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I’m surprised that “Space Mutiny” came out so late in the eighties, as it feels like it could have easily been dropped in 1985 when “Star Wars” was a juggernaut. In the decade, so many studios were eager to jump on the “Star Wars” band wagon and they did it whether they had the resources or not. “Space Mutiny” is that epic product of the decade that takes everything bad about the “Star Wars” craze and plops it on to one messy, festering pile of nonsense.
Hideaki Anno’s “Neon Genesis Evangelion” is one of the most iconic and influential anime series ever created. While it hasn’t endured a long shelf life like, say, “One Piece,” its elements can be found in much of pop culture. Particularly, it can be found in Western pop culture from children’s animated series to right up to cinema. While I’ve never been big on this kind of anime before, sitting through “Neon Genesis Evangelion” was a unique and entertaining experience.
After the wet fart that was David Ayer’s “Suicide Squad” there was a lot riding on James Gunn’s soft reboot titled “The Suicide Squad.” While there was a lot of pressure on Gunn to deliver, it was no surprise that he did, two fold. This is a man who managed to take a fourth tier superhero team from Marvel Comics and turn them in to beloved superheroes everyone recognizes. With “The Suicide Squad” Gunn gets the ball rolling successfully with a wonderful soft reboot. Now it’s up to DC and Warner to keep the momentum.
Simplicity has always been the best friend of the slasher movie. Nine times out of ten the best slasher movies aren’t convoluted or complex. Most times they’re just simple premises with simple motivations but a lot of subtext added throughout the narrative. “Halloween,” “Scream,” “Friday the 13th,” all benefited from being fairly simplicity and so does “You’re Next.” Adam Wingard’s horror thriller came like a wrecking ball back in 2011, sideswiping me and just blowing me out of my seat. Although now he’s headed for the bigger blockbusters, Wingard’s horror outings tend to channel John Carpenter with how they mesh sub-genres.
Officially on 4K and Blu-Ray from Vinegar Syndrome on November 1st; will be getting a 35mm release in various theaters and cinemas during the first quarter of 2022.
1984’s “New York Ninja” is that type of classic grindhouse picture where you can almost smell the stale cigarettes, and burnt popcorn wafting from the rows in the discount movie theater. It’s that kind of classic schlocky ninja picture that would have played in a double feature, and that’s a lot of the reason why it’s such a special film. I’d be hard pressed to call “New York Ninja” was good movie at the end of the day. As an experience, though, it’s that kind of silly, ridiculous, campy ninjasploitation soaked in New York City ephemera that you’re bound to fall in love with.
The Z Movie to end all Z movies, “Frankenstein’s Daughter” is both a cult classic and a classic piece of cinematic trash. It’s a god awful attempt to take the Frankenstein tale and retro-fit it in to a teen horror drama about coming of age, legacy, and uncomfortable scenes of men aggressively hitting on high school girls. In either case, “Frankenstein’s Daughter” is something of an anomaly, it’s a movie that’s been widely accepted within the genre, but it’s just so painfully bad when you finally experience it.
You could pretty much build an entire library of horror films based on or around scarecrows and their tendencies to provoke or be involved in inherent horror or the supernatural. There’s just something so mystifying about the scarecrow where horror creators always go back to that same device, and most times it works. Take 1981’s “Dark Night of the Scarecrow.” The horror thriller by Director Frank De Felitta and writer J.D. Feigelson, celebrating its 40th anniversary this year, was unleashed on the CBS Network and managed to build a pretty loyal cult following over the years.