WARNING- The ending of this film is so sugar coated that you will become diabetic.
This film is basically saying ‘Life sucks whether you have a facial deformity or not’.
Julia Roberts is great (as per). Owen Wilson is in a film that isn’t an utter embarrassment for once (way to go).
But the film feels like an overlong episode from some bright and breezy TV show. Theres no real depth even though the subject of someone being different could be examined perceptively in relation to human nature and people’s vicious pack mentality.
Theres also some vile stereotyping going on here. All the bullies within the film are white and stinking rich. The goodies either have a facial deformity, are related to him, aren’t white or are a member of another religion (the Jewish headmaster). Social justice filmmaking. Urgh.
If John Waters had made this film, the lead character would have accentuated his unique looks, dressed in drag and owned this film. Maybe Mr Waters could remake this. In fact I think hes already made that film- it had songs, dance routines, Divine and was called Hairspray.
Watch Mask instead. You get Cher and bikers thrown in as well.
I had the honour and privilege to be able to see Predator (1987) in 4K and on the big screen the other day. It felt like visiting an old friend.
Predator belongs in Arnie’s Imperial Phase which for my money runs from the Conan films up until Red Heat. At this time he was making action movies that defined the genre, pushed its boundaries but fully exploited their future status on the medium of video- in other words they were violent and gory as hell.
Predator works on so many different levels.
The film is the perfect example of a comic book come to life on celluloid. The film possesses the kind of exaggeration and imagination that normally couldn’t satisfactorily be translated to film. Predator shows that these forays into the surreal and its larger than life action sequences can be successfully conveyed. All of the characters could equally be seen in comic book panels as much as they could be on film. The film is so gung-ho that it feels like a war comic crossed with a shoot em up video game at times.
The Predator’s thermal vision that the audience is privy to is also a comic book device.
Another sequence that is reminiscent of a comic book is when Dillon’s arm is cut off but continues to fire a gun.
Also, just as action and horror movies were massively successful on video in its infancy and its growth as a medium, Predator combines elements of both genres and turns them up to 11. The sequence involving Dillon’s arm is a great example of a sequence that appeals to both action and horror fans.
In fact the film is extremely subversive as it starts as a jungle commando action vehicle but then suddenly changes direction. This could have failed to work and come across as forced and completely contrived if handled in the wrong way. But instead it works brilliantly.
The horror and more specifically the slasher conventions within Predator show that the film wasn’t just appealing to the fans of action movies. The Predator’s handiwork is shown as the jungle crew discover the skinned bodies of others hanging upside down. The crew soon find themselves to be the quarry rather than the hunters in the same way that a group of teenagers would be in a stalk n slash movie. They are easy meat.
The film also contains the same kind of kills found in a slasher movie with skulls, intestines and exploding heads all featuring.
Another slasher staple that features in Predator is the unmasking of the killer which of course prompts Dutch to exclaim ‘You are one ugly motherfucker!’ The unmasking sequence is especially a staple of the Friday 13th films in which Jason Voorhees is regularly unmasked to reveal his true face.
Predator also goes the extra mile when it comes to its action genre ingredients. There are guns and muscles aplenty. But where Predator tries to excel when it deals with these components, in doing so it instantly becomes very very homoerotic.
There must have been something distinctly gay in the air in some Hollywood quarters in 1986/7 as two other unintentionally/intentionally homoerotic films were also made around the same time- Top Gun and A Nightmare on Elm Street 2: Freddy’s Revenge.
In fact, Predator is so proudly masculine, homoerotic and therefore camp that to take any of these variants further would topple the film headlong into the genre of gay pornography.
It doesn’t take a lot for the ultra masculine to turn ultra homoerotic and camp. Let me illustrate- think of a clockface as representing all of the different variants of masculinity- 1 represents the camp, effete and effeminate (two examples are Quentin Crisp and Julian Clary) and 12 represents the ultra masculine, musclebound and testosterone soaked (Arnie, your average MMA fighter, the larger WWE wrestlers). There isn’t that much of a distance from 1 to 12 on the clockface is there? Also, just because a man might be camp or effeminate doesn’t mean that he isn’t without balls of steel. Do you think it was easy for Julian Clary and Quentin Crisp to be openly gay and effeminate when they first came to light in the public gaze? No- it took guts and moral fortitude. They are far from being submissive sissies. There are paradoxes at the more extreme positions on the clock.
Whilst number 12 on the clockface is seen as the most masculine its also, paradoxically very camp and homoerotic also. The male who wishes to assert his masculinity more potently will build up his physique and muscles. To display this ‘uber masculinity’ he will expose his body more thus paradoxically instantly appeal to the some members of the same sex. He wants to accentuate his masculinity and has at the same time become more camp, desirable and homoerotic because of this.
This heady brew of the masculine and homoerotic is first seen in the film when Dutch comes across his old friend Dillon again. A handshake turns into an epic display of biceps and a very manly (and very camp) arm-wrestle. You could be forgiven that this is in fact some kind of 1980’s gay porno movie.
The camera seems to relish and luxuriate upon the male cast in the film. There are many shots of gleaming muscles, sometimes clutching huge guns. Predator is a glistening, sweaty jerk-off fest for the gay gaze.
The bead of sweat rolling down the ample chest of the character of Billy is one such example of this. The same character later on in the film decides to ‘take it like a man’ by slitting open his well built chest to prompt the predator out of hiding so that they can go one on one. Its a startling display of machismo that is instantly appealing to the action fan and those who are sexually aroused by such testosterone fuelled exhibitionism. ‘Taking it like a man’ means something very different in gay circles. The pitcher becomes receiver. He decides to ‘receive’ the alien.
Within the film there is also the spectacle of the slow striptease of Dutch. Throughout the course of the film Arnold appears in varying degrees of undress and displays more flesh and more muscle. There is also an unbelievable shot when the crew arrive in the jungle. Dutch crawls through undergrowth with the camera just above his body as he does this, resplendent with an amazing shot of his arse. Ever wanted to know what it would be like to be on top of the film’s lead character? The camera realises this for the spectator.
Arnold’s striptease cumulates with his character covered in mud (!) with a lit torch in one hand and giving a manly bellow to the heavens to alert the alien that he is ready for battle. Man vs alien- and no ugly extra-terrestrial is going to kick Arnie’s alpha-male butt. Whilst this scene is intended not only to signify the potency of the masculinity on display its also the ultimate in homoeroticism and camp iconography- a distillation of the whole film in one sequence.
Theres also the bromance/relationship between Mac and Blain. After Blain is killed there is a palpable longing on the part of Mac which suggests that he misses him for being more than just a fellow soldier. This pining between two male characters is reminiscent of Peter being distraught by the passing of Roger in George A Romero’s Dawn of the Dead. Or the ending of Brokeback Mountain. Yes, nothing gay here.
In fact Blain recalls the ‘macho man’ archetype in the same way that The Village People’s leather-clad biker does- moustache, sexually potent (Blaine describes himself as a ‘sexual tyrannosaurus’), whilst looking down on others who aren’t as masculine. Blaine refers to those people as ‘slack jawed faggots’ the way a leather fan might look down on the camper constituents of his community. Also, notice the use of the word ‘faggots’- Blaine doth protest too much. Or hes just trying to deflect from the obvious conclusions.
With the character of Blaine there also the issue of guns, the size of those guns and the ‘gun as phallus/symbol of manhood’ baggage that is imbued with such imagery. Just as Blaine has stated that he is a ‘sexual tyrannosaurus’ he qualifies this with the gun he carries- a huge gun that can fire countless bullets at once and has a barrel that rotates as its doing this. Blaine calls the gun ‘Old Painless’ and at one point says that its time to bring it out of its bag. This recalls the way a man might say its time to ‘unleash the beast’. Never has a gun represented a penis so obviously.
Also within the film there seems to be a celebration of gun size as an extension of manhood for each character. There are many shots of gleaming muscles and equally huge guns held proudly by each character. Theres also the incredible scene in which the muscled components of the crew fire their guns into the jungle when they happen to see the alien. The scene goes on for way too long, prompting the audience to question why this is. A joyous piece of action genre abandon? A display of unabashed masculinity? Or the film’s equivalent of a circle jerk? This scene is as close as the film can come to each character having his cock out to show who really is King Dong.
In fact the film early on introduces a female character into the proceedings to seemingly try to stop the film being a solely male musclefest. Shes also introduced to make the film homosocial- a female distraction from the otherwise all male action and to show that, ”y’know, we’re not actually faggots or nuthin’ ”.
Anna Gonsalves however isn’t the kind of weak and spineless female character who requires a man to save her from any encroaching danger. She is resourceful and an equal. She spends her formative scenes trying to escape from the crew but then is seen as someone more than willing to pitch in to save herself and the lives of the others in the crew from the predator. She is self-sufficent and with this all male crew, thats pretty much for the best. Saving women would take away from their self-love and exhibitionism.
Ultimately what was Predator’s demographic and who it was made for- the laydeez? Of course not. It was made for male action and horror fans. This vehicle of muscles and macho posturing with the odd splatter scene was made for men. It makes the film even gayer/homoerotic.
Even the behind the scenes stills from Predator were homoerotic. Hers a picture of Arnie holding a huge snake.
But whilst most of society was a homophobic cesspit when Predator was released the world seems to have changed since. Homophobia is thankfully being seen as unjust, outdated and as never being valid in the first place. Arnie is now a successful Republican politician. Whilst everyone was celebrating the amendment that allowed Gay Marriage in America people on Facebook were changing their profile pictures so that they had a rainbow flag filter. Arnie did the same. Most welcomed this. However some old school action fans did not. Arnie’s comeback was epic.
Things really were changing. Just as Arnie was finally embracing gay marriage and equality, was it possible that he knew that Predator was in fact a homoerotic musclefest all along? It would be great if someone from the Predator crew came forward to say that that this was actually the intention. Just imagine the uproar!
As its International Men’s Day I thought I’d review a documentary that I saw a few days ago.
How did I learn of The Red Pill? Thats a journey in itself…Someone tried to bully me in my place of work for being openly gay (note the word ‘tried’. I fought back and have never seen myself as a victim. I’m a fighter). However, in the midst of what was happening to me I began to suffer from clinical depression. The panic attacks that I had kept at bay since the age of 13 were now out of control and I began to experience suicidal thoughts on a daily basis.
It was whilst suffering from all of this that I began to research the issue of suicide and learnt that 75-78% of suicides are male. This fact shocked me massively.
And so from looking into male suicide I learnt about The Red Pill. The title is actually a reference to the movie The Matrix ”in which the protagonist is offered the choice of a red pill, representing truth and self-knowledge, or a blue pill representing a return to blissful ignorance”.
I knew that the film was seen as controversial to some people with some feminists wanting it to be banned.
So is this film about the Men’s Rights Movement a rancid cesspool of anti-feminism rhetoric, a film that only conveys views from rape enablers that are fundamentally anti-women? Of course not. The film is amazingly balanced with Men’s Rights activists finally given a platform as well as feminists on the same topics. I had never heard these Men’s Rights advocates speak before which is also very telling. The audience is granted a modicum of intelligence with which they can make up their own mind.
Topics raised and discussed include male suicide, the lack of funding for male health conditions such as testicular and prostate cancer, the custody battles that fathers go through, the male victims of domestic abuse…the list goes on. These are all issues in which there is no equality between the sexes with men coming out disadvantaged.
The documentary itself is amazingly made by filmmaker Cassie Jaye. She presents a well rounded and perceptive documentary that is balanced, fact-based and free from hysterical amateur dramatics. The documentary flows effortlessly and you feel like you want to see more when it finishes. Thankfully there are uncut and unedited interviews from the film on YouTube. And whilst you’re on YouTube look up Cassie Jaye’s videos. Especially of note are the interviews given to the Australian media who had never even seen the film (they claim that Ms Jaye hadn’t supplied the film for them to see when in fact she had and several times. Ignorance is bliss, Andrew O’Keefe) but called it misogynistic and hateful. This is clear proof that they had never seen the film as The Red Pill is neither.
But it seems that others are also taking The Red Pill. Taste of Cinema had a list of their favourite documentaries on their website recently. The Red Pill featured in that list. And it fully deserved to be there.
I’ll finish this review by reiterating the fact I quoted earlier. 75-78% of suicides are male. 75-78%! These conversations regarding men’s issues need to be had before there are many more casualties. And I speak from very bitter experience. The Red Pill starts this process of discussion and discourse in a brilliantly balanced and intelligent way. Thank you, Cassie Jaye.
There was a long standing tradition for Turkish remakes of huge Hollywood blockbusters. These remakes have miniscule budgets and are made quickly so that they can be released soon after the original.
The Exorcist was remade in Turkey for a tiny proportion of the original’s budget. This means that we get hilarious special effects, truly garish decors and the worst hairstyles ever committed to celluloid.
But whilst we know what we’re getting this film is a true cult movie through and through. It might be cheap and tacky but its also what a lot of more expensive films struggle to be- utterly charming, engaging and a pleasure to watch.
Let me leave you with a question- would you rather watch a film like this or a Hollywood studio multiplex movie that has a budget of millions but also has characters you couldn’t care less about, an uninspired plot and CGI that makes the film look more like a computer game?
I hope these Turkish remakes get restored and released on Blu ray. I’d buy them.
A young girl has sex with her boyfriend only to be informed that hes passed on a curse to her. From now on she will be followed by a supernatural entity. If the entity reaches her it will kill her. Only she will be able to see it. The only way to get rid of the curse is to have sex with someone else and pass it on.
Any modern horror film that isn’t a remake or reboot is a bonus. This film’s premise is innovative and imaginative.
But I just didn’t connect with any character or care what happened to them. The film feels like a series of teenage dramatics that become tiresome after a while.
The film also feels like some update on the after school special which tackles an issue of the day. Don’t screw around or THIS will happen to you! Give me Jason Voorhees as the punisher of the teenagers who are doing the do before marriage anyday.
But, as I said before, at least this was an original idea- a rarity in the horror genre these days.
A childrens game goes horribly wrong and a child falls backwards from the first floor window of an abandoned building and dies. The remaining kids vow to never tell anyone about what happened. Its now 7 years on and the children in the gang are preparing for their prom night. They one by one start to receive menacing phone calls…
I first saw this and expected to see a C grade slasher movie- one of the many mediocre movies made in the wake of Halloween.
Boy, was I wrong! Theres loads to love about this movie. Firstly, Jamie Lee Curtis is in it. Shes such a great actress that if shes on the cast list you can expect a stunning performance. Not only is she another kick arse Final Girl but we also get to see her disco moves. She also has a great exchange with the school bitch. This features some fantastically camp lines (‘Its not who takes you to the prom. Its about who takes you home!’) Jamie wins and has the last word in this verbal volley naturally.
Another great feature of this film is that its actually very scary in the appropriate scenes. The killer ringing the teenagers one by one is a scene so threatening and jarring that its a sequence that is one of the scariest I’ve ever seen in any horror film. The simplicity of the scene (just a hand, a pencil, the school yearbook, the list of names and the phone) is extremely effective and downright chilling.
The film is also brilliantly chilling as it touches on the subject of paedophilia- a local sex offender is known to the police and they think he is the reason for the dead little girl. They hound him to such a degree that he crashes his car which bursts into flames. The police had no evidence that it was him but hey, hes so disfigured that he now can’t commit anymore crimes and is placed in an asylum.
And there are the actual kills and the scenes they are contained within which are directed with aplomb. These are very tense and unnerving. OK so this certainly isn’t John Carpenter’s Halloween but these scenes are still very good for a slasher movie.
With Halloween being a major influence on this film there are also the atypical scenes of the female characters talking about, y’know, girls things- boys, hair, going to the prom etc etc. In fact in the book Blood Money it has been suggested that there were two types of advertising for this film- one that dwelt on the themes thought to be more appealing to a young female demographic (the disco music, the relationships and drama within the film) and one that dwelt on what was thought to appeal to the guys- namely the tension, suspense and kills.
The film really does feel like a cross between Halloween, Carrie (the prom setting and the potential for carnage in this setting) and Saturday Night Fever- this film has disco stomps and a brilliant disco soundtrack that strangely provides a brilliant and sinister backdrop to the murders.
Another great feature is that of the character of Slick. Just like the bawdy British comedies of the 1970’s featured the most unlikely candidates for male eye-candy who somehow get the women, so does this film. Slick thinks hes a modern day babe magnet. I’ll leave it up to you to agree or disagree with his self perception.
This movie also has one of the most hilarious characters in horror history- look out for Mr Sykes played by Robert Silverman (he would also appear in Scanners and Jason X). Is he the killer or a far too obvious red herring?
Prom Night is far too good than a Halloween rip-off slasher movie deserves to be. If Halloween is A+ then Prom Night is B+
If you’re going to buy this film please look out for the Region 1 Blu ray from Synapse Films. The best transfer and bonus features I’ve ever seen for ANY Blu ray title. Stunning.
Three schoolteachers stop at a garage on their way to a baseball game at Dodgers Stadium. Their car isn’t running properly and so they need to look at it and maybe try to fix it. But thats not their biggest obstacle- they come face to face with Charlie Tibbs and his girlfriend- a couple of killers who are accused of murders in Arizona and are on the run. Charlie has a gun and insists that they work on the car so that he can get away in it.
This film is like a play that has been filmed- there is primarily one main setting (the film reminded me of Cujo in that respect). But this doesn’t mean that the film is static and boring. The one setting is used innovatively and this means that the film is directed with verve. There is also a sense of ‘us versus them’ with the schoolteachers in their Sunday best (shirts, ties or a nice conservative dress) whilst Tibbs is looking every part the juvenile delinquent in his denims and sporting a greasy quiff. Tibbs is obviously based on real-life serial killer Charles Starkweather.
This film is brilliant- will the teachers get away, when and how? The film ramps up the tension and suspense and never lags- theres no scenes that feel unnecessary. The film is also very extreme for its time. It was even rejected by the BBFC when it was submitted for classification in 1964.
Arch Hall Jr in the lead gives an extraordinary performance as Tibbs- the Sadist in the title. His face and facial expressions are almost other-worldly and supernatural as is his portrayal. Quite extraordinary.
Watch out for the poignant scene in which the schoolteachers hear on the radio the baseball game they should be at instead of fighting for their lives.
Theres also some innovative direction within the film- it almost feels like Tibbs’ gun in the first half of the film is an actual character.
I didn’t know about this film until recently. I’m glad I do now. Why isn’t this more widely available on DVD and Blu ray?
Apparently this film is a favourite of director Joe Dante’s- a seal of approval anyone would be proud of.