The Latest Movie Reviews
Frame Of Mind
The seventies gave the horror world a ton of classic movies. Jaws scared people into not going into the water. Halloween struck fear into the hearts of babysitters everywhere. The Exorcist made people afraid of demonic possession. But, for every Jaws, Halloween, or The Exorcist, there were a dozen other movies that fell along the wayside. Made in 1977, Ruby is one of these movies.
Cinema Fearité Presents ‘Don’t Answer The Phone!’ – Just Another Eighties Slasher Imploring You To Not Do Something
A while back, Cinema Fearité celebrated horror movies that urge audience to not do things, like Don’t Look in the Basement, Don’t Be Afraid of the Dark, Don’t Look Now, and even Don’t Open Till Christmas. This week, we’ve got another movie that’s bossing you around, this time with an exclamation point à la mother! and Bloodlust!, called Don’t Answer the Phone!
American rock and roll music is seen as a smorgasbord of musical influences, borrowing liberally from both European and African sources. But the influence of the Native American culture on rock music has rarely been acknowledged. Documentarian Catherine Bainbridge (who also explored Native Americans in Hollywood movies with Reel Injun) and cinematographer Alfonso Maiorana (who worked with Bainbridge on the TV series “Mohawk Girls”) explore the Indians that have had an impact on rock and roll in their fascinating new movie Rumble: The Indians Who Rocked the World.
Cinema Fearité Presents ‘Let’s Scare Jessica To Death’ – A Hauntingly Slasherific Psychological Vampire Thriller
The seventies were one of the coolest decades in horror history. There were slashers, occult movies, vampire flicks, psychological thrillers, and old-fashioned ghost stories. And sometimes, as in the 1971 classic Let’s Scare Jessica to Death, there’s a lot of subgenre overlap.
A few months back, Cinema Fearité waxed upon the confusion that sometimes can be inspired by horror movie titles when we compared Witchtrap to Witchboard. But what happens when two movies from different decades share the same name? We saw it with the non-Chucky Sidney Lumet movie Child’s Play. We saw it with movies called The Hand and Maniac. And now, we’re going to see it again with the non-Hitchcock 1945 British movie Frenzy.
Revisiting old technologies can be fun. The analog warmth of vinyl records sounds better than the harsh digital compression of CDs. The feeling of flipping the pages of a good book in your hands beats the hell out of scrolling through that same book on a tablet. And, as any avid movie collector will tell you, VHS tapes often have way cooler artwork than their DVD/Blu-ray counterparts. But no one ever thinks about that other lost form of communication – the typewriter. No one, that is, until music video director-turned-documentarian Doug Nichol made California Typewriter.
Cinema Fearité Presents ‘The Whip And The Body’ – Mario Bava Explores Sexual Torture Fifty Years Before ‘Fifty Shades Of Grey’
With the semi-ironic popularity of the Fifty Shades of Grey movies, film fans everywhere are discovering the wonders of S&M and B&D. Okay, not really, but the movie/book franchise has piqued the interest of “square” people and brought sexual domination to the pop culture forefront. Of course, for horror fans, it was always there. Way back in 1963, Italian uber-director Mario Bava (Hatchet for the Honeymoon, A Bay of Blood) played with the trend with the aptly named The Whip and the Body.
Hampton Lansdon Fancher. You may not recognize the name, but you are no doubt familiar with his work. His biggest claim to fame is that he wrote the first drafts of the script for Ridley Scott’s Blade Runner, but he also had an extremely prolific career as a b-level character actor. But even behind the scenes, Fancher has led a fascinating life. So fascinating, in fact, that his filmmaker pal Michael Almereyda (Experimenter) made a movie about him. That movie is called Escapes.
New York, New York. A hell of a town. The Bronx is up, but the Battery’s down. And it’s a great backdrop for movies, horror or otherwise. Even when that movie is as surreal and fantastical as The Warriors.
Documentaries about subcultures are usually fun because they give the viewer a glimpse into a world that they might otherwise have never even known existed. The new film from Jon Manning, Burlesque: Heart of the Glitter Tribe does just that, and does it in a way that is both informative and entertaining.
This past weekend, a remake/reboot of Flatliners opened in theaters to little fanfare. Not only was it not screened ahead of time for press, but there were no early paid showings on Thursday night in most markets, with the first opportunity for anyone to see the film coming on Friday morning. Well, in celebration of a movie that the studios seem to be hiding, this week’s Cinema Fearité is taking a look at the original 1990 movie upon which it is based, also called Flatliners.
After getting his start in nonfiction television, documentary filmmaker John Scheinfeld has carved out a nice little niche for himself in the music film world with his The U.S. vs. John Lennon and Who Is Harry Nilsson (And Why Is Everybody Talkin’ About Him?). Keeping up the momentum, he now explores the life of jazz saxophonist John Coltrane in his newest film, Chasing Trane: The John Coltrane Documentary.
Out of all of the elements of the polarizing mother! to be controversial, one wouldn’t expect the title to be one of them, but the awkward non-capitalization at the beginning coupled with the exclamation point at the end has been playing hell with the auto-correct of critics everywhere (including my own). But mother! is hardly the first movie to feature strange characters in its name; from Airplane! to Land Ho!, movie titles have gotten creative with their punctuation. Because this is Cinema Fearité, we’re going to take a gander at a horror movie with an exclamation – 1961’s Bloodlust!
In the rapidly declining world of print journalism, newspapers are known for their different sections. There’s the news and politics section, the funny papers, the sports page…and the obituary column. Obit takes a good look at the surprisingly lively writers who are responsible for producing the content for that last section.