methods employed to try
exorcising it.<span style="mso-spacerun: yes;"> </span>Also, there is no ancient
sect at the heart of the plot, just some paranoid, superstitious farmers (who
happen to be half-right).<span style="mso-spacerun: yes;"> </span>With that in
mind, I can’t say that the film is Folk Horror by definition, but it is in
spirit, at least to some degree.<span style="mso-spacerun: yes;"> </span>But,
hey, I could be wrong.</div>
<div class="MsoNormal" style="text-align: justify;">
<br /></div>
<div class="MsoNormal" style="text-align: justify;">
Kano and his co-workers race
around the countryside looking for Uranium to refine.<span style="mso-spacerun: yes;"> </span>On their way to the village of Kugamura, they
pull a trifecta of transgressions.<span style="mso-spacerun: yes;">
</span>First, they spy on a pair of maidens skinny-dipping (this is really the
most innocent of the three, though the women play a crucial part in the
remainder of the story).<span style="mso-spacerun: yes;"> </span>Then, they run
over a shrine (guess who it’s devoted to).<span style="mso-spacerun: yes;">
</span>Then, they run over a young boy’s dog, and then they split.<span style="mso-spacerun: yes;"> </span>No amount of business success is going to
save these guys at this point.</div>
<div class="MsoNormal" style="text-align: justify;">
<br /></div>
<div class="MsoNormal" style="text-align: justify;">
Outside of the Folk Horror
shadings, <i style="mso-bidi-font-style: normal;">Curse of the Dog God</i> is a
story of supernatural revenge that stems from several sources.<span style="mso-spacerun: yes;"> </span>First, it is pure vengeance, as the outsiders
take advantage of the villagers and their land.<span style="mso-spacerun: yes;">
</span>Granted, the villagers are paid for their property, but the fact that
this company rolls in and starts digging in the mountains, despoiling its
natural purity is important.<span style="mso-spacerun: yes;"> </span>Kano
marries Reiko (Jun Izumi), daughter of one of the men whose land Kano wants to
lease.<span style="mso-spacerun: yes;"> </span>Despite Reiko and Kano’s
statements that they are genuinely in love, it still feels exploitive, or maybe
it was at first, but true love developed (we’re never shown this progression,
so we have to fill in some blanks).<span style="mso-spacerun: yes;">
</span>Therefore, on the one hand, the Dog God is attacking to protect its home
turf and for the disrespect it has been shown by these outsiders.<span style="mso-spacerun: yes;"> </span>On the other hand, there is the angle of human
love and jealousy.<span style="mso-spacerun: yes;"> </span>The Dog God,
apparently, does not invoke itself but rather is invoked through someone else
in a <i style="mso-bidi-font-style: normal;">Pumpkinhead</i> sort of way.<span style="mso-spacerun: yes;"> </span>The person accused of this is Kaori (Emiko
Yamauchi), Reiko’s longtime friend and daughter of a farmer who refused to
lease his part of the mountain to Kano and his cohorts.<span style="mso-spacerun: yes;"> </span>Kaori also loves Kano, and since she didn’t
win his favor (because her dad didn’t acquiesce to Kano’s business dealings,
most likely), she wants to remove the competition.<span style="mso-spacerun: yes;"> </span></div>
<div class="MsoNormal" style="text-align: justify;">
<br /></div>
<div class="MsoNormal" style="text-align: justify;">
Yet, even this doesn’t completely
explain the mechanics of this sinister force.<span style="mso-spacerun: yes;">
</span>In fact, it’s never entirely discernible exactly what, who, or why the
Dog God is what it is or does what it does.<span style="mso-spacerun: yes;">
</span>There is no exposition clearly detailing what the Dog God wants, what
will sate its appetites, or why it chooses whom it does to possess.<span style="mso-spacerun: yes;"> </span>It is nebulous and fickle, like the natural
world from which it springs.<span style="mso-spacerun: yes;"> </span>The one
thing it definitely desires is the destruction of Kano and anyone in contact
with him.<span style="mso-spacerun: yes;"> </span>Even when Kano makes a strong
connection with the village and becomes genuinely concerned for the welfare of
its inhabitants, he is still a target.<span style="mso-spacerun: yes;">
</span>Kano becomes the redemptive hero once certain events and facts come to
light, but the Dog God truly doesn’t care.<span style="mso-spacerun: yes;">
</span>This encompasses a level of innocence corrupted, not only of the land
but of its people.<span style="mso-spacerun: yes;"> </span>Young Isamu’s (Junya
Kato) innocence dies with his dog, Taro.<span style="mso-spacerun: yes;">
</span>The boy is bent on making Kano’s life miserable, going so far as to pelt
him in the face with a rock at Kano’s wedding.<span style="mso-spacerun: yes;">
</span>The villagers themselves become corrupted, physically by the byproduct
of the Uranium mining and spiritually by the superstitions to which they cling.<span style="mso-spacerun: yes;"> </span>The turmoil of their traditions vying with
their more mercenary desire for money and what this allows into the village
breaks them down.<span style="mso-spacerun: yes;"> </span>They do not accept
that their choices caused any catastrophes they experience.<span style="mso-spacerun: yes;"> </span>It has to be caused by the Dog God, so the
obvious thing to do is attack the only family in the village who didn’t join in
selling out, and that would be Kaori and Isamu’s.<span style="mso-spacerun: yes;"> </span>Interestingly, their family were outsiders
before any of this happened.<span style="mso-spacerun: yes;"> </span>When things
go tits up, they are only further ostracized and persecuted.<span style="mso-spacerun: yes;"> </span>Finally, there is Mako (Masami Hasegawa),
Reiko’s younger sister.<span style="mso-spacerun: yes;"> </span>She is friends
with Isamu, and she alone tries to bridge the gap between the oddball family
and the rest of the village.<span style="mso-spacerun: yes;">
</span>Nevertheless, there is a secret in her own family that marks her as
corruptible as well, and the Dog God is, if nothing else, an equal opportunity
defiler.</div>
<div class="MsoNormal" style="text-align: justify;">
<br /></div>
<div class="MsoNormal" style="text-align: justify;">
Ito brings a nice sense of style
to the proceedings, just as he did to no less than three of the famous <i style="mso-bidi-font-style: normal;">Female Prisoner Scorpion </i>films,
including the arguable best of the bunch: <i style="mso-bidi-font-style: normal;">Jailhouse
41</i>.<span style="mso-spacerun: yes;"> </span>There are Dutch Angles galore,
and Ito does some truly haunting things with lighting throughout the film.<span style="mso-spacerun: yes;"> </span>My main problems are twofold.<span style="mso-spacerun: yes;"> </span>First and foremost is the point that none of
the characters are interesting, with the exception of Mako.<span style="mso-spacerun: yes;"> </span>Confoundingly, she also gets the least
development and/or attention paid to her until the very end, but by that point,
anything that happens to her feels like it’s brought about simply because she’s
one of the last characters in the film.<span style="mso-spacerun: yes;">
</span>Kano is a slab, and both Reiko and Kaori’s fawning over him is
inexplicable, even moreso since we have seen none of how their relationships
grew to start off.<span style="mso-spacerun: yes;"> </span>There’s no real
reason for the audience to care about them.<span style="mso-spacerun: yes;">
</span>Additionally, is the fact that the Dog God appears to play by a set of
rules we are not only not privy to but that change at a moment’s notice just
because.<span style="mso-spacerun: yes;"> </span>While this part of the whole
setup, it makes for some chaotic viewing.<span style="mso-spacerun: yes;">
</span>Thus, <i style="mso-bidi-font-style: normal;">Curse of the Dog God</i> is
mildly intriguing for how different it is, but this is also the same reason it
just doesn’t succeed like it should.</div>
<div class="MsoNormal" style="text-align: justify;">
<br /></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-size: large;"><b>MVT:</b></span><span style="mso-spacerun: yes;"><span style="font-size: large;"> </span> </span>Ito’s professionalism
and devotion to his craft shines through.</div>
<div class="MsoNormal" style="text-align: justify;">
<br /></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-size: large;"><b>Make or Break:</b></span><span style="mso-spacerun: yes;"> </span>The big
finale plays it as straight as the film ever will, and this part, at least,
works like gangbusters.</div>
<div class="MsoNormal" style="text-align: justify;">
<br /></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-size: large;"><b>Score:<span> </span>6.5/10</b></span><span style="mso-spacerun: yes;"> </span><span style="mso-spacerun: yes;"> </span><span style="mso-spacerun: yes;"> </span><span style="mso-spacerun: yes;"> </span><span style="mso-spacerun: yes;"> </span></div>
Toddhttp://www.blogger.com/profile/17565536760363686390noreply@blogger.com1tag:blogger.com,1999:blog-3461143163123797513.post-79577129737929036722018-04-25T00:00:00.000-04:002018-04-25T00:00:26.198-04:00Sodoma's Ghost (1988)<div class="separator" style="clear: both; text-align: center;">
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="header"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" Priority="35" SemiHidden="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="line number"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="endnote reference"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="table of authorities"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="macro"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" Priority="10" QFormat="true" Name="Title"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" Priority="1" SemiHidden="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" Priority="11" QFormat="true" Name="Subtitle"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text Indent 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" Priority="22" QFormat="true" Name="Strong"/>
<w:LsdException Locked="false" Priority="20" QFormat="true" Name="Emphasis"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Preformatted"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" Priority="39" Name="Table Grid"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" Priority="61" Name="Light List"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1"/>
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<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1"/>
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<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3"/>
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<w:LsdException Locked="false" Priority="72" Name="Colorful List"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 1"/>
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<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 1"/>
<w:LsdException Locked="false" SemiHidden="true" Name="Revision"/>
<w:LsdException Locked="false" Priority="34" QFormat="true"
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<w:LsdException Locked="false" Priority="29" QFormat="true" Name="Quote"/>
<w:LsdException Locked="false" Priority="30" QFormat="true"
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<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 1"/>
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<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 1"/>
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<w:LsdException Locked="false" Priority="61" Name="Light List Accent 2"/>
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<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 2"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 2"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 3"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 3"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 3"/>
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<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 3"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 3"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 4"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 4"/>
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<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 4"/>
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<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 4"/>
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<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 4"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 4"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 5"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 5"/>
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<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 5"/>
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<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 5"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 5"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 6"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 6"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 6"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 6"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 6"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 6"/>
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<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 6"/>
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<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 6"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 6"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 6"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 6"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 6"/>
<w:LsdException Locked="false" Priority="19" QFormat="true"
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<w:LsdException Locked="false" Priority="21" QFormat="true"
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<w:LsdException Locked="false" Priority="31" QFormat="true"
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<w:LsdException Locked="false" Priority="32" QFormat="true"
Name="Intense Reference"/>
<w:LsdException Locked="false" Priority="33" QFormat="true" Name="Book Title"/>
<w:LsdException Locked="false" Priority="37" SemiHidden="true"
UnhideWhenUsed="true" Name="Bibliography"/>
<w:LsdException Locked="false" Priority="39" SemiHidden="true"
UnhideWhenUsed="true" QFormat="true" Name="TOC Heading"/>
<w:LsdException Locked="false" Priority="41" Name="Plain Table 1"/>
<w:LsdException Locked="false" Priority="42" Name="Plain Table 2"/>
<w:LsdException Locked="false" Priority="43" Name="Plain Table 3"/>
<w:LsdException Locked="false" Priority="44" Name="Plain Table 4"/>
<w:LsdException Locked="false" Priority="45" Name="Plain Table 5"/>
<w:LsdException Locked="false" Priority="40" Name="Grid Table Light"/>
<w:LsdException Locked="false" Priority="46" Name="Grid Table 1 Light"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark"/>
<w:LsdException Locked="false" Priority="51" Name="Grid Table 6 Colorful"/>
<w:LsdException Locked="false" Priority="52" Name="Grid Table 7 Colorful"/>
<w:LsdException Locked="false" Priority="46"
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<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 1"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 1"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 1"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 1"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 2"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 2"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 2"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 2"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 2"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 2"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 2"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 3"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 3"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 3"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 3"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 3"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 3"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 3"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 4"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 4"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 4"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 4"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 4"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 4"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 4"/>
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<br />
<div class="MsoNormal" style="text-align: justify;">
Nazis make the perfect
monsters.<span style="mso-spacerun: yes;"> </span>Steven Spielberg has often
said this is the reason why he used them more than once in his <i style="mso-bidi-font-style: normal;">Indiana Jones</i> films.<span style="mso-spacerun: yes;"> </span>They are the embodiment of cruelty, of
hatred, of everything that normal, decent people are against.<span style="mso-spacerun: yes;"> </span>Further, they allow for a higher (or lower,
perspective depending) level of transgression in narratives.<span style="mso-spacerun: yes;"> </span>After all, these are people who tortured and
murdered millions of human beings for nothing more than the circumstance of
their birth.<span style="mso-spacerun: yes;"> </span>Depicting the fictitious shenanigans
they can get up to feels somehow grimier while also being far easier to believe
because of this.<span style="mso-spacerun: yes;"> </span></div>
<div class="MsoNormal" style="text-align: justify;">
<br /></div>
<div class="MsoNormal" style="text-align: justify;">
Sure, there are films which gave
their Nazi characters some nuance, tried to make them, if not sympathetic, then
at least more well-rounded.<span style="mso-spacerun: yes;"> </span>But Nazis function
best when they are pure villains.<span style="mso-spacerun: yes;">
</span>Pairing them together with attributes of actual monsters just makes them
more intriguing.<span style="mso-spacerun: yes;"> </span>This is why films like <i style="mso-bidi-font-style: normal;">Shock Waves</i> or <i style="mso-bidi-font-style: normal;">Hellboy</i> or <i style="mso-bidi-font-style: normal;">Outpost</i> work
as well as they do (to whatever degree).<span style="mso-spacerun: yes;">
</span>This is not to say that they always work.<span style="mso-spacerun: yes;"> </span>There are enough Nazi Monster movies that
fall flat to make this sub-genre a truly mixed bag (See <i style="mso-bidi-font-style: normal;">Oasis of the Zombies</i>, if you doubt).<span style="mso-spacerun: yes;"> </span>It’s rather surprising, considering Italy’s
rich tradition of Nazisploitation films that they didn’t churn out more of them
that added in supernatural components.<span style="mso-spacerun: yes;">
</span>But if Lucio Fulci’s <i style="mso-bidi-font-style: normal;">Sodoma’s
Ghost</i> (aka <i style="mso-bidi-font-style: normal;">The Ghosts of Sodom</i>
aka <i style="mso-bidi-font-style: normal;">Il Fantasma di Sodoma</i>) is any
stick by which to measure, maybe that’s for the best.</div>
<div class="MsoNormal" style="text-align: justify;">
<br /></div>
<div class="MsoNormal" style="text-align: justify;">
Six teen jerks (let’s assume
they’re American for the sake of convenience) dick around in the French
countryside until they wind up at an old villa.<span style="mso-spacerun: yes;">
</span>Holing up there for the night, they soon find more than a few surprises
waiting for them, not least of which is the fact that the manse played host to
an ill-fated Nazi orgy forty-five years earlier.<span style="mso-spacerun: yes;"> </span>And the revelers still want to party.</div>
<div class="MsoNormal" style="text-align: justify;">
<br /></div>
<div class="MsoNormal" style="text-align: justify;">
Roger Ebert’s film glossary
defines the Dead Teenager Movie as “a generic term for any film primarily
concerned with killing teenagers, without regard for logic, plot, performance,
humor, etcetera.”<span style="mso-spacerun: yes;"> </span>Part of the genius of
the Dead Teenager Movie is that (when done right) it makes us want these kids
dead.<span style="mso-spacerun: yes;"> </span>We watch for the kills.<span style="mso-spacerun: yes;"> </span>This is why the virginal female character is
typically the Final Girl.<span style="mso-spacerun: yes;"> </span>She is
virtuous, nice, even bland, but she is worth more to the human race than the
remainder of the characters surrounding her.<span style="mso-spacerun: yes;">
</span>The rule of thumb with this sort of film is that, if characters do drugs
or have sex, they are marked for death.<span style="mso-spacerun: yes;">
</span>I could see going one step further (or maybe just putting a little
shading on it).<span style="mso-spacerun: yes;"> </span>The reason these kids
are lined up for death stems from their sense of entitlement.<span style="mso-spacerun: yes;"> </span>The majority of times, these are people who
behave like the world owes them something, and, goddammit, they’re gonna take
it all.<span style="mso-spacerun: yes;"> </span>This is why they indulge their
every whim like they do.<span style="mso-spacerun: yes;"> </span>They don’t
care, because they deserve to be allowed to be reckless (the converse argument
can be made that this recklessness is from the natural maturation process, and
their slaughter is a stymieing of this, a way for youth to be kept in check,
but I like my theory more).<span style="mso-spacerun: yes;"> </span>With this in
mind, the Ugly Americans of this film break into a house they were not invited
into, because they are due a roof over their heads rather than having to rough
it for their bad decisions.<span style="mso-spacerun: yes;"> </span>They eat
food and drink wine that doesn’t belong to them, because it’s available, not
because they earned it or even plan to pay for it.<span style="mso-spacerun: yes;"> </span>They make themselves at home and snoop
through the entirety of the estate, because they have no regard for other
people’s stuff.<span style="mso-spacerun: yes;"> </span>They are takers.<span style="mso-spacerun: yes;"> </span>This is much like the Nazis and their
orgy.<span style="mso-spacerun: yes;"> </span>The Nazis took advantage of every
vice they could get their grubby, little dick-beaters on because they were “The
Master Race.”<span style="mso-spacerun: yes;"> </span>They were entitled to
it.<span style="mso-spacerun: yes;"> </span>Both the Nazis and the teenagers in
the film are punished for hubristic narcissism far more than for acting on
their baser impulses.</div>
<div class="MsoNormal" style="text-align: justify;">
<br /></div>
<div class="MsoNormal" style="text-align: justify;">
It’s well-known that the Nazis
had a penchant for documenting, in gruesome detail, all of their atrocities.<span style="mso-spacerun: yes;"> </span>This translates into Fulci’s film in two
ways.<span style="mso-spacerun: yes;"> </span>During the prologue, young,
rat-stache-having Nazi, Willy (Robert Egon), stumbles around the party with a
film camera, gleefully recording everything around him.<span style="mso-spacerun: yes;"> </span>At several points, he aims his camera in
direct address to the audience, as if he were filming us.<span style="mso-spacerun: yes;"> </span>We are partakers in the orgy.<span style="mso-spacerun: yes;"> </span>We are enjoying the flesh, sweat, and
depravity as much as the Germans, because this is a part of why we are watching
this movie in the first place.<span style="mso-spacerun: yes;"> </span>Willy’s
film is (magically?) developed and screened for the participants (I assumed
that same evening, since there’s no separation of time, direct or indirect).<span style="mso-spacerun: yes;"> </span>They watch the things we also watched, while
we were also being watched.<span style="mso-spacerun: yes;"> </span>Moreover,
the teenagers that infest the house also engage in this act of looking and
self-reflexivity.<span style="mso-spacerun: yes;"> </span>As they are separated
and “attacked,” each is shown a mirror through which they see their innermost
desires and/or selves revealed while being watched by what’s on the other side
(the fact that this is done via mirror goes to my point about narcissism,
though far more overtly in this case).<span style="mso-spacerun: yes;">
</span>Mark (Joseph Alan Johnson) is horny and inebriated, so he sees a naked
woman enticing him to the point that he plays Russian Roulette to get her.<span style="mso-spacerun: yes;"> </span>Anne (Teresa Razzaudi) sees Willy and is
seduced by the promise of rough sex she would never tell anyone she secretly
wants.<span style="mso-spacerun: yes;"> </span>Predatory lesbian Maria (Luciana
Ottaviani aka Jessica Moore) sees her heart’s desire, Anne, getting hot and
heavy with Celine (Maria Concetta Salieri), causing a fit of jealous rage.<span style="mso-spacerun: yes;"> </span>Everyone in <i style="mso-bidi-font-style: normal;">Sodoma’s Ghost</i>, including the viewer is watching and being watched,
partaker and partaken.<span style="mso-spacerun: yes;"> </span></div>
<div class="MsoNormal" style="text-align: justify;">
<br /></div>
<div class="MsoNormal" style="text-align: justify;">
Anyone who hears the name Lucio
Fulci in association with this movie might get a little excited to check out
one of his lesser known works.<span style="mso-spacerun: yes;"> </span>Don’t
be.<span style="mso-spacerun: yes;"> </span>This film is a mess from front to
back, technically, stylistically, and logically (I realize few people watch
Fulci’s films for their logic, but the best of them have some internal sense of
it that they follow to some extent or another).<span style="mso-spacerun: yes;">
</span>The use of handheld camera is out of control and sloppy, even when it’s
motivated.<span style="mso-spacerun: yes;"> </span>The editing is disjointed
(the best example of this is a sexual rendezvous between two characters that
ends abruptly and is followed by a scene where one of the characters despairs
that his sex partner turned into a monster, which we are deprived of seeing
entirely; I get that there was no budget for this thing, but come on).<span style="mso-spacerun: yes;"> </span>Outside of the grating characters, the shit dialogue,
the turgid melodrama, the plank-like acting, is the ultimate discovery that
there is absolutely nothing threatening about anything that happens (with one exception),
and these grabassers just spent eighty-four very long minutes of YOUR life
learning diddly-shit other than that they should just continue with their tour
of France as if all of this never happened.<span style="mso-spacerun: yes;">
</span>I guarantee you, if you watch <i style="mso-bidi-font-style: normal;">Sodoma’s
Ghost</i>, you’ll wish you could continue with your life as if it never
happened, as well.</div>
<div class="MsoNormal" style="text-align: justify;">
<br /></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-size: large;"><b>MVT:</b></span><span style="mso-spacerun: yes;"> </span>It’s the obvious
co-winners of the copious female nudity and some decent gross-out effects.</div>
<div class="MsoNormal" style="text-align: justify;">
<br /></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-size: large;"><b>Make or Break:</b></span><span style="mso-spacerun: yes;"> </span>The finale
and denouement are just infuriatingly unsatisfying.</div>
<div class="MsoNormal" style="text-align: justify;">
<br /></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-size: large;"><b>Score:<span> </span>2/10</b></span></div>
Toddhttp://www.blogger.com/profile/17565536760363686390noreply@blogger.com0tag:blogger.com,1999:blog-3461143163123797513.post-34425141011682579012018-04-18T00:00:00.000-04:002018-04-18T00:00:07.711-04:00Death Before Dishonor (1987)<div class="separator" style="clear: both; text-align: center;">
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="endnote text"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="table of authorities"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="macro"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="toa heading"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Bullet"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Number"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Bullet 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Bullet 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Bullet 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Bullet 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Number 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Number 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Number 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Number 5"/>
<w:LsdException Locked="false" Priority="10" QFormat="true" Name="Title"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Closing"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Signature"/>
<w:LsdException Locked="false" Priority="1" SemiHidden="true"
UnhideWhenUsed="true" Name="Default Paragraph Font"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text Indent"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Continue"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Continue 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Continue 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Continue 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Continue 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Message Header"/>
<w:LsdException Locked="false" Priority="11" QFormat="true" Name="Subtitle"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Salutation"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Date"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text First Indent"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text First Indent 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Note Heading"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text Indent 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text Indent 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Block Text"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Hyperlink"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="FollowedHyperlink"/>
<w:LsdException Locked="false" Priority="22" QFormat="true" Name="Strong"/>
<w:LsdException Locked="false" Priority="20" QFormat="true" Name="Emphasis"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Document Map"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Plain Text"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="E-mail Signature"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Top of Form"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Bottom of Form"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Normal (Web)"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Acronym"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Address"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Cite"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Code"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Definition"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Keyboard"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Preformatted"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Sample"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Typewriter"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Variable"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Normal Table"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="annotation subject"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="No List"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Outline List 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Outline List 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Outline List 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Simple 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Simple 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Simple 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Colorful 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Colorful 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Colorful 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 6"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 7"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 8"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 6"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 7"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 8"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table 3D effects 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table 3D effects 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table 3D effects 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Contemporary"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Elegant"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Professional"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Subtle 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Subtle 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Web 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Web 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Web 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Balloon Text"/>
<w:LsdException Locked="false" Priority="39" Name="Table Grid"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Theme"/>
<w:LsdException Locked="false" SemiHidden="true" Name="Placeholder Text"/>
<w:LsdException Locked="false" Priority="1" QFormat="true" Name="No Spacing"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading"/>
<w:LsdException Locked="false" Priority="61" Name="Light List"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 1"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 1"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 1"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 1"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 1"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 1"/>
<w:LsdException Locked="false" SemiHidden="true" Name="Revision"/>
<w:LsdException Locked="false" Priority="34" QFormat="true"
Name="List Paragraph"/>
<w:LsdException Locked="false" Priority="29" QFormat="true" Name="Quote"/>
<w:LsdException Locked="false" Priority="30" QFormat="true"
Name="Intense Quote"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 1"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 1"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 1"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 1"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 1"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 1"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 1"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 1"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 2"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 2"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 2"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 2"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 2"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 2"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 2"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 2"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 2"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 2"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 2"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 2"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 2"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 2"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 3"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 3"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 3"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 3"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 3"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 3"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 3"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 3"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 3"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 3"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 3"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 3"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 3"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 3"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 4"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 4"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 4"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 4"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 4"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 4"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 4"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 4"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 4"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 4"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 4"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 4"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 4"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 4"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 5"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 5"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 5"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 5"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 5"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 5"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 5"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 5"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 5"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 5"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 5"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 5"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 5"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 5"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 6"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 6"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 6"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 6"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 6"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 6"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 6"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 6"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 6"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 6"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 6"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 6"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 6"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 6"/>
<w:LsdException Locked="false" Priority="19" QFormat="true"
Name="Subtle Emphasis"/>
<w:LsdException Locked="false" Priority="21" QFormat="true"
Name="Intense Emphasis"/>
<w:LsdException Locked="false" Priority="31" QFormat="true"
Name="Subtle Reference"/>
<w:LsdException Locked="false" Priority="32" QFormat="true"
Name="Intense Reference"/>
<w:LsdException Locked="false" Priority="33" QFormat="true" Name="Book Title"/>
<w:LsdException Locked="false" Priority="37" SemiHidden="true"
UnhideWhenUsed="true" Name="Bibliography"/>
<w:LsdException Locked="false" Priority="39" SemiHidden="true"
UnhideWhenUsed="true" QFormat="true" Name="TOC Heading"/>
<w:LsdException Locked="false" Priority="41" Name="Plain Table 1"/>
<w:LsdException Locked="false" Priority="42" Name="Plain Table 2"/>
<w:LsdException Locked="false" Priority="43" Name="Plain Table 3"/>
<w:LsdException Locked="false" Priority="44" Name="Plain Table 4"/>
<w:LsdException Locked="false" Priority="45" Name="Plain Table 5"/>
<w:LsdException Locked="false" Priority="40" Name="Grid Table Light"/>
<w:LsdException Locked="false" Priority="46" Name="Grid Table 1 Light"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark"/>
<w:LsdException Locked="false" Priority="51" Name="Grid Table 6 Colorful"/>
<w:LsdException Locked="false" Priority="52" Name="Grid Table 7 Colorful"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 1"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 1"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 1"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 1"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 1"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 2"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 2"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 2"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 2"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 2"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 2"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 2"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 3"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 3"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 3"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 3"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 3"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 3"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 3"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 4"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 4"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 4"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 4"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 4"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 4"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 4"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 5"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 5"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 5"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 5"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 5"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 5"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 5"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 6"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 6"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 6"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 6"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 6"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 6"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 6"/>
<w:LsdException Locked="false" Priority="46" Name="List Table 1 Light"/>
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<div class="MsoNormal" style="text-align: justify;">
There is no way in Hell I can
talk about Terry Leonard’s <i style="mso-bidi-font-style: normal;">Death Before
Dishonor</i> without discussing the greatness that is Stephen J Cannell’s <i style="mso-bidi-font-style: normal;">Hunter </i>(I know, so jejune, right?).<span style="mso-spacerun: yes;"> </span>Back when cop/private dick shows were fun,
more than a little exploitive, and downright formulaic, <i style="mso-bidi-font-style: normal;">Hunter</i> hit an eleven-year-old me right in the kisser.<span style="mso-spacerun: yes;"> </span>The true beauty of the show (outside of
Cannell’s stylistic thumbprints) was the dual charm of its leads.<span style="mso-spacerun: yes;"> </span>Stepfanie (I still can’t get used to that
spelling of her name) Kramer was fiery brunette Dee Dee McCall who launched a
thousand pubescent you-know-whats.<span style="mso-spacerun: yes;"> </span>She
was equal parts feminine and steely, sexy and flinty.<span style="mso-spacerun: yes;"> </span>To this day, she is one of my all-time
favorite female cop leads, and not simply because of her sex appeal (Mitzi
Kapture, I’m also looking at you).<span style="mso-spacerun: yes;"> </span>Of
course, as befits this specific review, the other half of this dynamic duo was
Fred Dryer as Detective Rick Hunter.<span style="mso-spacerun: yes;"> </span>The
character is a total Clint Eastwood/<i style="mso-bidi-font-style: normal;">Dirty
Harry</i> pastiche, but Hunter had a bigger heart and even, perish the thought,
just a bit more charisma than Callahan.<span style="mso-spacerun: yes;"> </span>Dryer,
a former defensive end in the NFL, had a gruff but endearing (apologies for the
cliché) magnetism that translated well to the screen.<span style="mso-spacerun: yes;"> </span>I watched this show religiously, something I
couldn’t say about Cannell programs like <i style="mso-bidi-font-style: normal;">Riptide</i>
or <i style="mso-bidi-font-style: normal;">Hardcastle & McCormick</i> (though
I definitely could for <i style="mso-bidi-font-style: normal;">Stingray</i>, <i style="mso-bidi-font-style: normal;">21 Jump Street</i>, and <i style="mso-bidi-font-style: normal;">Wiseguy</i>).<span style="mso-spacerun: yes;"> </span><i style="mso-bidi-font-style: normal;">Hunter</i> had some harsh storylines, and
the characters got put through their paces.<span style="mso-spacerun: yes;">
</span>The episode I loved the most was “Dead or Alive,” which starred Wings
Hauser as a cowboy-outfitted bounty hunter with a nasty streak wider than
Hunter and McCall’s combined.<span style="mso-spacerun: yes;"> </span>I recall
it distinctly because it may very well have been the first time I saw a “good
guy” kill a villain on a television show (I may be misremembering this, but I
don’t believe so, otherwise it may not have been as impactful).<span style="mso-spacerun: yes;"> </span>I’m truly surprised that Dryer’s acting
career never really took off like some of his contemporaries (maybe he came
into the action genre just a little too late, who knows?), though films like
this one give plenty of evidence that even an actor as likable as Dryer can
only raise some material up to a certain level.</div>
<div class="MsoNormal" style="text-align: justify;">
<br /></div>
<div class="MsoNormal" style="text-align: justify;">
Dryer plays the gruff but endearing
(I am going to run this motherfucker into the ground now) Gunnery Sergeant
Burns, an old Devil Dog trying to teach his young pups some new tricks.<span style="mso-spacerun: yes;"> </span>Burns is picked by his mentor Colonel
Halloran (Brian Keith) to lead his security detail in the (fictitious) Middle
Eastern country of Jemal, where they run afoul of “Freedom Fighter” Abu Jihad
(Rockne Tarkington, <i style="mso-bidi-font-style: normal;">Black Samson</i>
himself) and his army of terrorists.</div>
<div class="MsoNormal" style="text-align: justify;">
<br /></div>
<div class="MsoNormal" style="text-align: justify;">
These types of action setups can
be tricky to pull off.<span style="mso-spacerun: yes;"> </span>Burns is a career
SNCO (Staff Non-Commissioned Officer), and this doesn’t naturally lend itself
to a film that needs to be cartoonish for the sake of the genre’s fans.<span style="mso-spacerun: yes;"> </span>What this means is that Burns will have to go
rogue at some point, all the more to satisfy the audience, but the script seems
to not want to let him go full Rambo/Braddock/etcetera.<span style="mso-spacerun: yes;"> </span>The filmmakers eventually let him cut loose,
but he is, always and forever, a starched shirt (one could argue that this is
an example of how “We” are superior to “They”).<span style="mso-spacerun: yes;">
</span>The sort of antagonist in the picture also needs some distinction,
because terrorists tend to be faceless masses until they distinguish themselves
individually.<span style="mso-spacerun: yes;"> </span>While the caricature-esque
Jihad (literally “Holy War”) provides a nice physical threat for the towering
Dryer, the true villains of the piece, the spotlight hogs, are the Teutonic Maude
Winter (Kasey Walker) and Gavril (Mohammad Bakri).<span style="mso-spacerun: yes;"> </span>Both are icy in demeanor, reptilian in their
methods, and as hand-wringingly arch as Snidely Whiplash ever was.<span style="mso-spacerun: yes;"> </span>Nothing that comes out of their mouths isn’t laced
with menace.<span style="mso-spacerun: yes;"> </span>They have a purpose.<span style="mso-spacerun: yes;"> </span>They believe in what they do.<span style="mso-spacerun: yes;"> </span>But they are also totally mercenary about
it.<span style="mso-spacerun: yes;"> </span>Of the two, the real attractant
(sort of like Dee Dee McCall, minus any nuance) is Winter, with her pixie
haircut, leather jacket, and oh-so-suggestively holstered pack of smokes.<span style="mso-spacerun: yes;"> </span>The instant she shows up in the film, you
want to know more about her.<span style="mso-spacerun: yes;"> </span>Needless to
say, we’re not given much more than superficial flourishes, but, I will admit,
that was enough for me here.<span style="mso-spacerun: yes;"> </span>I would
strenuously argue that the characters of Simon Gruber and Katya in John McTiernan’s
<i style="mso-bidi-font-style: normal;">Die Hard with a Vengeance</i> are taken
directly from <i style="mso-bidi-font-style: normal;">Death Before Dishonor</i>’s
contemptible couple<i style="mso-bidi-font-style: normal;"> </i>but given far
more shading.<span style="mso-spacerun: yes;"> </span>Regardless, in juxtaposition
to Gavril and Winter, how could our True-Blue heroes possibly measure up?</div>
<div class="MsoNormal" style="text-align: justify;">
<br /></div>
<div class="MsoNormal" style="text-align: justify;">
Movies of this ilk can be seen as
jingoistic, or they can be seen as simply a sign of their time and enjoyed on
their generic merits.<span style="mso-spacerun: yes;"> </span>Or both.<span style="mso-spacerun: yes;"> </span>The protagonists and antagonists are depicted
as zealots on both sides.<span style="mso-spacerun: yes;"> </span>The difference
lies in their cause.<span style="mso-spacerun: yes;"> </span>Burns and his men
are about brotherhood, even more than they are about a love of their country.<span style="mso-spacerun: yes;"> </span>During training for the newest recruits, the
young men are hazed by chugging helmets full of beer.<span style="mso-spacerun: yes;"> </span>They are then inducted as Brothers of the
Golden Wing.<span style="mso-spacerun: yes;"> </span>Dryer takes a golden pair
of Force Recon wings and jams the pins directly into the newbies’ chests.<span style="mso-spacerun: yes;"> </span>Then each soldier in the platoon takes a turn
punching the wings until crimson blots their tee shirts.<span style="mso-spacerun: yes;"> </span>These men are now united as brothers-in-arms,
baptized in blood.<span style="mso-spacerun: yes;"> </span>They stand up for
each other, and their deaths mean something to their fellow Marines.<span style="mso-spacerun: yes;"> </span>They have earned respect.<span style="mso-spacerun: yes;"> </span>Jihad and company are religious fanatics, and
this is easily comparable to patriotism.<span style="mso-spacerun: yes;">
</span>However, the filmmakers clearly place the former over the latter in
terms of nobility.<span style="mso-spacerun: yes;"> </span>The terrorists also
haze their recruits.<span style="mso-spacerun: yes;"> </span>Young jihadi Amin
(Daniel Chodos) is held in a headlock during a bomb training exercise, watching
in terror as the lit fuse burns down.<span style="mso-spacerun: yes;">
</span>Unlike the Americans’ hazing, this is no fun.<span style="mso-spacerun: yes;"> </span>The contradistinction is further illumined in
a couple of interrogation scenes.<span style="mso-spacerun: yes;"> </span>In the
first, Amin is intimidated (dare I say terrorized?) by Burns.<span style="mso-spacerun: yes;"> </span>You can see he has been roughed up a little,
but he’s far from crippled.<span style="mso-spacerun: yes;"> </span>There is no
music in this sequence.<span style="mso-spacerun: yes;"> </span>In the second,
Sergeant Ramirez (Joseph Gian) has had the living crap kicked out of him by the
terrorists.<span style="mso-spacerun: yes;"> </span>He is bloody, brutalized,
and the score looms ominously.<span style="mso-spacerun: yes;"> </span>We’re
meant to give a shit about Ramirez.<span style="mso-spacerun: yes;"> </span>Amin
is just a gormless youth.<span style="mso-spacerun: yes;"> </span>Further to
this is the idea of sacrifice, again shown by these two characters.<span style="mso-spacerun: yes;"> </span>Both give their lives for their beliefs, but
Amin’s is senseless, destructive, and the boy has been manipulated through his
convictions into this fate.<span style="mso-spacerun: yes;"> </span>Ramirez’s
sacrifice is in service of his superior officer, his country, and his brothers.<span style="mso-spacerun: yes;"> </span>It is honorable, and it is his choice, made
with eyes wide open.<span style="mso-spacerun: yes;"> </span>It is obvious which
of these has the moral high ground in the film.<span style="mso-spacerun: yes;"> </span></div>
<div class="MsoNormal" style="text-align: justify;">
<br /></div>
<div class="MsoNormal" style="text-align: justify;">
Leonard, being primarily a stunt
man (this is his only directing credit), naturally handles the action in the
film very well.<span style="mso-spacerun: yes;"> </span>The big car chase,
admittedly, is standard, but just about everything else is gratifying
enough.<span style="mso-spacerun: yes;"> </span>The script by John Gatliff (this
is his only screenwriting credit) puts forth a nice amount of effort, and there
are a couple of reveals that twist nicely.<span style="mso-spacerun: yes;">
</span>But the film’s biggest detriment is the general banality of its
protagonists.<span style="mso-spacerun: yes;"> </span>Granted, they are meant to
identify to a certain segment, but they are dry, even when they strain
halfheartedly to be colorful.<span style="mso-spacerun: yes;"> </span>While
hardly a standout of the action genre from any decade, <i style="mso-bidi-font-style: normal;">Death Before Dishonor</i> certainly can’t be called dishonorable.<span style="mso-spacerun: yes;"> </span>More like undistinguished.</div>
<div class="MsoNormal" style="text-align: justify;">
<br /></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-size: large;"><b>MVT:</b></span><span style="mso-spacerun: yes;"> </span>As much as I like
Dryer, I have to give it to Leonard and his able-bodied handling of a mostly
solid action film.</div>
<div class="MsoNormal" style="text-align: justify;">
<br /></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-size: large;"><b>Make or Break:</b></span><span style="mso-spacerun: yes;"> </span>The finale
cuts loose just enough and finishes with a moment that almost lives up to the
promise of its premise.</div>
<div class="MsoNormal" style="text-align: justify;">
<br /></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-size: large;"><b>Score:<span> </span>6.75/10</b></span><span style="mso-spacerun: yes;"> </span><span style="mso-spacerun: yes;"> </span></div>
Toddhttp://www.blogger.com/profile/17565536760363686390noreply@blogger.com0tag:blogger.com,1999:blog-3461143163123797513.post-6056062808072215312018-04-11T00:00:00.000-04:002018-04-11T00:00:24.206-04:00Burning Paradise (1994)<div class="separator" style="clear: both; text-align: center;">
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="page number"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="endnote reference"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" Priority="10" QFormat="true" Name="Title"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Signature"/>
<w:LsdException Locked="false" Priority="1" SemiHidden="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text Indent"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" Priority="11" QFormat="true" Name="Subtitle"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" Priority="22" QFormat="true" Name="Strong"/>
<w:LsdException Locked="false" Priority="20" QFormat="true" Name="Emphasis"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Preformatted"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" Priority="39" Name="Table Grid"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" Name="Placeholder Text"/>
<w:LsdException Locked="false" Priority="1" QFormat="true" Name="No Spacing"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading"/>
<w:LsdException Locked="false" Priority="61" Name="Light List"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 1"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 1"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 1"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 1"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 1"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 1"/>
<w:LsdException Locked="false" SemiHidden="true" Name="Revision"/>
<w:LsdException Locked="false" Priority="34" QFormat="true"
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<w:LsdException Locked="false" Priority="29" QFormat="true" Name="Quote"/>
<w:LsdException Locked="false" Priority="30" QFormat="true"
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<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 1"/>
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<w:LsdException Locked="false" Priority="61" Name="Light List Accent 2"/>
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<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 2"/>
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<w:LsdException Locked="false" Priority="61" Name="Light List Accent 3"/>
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<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 3"/>
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<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 4"/>
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<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 5"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 5"/>
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<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 5"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 6"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 6"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 6"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 6"/>
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<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 6"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 6"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 6"/>
<w:LsdException Locked="false" Priority="19" QFormat="true"
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<w:LsdException Locked="false" Priority="21" QFormat="true"
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<w:LsdException Locked="false" Priority="31" QFormat="true"
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<w:LsdException Locked="false" Priority="32" QFormat="true"
Name="Intense Reference"/>
<w:LsdException Locked="false" Priority="33" QFormat="true" Name="Book Title"/>
<w:LsdException Locked="false" Priority="37" SemiHidden="true"
UnhideWhenUsed="true" Name="Bibliography"/>
<w:LsdException Locked="false" Priority="39" SemiHidden="true"
UnhideWhenUsed="true" QFormat="true" Name="TOC Heading"/>
<w:LsdException Locked="false" Priority="41" Name="Plain Table 1"/>
<w:LsdException Locked="false" Priority="42" Name="Plain Table 2"/>
<w:LsdException Locked="false" Priority="43" Name="Plain Table 3"/>
<w:LsdException Locked="false" Priority="44" Name="Plain Table 4"/>
<w:LsdException Locked="false" Priority="45" Name="Plain Table 5"/>
<w:LsdException Locked="false" Priority="40" Name="Grid Table Light"/>
<w:LsdException Locked="false" Priority="46" Name="Grid Table 1 Light"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark"/>
<w:LsdException Locked="false" Priority="51" Name="Grid Table 6 Colorful"/>
<w:LsdException Locked="false" Priority="52" Name="Grid Table 7 Colorful"/>
<w:LsdException Locked="false" Priority="46"
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<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 1"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 1"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 1"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 1"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 2"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 2"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 2"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 2"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 2"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 2"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 2"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 3"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 3"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 3"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 3"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 3"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 3"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 3"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 4"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 4"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 4"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 4"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 4"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 4"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 4"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 5"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 5"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 5"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 5"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 5"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 5"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 5"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 6"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 6"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 6"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 6"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 6"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 6"/>
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<div class="MsoNormal" style="text-align: justify;">
As God is my witness, it had
nothing to do with Ed Kowalczyk.<span style="mso-spacerun: yes;"> </span>The
erstwhile singer for Live used to have a largely shaved head with a long,
braided ponytail.<span style="mso-spacerun: yes;"> </span>This was something I
wanted to do with my hair.<span style="mso-spacerun: yes;"> </span>This was also
back when I was initially going bald and fought tooth and nail against this by
growing what hair I had long (I’m slightly ashamed to say that, yes, Virginia,
there was a skullet).<span style="mso-spacerun: yes;"> </span>I wanted to just
have a small patch of hair growing from the back of my head and a wicked long
tail forming from it.<span style="mso-spacerun: yes;"> </span>The difference
between Mr. Kowalczyk and myself (I assume) is that I was inspired by a
lifelong love of martial arts films.<span style="mso-spacerun: yes;"> </span>It
was to the point that I actually wanted to dye this thing white like the great,
old, cinematic Kung Fu masters of old (the better to toss over my shoulder and
cackle malevolently).<span style="mso-spacerun: yes;"> </span>Thing is, not only
was I going bald (something I swiftly learned to accept and let go of fairly
gracefully), but what hair I had was insanely curly, so, no matter what length
I grew my tresses out to, they wound up being about down to my shoulder once
the follicles dried after a shower.<span style="mso-spacerun: yes;"> </span>This
was in no way like my idiotic attempt to mimic Kurt Harland of Information
Society’s locks (a tale I told in a previous review; track it down, if you
dare).<span style="mso-spacerun: yes;"> </span>This was more like…I hesitate to
use the word “serendipity.”<span style="mso-spacerun: yes;"> </span>More like
dumb luck or shitty coincidence.<span style="mso-spacerun: yes;"> </span>Either
way, every single time I watch a film like Ringo Lam’s <i style="mso-bidi-font-style: normal;">Burning Paradise</i> (aka <i style="mso-bidi-font-style: normal;">Huo
Shao Hong Lian Si</i> aka <i style="mso-bidi-font-style: normal;">Destruction of
the Red Lotus Temple</i> aka <i style="mso-bidi-font-style: normal;">Rape of the
Red Temple</i>), I’m reminded of this ignoble chapter of my life.<span style="mso-spacerun: yes;"> </span>Thank Christ, I went completely bald before I
was able to get this thing off the ground (but, sadly, before bald was
considered sexy).</div>
<div class="MsoNormal" style="text-align: justify;">
<br /></div>
<div class="MsoNormal" style="text-align: justify;">
<i style="mso-bidi-font-style: normal;">Burning Paradise</i> is yet another in the long list of films about the
legendary Wuxia hero Fong Sai Yuk (here played by Willie Chi).<span style="mso-spacerun: yes;"> </span>He and his Shaolin brothers oppose the
vicious Manchus, and, while escaping from their clutches, he and his elder
Chi-Nun (Kuei Li) meet the lovely Tou-Tou (Carman Lee).<span style="mso-spacerun: yes;"> </span>Needless to say, the Manchus clutches are, in
fact, inescapable, and our protagonists find themselves prisoners of the reptilian
Lord Kung (Kam-Kong Wong), warden of the Red Lotus Temple.<span style="mso-spacerun: yes;"> </span>Much martial arts mayhem ensues.</div>
<div class="MsoNormal" style="text-align: justify;">
<br /></div>
<div class="MsoNormal" style="text-align: justify;">
I am in no way an expert on the
character of Fong Sai Yuk, and, frankly, I simply don’t have the time to
correct this.<span style="mso-spacerun: yes;"> </span>I do know that he is an
extremely popular character (I’m still confused whether or not he was an actual
person, but that’s neither here nor there when discussing films like this one).<span style="mso-spacerun: yes;"> </span>The picture’s scenario is one we’ve seen many
times before.<span style="mso-spacerun: yes;"> </span>Fong is young, highly
skilled, and a staunch opponent of a totalitarian government.<span style="mso-spacerun: yes;"> </span>This is nothing new in the Wuxia genre.<span style="mso-spacerun: yes;"> </span>Truly, a great many movies from a great many
countries center on this type of struggle.<span style="mso-spacerun: yes;">
</span>The two cinematic genres that best capture this conflict, to my mind,
are martial arts films and science fiction films.<span style="mso-spacerun: yes;"> </span>This is because it is more palatable to a
mass audience to augment the totalitarianism on display to encompass wild
flights of fantasy.<span style="mso-spacerun: yes;"> </span>It entertains while
making a point, one that needs no true reinforcement since most people empathize,
on some level, with the notion that their own government is not on their side.<span style="mso-spacerun: yes;"> </span>Or worse, they are apathetic to the common
folks’ plight (as people love to wryly exclaim, it can never happen here,
right?).<span style="mso-spacerun: yes;"> </span>What Lam and company do with
this movie, and this is something that one could argue that the vast majority
of martial arts films do, is play with elements of the western.<span style="mso-spacerun: yes;"> </span>It is set in the desert.<span style="mso-spacerun: yes;"> </span>The house at the beginning of the film is
straight out of the American Southwest (I kept thinking of <i style="mso-bidi-font-style: normal;">Stagecoach</i> and <i style="mso-bidi-font-style: normal;">The Wild Bunch</i>
whenever it was on screen).<span style="mso-spacerun: yes;"> </span>The
characters are more hands-on versions of gunfighters, their skills being continually
challenged until a final duel settles all scores.<span style="mso-spacerun: yes;"> </span>The heroes come into a situation where they
are required to free a “town” (okay, here a prison full of Shaolin devotees)
from a gang of “outlaws” (here an entire government; the major difference
between the two genres being this dichotomy).<span style="mso-spacerun: yes;">
</span>The heroes are attempting to civilize a savage land (here through their
Shaolin beliefs and practices).<span style="mso-spacerun: yes;"> </span>The
dynamics are essentially the same despite the divergences in the details.<span style="mso-spacerun: yes;"> </span>I would argue that Lam understood this
connection, because he not only embraces it but also borrows (as just about
every filmmaker in existence has, consciously or unconsciously; just ask Orson
Welles) from the visual vocabulary of John Ford.<span style="mso-spacerun: yes;"> </span><i style="mso-bidi-font-style: normal;">Burning
Paradise</i> is littered with frames within frames, and there is even a direct
reference to Ford’s famous doorway shot from <i style="mso-bidi-font-style: normal;">The Searchers</i>.<span style="mso-spacerun: yes;"> </span>This, layered
on top of some classic Hong Kong action stylings helps push this film into the
top tier of the genre, in my opinion.</div>
<div class="MsoNormal" style="text-align: justify;">
<br /></div>
<div class="MsoNormal" style="text-align: justify;">
The film also centers heavily on
the idea of passions.<span style="mso-spacerun: yes;"> </span>Fong is passionate
about his fight against the Manchus.<span style="mso-spacerun: yes;"> </span>He
is passionate about how he finds his Shaolin brother Hong (Yamson Domingo) in
the temple prison.<span style="mso-spacerun: yes;"> </span>He is passionate
about Tou-Tou, and not just physically.<span style="mso-spacerun: yes;">
</span>Similarly, characters like Boroke (Chun Lam), Kung’s right hand, have
passions outside the martial world.<span style="mso-spacerun: yes;"> </span>She
craves the touch of a man, allowing her feelings to sway her professional
decisions.<span style="mso-spacerun: yes;"> </span>Tou-Tou is a former brothel
worker, a place where passion is rented, yet she cares enough about Fong to
sacrifice her freedom for him.<span style="mso-spacerun: yes;"> </span>The
setting for the film is a metaphor for Hell, its inhabitants working constantly
at blazing forges, shaping weapons for their enemies to use against the
prisoners’ friends and families.<span style="mso-spacerun: yes;"> </span>Perhaps
the most significant symbol of passion is the villain Kung.<span style="mso-spacerun: yes;"> </span>In public, he is aloof, can’t be bothered
with these gnats that pester him so.<span style="mso-spacerun: yes;"> </span>In
private is another matter.<span style="mso-spacerun: yes;"> </span>When he goes
to Tou-Tou for the first time, he wants her to resist, to fight back, to give
him some sense that he’s still alive.<span style="mso-spacerun: yes;">
</span>His bigger passion, however, is art.<span style="mso-spacerun: yes;">
</span>He paints throughout the film, dark, ominous images, reflective of his
soul.<span style="mso-spacerun: yes;"> </span>He even incorporates art into his
Kung Fu style, using paper like flying daggers and paint droplets like bullets.<span style="mso-spacerun: yes;"> </span></div>
<div class="MsoNormal" style="text-align: justify;">
<br /></div>
<div class="MsoNormal" style="text-align: justify;">
<i style="mso-bidi-font-style: normal;">Burning Paradise </i>is as kinetic, inventive, and awe-inspiring as any
Hong Kong action film I can think of (perhaps even moreso than many).<span style="mso-spacerun: yes;"> </span>Lam marries the darker elements (and there
are some pretty dark elements in this thing) with fast-moving action with bouts
of gore with some great humor beats (that are refreshingly un-cringeworthy and
mesh nicely into the rhythm).<span style="mso-spacerun: yes;"> </span>It does
all of this while giving its characters some depth and compelling us to want to
follow the villains as much as the heroes.</div>
<div class="MsoNormal" style="text-align: justify;">
<br /></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-size: large;"><b>MVT:</b></span><span style="mso-spacerun: yes;"><span style="font-size: large;"> </span> </span>Lam’s near-flawless
union of the variegated components.</div>
<div class="MsoNormal" style="text-align: justify;">
<br /></div>
<span style="font-size: large;">
</span><div class="MsoNormal" style="text-align: justify;">
<span style="font-size: large;"><b>Make or Break:</b></span><span style="mso-spacerun: yes;"> </span>The bedroom
scene between Kung and Tou-Tou is simultaneously scary, insightful, and
melancholy.</div>
<div class="MsoNormal" style="text-align: justify;">
<br /></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-size: large;"><b>Score:<span> </span>8/10</b></span> </div>
Toddhttp://www.blogger.com/profile/17565536760363686390noreply@blogger.com0tag:blogger.com,1999:blog-3461143163123797513.post-72875825662443798842018-04-04T00:00:00.000-04:002018-04-04T00:00:44.970-04:00The Stick (1988)<div class="separator" style="clear: both; text-align: center;">
<a class="hoverZoomLink" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEipfdqgpHoXQ1g35SehloIXkn2yAqcpl-OdJiiehC2i9PCL6llY17aifn1y0VrngAxSSpGncpfpwqmnjSMbqwPMSKEaXkaEc-4jiFeqzZvih2GjcVddKD0WkbDxXxE2p2MuSjcxaA6gX6Fc/s1600/StickDVDCover.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" class="hoverZoomLink" data-original-height="1280" data-original-width="937" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEipfdqgpHoXQ1g35SehloIXkn2yAqcpl-OdJiiehC2i9PCL6llY17aifn1y0VrngAxSSpGncpfpwqmnjSMbqwPMSKEaXkaEc-4jiFeqzZvih2GjcVddKD0WkbDxXxE2p2MuSjcxaA6gX6Fc/s320/StickDVDCover.jpg" width="234" /></a></div>
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Number 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Number 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Number 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Number 5"/>
<w:LsdException Locked="false" Priority="10" QFormat="true" Name="Title"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Closing"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Signature"/>
<w:LsdException Locked="false" Priority="0" SemiHidden="true"
UnhideWhenUsed="true" Name="Default Paragraph Font"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text Indent"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Continue"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Continue 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Continue 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Continue 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Continue 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Message Header"/>
<w:LsdException Locked="false" Priority="11" QFormat="true" Name="Subtitle"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Salutation"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Date"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text First Indent"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text First Indent 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Note Heading"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text Indent 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text Indent 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Block Text"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Hyperlink"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="FollowedHyperlink"/>
<w:LsdException Locked="false" Priority="22" QFormat="true" Name="Strong"/>
<w:LsdException Locked="false" Priority="20" QFormat="true" Name="Emphasis"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Document Map"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Plain Text"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="E-mail Signature"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Top of Form"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Bottom of Form"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Normal (Web)"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Acronym"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Address"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Cite"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Code"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Definition"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Keyboard"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Preformatted"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Sample"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Typewriter"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Variable"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Normal Table"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="annotation subject"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="No List"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Outline List 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Outline List 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Outline List 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Simple 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Simple 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Simple 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Colorful 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Colorful 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Colorful 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 6"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 7"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 8"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 6"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 7"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 8"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table 3D effects 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table 3D effects 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table 3D effects 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Contemporary"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Elegant"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Professional"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Subtle 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Subtle 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Web 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Web 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Web 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Balloon Text"/>
<w:LsdException Locked="false" Priority="39" Name="Table Grid"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Theme"/>
<w:LsdException Locked="false" SemiHidden="true" Name="Placeholder Text"/>
<w:LsdException Locked="false" Priority="1" QFormat="true" Name="No Spacing"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading"/>
<w:LsdException Locked="false" Priority="61" Name="Light List"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 1"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 1"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 1"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 1"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 1"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 1"/>
<w:LsdException Locked="false" SemiHidden="true" Name="Revision"/>
<w:LsdException Locked="false" Priority="34" QFormat="true"
Name="List Paragraph"/>
<w:LsdException Locked="false" Priority="29" QFormat="true" Name="Quote"/>
<w:LsdException Locked="false" Priority="30" QFormat="true"
Name="Intense Quote"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 1"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 1"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 1"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 1"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 1"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 1"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 1"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 1"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 2"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 2"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 2"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 2"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 2"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 2"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 2"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 2"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 2"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 2"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 2"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 2"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 2"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 2"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 3"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 3"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 3"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 3"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 3"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 3"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 3"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 3"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 3"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 3"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 3"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 3"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 3"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 3"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 4"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 4"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 4"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 4"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 4"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 4"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 4"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 4"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 4"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 4"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 4"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 4"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 4"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 4"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 5"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 5"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 5"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 5"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 5"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 5"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 5"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 5"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 5"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 5"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 5"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 5"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 5"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 5"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 6"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 6"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 6"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 6"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 6"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 6"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 6"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 6"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 6"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 6"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 6"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 6"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 6"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 6"/>
<w:LsdException Locked="false" Priority="19" QFormat="true"
Name="Subtle Emphasis"/>
<w:LsdException Locked="false" Priority="21" QFormat="true"
Name="Intense Emphasis"/>
<w:LsdException Locked="false" Priority="31" QFormat="true"
Name="Subtle Reference"/>
<w:LsdException Locked="false" Priority="32" QFormat="true"
Name="Intense Reference"/>
<w:LsdException Locked="false" Priority="33" QFormat="true" Name="Book Title"/>
<w:LsdException Locked="false" Priority="37" SemiHidden="true"
UnhideWhenUsed="true" Name="Bibliography"/>
<w:LsdException Locked="false" Priority="39" SemiHidden="true"
UnhideWhenUsed="true" QFormat="true" Name="TOC Heading"/>
<w:LsdException Locked="false" Priority="41" Name="Plain Table 1"/>
<w:LsdException Locked="false" Priority="42" Name="Plain Table 2"/>
<w:LsdException Locked="false" Priority="43" Name="Plain Table 3"/>
<w:LsdException Locked="false" Priority="44" Name="Plain Table 4"/>
<w:LsdException Locked="false" Priority="45" Name="Plain Table 5"/>
<w:LsdException Locked="false" Priority="40" Name="Grid Table Light"/>
<w:LsdException Locked="false" Priority="46" Name="Grid Table 1 Light"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark"/>
<w:LsdException Locked="false" Priority="51" Name="Grid Table 6 Colorful"/>
<w:LsdException Locked="false" Priority="52" Name="Grid Table 7 Colorful"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 1"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 1"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 1"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 1"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 1"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 2"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 2"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 2"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 2"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 2"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 2"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 2"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 3"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 3"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 3"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 3"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 3"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 3"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 3"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 4"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 4"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 4"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 4"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 4"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 4"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 4"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 5"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 5"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 5"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 5"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 5"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 5"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 5"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 6"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 6"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 6"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 6"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 6"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 6"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 6"/>
<w:LsdException Locked="false" Priority="46" Name="List Table 1 Light"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2"/>
<w:LsdException Locked="false" Priority="48" Name="List Table 3"/>
<w:LsdException Locked="false" Priority="49" Name="List Table 4"/>
<w:LsdException Locked="false" Priority="50" Name="List Table 5 Dark"/>
<w:LsdException Locked="false" Priority="51" Name="List Table 6 Colorful"/>
<w:LsdException Locked="false" Priority="52" Name="List Table 7 Colorful"/>
<w:LsdException Locked="false" Priority="46"
Name="List Table 1 Light Accent 1"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2 Accent 1"/>
<w:LsdException Locked="false" Priority="48" Name="List Table 3 Accent 1"/>
<w:LsdException Locked="false" Priority="49" Name="List Table 4 Accent 1"/>
<w:LsdException Locked="false" Priority="50" Name="List Table 5 Dark Accent 1"/>
<w:LsdException Locked="false" Priority="51"
Name="List Table 6 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="52"
Name="List Table 7 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="46"
Name="List Table 1 Light Accent 2"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2 Accent 2"/>
<w:LsdException Locked="false" Priority="48" Name="List Table 3 Accent 2"/>
<w:LsdException Locked="false" Priority="49" Name="List Table 4 Accent 2"/>
<w:LsdException Locked="false" Priority="50" Name="List Table 5 Dark Accent 2"/>
<w:LsdException Locked="false" Priority="51"
Name="List Table 6 Colorful Accent 2"/>
<w:LsdException Locked="false" Priority="52"
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<div class="MsoNormal" style="line-height: normal; margin-bottom: 8.0pt; text-align: justify; text-justify: inter-ideograph;">
<span style="color: white;">So, today, in a
fit of ridiculous candor, I've decided to tell you all about a dream I had
recently.<span style="mso-spacerun: yes;"> </span>I never remember my dreams, so
this is, indeed, as rare as hen's teeth.<span style="mso-spacerun: yes;">
</span>Anyway, it went a little something like this.<span style="mso-spacerun: yes;"> </span>I just moved somewhere new with my
family.<span style="mso-spacerun: yes;"> </span>It was somewhere sort of
desert-y, maybe Arizona or somewhere in California (why I would move there is
beyond me; nothing against the denizens of California, but it just ain't for
me).<span style="mso-spacerun: yes;"> </span>The apartment building we moved
into was somewhat rundown, in a seedy area, but the apartment itself was like a
one story, austere, white adobe kind of house on the inside, with windows
soldered together like stained glass that leak like sieves in the rain.<span style="mso-spacerun: yes;"> </span>Some young woman was there, a friend of a
family member, and she was very flirty.<span style="mso-spacerun: yes;">
</span>Nothing, naturally, came of this (it so rarely does in my dreams, boo
hoo).<span style="mso-spacerun: yes;"> </span></span></div>
<span style="color: white;">
</span><div class="MsoNormal" style="line-height: normal; margin-bottom: 8.0pt; text-align: justify; text-justify: inter-ideograph;">
<span style="color: white;">Next thing I
know, I'm coming home from being out somewhere, and I passed by an apartment
with an old school stereo setup playing some decent music (garage style stuff I’ve
never heard before) outside it.<span style="mso-spacerun: yes;"> </span>The door
was open, so I wandered in to tell the owner I liked the music.<span style="mso-spacerun: yes;"> </span>Inside the apartment was like some ancient,
independent publishing outfit (and by that, I mean it was like a closet with
files, and folders, and papers stacked everywhere).<span style="mso-spacerun: yes;"> </span>As I talked to this guy (did I mention I
almost never dream about people I know?), the apartment became a small bar (not
much larger than the original closet apartment).<span style="mso-spacerun: yes;"> </span>It had a nice atmosphere, and the people
filtering through were interesting.<span style="mso-spacerun: yes;"> </span>I
guess you could call them hipsters, though they felt earnest to me.<span style="mso-spacerun: yes;"> </span>So, the actual owner of the bar/apartment
(not the same guy I initially met) comes around, and he's very Eye-Talian and
very wacky.<span style="mso-spacerun: yes;"> </span>He brandishes a knife at me,
but it's more absent-minded, not menacing.<span style="mso-spacerun: yes;">
</span>He says some crap about finding myself or somesuch and throws a bunch of
disparate toys on the bar for me to "assemble" like some 3-D Psych test.<span style="mso-spacerun: yes;"> </span>I do something or other with the toys, and
the owner gets elated.<span style="mso-spacerun: yes;"> </span>He offered me a
job.<span style="mso-spacerun: yes;"> </span>As the day turns to night, some
Mario-Adorf-ian fella comes in saying everyone at home is waiting for me.<span style="mso-spacerun: yes;"> </span>And then I woke up.<span style="mso-spacerun: yes;"> </span>Make of that what you will, but it's a bit
like the semi-dreamy atmosphere of Darrell Roodt's <i>The Stick</i>, a film as ethereal
as it is politically barbed (by the way, not that I’m saying my dream was political
in any way).</span></div>
<span style="color: white;">
</span><div class="MsoNormal" style="line-height: normal; margin-bottom: 8.0pt; text-align: justify; text-justify: inter-ideograph;">
<span style="color: white;">The film takes
the perspective of Cooper (Greg Latter), a soldier in apartheid-torn South
Africa.<span style="mso-spacerun: yes;"> </span>He's the sole survivor of a
surprise attack by native rebels painted (or are they?) white like ghosts.<span style="mso-spacerun: yes;"> </span>He's sent back out with another stick (read:
squad) on a search and destroy mission.<span style="mso-spacerun: yes;">
</span>But Cooper and his new team are in for some unpleasant surprises from
within and without.</span></div>
<span style="color: white;">
</span><div class="MsoNormal" style="line-height: normal; margin-bottom: 8.0pt; text-align: justify; text-justify: inter-ideograph;">
<span style="color: white;"><i>The Stick</i> is as much a Vietnam film as it is an anti-apartheid film
as it is a fantasy film.<span style="mso-spacerun: yes;"> </span>The first two
of these go hand-in-hand.<span style="mso-spacerun: yes;"> </span>Naturally,
Vietnam was not a race war, per se, but some of the soldiers in it did allow
their bigotry to get the better of them.<span style="mso-spacerun: yes;">
</span>It was a hopeless conflict against an enemy that didn’t “play by the
rules.”<span style="mso-spacerun: yes;"> </span>Now, I completely admit my
ignorance of the exact intricacies of apartheid other than that it was an
odious practice better off dead.<span style="mso-spacerun: yes;"> </span>I know
there were uprisings, but this film posits an outright war that has lingered
far too long, its soldiers dead inside, disillusioned and desperate for escape
from the grind of senseless killing for a future full of nothing.<span style="mso-spacerun: yes;"> </span>This is reflected in Cooper and his
antithesis, the unhinged O'Grady (Sean Taylor), a soldier whom the war has
defeated but wrongly believes that he still has some control.<span style="mso-spacerun: yes;"> </span>He displays this by being insubordinate and
bloodthirsty.<span style="mso-spacerun: yes;"> </span>He fronts that he's a cold
killing machine (and partly he is), but his actions clearly derive from fear
and exhaustion of a world that is insane and drives those who partake in to
insanity.<span style="mso-spacerun: yes;"> </span>He joins in the senseless
slaughter of women and children, but he holds Cooper to blame for the
frightened killing of the local Witch Doctor (Winston Ntshona).<span style="mso-spacerun: yes;"> </span>O’Grady tries to abrogate his complicity in
the events that now haunt and threaten him by putting it on someone else for
the killing of this very special villager.<span style="mso-spacerun: yes;">
</span>The soldiers are picked off by the spirits of those they persecuted and
executed.<span style="mso-spacerun: yes;"> </span>Even though Cooper did kill
the Witch Doctor, he himself is left alive, not once but twice, to bear witness
to the madness this world has become as well as to exist under the burdensome
nightmares hands like his have conjured.</span></div>
<span style="color: white;">
</span><div class="MsoNormal" style="line-height: normal; margin-bottom: 8.0pt; text-align: justify; text-justify: inter-ideograph;">
<span style="color: white;">Roodt's direction
is sharp.<span style="mso-spacerun: yes;"> </span>He orchestrates the film's
action dynamically, and his compositions encompass the grandeur of the locales,
isolating the soldiers against the backdrops, making them small and petty.<span style="mso-spacerun: yes;"> </span>One could argue he overdoes the crane shots,
but it's for a purpose.<span style="mso-spacerun: yes;"> </span>It symbolizes
the ghosts of South Africa omnisciently bearing down on those who attack
it.<span style="mso-spacerun: yes;"> </span>The director also does an exemplary
job of balancing the war and supernatural elements.<span style="mso-spacerun: yes;"> </span>It never throws the audience into pure fantasy.<span style="mso-spacerun: yes;"> </span>There's almost always a possible explanation
for what's going on.<span style="mso-spacerun: yes;"> </span>But by depriving
the viewer of that explanation, at least partially, he strengthens the power
they have.<span style="mso-spacerun: yes;"> </span>Much of the film is a bit too
predictable to fully elevate it beyond very good.<span style="mso-spacerun: yes;"> </span>But it's message is strong and delivered with
enough violence and action to make the bitter pill go down a little
smoother.<span style="mso-spacerun: yes;"> </span>It's just a damn shame it's
something that needs to be said at all.</span></div>
<span style="color: white;">
</span><div class="MsoNormalCxSpMiddle" style="margin-bottom: 8.0pt; mso-add-space: auto; text-align: justify; text-justify: inter-ideograph;">
<span style="color: white;"><b><span style="font-size: large;">MVT:</span>
</b>Roodt's direction is strong and
sure-handed.</span></div>
<span style="color: white;">
</span><div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<span style="color: white;"><b><span style="font-size: large;">Make or
Break:</span> </b>The opening ambush gives you a
taste of everything the film has in store. </span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<span style="color: white;"> </span></div>
<span style="color: white;">
</span><div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in; text-align: justify; text-justify: inter-ideograph;">
<span style="color: white;"><span style="font-size: large;"><b>Score: 7/10</b></span></span><span style="color: black;"></span></div>
Toddhttp://www.blogger.com/profile/17565536760363686390noreply@blogger.com0tag:blogger.com,1999:blog-3461143163123797513.post-54063728577058713942018-03-31T12:31:00.000-04:002018-03-31T12:31:53.566-04:00John Dies At The End (2012)<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjMpv0wRy6weZltuwC3Uq74FKwG5Hg7FmXw16Xt92YQkGgBLijfkKab78d_u-azbDGDv_s98xWzgj0PkV6YU4-ZswnwgiHAqsBI6db7B4BhdlegfuVrCvo1REfyLr351PweNGbJZgNLH00/s1600/91%252BvVumZhnL._SL1500_.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1500" data-original-width="1063" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjMpv0wRy6weZltuwC3Uq74FKwG5Hg7FmXw16Xt92YQkGgBLijfkKab78d_u-azbDGDv_s98xWzgj0PkV6YU4-ZswnwgiHAqsBI6db7B4BhdlegfuVrCvo1REfyLr351PweNGbJZgNLH00/s320/91%252BvVumZhnL._SL1500_.jpg" width="226" /></a></div>
<br />
Directed by <a href="http://www.imdb.com/name/nm0181741/?ref_=ttfc_fc_wr1">Don Coscarelli</a><br />
Run time: 99 minutes<br />
<br />
This movie came about because of a love of the Phantasm movie franchise and a love of zombie novels. David Wong (real name Jason Pargin ) is the author of <i>John Dies at the End </i>and a massive fan of the Phantasm movies. According to the forward Don Coscarelli wrote for <i>John Dies at the End</i>, his favorite guilty pleasure is reading zombie novels.When an online book retailer suggested that Don Coscarelli would like to read a book with meat demons, parasites with plans of planetary domination, weird parallel dimensions, bratwurst cellphone, and a street drug called soy sauce that gives the user all kinds of weird abilities. Leading Coscarelli to buy the book, devour the book, and turn the book into a weird fun film.<br />
<br />
Like the book, the movie opens with the riddle of the universe. The riddle is this, the guy who you shot a few months ago comes back and kicks your door in. You grab the ax purchased and take the guy out again. In the process of defending yourself you break the handle and have to go back to the store with a bullshit story about the blood stains on the handle. Armed with a fixed ax you go home to find an inter-dimensional slug thing in your kitchen. Taking your ax you proceed to kill the thing and notch the head on your kitchen table. So back to the store, another bullshit story, and a new ax head. Returning home you find the guy you killed twice back again, his sewn back on with hedge trimmer wire, and looking for a rematch. He also is looking at you like your the guy who killed and that is the ax that did the job. Is he right, is that the same ax that killed him?<br />
<br />
The story is centered around John and Dave. Two college drop outs that after being exposed to the drug soy sauce have been chosen to be defenders of Earth and Earths in parallel dimensions. With the aid of Marconi (Clancy Brown), a infomercial guru with supernatural powers, these two screw ups go on a strange adventure to save Earth from a bizarre invasion. The reason for this invasion sis the drug soy sauce. Aside from giving people strange supernatural powers, it's alive, and can act as a gateway for creatures to go from one reality to the next. Because of this a parasite with track record of destroying worlds and our slackers are the only ones destined to somehow step up and be the big damn heroes.<br />
<br />
Overall this is a fun but incredibly strange movie. There are some issues with the movie because of the off the wall insanity. Best example of this is Dave uses soy sauce to go back in time to prevent his own murder. It is insanely clever use of time travel but part way through his time travel trip Dave ends up in some post apocalyptic nightmare for no reason. Other than that, the film has sold preferences by it's cast. There is a cameo by Phantasm's own Tall Man Angus Scrimm as the last priest you would want to talk to on a exorcism hotline.<br />
<br />
I highly recommend <i>John Dies at the End</i> if your a fan of crude humor, general weirdness, and bizarrely amusing horror movies. Though this is a movie review I also highly recommending the book as well.<br />
<br />
<b>MVT</b>: The scene that shows how this society dealt with people who did not except this organic A.I. as their overlord. Because the historic record was too graphic for John and Dave to comprehend the society made an incredibly graphic and violent cartoon to show a graphic and bloody purge.<br />
<br />
<b>Make or Break</b>: What made it for me was Dave's character arc. He grows and changes as a character but he never stops being cynical jerk.<br />
<br />
<b>Score</b>: 7.5 out of 10<br />
<br />
Vldsterhttp://www.blogger.com/profile/12863526192265320717noreply@blogger.com0tag:blogger.com,1999:blog-3461143163123797513.post-75725275763649173522018-03-28T00:00:00.000-04:002018-03-28T00:00:31.513-04:00Project Vampire (1992)<div class="separator" style="clear: both; text-align: center;">
<a class="hoverZoomLink" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiJZsqzAYME07RCFVPbM8kd5GUVp3ybwuqXnq1TJMNkxDgsPDmL_-w7eGF9xK5vkwdXJ-_fBdDcxoF3OTziTpX6BWlB1pkPTWrn7oYk85uOq3Q44tJOMI7OCftGj1e9YwTfmZTpoIhyphenhyphen8Kw6/s1600/Project-Vampire-1993-Hollywood-Movie-Watch-Online.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" class="hoverZoomLink" data-original-height="859" data-original-width="580" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiJZsqzAYME07RCFVPbM8kd5GUVp3ybwuqXnq1TJMNkxDgsPDmL_-w7eGF9xK5vkwdXJ-_fBdDcxoF3OTziTpX6BWlB1pkPTWrn7oYk85uOq3Q44tJOMI7OCftGj1e9YwTfmZTpoIhyphenhyphen8Kw6/s320/Project-Vampire-1993-Hollywood-Movie-Watch-Online.jpg" width="216" /></a></div>
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Name="toa heading"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Bullet"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Number"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Bullet 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Bullet 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Bullet 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Bullet 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Number 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Number 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Number 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Number 5"/>
<w:LsdException Locked="false" Priority="10" QFormat="true" Name="Title"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Closing"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Signature"/>
<w:LsdException Locked="false" Priority="1" SemiHidden="true"
UnhideWhenUsed="true" Name="Default Paragraph Font"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text Indent"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Continue"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Continue 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Continue 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Continue 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Continue 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Message Header"/>
<w:LsdException Locked="false" Priority="11" QFormat="true" Name="Subtitle"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Salutation"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Date"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text First Indent"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text First Indent 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Note Heading"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text Indent 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text Indent 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Block Text"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Hyperlink"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="FollowedHyperlink"/>
<w:LsdException Locked="false" Priority="22" QFormat="true" Name="Strong"/>
<w:LsdException Locked="false" Priority="20" QFormat="true" Name="Emphasis"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Document Map"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Plain Text"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="E-mail Signature"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Top of Form"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Bottom of Form"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Normal (Web)"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Acronym"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Address"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Cite"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Code"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Definition"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Keyboard"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Preformatted"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Sample"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Typewriter"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Variable"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Normal Table"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="annotation subject"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="No List"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Outline List 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Outline List 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Outline List 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Simple 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Simple 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Simple 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Colorful 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Colorful 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Colorful 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 6"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 7"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 8"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 6"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 7"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 8"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table 3D effects 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table 3D effects 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table 3D effects 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Contemporary"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Elegant"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Professional"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Subtle 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Subtle 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Web 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Web 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Web 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Balloon Text"/>
<w:LsdException Locked="false" Priority="39" Name="Table Grid"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Theme"/>
<w:LsdException Locked="false" SemiHidden="true" Name="Placeholder Text"/>
<w:LsdException Locked="false" Priority="1" QFormat="true" Name="No Spacing"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading"/>
<w:LsdException Locked="false" Priority="61" Name="Light List"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 1"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 1"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 1"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 1"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 1"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 1"/>
<w:LsdException Locked="false" SemiHidden="true" Name="Revision"/>
<w:LsdException Locked="false" Priority="34" QFormat="true"
Name="List Paragraph"/>
<w:LsdException Locked="false" Priority="29" QFormat="true" Name="Quote"/>
<w:LsdException Locked="false" Priority="30" QFormat="true"
Name="Intense Quote"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 1"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 1"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 1"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 1"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 1"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 1"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 1"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 1"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 2"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 2"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 2"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 2"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 2"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 2"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 2"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 2"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 2"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 2"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 2"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 2"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 2"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 2"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 3"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 3"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 3"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 3"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 3"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 3"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 3"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 3"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 3"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 3"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 3"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 3"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 3"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 3"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 4"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 4"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 4"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 4"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 4"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 4"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 4"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 4"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 4"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 4"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 4"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 4"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 4"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 4"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 5"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 5"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 5"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 5"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 5"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 5"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 5"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 5"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 5"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 5"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 5"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 5"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 5"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 5"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 6"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 6"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 6"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 6"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 6"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 6"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 6"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 6"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 6"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 6"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 6"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 6"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 6"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 6"/>
<w:LsdException Locked="false" Priority="19" QFormat="true"
Name="Subtle Emphasis"/>
<w:LsdException Locked="false" Priority="21" QFormat="true"
Name="Intense Emphasis"/>
<w:LsdException Locked="false" Priority="31" QFormat="true"
Name="Subtle Reference"/>
<w:LsdException Locked="false" Priority="32" QFormat="true"
Name="Intense Reference"/>
<w:LsdException Locked="false" Priority="33" QFormat="true" Name="Book Title"/>
<w:LsdException Locked="false" Priority="37" SemiHidden="true"
UnhideWhenUsed="true" Name="Bibliography"/>
<w:LsdException Locked="false" Priority="39" SemiHidden="true"
UnhideWhenUsed="true" QFormat="true" Name="TOC Heading"/>
<w:LsdException Locked="false" Priority="41" Name="Plain Table 1"/>
<w:LsdException Locked="false" Priority="42" Name="Plain Table 2"/>
<w:LsdException Locked="false" Priority="43" Name="Plain Table 3"/>
<w:LsdException Locked="false" Priority="44" Name="Plain Table 4"/>
<w:LsdException Locked="false" Priority="45" Name="Plain Table 5"/>
<w:LsdException Locked="false" Priority="40" Name="Grid Table Light"/>
<w:LsdException Locked="false" Priority="46" Name="Grid Table 1 Light"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark"/>
<w:LsdException Locked="false" Priority="51" Name="Grid Table 6 Colorful"/>
<w:LsdException Locked="false" Priority="52" Name="Grid Table 7 Colorful"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 1"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 1"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 1"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 1"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 1"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 2"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 2"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 2"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 2"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 2"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 2"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 2"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 3"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 3"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 3"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 3"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 3"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 3"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 3"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 4"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 4"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 4"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 4"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 4"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 4"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 4"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 5"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 5"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 5"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 5"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 5"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 5"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 5"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 6"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 6"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 6"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 6"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 6"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 6"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 6"/>
<w:LsdException Locked="false" Priority="46" Name="List Table 1 Light"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2"/>
<w:LsdException Locked="false" Priority="48" Name="List Table 3"/>
<w:LsdException Locked="false" Priority="49" Name="List Table 4"/>
<w:LsdException Locked="false" Priority="50" Name="List Table 5 Dark"/>
<w:LsdException Locked="false" Priority="51" Name="List Table 6 Colorful"/>
<w:LsdException Locked="false" Priority="52" Name="List Table 7 Colorful"/>
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<br />
<div class="MsoNormal" style="text-align: justify;">
Horror and Action movies love to
open in media res.<span style="mso-spacerun: yes;"> </span>That’s smart.<span style="mso-spacerun: yes;"> </span>It instantly draws the audience in with the
mystery of what the hell is going on, and it gives the filmmakers some
breathing space to develop their characters and stories.<span style="mso-spacerun: yes;"> </span>One of the great clichés of this type of
opening is to have characters running away from someone or something, and Peter
Flynn’s <i style="mso-bidi-font-style: normal;">Project Vampire</i> is no
different.<span style="mso-spacerun: yes;"> </span>Three scientists (we know
they are scientists because they all wear bright white lab coats, all the
better to hide from their pursuers) jog down various streets in Los Angeles
(remember, always pronounce “Angeles” with a hard “g,” like in “gator”).<span style="mso-spacerun: yes;"> </span>Invariably, these sequences end with the
hunters catching up with their prey.<span style="mso-spacerun: yes;"> </span>Of
these particular three, one gets killed, one escapes and becomes villainous,
and one gets picked up by student nurse Sandra (Mary Louise Gemmill) and, by
default, becomes the hero of the film.<span style="mso-spacerun: yes;">
</span>Wouldn’t it have been more interesting to have her rescue the one who
goes bad?<span style="mso-spacerun: yes;"> </span>At any rate, the opening of
this movie does enough of what it needs to do.<span style="mso-spacerun: yes;">
</span>We get a quick feel for the timbre of the film, we are introduced to
most of the main players (including the cartoonishly colorful henchmen Hopper
[Kelvin Tsao] and Louie [Ray Essler], who, tragically, is not “the guy who
comes in and says his catch phrase over and over again”), and we get interested
enough to give the film some more time to win us over.<span style="mso-spacerun: yes;"> </span><i style="mso-bidi-font-style: normal;">Project
Vampire </i>could have been given a hundred years to win us over, and it still
would fail miserably.</div>
<div class="MsoNormal" style="text-align: justify;">
<br /></div>
<div class="MsoNormal" style="text-align: justify;">
As to the plot, it involves the
flagitious Dr. Frederick Klaus (Myron Natwick), an ancient vampire who has
created a serum by which he can psychically control the vampires he
creates.<span style="mso-spacerun: yes;"> </span>Former fellow scientist Victor
(he of the white lab coat and introductory trot to freedom, played by Brian
Knudson) sets out to stop him.</div>
<div class="MsoNormal" style="text-align: justify;">
<br /></div>
<div class="MsoNormal" style="text-align: justify;">
Science and the supernatural have
gone hand-in-hand ever since Dr. Frankenstein stitched together pieces from a
bunch of corpses and imbued it with life.<span style="mso-spacerun: yes;">
</span>What’s wonderful about this idea is that it has the opportunity to
expand on a legend and give it a new spin, a new vantage point.<span style="mso-spacerun: yes;"> </span>That doesn’t mean modernizing hoary stuff,
per se.<span style="mso-spacerun: yes;"> </span>After all, the classic Universal
monster movies were set in contemporary times, but they still clung tenaciously
to the old school, gothic atmosphere from which the base legends sprang.<span style="mso-spacerun: yes;"> </span>What I like is things like <i style="mso-bidi-font-style: normal;">Event Horizon</i> which is basically a haunted
house story set on a spaceship that has a literal gateway to Hell on it.<span style="mso-spacerun: yes;"> </span>Brilliant.<span style="mso-spacerun: yes;">
</span><i style="mso-bidi-font-style: normal;">Project Vampire</i> has scientific
elements in it, but there’s not much thought put into them.<span style="mso-spacerun: yes;"> </span>The biggest leap this film takes is in
expanding drastically on a vampire’s ability to control the minds of
others.<span style="mso-spacerun: yes;"> </span>That’s fine and dandy, but it
also does so with no real explanation of how this works to begin with.<span style="mso-spacerun: yes;"> </span>It doesn’t ground Klaus’ supernatural powers
in the real world (even with a bunch of techno-jargon).<span style="mso-spacerun: yes;"> </span>All it does is puts Klaus in some
medieval-esque piece of equipment (I immediately thought of all the old horror
films where naked women are held captive in some mad scientist’s lab with
straps just large enough, and strategically placed, to not show us any of their
naughty bits) that makes him “vamp out.”<span style="mso-spacerun: yes;">
</span>Flynn and company, in fact, go so far as having bio-chemist Lee Fong
(Christopher Cho) ask his computer, “What is a vampire’s most powerful
strength?”<span style="mso-spacerun: yes;"> </span>The thuddingly stupid
response is, of course, “His psychic spell.<span style="mso-spacerun: yes;">
</span>Destroy the vampire, destroy the spell.”<span style="mso-spacerun: yes;">
</span>In terms of scientific breakthroughs, this ranks up there with Timmy
Spudwell’s vinegar-and-baking-soda volcano experiments and Amanda Hugginkiss’
famous potato clock revolution.<span style="mso-spacerun: yes;">
</span>Naturally, films like this don’t need to use real, hard scientific data
to back up their ideas, but they do need to be convincing with what they serve
up.<span style="mso-spacerun: yes;"> </span><i style="mso-bidi-font-style: normal;">Project
Vampire</i> is simply dumb and confusing.<span style="mso-spacerun: yes;">
</span>I re-watched segments of this film multiple times to try and make sense
of what these people were saying, and all I did was further bewilder myself. <span style="mso-spacerun: yes;"> </span>Would I have been more forgiving if this were
a Eurohorror film, where I expect idiocy in its rationales?<span style="mso-spacerun: yes;"> </span>Possibly, but I would have been no less
nonplussed.</div>
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<br /></div>
<div class="MsoNormal" style="text-align: justify;">
One of the more intriguing things
this film gets up to and almost develops satisfyingly is its idea of eternal
life and addiction.<span style="mso-spacerun: yes;"> </span>This stems,
primarily, from the core of the vampire mythos.<span style="mso-spacerun: yes;">
</span>It’s not just that they need blood to survive.<span style="mso-spacerun: yes;"> </span>They crave it.<span style="mso-spacerun: yes;"> </span>It both enflames their passions and sates
them.<span style="mso-spacerun: yes;"> </span>Their fangs, like, say, hypodermic
needles, pierce the veins of their victims.<span style="mso-spacerun: yes;">
</span>Their victims, then, become like junkies, lusting for the return of
those teeth to their skin, chasing the proverbial dragon.<span style="mso-spacerun: yes;"> </span>Tom (Christopher Wolf) goes to a pal’s party,
specifically looking for a blood meal.<span style="mso-spacerun: yes;">
</span>He finds one in a woman he drags into the bathroom and begins to make
out with before putting the bite on her.<span style="mso-spacerun: yes;">
</span>Alongside the obvious sexual angle, I found myself thinking (perhaps in
a severe bout of thematic overreach) of people sneaking off to go snort some coke.<span style="mso-spacerun: yes;"> </span>In this scenario, Tom’s victim would be the
coke.<span style="mso-spacerun: yes;"> </span>In the film, it’s intimated that
Lee used to make drugs for wealthy clients (I may have imagined this; so much
of this film is nebulous even when it’s being blunt as fuck).<span style="mso-spacerun: yes;"> </span>Klaus provides his Project Alpha serum to the
wealthy elite who want eternal life, which is injected.<span style="mso-spacerun: yes;"> </span>The price of this lifespan is their thrall to
Klaus and his drug, especially once Klaus chooses to exert his psychic
abilities over them.<span style="mso-spacerun: yes;"> </span>Klaus is the
pusher, long life is the drug, loss of identity is the come down/price of
addiction.</div>
<div class="MsoNormal" style="text-align: justify;">
<br /></div>
<div class="MsoNormal" style="text-align: justify;">
Even in trash cinema, there
should be something to not make you want to take a nap.<span style="mso-spacerun: yes;"> </span>The thing which comes possibly closest to
that herein is the henchmen, Hopper and Louie.<span style="mso-spacerun: yes;">
</span>Louie is the Renfield character.<span style="mso-spacerun: yes;">
</span>He limps, wears an eyepatch and a white-on-black suit, and grovels
ceaselessly.<span style="mso-spacerun: yes;"> </span>Hopper is a bald chunk of
meat with a sadistic streak, a Kurgan who burns in the sun’s rays.<span style="mso-spacerun: yes;"> </span>Their old married couple routine is almost
entertaining.<span style="mso-spacerun: yes;"> </span>Otherwise, the film’s
leads have absolutely zero chemistry (see what I did there?).<span style="mso-spacerun: yes;"> </span>Klaus and his mistress Heidi (Paula
Randol-Smith) are as threatening as a comfy chair.<span style="mso-spacerun: yes;"> </span>Lee has one of the worst “Oriental” accents
ever put to film.<span style="mso-spacerun: yes;"> </span>The script is
terrible, muddled, and rote.<span style="mso-spacerun: yes;"> </span>There isn’t
nearly enough action, tits, or gore to paper over the film’s flaws.<span style="mso-spacerun: yes;"> </span>It is painful to watch, not just in
experience but in cinematography.<span style="mso-spacerun: yes;"> </span>It looks
bad.<span style="mso-spacerun: yes;"> </span>I can see now who the filmmakers
were targeting this film toward, because you would clearly need to be on a ton
of bad drugs to enjoy it.</div>
<div class="MsoNormal" style="text-align: justify;">
<br /></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-size: large;"><b>MVT:</b></span><span style="mso-spacerun: yes;"> </span>Hopper is just an
oddball.</div>
<div class="MsoNormal" style="text-align: justify;">
<br /></div>
<div class="MsoNormal" style="margin-left: .5in; text-align: justify; text-indent: -.5in;">
<b style="mso-bidi-font-weight: normal;"><span style="font-size: large;">Make or Break:</span><span style="mso-spacerun: yes;"> </span></b>There’s a decent burn stunt at the film’s
climax.<span style="mso-spacerun: yes;"> </span>Credit where it’s due.</div>
<div class="MsoNormal" style="margin-left: .5in; text-align: justify; text-indent: -.5in;">
<br /></div>
<div class="MsoNormal" style="margin-left: .5in; text-align: justify; text-indent: -.5in;">
<span style="font-size: large;"><b>Score:<span>
</span>3/10</b></span><span style="mso-spacerun: yes;"> </span></div>
<br />
<img id="hzDownscaled" style="position: absolute; top: -10000px;" />Toddhttp://www.blogger.com/profile/17565536760363686390noreply@blogger.com0tag:blogger.com,1999:blog-3461143163123797513.post-68498640500957225322018-03-21T00:00:00.000-04:002018-03-21T00:00:03.956-04:00Something Creeping in the Dark (1971)<div class="separator" style="clear: both; text-align: center;">
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<w:LsdException Locked="false" Priority="10" QFormat="true" Name="Title"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Closing"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Signature"/>
<w:LsdException Locked="false" Priority="1" SemiHidden="true"
UnhideWhenUsed="true" Name="Default Paragraph Font"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text Indent"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Continue"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Continue 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Continue 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Continue 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Continue 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Message Header"/>
<w:LsdException Locked="false" Priority="11" QFormat="true" Name="Subtitle"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Salutation"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Date"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text First Indent"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text First Indent 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Note Heading"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text Indent 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text Indent 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Block Text"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Hyperlink"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="FollowedHyperlink"/>
<w:LsdException Locked="false" Priority="22" QFormat="true" Name="Strong"/>
<w:LsdException Locked="false" Priority="20" QFormat="true" Name="Emphasis"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Document Map"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Plain Text"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="E-mail Signature"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Top of Form"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Bottom of Form"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Normal (Web)"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Acronym"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Address"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Cite"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Code"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Definition"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Keyboard"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Preformatted"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Sample"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Typewriter"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Variable"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Normal Table"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="annotation subject"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="No List"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Outline List 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Outline List 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Outline List 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Simple 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Simple 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Simple 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Colorful 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Colorful 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Colorful 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 6"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 7"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 8"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 6"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 7"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 8"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table 3D effects 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table 3D effects 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table 3D effects 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Contemporary"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Elegant"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Professional"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Subtle 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Subtle 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Web 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Web 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Web 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Balloon Text"/>
<w:LsdException Locked="false" Priority="39" Name="Table Grid"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Theme"/>
<w:LsdException Locked="false" SemiHidden="true" Name="Placeholder Text"/>
<w:LsdException Locked="false" Priority="1" QFormat="true" Name="No Spacing"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading"/>
<w:LsdException Locked="false" Priority="61" Name="Light List"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 1"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 1"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 1"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 1"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 1"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 1"/>
<w:LsdException Locked="false" SemiHidden="true" Name="Revision"/>
<w:LsdException Locked="false" Priority="34" QFormat="true"
Name="List Paragraph"/>
<w:LsdException Locked="false" Priority="29" QFormat="true" Name="Quote"/>
<w:LsdException Locked="false" Priority="30" QFormat="true"
Name="Intense Quote"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 1"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 1"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 1"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 1"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 1"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 1"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 1"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 1"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 2"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 2"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 2"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 2"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 2"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 2"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 2"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 2"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 2"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 2"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 2"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 2"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 2"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 2"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 3"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 3"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 3"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 3"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 3"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 3"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 3"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 3"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 3"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 3"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 3"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 3"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 3"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 3"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 4"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 4"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 4"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 4"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 4"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 4"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 4"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 4"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 4"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 4"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 4"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 4"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 4"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 4"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 5"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 5"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 5"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 5"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 5"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 5"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 5"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 5"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 5"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 5"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 5"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 5"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 5"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 5"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 6"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 6"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 6"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 6"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 6"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 6"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 6"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 6"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 6"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 6"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 6"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 6"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 6"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 6"/>
<w:LsdException Locked="false" Priority="19" QFormat="true"
Name="Subtle Emphasis"/>
<w:LsdException Locked="false" Priority="21" QFormat="true"
Name="Intense Emphasis"/>
<w:LsdException Locked="false" Priority="31" QFormat="true"
Name="Subtle Reference"/>
<w:LsdException Locked="false" Priority="32" QFormat="true"
Name="Intense Reference"/>
<w:LsdException Locked="false" Priority="33" QFormat="true" Name="Book Title"/>
<w:LsdException Locked="false" Priority="37" SemiHidden="true"
UnhideWhenUsed="true" Name="Bibliography"/>
<w:LsdException Locked="false" Priority="39" SemiHidden="true"
UnhideWhenUsed="true" QFormat="true" Name="TOC Heading"/>
<w:LsdException Locked="false" Priority="41" Name="Plain Table 1"/>
<w:LsdException Locked="false" Priority="42" Name="Plain Table 2"/>
<w:LsdException Locked="false" Priority="43" Name="Plain Table 3"/>
<w:LsdException Locked="false" Priority="44" Name="Plain Table 4"/>
<w:LsdException Locked="false" Priority="45" Name="Plain Table 5"/>
<w:LsdException Locked="false" Priority="40" Name="Grid Table Light"/>
<w:LsdException Locked="false" Priority="46" Name="Grid Table 1 Light"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark"/>
<w:LsdException Locked="false" Priority="51" Name="Grid Table 6 Colorful"/>
<w:LsdException Locked="false" Priority="52" Name="Grid Table 7 Colorful"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 1"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 1"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 1"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 1"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 1"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 2"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 2"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 2"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 2"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 2"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 2"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 2"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 3"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 3"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 3"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 3"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 3"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 3"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 3"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 4"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 4"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 4"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 4"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 4"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 4"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 4"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 5"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 5"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 5"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 5"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 5"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 5"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 5"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 6"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 6"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 6"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 6"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 6"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 6"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 6"/>
<w:LsdException Locked="false" Priority="46" Name="List Table 1 Light"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2"/>
<w:LsdException Locked="false" Priority="48" Name="List Table 3"/>
<w:LsdException Locked="false" Priority="49" Name="List Table 4"/>
<w:LsdException Locked="false" Priority="50" Name="List Table 5 Dark"/>
<w:LsdException Locked="false" Priority="51" Name="List Table 6 Colorful"/>
<w:LsdException Locked="false" Priority="52" Name="List Table 7 Colorful"/>
<w:LsdException Locked="false" Priority="46"
Name="List Table 1 Light Accent 1"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2 Accent 1"/>
<w:LsdException Locked="false" Priority="48" Name="List Table 3 Accent 1"/>
<w:LsdException Locked="false" Priority="49" Name="List Table 4 Accent 1"/>
<w:LsdException Locked="false" Priority="50" Name="List Table 5 Dark Accent 1"/>
<w:LsdException Locked="false" Priority="51"
Name="List Table 6 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="52"
Name="List Table 7 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="46"
Name="List Table 1 Light Accent 2"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2 Accent 2"/>
<w:LsdException Locked="false" Priority="48" Name="List Table 3 Accent 2"/>
<w:LsdException Locked="false" Priority="49" Name="List Table 4 Accent 2"/>
<w:LsdException Locked="false" Priority="50" Name="List Table 5 Dark Accent 2"/>
<w:LsdException Locked="false" Priority="51"
Name="List Table 6 Colorful Accent 2"/>
<w:LsdException Locked="false" Priority="52"
Name="List Table 7 Colorful Accent 2"/>
<w:LsdException Locked="false" Priority="46"
Name="List Table 1 Light Accent 3"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2 Accent 3"/>
<w:LsdException Locked="false" Priority="48" Name="List Table 3 Accent 3"/>
<w:LsdException Locked="false" Priority="49" Name="List Table 4 Accent 3"/>
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<br />
<div class="MsoNormal" style="text-align: justify;">
It was a dark and stormy night.<span style="mso-spacerun: yes;"> </span>Ten jerks find themselves in an old, dark
house, and weird things start to occur.<span style="mso-spacerun: yes;">
</span>This is the premise for Mario Colucci’s <i style="mso-bidi-font-style: normal;">Something Creeping in the Dark</i> (aka <i style="mso-bidi-font-style: normal;">Qualcosa Striscia nel Buio</i> aka <i style="mso-bidi-font-style: normal;">Shadows
in the Dark</i>), and this set up, if nothing else, is one of the most clichéd
of the horror and mystery genres.<span style="mso-spacerun: yes;"> </span>The
reason is obvious.<span style="mso-spacerun: yes;"> </span>Storms act as visual
portents, bad omens of things to come.<span style="mso-spacerun: yes;">
</span>They also give dramatic tension to scenes, because the characters are
usually a bit stressed from the effects of the storm (the dangers of driving,
being stuck out of doors in the rain, etcetera).<span style="mso-spacerun: yes;"> </span>Maybe they bicker more than usual.<span style="mso-spacerun: yes;"> </span>Maybe they’re a bit more anxious or
cranky.<span style="mso-spacerun: yes;"> </span>But, assuredly, they reveal themselves,
because the strain and tumult of the tempest makes them forget their normal
polite facades.<span style="mso-spacerun: yes;"> </span>The director opens this film
with his characters driving through the rain, and many shots are obscured by it,
keeping the viewer off kilter, never quite sure of what they are seeing while
still being recognizable enough.<span style="mso-spacerun: yes;"> </span>Like
the characters, the audience becomes embroiled in the restlessness of the
environment in this way.</div>
<div class="MsoNormal" style="text-align: justify;">
<br /></div>
<div class="MsoNormal" style="text-align: justify;">
Storms also act as a means to
gather a disparate group in one location and see what happens when things go
south.<span style="mso-spacerun: yes;"> </span>Here, the characters wind up in
the manse of the late Lady Sheila Marlowe (a clear reference to Christopher
Marlowe, the author of <i style="mso-bidi-font-style: normal;">Doctor Faustus</i>,
played in portraiture only by Loredana Nusciak), a place that looks as ornately
musty yet still kind of like a medieval dungeon as any ever put to film.<span style="mso-spacerun: yes;"> </span>Rather cleverly, the film gives us an Agatha
Christie-esque layout, and the expectation is that any oddities that happen
will be explained away by the end as the doings of a human.<span style="mso-spacerun: yes;"> </span>It’s a classic weird pulp framework, those
stories that, essentially, became the formula for every episode of <i style="mso-bidi-font-style: normal;">Scooby Doo </i>(and quite a few gialli).<span style="mso-spacerun: yes;"> </span>However, Colucci takes a sharp right turn and
brings the actual supernatural into the mix, and the film plays both sides of
the fence up until its conclusion, even while it tells us flat out that a specter
is involved.<span style="mso-spacerun: yes;"> </span>This is done by the
introduction of Spike (Farley Granger), a “homicidal maniac” whom Inspector
Wright (Dino Fazio) has captured and is bringing to justice.<span style="mso-spacerun: yes;"> </span>This means that the characters can act out
some of their darker impulses, because they have an easy scapegoat.<span style="mso-spacerun: yes;"> </span>For example, Joe (Gianni Medici), the
housekeeper, threatens his girlfriend (Giulia Rovai) with murder, knowing he
can lay it off on Spike, who makes a habit of escaping throughout the
film.<span style="mso-spacerun: yes;"> </span>Sylvia (Lucia Bosé) fantasizes about
seducing and then murdering Spike, a sharp contrast to the dull, bitter
relationship she has with her husband Don (Giacomo Rossi Stuart).<span style="mso-spacerun: yes;"> </span>Basically, the storm washes away all but the
innermost desires of the film’s characters.</div>
<div class="MsoNormal" style="text-align: justify;">
<br /></div>
<div class="MsoNormal" style="text-align: justify;">
<i style="mso-bidi-font-style: normal;">Something Creeping in the Dark</i> is a brooding film, filled with a
sense of doom, and it contains much superficial philosophical musings on
existential matters.<span style="mso-spacerun: yes;"> </span>The characters
recognize their flaws, and the inescapability of their situation traps them
inside themselves (in much the same way that they are trapped in the house).<span style="mso-spacerun: yes;"> </span>They are left to act out their repressions or
be consumed by them (possibly both).<span style="mso-spacerun: yes;"> </span>The
ghost of Lady Marlowe is the impetus for this.<span style="mso-spacerun: yes;">
</span>She passes from character to character, possesses them for a time, and
either kills them or shows them up for what they are.<span style="mso-spacerun: yes;"> </span>Susan West (Mia Genberg) is the flinty
assistant to Doctor Williams (Stelvio Rosi).<span style="mso-spacerun: yes;">
</span>The doctor was en route to perform an emergency surgery, something which
he quickly gets over when he finds out that he won’t get there in time.<span style="mso-spacerun: yes;"> </span>Susan clearly harbors unspoken feelings for
him, and Marlowe provides her the opportunity to express them.<span style="mso-spacerun: yes;"> </span>Yet, after they consummate, Susan doesn’t
feel freed of her emotional constraints.<span style="mso-spacerun: yes;">
</span>She feels violated instead of satisfied, and she rejects Williams’
attempt to console her.<span style="mso-spacerun: yes;"> </span>Rather than
bring them together at long last, the playing out of Susan’s desirous impulses
may keep them apart forever because her agency was taken away (or was her “possession”
an act she now regrets?).<span style="mso-spacerun: yes;"> </span></div>
<div class="MsoNormal" style="text-align: justify;">
<br /></div>
<div class="MsoNormal" style="text-align: justify;">
The filmmakers portray Marlowe’s
ghost via a high angle tracking camera (with fish eye lens) that floats down
hallways, extinguishing lights as it approaches.<span style="mso-spacerun: yes;"> </span>It is an omniscient viewpoint, and Marlowe
is, virtually, God (and a capricious God, at that).<span style="mso-spacerun: yes;"> </span>She toys with her playthings, enjoys making
them dance for her amusement.<span style="mso-spacerun: yes;"> </span>It is also
conceivable that Marlowe’s possession of various characters is her own attempt
at breaking out of her purgatorial/existential prison, of finding some meaning
to the spiritual torment she is in.<span style="mso-spacerun: yes;">
</span>Finding no satisfaction in this, it’s just as easy to kill her toys in a
spiteful, childish lashing out against ineluctable circumstances.</div>
<div class="MsoNormal" style="text-align: justify;">
<br /></div>
<div class="MsoNormal" style="text-align: justify;">
The film is difficult to
recommend, though I really would like to.<span style="mso-spacerun: yes;">
</span>It takes tropes and plays with them, juggling between the corporeal and
the preternatural.<span style="mso-spacerun: yes;"> </span>It is loaded with
style, and Colucci dives into some psychedelia, but he makes it work by
anchoring it within his characters’ minds rather than as some overwrought
visual display to take the audience on a “freak out.”<span style="mso-spacerun: yes;"> </span>The director also takes about a half a page
from Robert Wise’s book (i.e. his direction of the superlative <i style="mso-bidi-font-style: normal;">The Haunting</i>), using suggestion as much
as he does directness.<span style="mso-spacerun: yes;"> </span>It is entirely possible
that human hands are behind the film’s nefariousness.<span style="mso-spacerun: yes;"> </span>It is entirely possible that the human hands
behind the film’s nefariousness are being manipulated by a supernatural
force.<span style="mso-spacerun: yes;"> </span>It is entirely possible that a
malevolent spirit alone is behind the film’s nefariousness.<span style="mso-spacerun: yes;"> </span>And Colucci allows that it may be all three
simultaneously.<span style="mso-spacerun: yes;"> </span>The major problem with
the film is that it is both repetitive and sluggish.<span style="mso-spacerun: yes;"> </span>Spike makes off into the nearby woods and has
it out with the cops not once, but twice.<span style="mso-spacerun: yes;">
</span>The Spike character is also, in my opinion, underutilized, considering
his potential (and Granger’s talent; he does give his all here).<span style="mso-spacerun: yes;"> </span>When the characters aren’t standing in the
living room talking circularly or shooting barbs at one another, they are in
their individual rooms talking circularly or shooting barbs at one
another.<span style="mso-spacerun: yes;"> </span>Interesting ideas are brought
up and then left floating, and the climax is both predictable and a bit silly
in its aftermath.<span style="mso-spacerun: yes;"> </span><i style="mso-bidi-font-style: normal;">Something Creeping in the Dark </i>is a film worth seeing (I finally
made up my mind), though maybe not on a dark and stormy night, because you may
fall asleep during it.</div>
<div class="MsoNormal" style="text-align: justify;">
<br /></div>
<div class="MsoNormal" style="text-align: justify;">
<b style="mso-bidi-font-weight: normal;"><span style="font-size: large;">MVT:</span><span style="mso-spacerun: yes;"> </span></b>Colucci brings a
thoughtful sense to his direction.</div>
<div class="MsoNormal" style="text-align: justify;">
<br /></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-size: large;"><b>Make or Break:</b></span><span style="mso-spacerun: yes;"> </span>The séance
scene is tense and creepy, while being distinctly Italian and a little goofy.</div>
<div class="MsoNormal" style="text-align: justify;">
<br /></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-size: large;"><b>Score:<span> </span>6.5/10</b></span> </div>
Toddhttp://www.blogger.com/profile/17565536760363686390noreply@blogger.com0