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Films seen in August
[10/2] Note – New commitments at work have proven to deprive me of all my writing time. I will put a couple of sentences on everything from now on to share my thoughts, however I don’t see myself churning out anything substantial anytime soon…
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01. The Unprecedented Defence of the Fortress Deutschkreuz (1966, West Germany) Werner Herzog [short] -

worth seeing

02. The Rage in Placid Lake (2003, Australia) Tony McNamara -

a must see

03. Demons (1985, Italy) Lamberto Bava [2nd viewing; last viewing early '03; no change in rating ***]

04. 300 (2007, USA) Zack Snyder -

worth seeing [C-]

05. The Haunted Strangler (1958, USA) Robert Day -

worth seeing

06. I Know Who Killed Me (2007, USA) Chris Siverston -

worth seeing [C-]

I’ve heard comparisons to Verhoeven, De Palma, Lynch and even Kieslowski from those who are supporting this film. It’s quite possible that director Chris Siverston -- whose adapation of Jack Ketchum’s The Lost I’m very eager to see -- approached this project with the same intellectual bravado as the aforementioned directors, there is no denying the guy has a sharp expressionist eye for cinema, but I have a sneaking suspicion that these things were abandoned in post-production in favor of something far more Camp. This is the only way I have of explaining things like Lohan’s mechanical Robo-Hand and its garish sound effects, or some of the choices made in editing and line delivery. The script by Jeffrey Hammond is full of subconscious allusions to reality (Lost Highway being the obvious model -- that film was about a killer who created an alternate reality to confront his guilt, this about a victim who creates an answer and a salvation to her unknown murder), and while this elevates the story miles above just about every other mind numbing film being shown at the local cinemaplex, I’m itching to know just who is responsible for derailing this project in order to cash in on Lohan’s dwindling stardom.

07. The Living Coffin (1959, Mexico) Fernando Méndez -

has redeeming facet

08. Benny's Video (1992, Austria) Michael Haneke -

a must see

09. The Brides of Dracula (1960, UK) Terence Fisher -

worth seeing

10. Divine Intervention (2002, Palestine) Elia Suleiman -

worth seeing

11. Disturbia (2007, USA) D.J Caruso -

worth seeing [C+]

12. Flash Gordon (1980, UK) Mike Hodges -

worth seeing

13. Touki Bouki (1973, Senegal) Djibril Diop Mambéty -

Excellent

14. I Vampiri (1956, Italy) Ricardo Freda & Mario Bava -

has redeeming facet

15. The Big Bad Swim (2006, USA) Ishai Setton -

a must see [B-]

16. Inland Empire (2006, USA) David Lynch -

Masterpiece [A]

17. Satan's Cheerleaders (1977, USA) Greydon Clark -

has redeeming facet

Harmless camp fun, it actually works better when it’s not trying to be a horror film.

18. Bride of Re-Animator (1990, USA) Brian Yuzna -

worth seeing

Like much of Yuzna’s work from the early 90’s, this abandons serious attention to storyline and character (rather silly is the fact that they credit this as a Lovecraft film) in favor of an all out make-up and special effects extravaganza. There are something like five different make-up specialists credited here, and while much of what is on display is a delight to the gorehound in me (especially in the CGI ridden world of today), I’d like to have seen something more substantial underlying all the blood and guts. I mean if you have an actor as talented as Jeffrey Combs in your film, give him a script goddamnit! As to the allusions to Whale's film in the title, they are not even worth discussing.

19. Chainsaw Sally (2004, USA) Jimmyo Burril -

worthless

The fact that shit like this even gets made, let alone makes it way onto the shelves of stores nationwide makes me hate horror audiences…

20. Skyjacked (1972, USA) John Guillermin -

worth seeing

Eliminate Heston’s flashbacks and this ceases to be camp, and in fact actually winds up being a rather terse and sharp-edged little thriller. The ‘Scope cinematography combined with jarring ultra quick pans works wonders to jack up the tension. Thanks for digging this one up Warner.

21. Super Fuzz (1980, USA) Sergio Corbucci -

worth seeing

When I saw this film as a kid, this was a SERIOUS cop flick. Seen today it’s a rather slight Italian comedy, but the wild soundtrack remains intact and it scores points for nostalgia.

22. Hellraiser (1987, USA) Clive Barker -

Excellent

Marred only by a choppy and half-baked conclusion, this is a virtuoso debut film that screams for worldwide critical reappraisal. Terrifying, and filled with images you may never shake, this is also a deeply intelligent piece of erotic horror, the caliber of which one usually associates with Zulawski or Cronenberg. It’s too bad that Barker never panned out as a filmmaker as there is so much promising and daring filmmaking on display here.

23. Sinderella and the Golden Bra (1964, USA) Loel Minardi -

worthless

Essentially the worst musical you’ve ever seen, played out for 60 minutes, before finally indulging in 10 minutes of topless shots of women as the titular bra is tried on in order to find its proper owner. This is bad, even as far as Something Weird releases are concerned…

24. Jeanne Dielman, 23 Quai du Commerce, 1080 Bruxelles (1975, Belgium) Chantal Akerman -

Masterpiece

One of those pure masterpieces that you feel like you’ve seen a dozen times before even your first viewing is complete as one discovers the origin of the the numerous films that echo this cinematic watershed. The CineArt DVD (with Enlgish subs) does this beautiful work justice, but really, this is as much a film to be explored in the mind as it is on the screen.

25. Superbad (2007, USA) Greg Mottola -

a must see [B+]

For once the juvenile humor fits. Everything a high school movie aspires to be and a little bit more. Probably will be ranked with Fast Times at Ridgemont High someday, and I try not to make comments like that too often. I’ve been waiting for this guy to make a film ever since his indie gem The Daytrippers touched my heart, and while this isn’t exactly the type of film I was hoping for from Mr. Mottola, he handles himself beautifully. What’s with the HD however??

26. Strait-Jacket (1964, USA) William Castle -

a must see

Like Roger Corman, there is something irresistible about Castle’s work, so this is more than just a late Joan Crawford artifact.

27. Talk Dirty to Me (1980, USA) Anthony Spinelli -

worth seeing

This is the only film I had never even heard of in Jami Bernard’s fascinating The X List: The National Society of Film Critics' Guide to the Movies That Turn Us on, and even though it’s one of the few choices to actually warrant the term “porno,” there is a definite filmic sensibility at work from director Anthony Spinnelli (references to Howard Hawks and Raoul Walsh appear out of left field!?). The performances are universally strong for a hardcore feature; with lead actor John Leslie sleazing it up to the Nth degree, his filthy-mouthed antics certainly more than earn the film its provocative title. Pornography is a difficult thing to look at critically, and it’s only in today’s virtually saturated world of the Internet and in-Demand viewing, that one can truly glimpse the heart of much of these narrative XXX films (yes actual film stock) from the 1970’s. These were works not meant to be viewed in secret, but rather to be projected publicly on a huge screen and viewers were comfortable confronting these works out in the open instead of hiding them under the bed. Viewing a film like Talk Dirty to Me in the year 2007 on the big screen seems almost preposterous and like foreign films -- which also thrived in American cinemas of the Seventies and have all but vanished on the screens of today -- there are some meaty cultural implications to be chewed on when we consider the absence of films like these from respected theaters. Have we declined as audiences? I think the answer is obvious…

28. The Bridesmaid (2004, France) Claude Chabrol -

a must see [B-]
It’s good but it is nothing MAJOR, something that seems applicable to all late-Chabrol films these days…

29. Hellbound: Hellraiser II (1988, USA) Tony Randel -

worthless

Anytime a horror sequel finds it necessary to start off with clips from the previous film, you can be certain a complete shit-fest is soon to follow.

30. Body Double (1984, USA) Brian De Palma [2nd complete viewing (although I've studied numeroues sequences at different times); last viewing Oct.'03; no change in rating ****, although upgraded on Top 10]

Amongst many it seems open for debate, but for me this will always remain De Palma’s masterpiece.

31. Army of Shadows (1969, France) Jean-Pierre Melville -

a must see

I prefer Melville’s “detached” and “empty” films when these distinctive elements are used to highlight the understated “cool” of his gangster works, as opposed to here where they effectively chronicle the grim atmosphere of WWII. It’s an enthralling work by a master filmmaker, one that we are blessed to now have available, but Melville’s contribution to cinema will probably be remembered outside of this work.

32. The Family Friend (2006, Italy) Paolo Sorrentino -

a must see [B]

Not at the same level as his previous film The Consequences of Love, Sorrentino is nonetheless proof that Italian cinema still has a pulse. This is one of those ridiculously plotted “style-over-substance” extravaganzas that strike some viewers as merely obnoxious, but are capable of intoxication if you can give yourself over (Geremia’s fixation on young gals hitting volleyballs in slow motion which he tries to re-enact in his apartment using strings and an old lady is one of the most hilarious bits of fetishism this side of Monteiro). Sorrentino seems destined to be one of those love/hate directors on the festival circuit (Kim Ki-Duk and Carlos Reygadas also springs to mind). Whether or not these works will withstand the test of time is anyone's guess, but take it or leave it, they are the epitome of Contemporary World Cinema. And for you trendy music lovers, Sorrentino's soundtracks are equally indulgent and I love every bit of them.

33. Big Bad Wolf (2006, USA) Lance W. Dreesen -

worth seeing [C-]

One of those bad horror films that really has no business being as good as it is. Filmmaker Lance Dreesen walks a fine line between campy self-parody and B-movie seriousness, and even if the result is nothing to howl over, I never once found myself bored.

34. The Last Winter (2006, USA) Larry Fessenden -

Excellent [A-]

35. Fracture (2007, USA) Gregory Hoblit -

worth seeing [C]

36. What's the Matter With Helen? (1971, USA) Curtis Harrington -

a must see

37. Bad Reputation (2005, USA) Jim Hemphill -

has redeeming facet [D+]

38. À nos amours (1983, France) Maurice Pialat -

a must see

39. Who Slew Auntie Roo? (1971, UK) Curtis Harrinton -

a must see