Jess Franco’s vampire film genuinely doesn’t live up to the hype it’s garnered with horror and film buffs over the decades since its release. It’s a tedious and often dull affair that manages to numb the sexuality due to its incessant filler. The filler is ever present from the opening shots, and is used to pad the film’s run time, from performances in front of crowds, right down to dream sequences, much of it is used as a tactic to pad a thinly veiled “Dracula” remake.
And everywhere, eighties geeks just had the largest orgasm after watching “Kung Fury.” In fact, if you’re an eighties geek, I dare you not to break down in tears while watching. David Sanberg’s “Kung Fury” is bleeding eighties ephemera from every orifice. It’s a sweet eighties homage that mixes every cliché imaginable right down to the screaming police sergeant forcing a new partner on his rebel cop. Triceracop. There’s actually a goddamn Triceracop.
Director William Wesley’s “Scarecrows” is the epitome of a good idea given a poor execution. “Scarecrows” is one of the many scary scarecrow movies that have become a sub-genre onto themselves in the horror genre, and director Wesley paints his tale like an EC Comics story. Though I can think of plenty more films about scarecrows with a better delivery of its concept; particularly “Dark Night of the Scarecrow.”
Vanessa Del Rio is back for the tenth installment of “42nd Street Forever: The Peep Show Collection”; a smattering of reels and loops from the golden age of porn that titillates and arouses in its rare moments. This installment is a hundred minutes of the best shorts from the grindhouse era, starring folks like Del Rio, Jessie St. James and Susan Nero.
“Snow Honeys” is less a snow bound bit of stag porn and more a lot of short vignettes set to the frame work of Kara Lott and Ken Starbuck introducing various segments. They’re not all consistent with the opening narration of the couple at a ski lounge, but it’s fun to watch the pair struggle through their introductions. Whether it’s the cold or the exhaustion, their first segment introduction is poorly edited together and seems to have been accomplished with multiple, perhaps dozens, of takes.
Scottie is experiencing a change of life that has him rethinking where he’s going and even worse is the fact that his massive success has nothing to do with drive or ambition. It’s merely dumb luck. Director Chris Esper’s “Please Punish Me” is a funny and charming dramedy about a man looking for a direction in life who finds it in the unlikeliest of places.
Director Alex DiVincenzo takes the “Scream” formula and gives it a modern dysfunctional twist with a film I can only describe as a laugh a minute satire. Commenting on the nature of auto correct and its utter horrific ability to take words in to inappropriate new variations, “The Horrors of Auto Correct” is brilliant.