The Texas Chain Saw Massacre- 31 Days of Halloween- Day 1

The Texas Chain Saw Massacre- 31 Days of Halloween- Day 1

I first saw this classic when I was a late teen and studying for my A-levels in college in 1994. My friend taped this for me on the same tape as Last House on the Left. With it being copied from a copy the picture and audio were crappy but somehow this added to the experience of watching a film that at that time was banned in the UK.

Watching the film for the first time was a confusing experience. I knew that it was a powerful film regarding the horror aspect of the movie but I wasn’t expecting the humour that the film contained. It truly is gallows humour but its there loud and clear. ‘Look what your brother did to the door!’ barks the old man. ‘Get back in that kitchen!’ he then barks to Leatherface in a bizarre twist on the maternal role of the extended family.

I also wasn’t prepared for the surreal content I was seeing. The end dinner scene with Sally tied down to an armchair that literally had arms. The frantic shots of her eyes and indeed the veins in her eyes along with the buzzcut music that made up part of the soundtrack.

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The eyes have it- Sally’s hysteria

It took me a while for my brain to process and comprehend these components. I then came to grips with the films intention- these elements were like an E.C. Comics publication. If The Texas Chain Saw Massacre was one of those comics then there would be a lurid illustration of a terrified Sally on the front cover strapped down to the chair during the dinner scene with face shots of the ghoulish cast of The Old Man, The Hitchhiker and Leatherface buried in a side panel.

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The armchair dinner scene

Indeed, Tobe Hooper has acknowledged the influence of E.C. Comics on the film’s vision. ‘I started reading [EC comics] when I was about seven,’ he told Cinefantastique in 1977, ‘I loved them … Since I started reading these comics when I was young and impressionable, their overall feeling stayed with me. I’d say they were the single most important influence on The Texas Chainsaw Massacre’.

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An example of an E.C. Comic- gaudy, surreal and terrifying in equal measures

The film’s beginning is a well paced introduction to the film’s upcoming events. With hindsight, whilst the build up to the first kill is well paced and crammed full of significant events you realise that this reletively gentle when compared with whats to come. The full horror of the ‘Saturn in Retrograde’ will be discovered at full pelt soon enough. The asking for directions to the old house resplendent with the old drunk/seer sat in a tyre on the ground, the encounter with the garage owner and the humour of the car window screen washer, picking up the hitchhiker and the first interaction with a member of the family, the rundown old Hardesty house with the spiders in the corner of one of the rooms, the old creek that has dried up long ago…most horror films would love these kind of events, visions and plot elements. The audience is already engaged and fascinated.

But then The Texas Chain Saw Massacre isn’t any horror film. With the character of Kirk entering the cannibal’s house a shocking chain reaction of carnage, insanity and psychosis begins. These elements are turned up to 11 and don’t drop down again for the rest of the film’s duration. This film has murder on its mind and will do everything to satisfy this need.

This movie is a physical, mental and emotional assault on the senses not just for the characters but also for the audience. The teens learn this on entering the cannibal’s house. But its not just the teens who have their senses assaulted. So does Leatherface. Hes just as confused, scared and freaked out by these strangers invading his home. But its the teens who are truly powerless and suffer the most. The dinner scene in which Leatherface starts pawing Sally’s hair but then invades her personal space by sticking his made-up dead skin mask into her face is intrusive, disgusting and violating. Tobe Hooper knows this and so turns this into a POV shot so that the audience gets to fully comprehend what the lead character is enduring at this time.

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In your face. The invasion of personal space and assault on Sally and the audience’s senses

At this point Sally starts gnarling, growling and crying as something emotionally primeval is brought to the surface. Its here that I’d like to celebrate the Marilyn Burns’ performance. Every time I watch this film her acting leaves me breathless. This feat has to be seen to be believed (like the film itself) as she portrays disbelief, terror, resilience and ultimately insanity. I realise that these are just words and do nothing to fully encapsulate this performance. How good is her portrayal of someone steered towards madness? Compare the end of this movie in which the bloodied, bruised and battered Sally is now being safely driven away in the back of a pickup truck to Dana Kimmell’s attempt at trying to portray insanity at the end of Friday the 13th Part 3. One is masterful, the other is half hearted and utterly unconvincing. The bad emphasises the brilliant.

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Insanity lived rather than acted. The greatest performance in horror history?

In fact, whilst most horror movies dream of one great performance that goes the extra mile, The Texas Chain Saw Massacre has at least five. Burns’ performance is one. The performances of the actors portraying Leatherface, The Hitchhiker, The Old Man and Grandpa all pull out the stops and are batshit crazy and brilliant for it.

Another major reason why I love this film is because no backstory or explanation is given for the family or the events depicted herein. There are clues- the gruesome sculptures made of bones and body parts in the family home (taken from the real life case of serial killer Ed Gein on which the film is loosely based) suggest previous victims, conquests and adventures. The talk of family members being employed by the
local slaughterhouse and being the best at their job also suggests part of the family’s history (and their possible unemployment- the Hitchiker says that the airgun used to kill the animals ”is no good. It puts people out of jobs…”). The Old Man has a garage business as ‘he takes no pleasure in killin’ ” as is later disclosed in the later dinner scene. But there is no clear history given for the family or the events that the film depicts. This lends a massive sense of mystery to the film and gets the audience something to think about long after the film has ended. Explanation would kill this film as it would kill nearly all of the great examples of any genre. I just wish the filmmakers who inflict remakes on the world would take heed of this fact.

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‘Say (head) cheese!’ A family snapshot. No backstory, all the better for it

On closing this review I’d just like to speak about the availability of this film on home media. I watched the film for this review on Dark Sky’s 4K blu ray. I’ve never seen the film look or sound so brilliant. I never expected this film to get such a loving restoration treatment- but it has and for that I’m eternally grateful. This film certainly deserves it. This release is a far cry from the first time I saw the film on a grainy fifth generation VHS copy.

If you’re a horror fan and haven’t seen this then you can’t call yourself a true fan of the genre. If you’re a fan of film in general the same applies. Let this film get under your skin (pun not intended). Your life will be better for it.

Meathook Cinema Archives- ‘Black Christmas’ (1974) UK lobby cards

Meathook Cinema Archives- ‘Black Christmas’ (1974) UK lobby cards

Remember lobby cards?  Scenes from film displayed under the main cinema poster. I remember poring over these cards outside my local cinema (The Odeon in York, England) as a kid and trying to imagine the scenes depicted. I even had nightmares looking at some of the posters and lobby cards for certain horror films. And this is where my love of horror and cult cinema began. Happy days.

I bought these lobby cards for £1 (yes, £1!) from a film memorabilia store in London. The kind of play where you would spend hours and was run by reasonable people who don’t overcharge. I picked up loads of film related goodies here including more lobby cards. I’ve just scanned most of these and so theres more on the way. Stay tuned!

Hanging On The Telephone

Hanging On The Telephone

The telephone has always held sinister connotations for me. I grew up in a time before mobile phones, when everyone had a landline and telephone systems were positively archaic. This primitive system meant that calls couldn’t be traced easily. This was perfect for every nutjob, crank or serial killer to call you. And this happened to people a lot! These kind of calls were a regular occurrence in our neighbourhood and indeed everywhere.

I also remember reading as a kid an article in Reader’s Digest about how everyday and seemingly innocuous appliances had traumatic effects on a few unfortunate select people. One involved a woman who always went into panic on hearing a telephone ring. This was because on answering the phone years before at her home she could hear her kidnapped husband being tortured.

Its interesting how this phenomenon of different kinds of telephone terror manifests itself in the horror films of the time. This is a further example of art imitating life and vice versa.

One prime example of telephone trauma in the horror genre occurs in the film Black Christmas. This film is seen as a forerunner of the slasher film as it was made in 1974 and concerns a group of sorority girls who are bumped off one by one in the sorority house they are having a party in before they all leave the next day for Christmas.

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Prior to this they receive a series of threatening and disturbing phone calls from the killer. In fact to call these calls disturbing is a massive understatement. These calls are so horrific that in the original UK cinema release of the film these calls were cut out of the film. Heres one example.

Another great example of the telephone used to get use is in the masterpiece Halloween by director John Carpenter.

Carpenter lovingly depicts a quintessential small town in America called Haddonfield in Illinois. Everything seems to be completely normal here in an almost Norman Rockwell type way. However the town holds a dark secret. Years before an 8 year old boy called Michael Myers killed his sister Judith with a butcher knife. And on Halloween in 1978 he has escaped and is returning home. And not to go trick or treating.

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The telephone establishes the normality painted by Carpenter regarding the town. Teenage girls call their friends to gossip and idle away the time. They also call their boyfriends like the character Annie does. Whilst their conversation turns to carnal delights the threat posed by the returning killer is unseen by Annie as she too busy planning an evening of hide the salami to notice the pale faced boogeyman who lurks at windows and to the side of open doors.

Here Carpenter subverts the quintessential everyday activity of calling a friend  or boyfriend. Just as the character Dr Sam Loomis (who presided over Myers during his time in a mental asylum and is now in hot pursuit of him) chillingly tells the town sheriff ‘death has come to your little town’. After this the viewer sees how the idyllic small town charm of atypical Haddonfield is once again about to be shattered and the viewer is made privy to this. The spectator can see the killer lurking behind Annie as she in engrossed in her phone conversation. We are watching the prelude to a massacre whilst the characters are blissfully unaware.

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The telephone later becomes an actual tool of murder later on in the film. As Lynda’s boyfriend has begun to act very strange indeed whilst dressed in a sheet like a ghost on reentering their bedroom she calls her friend Laurie. What she doesn’t know is that the person (or should that be entity) hidden from view is actually Myers. Just as she is about to speak to her friend she is strangled with the telephone cord. Laurie interprets this as at first a joke (she had received a call earlier from Annie which she had misinterpreted as an obscene call when all she could hear was chewing) but then decides to investigate further and heads on over to the house opposite where the call has come from thinking that this is another gag by Annie. Here the telephone has directly led to a characters murder by being used as a weapon and has also led another character to curiously enter the house where the murder has just taken place. Two birds, one stone. Almost. Heres Lynda’s demise. ‘See anything you like?!’

When A Stranger Calls was released shortly after Halloween and is based on the ultimate telephone based urban legend- a young babysitter receives a series of blood curdling obscene phone calls that get worse as the night progresses. She calls the police who try and fail to trace the calls to a precise location. As the teenager is close to becoming catatonic with fear she receives one more phone call. It isn’t the nutter whos been making her night of babysitting almost intolerable. Its the police. And they are calling to say that they have discovered that the calls are coming from inside the house!

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Whilst this plot device seems cliched these days, back in 1979 this was still pretty fresh as a film plot twist. It was handled by director Fred Walton with noticeable aplomb as the scene builds and builds with palbable tension which eventually erupts into one of the most tense scenes in horror history. In this clip the killer elaborates what he wants with his victim. And the result is utterly chilling.

This scene is interesting as the police are shown as condescending and just a little bit stupid. The fact that they don’t take the victim seriously only adds to the tension. The fact that they can’t trace the call quickly also gives the killer another advantage. The killer has a plan and is in complete control. He uses the telephone as an instrument with which to first destroy his victim emotionally and psychologically and then finish her off when he comes down the stairs. Two out of three isn’t bad.

The filmmakers knew that the ‘calls are coming from inside the house’ was so well known amongst American teenagers that they even used this plot device as central to the films advertising. They reckoned if audiences knew what was a major part of the film they’d flock to see the film rather than thinking that a huge plot twist was being divulged and stay away in droves. The filmmakers were right as the film was a huge success and rightly so. Heres a TV spot for the film.

Whilst this film seems to revolve around the scenes involving the telephone there is plenty more to love it. Its not just the first and last scenes that are remarkable. The killer is played with unhinged brilliance by Tony Beckley who passed away just after the films release. Watch the scene in which his character stands naked in a public restroom and gazes into the mirror. This is one of those performances which really does go the extra five miles. Unhinged, psychotic and utterly brilliant.

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Watch also the performance of esteemed actress Colleen Dewhurst as the barfly who has more than a passing air of Bette Davis about her. After witnessing a bar room brawl she remarks ‘I ask myself why I still come to this dump!’ This film is a treat from start to finish and is a masterclass in tension both in the direction and the acting. High five to the location scout too- those shots of the tunnel being built which are part of Tracey’s walk home are so striking and beautiful.

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A slasher movie that was made in the wake of Halloween was Prom Night (1980). This film features the great Jamie Lee Curtis and whilst not being as brilliant as Halloween its still an amazing movie. The film is like a heady mix of Carrie, Saturday Night Fever (or should that be Roller Boogie) and yes, Halloween.

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There is a sequence in this film that is truly nightmarish as the killer (who could it be?!) calls each of the teenage characters who are preparing for that nights prom. The killer is in a sparse room with just a telephone, a list of each of the kids he wants to call and some gritty mood lighting. Add to this a stern and truly frightening music piece for this scene and you have one of the most unsettling scenes I’ve ever seen in a horror film. Part of this scene is in one of the film’s tv spots.

1982 spawned a low key and little known oddity in the shape of Murder By Phone (aka Bells). A phone can actually kill people just by them answering it. A madman has perfected a certain frequency that can actually kill people just by listening to it. This movie is camp but also a prime slice of cansploitation that looks great and is played straight. Yes, it was never going to win any Academy Awards for that year but thats a mark of excellence, right?

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The kills in this film are really something to experience and here they are.

As the 80s progressed telephone companies began to invest more in being able to track where a call was coming from. A major device used by horror movie directors was now gone. I actually learnt about how phone calls could now be traced from personal experience.  It was 1987 and I was 12 years old. Whenever my father went out at night (which was a lot as he had just divorced our mother and was going through a second adolescence if you will) my brother and I surrounded by his friends would scour the local paper for ads placed by readers. We’d then ring the unlucky people with (what we thought were) hilarious results. An example would be people who had placed an ad about a pet that was missing.

Me: ‘Hi. Have you lost a dog?’

Person who placed the ad: ‘Yes I have.’

Me: ‘Is he an Alsatian?’

Ad owner: ‘Yes it is.’

Me: ‘Does he have a red collar?’

Ad owner (now getting excited) ‘Yes he does!’

Me: ‘And he’s called Rover?’

Ad owner (now beside themselves with joy): ‘Yes! Have you seen him?!’

Me: ‘Yes! He tasted lovely’

And this point I’d slam down the phone. Myself, my brother and all of his friends would dissolve into laughter.

I was on a Saturday afternoon not long after that my father spoke to my brother and I. Someone from British Telecom had called. They had traced dozens of prank calls to our number and would be monitoring the phone line for the foreseeable future. If the abusive phone calls continued then they would ban us from having a phone line. We had been rumbled. My father bought a phone lock (we had one of those bright red telephones with a dial where the lock would be fitted) and used it whenever he wasn’t in the house.

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Leave it to fellow lunatic John Waters to revive the nuisance call on film. His film Serial Mom contains a sequence in which loving mother and psychopath Beverly Sutphin calls a neighbour, Dottie Hinckley who she hates for being domestically inferior in her eyes. Waters rightly captures the mixture of hatred, dark humour and distress involved to making nuisance calls and receiving them. This is probably the most infamous scene within an already impeccable movie. This scene is like a lovingly sick tribute to the art of the malicious phone call. I understand your love, John.

There have been other horror films about obscene phone calls that were made in recent years but most feel contrived and somehow unauthentic. I prefer the horror films involving telephone terrorism which were made when the threat of such an intrusive and foul act was still a reality for many people.

I’ll ask you again- have you checked the children?!

 

 

Oh the irony!

Oh the irony!

 

I happened to have an argument with someone online regarding the movie Showgirls. They said that the film was ‘godawful’, ‘so bad its good’ and that they only watch the film ‘ironically’.

Its because of people like Mr Ironic that going to the cinema is sometimes a painful experience these days. I’ve had too many occasions where a small minority of the audience has decided to laugh at a film rather than engage with it.

Its so easy to snigger, laugh and deride a film. But whilst these people think that they are being the ultimate denizens of what constitutes good taste they are in fact just being boorish, boring and completely showing themselves up. The rewards of laughing at a film, any film, are minimal. And considerably less than entering a screening with an open mind and willingness to go where the director is trying to take you.

With a small faction of an audience laughing at a film the whole experience is ruined for everyone. Everyone else either seethes with anger or joins in. Any artistic merit is sacrificed for a few cheap laughs.My local cinema The Hyde Park Picturehouse shows cult films most Saturday nights. I’ve been to screenings here of acknowledged cult classics such as The Warriors, Assault on Precinct 13 and Night of the Living Dead only to have them ruined by the self appointed judges of taste who had decided to laugh at the film.

We watch individual films differently. Every film has a different feel, is trying to convey a different vision and thus is watched in a different way. The cineliterate understands this as do those who keep an open mind. The deriding dickhead doesn’t. The Warriors has the feel of a dark, New York comic book set in the future but whilst also feeling very much of the time it was made in the late 70s. Its not hard to see that this was the director’s intention. Yet certain scenes were derided and sniggered at by a very vocal minority who might have well have had neon signs above their heads that read ‘We don’t understand this’ and ‘We’re Philistine fuckheads.’ They didn’t bother to engage and surmise the films vision but just to point and laugh instead.

This is the ultimate irony- the cynical and jaded viewers who are willing to sit with their arms crossed and are ready to laugh at a film are showing themselves up massively. They’re showing that they don’t understand the medium of film. They are also conveying the impression that whilst they are laughing at that cult classic that has redefined genres we all know that they are most at home with a mainstream Hollywood CGI shitfest. The jokes on them.

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Which brings us onto a kind of mission statement regarding Meathook Cinema- the films featured here on in are intensely loved. And that love is genuine, not ironic. We love cult films whether recognised by others or not. But we never watch films ironically or think that some films are ‘so bad they’re good’. We like these films because we think they’re ‘so good they’re great!’

Life is way too short to watch bad films ironically. And the thought of seeing Mad Max:Fury Road again actually gives me nightmares.

 

 

The Sounds of Modern Menace

The Sounds of Modern Menace

I was thrilled to see the first few clips that appeared on YouTube of excerpts from John Carpenter’s first ever gig. Hes currently touring the globe performing some of the pieces of music that have featured in his films. Whilst these are soundtracks to his films these pieces of music are also the soundtracks to the lives of many cinephiles.

One of those cinephiles includes me. I am old enough (just!) to remember and experience the advent of video in the UK. Almost all of Carpenter’s films made up until this point were released on video at this time. Any of John Carpenter’s films that weren’t hits at the cinema box office (and that wasn’t many) became huge hits on video. Escape From New York is one such example. Video gave certain films and filmmakers a whole new audience. Viewers could now play and replay Carpenter’s films. Hence every piece of Carpenter’s music was absorbed note for note.

The first Carpenter film I ever saw was Halloween. It remains in my Top 3 films of all time (the other two being Taxi Driver and Bloodsucking Freaks). Its a testament to Carpenter’s filmmaking that I instantly knew there and then that I was watching a cinematic landmark as the film’s events were unfolding before my eyes. And that was even though the print I was watching was full screen, pan and scan and faded to fuck. But the film still had a massive impact on me. As Halloween seemed to be the ultimate cinematic horror statement then the soundtrack for the film was the ultimate perfect musical accompaniment- primal, simplistic, tragic and doom laden. I knew something horrific yet unavoidable was going to happen during the film’s course. And it did. The sound of a piano would never be the same for me again. It was like Carpenter was a punk film composer- go back to basics and make a soundtrack using as few notes as possible. If other more boring film composers were Yes or Emerson, Lake and Palmer then Carpenter was Suicide or The Ramones.

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Theres a famous story involving the soundtrack to Halloween- Carpenter showed the film to studio executives before the music had been added. They said rather ruthlessly that the film was good but no more. But then they saw the film with the music added. They concluded that the film was a masterpiece and that it had scared the bejesus out of them! Never underestimate a film’s score. Just as Bernard Herman had perfectly scored the greatest horror movie of that era, John Carpenter had scored the done the same.

Halloween had such a massive impact on me that I feverishly started to see as much of Carpenter’s work as possible. With every brilliant film was an equally brilliant soundtrack- the urban ultra-minimalism of Assault on Precinct 13, the synth-meets-baroque creeping menace of The Fog, the graceful sweeping score for Escape From New York.

Even the scores Carpenter wrote for films that he didn’t direct are visionary, astounding pieces of work. I think the soundtrack for Halloween III: Season of the Witch is one of the best soundtracks ever written. Credit here should also be given to Alan Howarth who has collaborated with Carpenter on many of his soundtracks. I want the track Drive to Santa Mira to be played at my funeral.

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So just as Carpenter has many strings to his bow (director, composer, actor, editor) he can now add rock star. Thats not bad going.

R.I.P. George Kennedy

R.I.P. George Kennedy

I was sad to learn that George Kennedy had passed away. He had been in such gems as Cool Hand Luke, the T.V. series Dallas and Thunderbolt and Lightfoot- one hell of an eclectic career.

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Kennedy was of course also one of the cast of the masterpiece ‘Just Before Dawn’ from 1981. If you haven’t seen this film you need to check it out NOW!!!

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Director Jeff Lieberman is a god of the genre and created a film that completely subverted the ‘town folk vs hillbillies’ genre. There are some major plot twists in the movie which will make your jaw hit the floor.

A movie that takes risks and every one of those risks pays off. And George was right there in the thick of the action. R.I.P. Sir.

 

The Trouble With Deadpool

The Trouble With Deadpool

Herein lie SPOILERS!!!

I had seen this poster for Deadpool and thought ‘That looks a cheeky and irreverent superhero movie! I must investigate…’

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I then watched a trailer to realise to my absolute horror that the man under the mask was played by of all people Ryan Reynolds. I instantly dismissed the movie because of this fact (well wouldn’t you?!). I then started to see the other posters for the movie and how clever they were. The art of the movie poster is at an all time low but this film had countless brilliant designs. Someone at the studio had actually used their brain (oh my). They had even designed posters that lambasted the generic and bland movie posters that we’re all used to seeing today-

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I love the idea of some sappy couple seeing the above artwork and deciding to give this romcom a whirl.

I then saw a review on TV in which the reviewer said that he laughed constantly throughout the film. The lead character was meant to be extremely potty-mouthed. In fact he was described as a sort of Roger’s Profanisaurus on two legs. That pretty much sold me to this movie.

But when I started watching the film I quickly started to think ‘What the fuck am I doing here?!’ This is a movie written specifically for the demographic who read comic books, live on the internet, never leave their bedrooms and possibly have Asperger’s Syndrome. Its also about as full-on dirty as an episode of The Big Bang Theory.

The character of Deadpool has not just one wisecrack for every action in the movie but ten. And hes going to use them all! This becomes tiresome really, really quickly. Especially as every wisecrack is aimed the geeky demographic this film exploits so fully. Other elements of the film are also aimed at this same group of viewers. The kind of people who think that its great for a film to play ‘Shoop’ by Salt N Pepa as if its both cool and funny. The kind of people who think that the opening credits are really funny because they don’t show the actors names but the character types instead (for example ‘moody teenager’, ‘gratuitous cameo’). The kind of people who think that the fact that Deadpool is a big fan of tragic 80s pop group Wham! is brilliant beyond belief. The kind of people I fucking hate.

Deadpool seems to overdo everything that it thinks is zany and quirky. Why break the fourth wall once when you can do it time and time again? Except this isn’t fine. If you’re gonna do this in a movie then do it once, do it quickly and then get back to the film in question. The same goes for being self-referential. Yes we know this is a movie, that it has Ryan Reynolds in it who has been in People magazine and that its based on Marvel comics. Now please don’t have Deadpool mention this to us time and time again. Oops, too late.

Strip away the clever marketing and all of the other gimmicks and you have a very conventional movie that relies on a tried and tested formula- hero (even though he says he isn’t one) seeks revenge on his aggressor. We learn through flashbacks what happened to him. There is a final showdown between him and his aggressor. He wins and even gets his girl back even though he is disfigured.

I feel like I’m focussing on only the negative points of this movie. I found that I could sit through it even though some sequences were buttockclenchingly irritating. The love story between Wade and his gal was touching especially as they were both outsiders (this gives hope to the nerds in the audience -they might actually find love themselves beyond a box of Kleenex.) And the fight scenes, when they weren’t being irritating (the numbers on the bullets idea wore thin real fast) were very entertaining.

Deadpool isn’t as brilliant or innovative as it thinks it is. But the studio couldn’t give two hoots about this. Deadpool is breaking all box office records know to man, there are sequels to be made and endless cross-over possibilities with other Marvel superhero movies to be milked for all they’re worth. Of course there will be fanboys who will hate what I’ve just written. But I don’t care.

Its great that this hoodie wearing demographic will now have something to quote other than Bazinga. Its also great that clever marketing and the art of the movie poster seems to have been resurrected again. But don’t tell me that Deadpool is the last word in movie innovation. Thats a joke too far.

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Shudder

Shudder

How come I didn’t get the memo about Shudder?!

I was looking for the Giallo movie Bay of Blood to watch on Netflix but it wasn’t there anymore. I looked online and discovered the horror movie streaming site Shudder.

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This site is amazing- its like Netflix for horror fans. Plenty of new films, old classics and loads of Giallo.

I honestly can’t recommend this site enough. Oh and if you’re going to join look out for reviews written by Meathook Cinema.

OK- infomercial over 🙂