Yar, “Tales from the Crypt” season five is now out on DVD, and boy what a set it is. Season Five is considerably hit or miss, as was the entire series, but there are also some genuine twists and turns with some rather fantastic episodes. Season five reaches around the home stretch, but that doesn’t mean there’s nothing to take from it. The humor is still as demented, and the crypt keeper is still a bastard. Gore flies, and the monsters are still rather horrifying with episodes that feature a possessive hypnotist keeping his assistant under his control, a controlling man trying to ship his wife in pieces in a trunk, a real estate salesman who comes across a family of freaks, and, my personal favorite episode of the season, “House of Horror.”
Tag Archives: Comedy
Bubba Ho-Tep (2002)
For a film so set on camp, and only camp, Coscarelli dials the campy atmosphere down to about a four most of the time. He even manages to paint his character who thinks he’s Elvis as a rather dignified person. The entire concept of “Bubba Ho-Tep” is rather original. There’s a soul sucking monster at an old folks home, and to discreetly suck life, and not be noticed, it’s taking the remaining life from the residents there, and no one is drawing much of a stir. But Elvis and the black JFK decide it’s about time to stop this monster before they’re next in the war path of the undead mummy. “Bubba Ho-Tep” is a lot less a horror film, and much more of a film about the horrors of getting old.
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Art by Trevor Gentry Birnbaum
Feast (2005)
So, after an okay last season of “Project Greenlight” with Cleftatron Affleck, and Dimples Damon you probably wonder: “Did they actually spit a good movie from this show?” Well, I’ll say this: Even the goose shits a few times before laying a golden egg, and “Feast” is shockingly the golden egg after the two previous shits that were “The Battle of Shaker Heights” and “Stolen Summer.” Shocked? I still am. A group of strangers, the middle of nowhere, a rundown bar, a grizzled bartender, and an ass load of monsters. Sound familiar to you, doesn’t it?
Zathura: A Space Adventure (2005)
I was not a fan of “Jumanji.” Beyond the great special effects it was a rather boring, and confusing lollapalooza with sub-par performances, and a cheesy ending. So when the unofficial sequel “Zathura” arrived in theaters, suffice it to say my skepticism was tantamount to my skepticism of “Sharkboy and Lavagirl.” It looked well intentioned but basically looked like an empty spectacle. In a world filled with “Hoot,” “Sharkboy and Lavagirl,” and “Sleepover” which are the considered the crème de la crème of children’s fare, “Zathura” is a welcome change of pace. It doesn’t talk down its audience, it doesn’t paint clichés, it doesn’t insult our intelligence, and its entertainment is enjoyable for both adults and children. That’s rare.
Pervert! (2005)
Yudis’ film is fun. More fun than it has the right to be. And I suggest “Pervert!” for fans of Troma, horror, comedy, Sam Raimi, porn, Mary Carey, Russ Meyer, big breasts, sex, women, John Waters, big breasts, hot women, big breasts, good taste, and yes, big breasts. Did I enjoy “Pervert!” only on those terms? Yes. And what’s wrong with that? “Pervert!” is a film where you shut off the big brain, and let the little brain do its magic, and I can guarantee any red blooded hetero male, and or lesbian, will utterly enjoy the romps. Not to mention the shameless flaunting of sexy as hell Mary Carey as a trophy wife, Juliette Clarke as a very hot nurse, and Sally Jean as a Cuban antagonist with a wide smile, all of whom suffer the fate of the mysterious monster roaming the desert in search of… well, you’ll discover it for yourself.
The Ice Harvest (2005)
You’re very well aware at how poorly put together this vehicle is, when throughout the entire film, people are shot in the head with a small hole and a drip of blood from the frontal lobe, yet right in the climax when the villain’s head is blown away, blood and brain matter splatters all over Connie Nielsen. I hated “The Ice Harvest.” I hated its being. I hated its presence. Because—borrowing from a hilarious scene in “The Family Guy”—it insists upon itself. It’s so smug in its attempt to feel like a neo-noir dramedy, and fails in every aspect, and then tries horribly to shove the themes down our throats and never lets up.