I would be lying if I said that “Troma’s War” is one of the best efforts from Troma. While it tries very hard to elicit some kind of political satire and tackle the idea of exploitation movies, it’s kind of a missed effort. Truth be told, “Troma’s War” is more of a chore to sit through than anything. It’s creative and a neat addition to a collection if you love Troma, but overall, it’s a loud, head ache inducing attempt at an action movie that can never quite put a finger on what it wants to be. It’s a disaster movie, a war movie, an action movie, an “Airplane!” style spoof, and then a political satire. It tries to roll all of these genre elements in to one frantic ball, but stumbles left and right with its intentions.
Tag Archives: Thriller
The Pumaman (1980)
Notorious for being mercilessly spoofed by MST3K in one of their best episodes, Alberto De Martino’s “The Pumaman” is an atrocious and pretty awful movie even without the riffing. It’s a movie that increases in quality, however minimal, thanks to the benefit of the trio from the Satellite of Love. It’s an arbitrarily titled Italian fantasy superhero movie about a man given a funky belt that allows him the qualities and powers of a puma. This involves leaping in the air to attack like a puma, slowing down his heart like a puma, uh—flying like a puma, teleporting… like a… puma…? And he even goes so far as donning a cheap excuse for a superhero costume that’s very un-puma like. If funky bellbottoms and a costume color scheme that looks like it was taken from the back of a cab is what you’d envision for a puma-esque (pumatic?) superhero, then this is up your alley.
Rollerball (1975)
The populace is obsessed with sports that thrive on violence and uniformity. The rich are generally oblivious to the outside world. Sports are corporate funded obsession based around putting its competitors to their limit. Civilization finds the obsession with celebrities more interesting than actual world issues, and the media manipulates the public through culture of competition. That is the stunningly familiar dystopian future presented in “Rollerball,” the future of 2018. Director Norman Jewison’s science fiction action film has a lot to say about the wide gap of social and class structures. As well it presents a grim glimpse at a corporate empire that results in a world much like today, where the media and culture is dominated by a single entity.
The Running Man (1987)
Beneath Paul Michael Glaser’s action film where Arnold Schwarzenegger takes on gimmicky athletes and ends every bout with a silly catchphrase, beats a movie that is quick as a whip and horrifyingly prophetic. Based on the Stephen King novel, “The Running Man” is simultaneously a vehicle for Schwarzenegger that also sneaks in a lot of commentary about society that would oddly enough come to completely fruiting by the mid to late aughts. “The Running Man” is based around a very popular and deadly reality show, steeped in a world where people risk their lives for cash and vacations for entertainment, and it’s all run by a mad man running a corporation. You can pretty much point that arrow to any one of the men running the world today.
Dig Two Graves (2014)
Following her brother’s accidental death, a girl gets involved with the local black sheep and learns a thing or two about her family, the past, and revenge.
Written by Hunter Adams and Jeremy Phillips and directed by the former, Dig Two Graves is an ok drama with a few horror elements that goes at a decent pace. The film has decent characters, decent dialogue; it’s all decent, but it’s all a bit bland. The film has some interesting aspects, especially the family that lives in the woods, but it’s not quite enough to make it a stellar film or even a really interesting one, which is too bad as everyone involved is seemingly talented and capable of more.
Kairo/Pulse (2001)
Kyoshi Kurosawa’s “Kairo” is a film dripping in terror that deliberately paces itself as a slow burning end of the world tale. Rather than an all out orgy of gore and carnage, “Pulse” eventually explodes in to something of a last gasp of humanity, and a civilization that ends in a whisper and somber whimper. “Kairo” is written as something of a two act structure where Kurosawa opts for a film that’s episode in the vein of “Pulp Fiction,” and then smashes together in the stunning climax. Much of what we see seems and feels random in many places, and events collide allowing for a cogent unfolding of events that doesn’t just make sense but feels so meticulously planned from square one. What makes “Kairo” so haunting even when the credits have drawn to a close is the way the director opts less for splatter and gore, and more for a requiem that depicts mankind as a stain and nothing more.
Logan (2017)
Logan, the public’s beloved Wolverine, has aged and isn’t doing so great. As he holds onto life for some reason and is looking for a reason to be. His later life is not filled with action, something he seems to have settled into. That is until a woman comes asking for his help and a chain of events leads to him having to help a young girl in desperate need of guidance and assistance.