Spider Baby (1967) (2-Disc Special Edition) [Blu-ray/DVD]

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If I had to pick a cult film that I’d take with me on a deserted island, it’d either be “Faster Pussycat! Kill! Kill!”, or Jack Hill’s “Spider-Baby.” It’d probably be the latter if I was pressed. I fondly remember being introduced to “Spider-Baby” as a child, when I used to sit down to watch “Horrible Horror” with Zacharly. I always found the scene of Jill Banner slicing and dicing poor Mantan Moreland to be one of the sickest bits of horror cinema I’d ever witnessed. Years later, I was happy to watch the film in its entirety, and thankfully Jack Hill’s dark horror comedy hasn’t aged a single bit.

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The Death of Superman Lives – What Happened? (2015)

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It’s funny to think that in an alternate reality so many radical ideas were likely able to flourish. In some reality Jodorowsky made his version of “Dune,” and in an alternate reality perhaps we had “Superman Lives.” I wasn’t keen on exploring the story of the lost production of “Superman Lives,” the failed reboot of the Superman movie franchise initially. But the documentary proves that the enduring fascination with its potentially disastrous development is just, and very much a worthwhile exploration of too many cooks in the kitchen. There was a time where superhero movies weren’t a common place in cinema, and those that were in theaters were low tier barely marketable characters that almost always guaranteed to flop.

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Sweet Madness (2015)

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Since her inception in 1992, Harley Quinn has been one of Batman’s most intriguing and alluring rogues. She’s the ultimate fan girl to the point of lunacy, and her cunning along with her ability to match wits with just about anyone make her one of the most fascinating figures of contemporary culture. It’s no shock that director Peter Dukes sought to explore the inner most psychology of Harley, as she’s titillated just about everyone. And it’s satisfying that director Dukes is able to convey Harley’s persona so well. Despite the fact that Batman never appears, “Sweet Madness” is a pretty sick and brilliant fan film that puts Harley front and center.

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Don’t Play with Ghosts (2015)

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It’s always nice to see the beginning of a filmmaker’s career and if “Don’t Play with Ghosts” is any indication, Sydney Hord has a long road ahead of her filled with surprises. “Don’t Play with Ghosts” is a part of a 48 hour film competition with a three and a half minute length, and in that time Hord manages to paint a really spooky picture. It’s a simplistic premise, but one wrought with some interesting twist and turns.

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The Murders of Brandywine Theater (2015)

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It’s refreshing in this day and age that some indie filmmakers aren’t just content with splattering the audience with red ooze and goo and calling it a horror film. There are some filmmakers that really want to convey a story, and Larry Longstreth seems to be one of those directors who aren’t happy with just grossing people out. “The Murders of Brandywine Theater” is a complex, and very unique horror film that isn’t just eerie, but it’s also damn spooky to boot. To say Moxxy is a creepy antagonist really is underplaying the top notch puppetry that’s put to work here. Moxxy seems very rigid when we first see him, but soon enough he not only begins to take on his own life, but his limited expression make him a menace to be reckoned with.

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Paul Blart: Mall Cop 2 (2015)

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Because he’s fat! That’s the punch line for pretty much every joke in “Paul Blart 2.” In fact that’s been the punch line for most of Kevin James’ bland career. He’s fat. That’s why it’s funny when he falls down. He lies in bed eating a bottomless bowl of M&M’s. Because he’s fat. Get it? He flips over whenever he falls because he’s so fat. Get it? And he’s loud, too. I can’t believe anyone wanted a sequel to “Paul Blart,” but the first movie was a hit, so I assume a sequel was only logical.

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Final Girl (2015)

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Abigail Breslin has really managed to leave her mark on the horror genre of late. She’s really approached the genre with respect and a lot of charisma, prompting some prime roles only she could tackle. “Final Girl” is one of those roles that seems custom fit for Breslin who uses this role to show she’s no longer the cute little girl or adorable teenager anymore. She’s a woman, and she’s making herself seen big time.

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