A video I’ve just made- HERE
Happy Halloween from Meathook Cinema 🙂
A video I’ve just made- HERE
Happy Halloween from Meathook Cinema 🙂
Yes we know the slasher film conventions. Instead of the most irritating characters to be committed to celluloid explain them to us how about integrate them into the script and make an intelligent horror classic. Instead of the mediocre franchise starter that this is.
Oh and if the film wasn’t bad enough Nick ‘Goth for Guardian readers’ is on the soundtrack.
Not Wes’ finest hour.
An hour and a half I’ll never get back.
1 out of 5
I’ve just made a video about one of my favourite films- the kickass ‘Cruising’ directed by William Friedkin and starring Al Pacino.
Please investigate HERE.
I’ve just made a video/visual and audio love letter to the genius that is Halloween 3: Season of the Witch.
The videos HERE. Enjoy.
Another serious contender for the title of ‘The Most Controversial Video Nasty’ (the film shared that title with The Evil Dead).
And whilst the film does have its shocking moments of lurid horror (yes involving an electric drill) this is more a slow and meticulous study into alienation, the descent into madness and mental illness amidst a gritty 70s New York backdrop. File this movie more under ‘arthouse’ than ‘video nasty’.
Reno is an artist living in an apartment but finding it hard to survive on next to no money with bills arriving and his utilities about to be switched off. He lives there with his two girlfriends (how very bohemian!) and is regularly disturbed in his work and his sleep by the punk (or at least they think they’re punk) band living in the same apartment block. He goes out of his apartment to witness the violence on the street (on one such occasion he witnesses a stabbing) and also watch the homeless (he is seen drawing them in one scene).
This film is like Roman Polanski’s Repulsion transported to 70’s New York. The slow journey into madness is there for all to see- the film even shares the motif of the skinned rabbit with Repulsion. Director Abel Ferrera does an amazing job of depicting the slow building tension that eventually explodes.
It was the film’s UK VHS cover that sparked the controversy in the early 80s. The lurid and graphic artwork was designed to entice the viewer into renting the film whilst it competed with other lurid video cover artwork that also wanted to catch the browsers eye. Initially this backfired- the film was held up by Mary Whitehouse and Graham Bright as some kind of totem regarding the filth that the proles could get their hands on and watch in the privacy of their own homes. Conversely though this worked in the film’s favour- the film was given a platform and free publicity.
And it deserved it- its a great movie. This isn’t all blood and guts but a great character piece. It also serves as a great time capsule of a New York that is long gone. A New York that was on the verge of bankruptcy, is crime ridden and a place of real danger (check out the scene where Reno sees that his friend is sleeping rough. They are suddenly interrupted by a stampede of youths running riot on the streets who they hide from). It also captures the music scene of New York at the time- punk turning into No Wave/New Wave. There is even a trip into Max’s Kansas City.
Mary Whitehouse didn’t want you to see this. Arrow Video have just announced the release of a 4K Blu ray. This I can’t wait for. The film is finally getting the kind of restoration that it deserves after spending far too long in Public Domain limbo. The film’s legacy will now continue to grow.
And I’ll always side with Arrow Video over SS Whitehouse when it comes to film.
You can buy Arrow’s edition of Driller Killer HERE
4 out of 5..
A man (called David Mann) is travelling to meet an appiontment but is stalked, driven insane (pun not intended) and almost killed by a driver in a huge battered old truck.
This movie is amazing. Firstly, it was directed by Steven Spielberg for TV which makes the fruits of his labour even more staggering. So much innovation, imagination and art was poured into this project whereas many directors of TV movies would have treated them as a low art form and a way of making an easy quick buck.
This is like Jaws on the road. Instead of a shark persuing the hapless prey theres a truck. The amount of ingenuity that Spielberg used to film in the sea years later he here uses when filming speeding vehicles on desert highways. The cinematography is flawless and could serve as a tourist film for California if the events depicted weren’t so frightening.
The way that I read the film was that the truck is a test to Mann’s manhood. Up until the encounter with the truck Mann hears on the radio a discussion regarding modern gender roles and how men in general are now emasculated and subserviant to women. One caller says that his trick when dealing with his wife is to ‘play meek’. There is also a phone call with Mann to his wife in which he apologises as the previous night they had been a party at which a man had been a bit too ‘hands on’ with her. Mann had done nothing and this had caused his wife to argue with him and question his masculinity. There is also a conversation with a garage owner. ‘You’re the boss!’ says the garage owner to whch Mann replies ‘Not in my house I’m not!’
The truck in this film is a test to this masculinity. The modern man (or Mann) who has had his baser instincts of being a hunter/gatherer eroded by the modern world is going to be pushed to the limit. Thus certain events happen during the film- the truck won’t let Mann pass when its travelling too slow. The one time he motions for Mann to pass it is to make him run into oncoming traffic in the other lane. There are also moments in the film where Mann thinks hes gotten rid of the truck only to find it hiding in wait further on in his journey. The truck driver wants to control, manipulate and wear Mann down. Will Mann play meek and accept this or fight back?
There is an amazing sequence in which Mann retires to a roadside cafe as a respite to the onslaught from the truck. When he comes back out from the bathroom hes just used he sees to his horror that the murderous truck is parked in front of the cafe. The driver must be in the cafeteria as Mann and so his paranoia goes off the scale! This sequence is amazing- are the other patrons really looking around at Mann or is he just imagining it? Can he eliminate the patrons and single out the truck driver who is trying to kill him? This is one of the tense, nervous and nerve wrecking sequences I’ve ever seen in a film.
The film even feels like a live action horror version of a Roadrunner cartoon during one scene. When the truck starts pushing Mann’s car into a level crossing which is closed and with a train travelling through it the sheer surreality of the whole situation can be seen. This scene was added to the TV movie to make it into a full length film to be released in cinemas in Europe.
The ending of the film involves Mann defeating his adversary but by sacrificing his own car. Mann jams his briefcase full of paperwork onto the cars accelerator so that it keeps on running. The truck crashes into the car but on doing so both run off the edge of a cliff. The dinosaur roar that is heard when the truck is falling and crashing into the rocks down below was later used by Spielberg in Jaws to accompany the death of the shark.
Spielberg seems to be implying that when man (Mann) strips away all of the trappings of modern life (symbolised by his car, his briefcase that is indicative of his job) then he possesses what man has always possessed- ingeuinity, intelligence and a strong survival instinct. No amount of watering down of these qualities by modern societal forces can erode this.
This film is amazing as are so many of Spielberg’s TV movies- and indeed his movies made for the cinema. This has been released on Blu ray thankfully. Now if only Steven would oversee the release of the brilliant Something Evil then I would be truly happy.
I’ve just created a video of my Top 10 Prisoner Cell Block H characters.
The videos here.
For those of you who don’t know I’m a huge Prisoner fan. I actually think its the best TV programme ever made.
Yes, this is Meathook Cinema but with Prisoner being Cult TV at its finest I have no problems with extolling its virtues.
Coming soon- a mammoth article on the programme and why its so vital to anyone with a taste for brilliant popular culture.
Now, I’ll have ten bucks on Fancy Nancy running in the 2.10 at Kiteton. I hope you’re not a piker…
Probably Argento’s best movie in my opinion.
A successful writer Peter Neal is visiting Rome from America. He becomes aware that a serial killer is on the loose and strongly influenced by his work.
This film is staggeringly good. Prepare to be astounded by the tracking shot of the outside of the apartment block- one of the best shots I’ve ever seen in a film. Also, the scene where a characters arm is chopped off with an axe and her blood completely redecorates a wall. Directed with the usual flair and attention to detail and aesthetics that you’d expect from The Master.
This film also features an amazing turn by the legend John Saxon. Argento manages to coax a wacky, insane performance out of the actor which steals the show. Look out for the scene where he shows how his hat stays on no matter what.
The ending is a master stroke also. I’m certainly not going to spoil the surprise here but its a corker and doesn’t feel forced or contrived.
This film came a cropper in Britain- it was mixed up in the 80s Video Nasties moral panic and was banned for years. There seems to be three vile repercussions of the DPP list- obviously the fact that it prevented the viewer watching what they wanted but also that masterpieces like Tenebrae were banned and much lesser films were immortalised. Wrongly so- some of the films on the lists should have disappeared without a trace otherwise.
Even the poster for Tenebrae caused a commotion. The original poster features the blood from a neck wound on a female victim. This was too much for London Underground who said that they wouldn’t display the posters as they were too graphic. Hence the red trickle of blood was instead replaced by a red ribbon for the UK posters and even the soundtrack art here.
5 out of 5
A documentary recalling the rise and fall and rise again of the slasher film genre.
Whilst the main players are here (John Carpenter, Wes Craven, Sean Cunningham) there aren’t any major revelations or anecdotes that haven’t been heard before.
Also key works are omitted that had an influence on the genre- where is Blood Feast?
This doc is a good introduction to the genre for a beginner horror hound but is a bit old hat for more seasoned pros.
2 out of 5