During one Louisiana’s wildest hurricanes, a group of convicts attempts to breakout while in transport from one jail to another. While forced to stay at a local sheriff’s station, they end up facing off with more than wind and rain.
Astonishing Tales of Terror: Rocktapussy! (2022)
I appreciate what Andrew Cymek, who writes and directs “Rocktopussy!”, tries to with his feature film, utilizing as many resources as he can to deliver something that unabashedly melds Heavy Metal, Barbarella, and HP Lovecraft. I’m not sure what he has planned for future films or if there’s going to be more movies under the banner of “Astonishing Tales of Terror,” but “Rocktopiussy!” is off to a good start with a movie that while it doesn’t deliver completely on promises made in the trailer, is at least a fun time with some midnight movie potential.
Quicksand (2023)
There’s that funny meme on the internet about how fiction always warned us about quicksand but very few of us rarely come across it. It’s funny also how there aren’t many movies revolving around the idea of being stuck in quicksand. Andrés Beltrán approaches the idea with a survival thriller that’s quite good, but doesn’t re-invent the wheel. When it comes to films of this ilk, everything you think is going to happen does happen, and the movie doesn’t mind hitting on those tropes along with handing us an ambiguous finale that felt kind of like a cop out.
The Flood (2023)
So basically, Brandon Slagle’s “The Flood” is “Assault on Precinct 13” but with killer alligators. That’s it. That’s the whole of the concept and premise. You can fill in the rest, if you’ve been watching movies for a while; which is not to say that “The Flood” is a bad film, it’s just not something that I haven’t seen before. Truth be told, there are nuggets of a great film embedded within “The Flood” but if you’re expecting a full on alligator siege movie in the vein of “Crawl,” then your best bet is looking elsewhere.
Insidious: the Red Door (2023)
It’s a real shame that the “Insidious” series would go back to its roots with “The Red Door” and end up being probably the worse entry in the franchise yet. Patrick Wilson is a fine enough director, but “The Red Door” is such a misfire that you can’t even really call it a cash grab. It feels a lot like the studios attempts to add some sense of closure to the Lambert family, but rather than this emotional journey through the Further, all they hand us is a half baked rip off of “The Babadook.” And that’s saying a lot since I’ve been such a fan of the “Insidious” series since it arrived in 2011. But these films have done so much better, even with “The Last Key.”
Insidious: The Last Key (2018)
Elise Rainier has been one of the most fleshed out horror movie heroines of the modern era and I’ve enjoyed her quest throughout the “Insidious” series. After dying at the end of the first film, every subsequent film has backtracked to not only explore Elise more, but also give us a bigger wider bridge to the first film. “The Last Key” is perhaps the most personal quest featuring Elise as it does fit in to the general mythology of “The Further” but is more intimate and lower stakes. The movie can be seen more as a stand alone one shot featuring Elise in where she not only garnered full control of her powers, but also foresaw her fate in the first “Insidious.”
The Bootleg Files: Stevie
BOOTLEG FILES 835: “Stevie” (1978 British film starring Glenda Jackson and Mona Washbourne).
LAST SEEN: On YouTube.
AMERICAN HOME VIDEO: On VHS video.
REASON FOR BOOTLEG STATUS: It fell through the cracks.
CHANCES OF SEEING A COMMERCIAL DVD RELEASE: Hello, Criterion Collection?
The New York Times film critic Vincent Canby can be credited with writing the single most irresponsible and the single most beneficial movie reviews of all time. The irresponsible review was his November 1980 slam of “Heaven’s Gate” – the vitriolic fury that he hurled at Michael Cimino’s Western epic was the ultimate example of critical overkill, and his wrath was so powerful that it set off the chain reaction that brought down the film’s studio, United Artists.
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