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.
Don’t you hate it when you hit your head in a fit of rage and end up in Sherwood forest with a bunch of hot buxom women? In all honesty, I’d love that, but surely enough in Surrender Cinema’s “Virgins of Sherwood Forest” you can expect it to happen. One of my favorite erotic stars of all time, Gabriella Hall, plays Roberta, a female director for a music video has to tolerate a bunch of obnoxious sex starved actors.
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I’m not sure I understand Charles Band’s obsession with tiny terrors, other than they’re much more cost effective to film. I’m assuming. “Dolls” is a fun precursor to the “Puppet Master” movies that mixes fantasy, comedy, and horror altogether to compose some kind of twisted meta-horror film about a little girl whose daily monsters begin turning in to actual monsters without her realization. Director Stuart Gordon’s horror fantasy moves along at a brisk pacing, making the best out of its minuscule budget, and transforming its house of dolls in to a house of terrors. Continue reading
Dan and Derek Morrow seem to be on the right track with their stop motion animated shorts. With a larger budget, their ambitious and touching narratives could become wonderful films for all ages. “Comet” was adorable, and “Token Hearts” really has potential to be widened in to a great Christmas oriented fantasy film.
I appreciate what Clive Barker set out to do with “Lord of Illusions” by introducing us to Harry D’Amour, a reluctant private eye who’d be thrown in to horrifying situations that far outstretched mobsters and cheating wives. In “Lord of Illusions,” Scream Factor gives Barker the chance to present audiences with the director’s cut. This new cut is longer, re-edited, and given a heavier emphasis on the neo-noir crime investigation by D’Amour that leads him to the front door of a satanic wizard that intends to destroy the world, and everything in it. I really wish I could have seen what D’Amour would get in to in future cases. Perhaps the cenobites? Something Lovecraftian?
“Surface” is the definition of a series with a one note concept that would have worked much better as a mini-series when all is said and done. Around the mid-aughts, NBC television began working their way in to science fiction and began airing the quite ambitious “Surface.” During 2005, ABC’s “Lost” was taking America by storm and dominating pop culture with its mysterious storylines and baffling plot twists, so every network attempted to build their own franchise in the same vein. “Surface” is a valiant attempt with misguided writing.
And yes, I sat through the whole thing.
If there’s anything more I love than post apocalyptic films, its post apocalyptic films with substance and meaning to them. “The Rover” is a slow boil drama thriller set in Australia where the continent has now economically collapsed. Set ten years after an apparent apocalypse, Australia is the Wild West where law is so corrupt that its citizens have zero respect for those in blue. Director David Michôd thrives on ambiguity by introducing a cast of characters with their own moral codes that conflict with everyone else’s. “The Rover” garners nothing but slime balls and the amoral, but that doesn’t stifle the utterly compelling storyline.