A group of teens find themselves the victims of urban legends that come true. These legends range from ‘The Stranger in the Backseat’ to ‘Eating Pop Rocks and Drinking Soda’ (never heard of this but I’m keen to try it).
In the late 90’s there were a slew of teen horror movies made in the wake of one of the most irritating and terrible films ever made, Scream. They involved a group of pretty young actors in movies completely devoid of likeable characters, tension or any kind of intelligence.
Urban Legend is an example of this wave. Stars from recent TV shows were cast to draw in the young audience members who wouldn’t know good from bad in terms of filmmaking. Even Robert Englund can’t save this turkey.
Aside from being a time capsule from the late 90’s this really doesn’t serve any purpose. When I went to see the vile Scream in the 90’s I saw David Cronenberg’s Crash straight after it. So my advice to you is to watch this auto-erotic car fetishist’s wet-dream instead. Crash proved that some great horror movies were being made in that time period.
A comic book type caper in which a posse hunts down vampires for a living.
This is at the lower end of John Carpenter’s filmography. It feels more intent with slick visuals and trying to come across as ‘cool’ than being a thought provoking piece of cinema with any kind of substance. We get nods to the Western genre with the posse. We even get a reference to The Searchers. That’s the deepest and most thought provoking thing in the whole film.
The only people this film is of interest to are the nerdier depths of the horror/sci-fi demographic.
In fact, this feels more like a TV movie than a proper film. The only innovation within this flick is that it’s ahead of it’s time in predicting the dearth of similar fare made to go straight to cable. As a matter of fact I saw this on the Horror Channel. I’m glad it found it’s rightful home.
Not the worst film I’ve ever seen but light years away from Halloween, Assault on Precinct 13, The Fog, Someone’s Watching Me…
A wife fakes her own death to escape from her rich abusive husband. She then flees to the mid-west to try to rebuild her life under a different name so that he can’t trace her. Will she succeed?
This is a Julia Roberts movie. If there isn’t a big enough warning to stay away I don’t know what is (although The Mexican is a great film but that’s an exception in her oeuvre).
Everything from the scenes where she gets a beating (she’s like Bambi in these scenes- innocent and a pure victim) through to the scenes where she is predictably ‘learning to live again’ in her new locale (there is one scene where her and her new boyfriend have great fun trying on different hats. I kid you not. It’s as vomit-inducing as it sounds) to the final scenes where her hubby who has now traced her and seems to have morphed into a really rubbish version of Michael Myers, is big dumb Hollywood crud on every level.
I hate films that don’t warrant their audience with one iota of intelligence. This is one of those films. It took in megabucks at the box-office. In fact how this was made as a film to be shown in cinemas is beyond me. This feels like a Hallmark TV movie.
If you want to see a great, intelligent film about abuse and stalker-esque behaviour in a relationship, please watch Play Misty For Me instead. If you want to see a film about an abused woman who isn’t a victim seek out Ms.45.
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.
I first saw Leigh Bowery in the late 80s. I was at the cinema when a commercial for Pepe Jeans was played featuring Leigh. This advert which only lasted about 2 minutes left such an indelible impression.
I first saw the documentary The Legend of Leigh Bowery about five years ago and again was gobsmacked. This is amazingly made with a multitude of interviews with collaborators, family and friends. The breadth of the source material of footage and audio featuring Bowery is breathtaking- this project was obviously a labour of love and the director Charles Atlas throws himself into the making of this documentary with gusto and passion. And it shows.
Who was Leigh Bowery? He is hard to categorise. Artist, fashion designer, pop star, musician, nightclub proprietor/superstar… But most importantly he was Leigh Bowery the personality. He defies all labels. And this is one of the most brilliant things about him and the multitude of ways that the documentary conveys this.
The film shows how Leigh became recognised firstly by his outlandish patronage of carefully chosen nightclubs. Because of this the film becomes so much more. It depicts the underground gay clubbing scene of the 80s in London- a world that spawned the New Romantics (in an interview we hear Leigh say that he always preferred this movement to any other) and was built around the idea of transforming oneself into a legendary entity and the whole ritual of ‘getting ready’ to go out (brilliantly articulated by Michael Bracewell in the film) and all that that entails. From a dingy bedsit in the suburbs arty loners could metamorphosise into larger than life characters and create new personae for their chosen nocturnal wonderlands in the neon soaked big city.
London in the 70s and 80s was unparalleled for this- after glam rock and punk, the New Romantic scene had exploded in a mushroom cloud of Elnett and Boots No 5 make up. And that was just the boys. It attracted brilliant creations such as Marilyn, Philip Sallon and Steve Strange.
Whilst this scene and its main stalwarts were brilliant and revolutionary for their time, Leigh was so much more. He was a one man subculture who was still several hundred years ahead of his time. He liked to subvert- gender, the body, sexuality. This documentary depicts this amazingly. Leigh liked to use his body as a canvas and this film is like a catwalk for him to show the world the diversity of his alien visions.
Leigh’s personality and quirks are also evident through the wide range of sources and interviews used for the film- his love of embarrassing people, his love of cottaging (also a key part of 80s gay life), his love of getting a reaction from people but through using his brain rather than just using shock tactics for the sake of it.
There is also a feeling that whatever he turned his hand to he mastered brilliantly. His pop groups Raw Sewage and Minty have to be heard (and seen) to be believed. Here is his genius cover version of Run DMC’s Walk This Way-
And heres how it came about-
Another amazing thing about this film is the music used on the soundtrack- its just as avant garde and original as Bowery. Its a shame that a soundtrack was never released.
In these times of RuPaul’s Drag Race and its imitation of all that was genius that has gone before I can’t help but cherish Bowery’s work and this film even more. He was authentic and that authenticity is even more astounding when watered down versions by more mediocre and conventional drag artistes are foisted upon us. Imitation isn’t the sincerest form of flattery. Its just really shit.
I’ve now seen this documentary several times and think of it as a film I could watch at any time and thoroughly enjoy. I honestly think this is one of the best examples of the genre and one of the best films I’ve ever seen. I urge others to discover this gem and experience the genius of Bowery for themselves. And here it is-