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Matthew Krueger (10051 KP) rated Machete Kills (2013) in Movies
Jul 27, 2020
B-Movie Exloitation Film
Like I said in my Machete review, its so weird and odd to see some of these actors working together, cause you would never think in a million years that some of these people would work together like.. Mel Gibson, Charlie Sheen, Sofia Vergara, Amber Heard, Walton Goggins, Lady Gaga, Cuba Gooding Jr., Antoino Banderas and Vanesssa Hudgens. Like would ever thought that all of these actors would work together in a B-Movie Exploitation film called Machete Kills is just strange and somehow it works. I dont how, but it just works.
The plot: When the president (Carlos Estevez) of the United States has a mission that would be impossible for just any mortal man, the person he needs is Machete (Danny Trejo), a knife-wielding ex-Federale agent. Machete's mission is to take down Voz (Mel Gibson), a madman revolutionary and an eccentric billionaire arms dealer who has come up with a plot to start a nuclear war. Facing death at every turn from assassins, Machete pulls out all of his skills to get the job done.
If you havent see either of the machete movies go watch them.
The plot: When the president (Carlos Estevez) of the United States has a mission that would be impossible for just any mortal man, the person he needs is Machete (Danny Trejo), a knife-wielding ex-Federale agent. Machete's mission is to take down Voz (Mel Gibson), a madman revolutionary and an eccentric billionaire arms dealer who has come up with a plot to start a nuclear war. Facing death at every turn from assassins, Machete pulls out all of his skills to get the job done.
If you havent see either of the machete movies go watch them.
Awix (3310 KP) rated Ex Machina (2015) in Movies
Feb 13, 2018
The Fembot Awakens
Slightly-retro-but-in-a-good-way SF movie from the writer of The Beach and 28 Days Later. Corporate minion is whisked off to the wilderness by wealthy boss to participate in experiments testing the intelligence of a female-looking android he has built; android indeed proves to have a mind of her own.
Wears its influences relatively lightly and looks good; that said, seems more content to play with the issues it raises than actually explore them with any real rigour. Ending is a bit silly, but forgivably so. If, as seems possible, the director wants to make a point about male exploitation of women, it might be better not to do so in a movie where every female actress is required to do a full-frontal nude scene. Smarter than the usual studio SF film, anyway; passes the time entertainingly.
Wears its influences relatively lightly and looks good; that said, seems more content to play with the issues it raises than actually explore them with any real rigour. Ending is a bit silly, but forgivably so. If, as seems possible, the director wants to make a point about male exploitation of women, it might be better not to do so in a movie where every female actress is required to do a full-frontal nude scene. Smarter than the usual studio SF film, anyway; passes the time entertainingly.
David Schwartz recommended Videodrome (1983) in Movies (curated)
Awix (3310 KP) rated Assault on Precinct 13 (1976) in Movies
Jul 2, 2020
'Why would someone shoot at a police station?' John Carpenter's exemplary action exploitation movie is set in mid-70s Los Angeles but is basically a mash-up of a western and a zombie movie. Two convicts, a secretary and a highway patrol officer find themselves besieged in a soon-to-be-derelict police precinct by hordes of psychopathic street gang members.
One of those examples of a virtually perfect movie: an incredibly economical script with immaculate storytelling is brought to the screen with immensely charismatic performances by the three leads (you watch it now and it's genuinely baffling that none of them had more substantial movie careers). Also a fascinating mixture of old-style and new Hollywood - scenes pastiching the style of Howard Hawks movies sit alongside genuinely provocative moments like the ice cream scene. Overall, though, just a tremendously enjoyable action film, and exhibit A for the case that John Carpenter did his career backwards.
One of those examples of a virtually perfect movie: an incredibly economical script with immaculate storytelling is brought to the screen with immensely charismatic performances by the three leads (you watch it now and it's genuinely baffling that none of them had more substantial movie careers). Also a fascinating mixture of old-style and new Hollywood - scenes pastiching the style of Howard Hawks movies sit alongside genuinely provocative moments like the ice cream scene. Overall, though, just a tremendously enjoyable action film, and exhibit A for the case that John Carpenter did his career backwards.
Darren Fisher (2436 KP) rated Tough to Kill (Duri a morire) (1978) in Movies
Dec 13, 2020 (Updated Dec 13, 2020)
Not so much Tough to Kill as Probably Quite Easy to Kill
Not so much Tough to Kill as Probably Quite Easy to Kill, as the main character gets a bullet in the leg early on in the film and is carried around a lot in the jungle. Poor bloke doesn't really get a chance to prove if he's tough to kill or not until nearer the end of the film. Even then, I'd rate my chances if we had to fight it out in a sweaty jungle...
Our main protagonist Martin (Luc Merenda), is a (apparently) ruthless mercenary who accepts a mission to find a hired killer who is hiding out with a group of mercenaries in a South American jungle. When members of the group get wind that there is a price on the hired killers head things get a tad messy and they end up fighting amongst themselves to claim the bounty.
Certainly not directors Joe D'Amato's finest hour but it is a fun ride nonetheless.
Those expecting the usual nudity and gore from a D'Amato flick will be disappointed though, as this is a pure Boys Own testosterone fueled adventure.
Not that I'm complaining, as it has all the ingredients of a staple low budget film. Bad and often hilarious dialogue. Check. Gaping plot holes. Check. Nonsensical narrative. Check. Stock footage. Check. Crap explosions. Check. And so on...
Donald O'Brien, who is no stranger to low budget flicks, is great to watch as Major Hagerty. He pretty much dominates the film, outacting the entire cast (although that isn't particularly difficult).
The 'specially adapted' assault course, the shootout barrel run, and saving the rabbit from drowning scenes are some of the highlights on show. The twist ending is blindingly obvious though. Pure trash fun!
NOTE: The transfer I watched was terrible. More grain, dropouts, and interference than you could shake an exploitation stick at. Although it did kind of add to the enjoyment, if like myself, it gets you yearning for the good old days of vhs.
Our main protagonist Martin (Luc Merenda), is a (apparently) ruthless mercenary who accepts a mission to find a hired killer who is hiding out with a group of mercenaries in a South American jungle. When members of the group get wind that there is a price on the hired killers head things get a tad messy and they end up fighting amongst themselves to claim the bounty.
Certainly not directors Joe D'Amato's finest hour but it is a fun ride nonetheless.
Those expecting the usual nudity and gore from a D'Amato flick will be disappointed though, as this is a pure Boys Own testosterone fueled adventure.
Not that I'm complaining, as it has all the ingredients of a staple low budget film. Bad and often hilarious dialogue. Check. Gaping plot holes. Check. Nonsensical narrative. Check. Stock footage. Check. Crap explosions. Check. And so on...
Donald O'Brien, who is no stranger to low budget flicks, is great to watch as Major Hagerty. He pretty much dominates the film, outacting the entire cast (although that isn't particularly difficult).
The 'specially adapted' assault course, the shootout barrel run, and saving the rabbit from drowning scenes are some of the highlights on show. The twist ending is blindingly obvious though. Pure trash fun!
NOTE: The transfer I watched was terrible. More grain, dropouts, and interference than you could shake an exploitation stick at. Although it did kind of add to the enjoyment, if like myself, it gets you yearning for the good old days of vhs.
Gareth von Kallenbach (965 KP) rated The Lost City of Z (2017) in Movies
Jul 11, 2019
Charlie Hunnam (Sons of Anarchy) stars as the British Explorer Colonel Percival Fawcett, who disappeared on an expedition in search of an ancient city and civilization in the Amazon. The film centers on the true-life adventure of Col Fawcett and his journey to find evidence of a lost people while engaging audiences in the ego and superiority complex that much of western civilization finds itself.
We are introduced to Fawcett as he is an Army Major who seeks to have some sense of distinction and recognition. Seeking notoriety and a sense of honor, Fawcett accepts the task of mapping out disputed territory between Peru and Brazil at the opening of the 20th century in order to prevent war between the two nations.
In his exploits, he is confronted with the exploitation of the indigenous population, extraction of resources, and an untamed land. Upon subsequent journeys and serving in World War I, he is consumed with the need to find a sense of honor in his duty to his nation. Over the course of the film, we begin to see how invested he is in this struggle to learn more about the people and places that he is exploring, however, there isn’t a true connection made between Hunnam’s portrayal and the audience. At times, I found myself not caring about Fawcett’s contributions or career. I could not get invested in his story or his struggle to find a lost city that he believed existed in the wild. By the end of the film, I wasn’t invested in who Fawcett was, what he set out to accomplish, or even his legacy.
One thing that I did find remarkable was that the film helps to expose much of the anxiety and danger that existed during this period and previous expeditions into the region. Additionally, it gave me an appreciation for the endless heights of the human ego, ambition, and drive. The film allows for a critique to emerge about western interference and exploration of the region and the ethnocentrism held by western nations. Lost City of Z is an expansive visual spectacle. The jungle becomes a living, breathing, creature that audiences will connect with, become fearful of, and appreciate. It is the character that carries the film.
The actors and actresses are the background. This aspect allows for the audience to become absorbed by the surroundings and the environment that the characters find themselves in.
The film is beautifully shot and captivating. The sequences are engaging and give the sense of being transported to a foreign, mysterious land that holds secrets that many of us could never comprehend or witness with our own eyes.
We are introduced to Fawcett as he is an Army Major who seeks to have some sense of distinction and recognition. Seeking notoriety and a sense of honor, Fawcett accepts the task of mapping out disputed territory between Peru and Brazil at the opening of the 20th century in order to prevent war between the two nations.
In his exploits, he is confronted with the exploitation of the indigenous population, extraction of resources, and an untamed land. Upon subsequent journeys and serving in World War I, he is consumed with the need to find a sense of honor in his duty to his nation. Over the course of the film, we begin to see how invested he is in this struggle to learn more about the people and places that he is exploring, however, there isn’t a true connection made between Hunnam’s portrayal and the audience. At times, I found myself not caring about Fawcett’s contributions or career. I could not get invested in his story or his struggle to find a lost city that he believed existed in the wild. By the end of the film, I wasn’t invested in who Fawcett was, what he set out to accomplish, or even his legacy.
One thing that I did find remarkable was that the film helps to expose much of the anxiety and danger that existed during this period and previous expeditions into the region. Additionally, it gave me an appreciation for the endless heights of the human ego, ambition, and drive. The film allows for a critique to emerge about western interference and exploration of the region and the ethnocentrism held by western nations. Lost City of Z is an expansive visual spectacle. The jungle becomes a living, breathing, creature that audiences will connect with, become fearful of, and appreciate. It is the character that carries the film.
The actors and actresses are the background. This aspect allows for the audience to become absorbed by the surroundings and the environment that the characters find themselves in.
The film is beautifully shot and captivating. The sequences are engaging and give the sense of being transported to a foreign, mysterious land that holds secrets that many of us could never comprehend or witness with our own eyes.
JT (287 KP) rated Shame (2012) in Movies
Mar 10, 2020
If you ever wondered what constitutes as a powerful piece of film making then Shame, directed by Steve McQueen, is it. Michael Fassbender plays Brandon a man who has an addiction for sex and all things surrounding it. From porn, webcams, fingering random girls in bars, it’s all covered here in gratuitous fashion that certainly delivers shock value.
When his sister, Sissy (Mulligan) turns up at his apartment unannounced it throws his life into turmoil as she carries with her problems of her own.Brandon’s sexual appetite is a massive part of his life, he doesn’t go in for long term relationships instead finding time to pay for sex and engage in dates and the occasional one night stand.
His hunger drifts into the work place as well, which proves a dangerous playground. As the film grows Brandon begins to realise that his addiction is slowly consuming him, unable to perform sexually in some cases he is gripped by emotional dilemmas while at the same time trying to orchestrate a normal existence.
Fassbender is brilliant, giving by far, one of his best performances. Strange that actors seem to do this in films that generally are not that well known, albeit only around film festivals as opposed to main stream cinema. Brandon is a character that is trying to escape his inner demons, like with any addiction the road to ridding the problem is a long journey.
We see Brandon having a clear out of his apartment, throwing porn mags, DVDs and even his entire laptop, casting it onto the street in bin bags like it was a quick fix solution, which it’s not.
The supporting cast, aside Mulligan, is limited. James Badge Dale as Brandon’s over excited and at times sleazy boss holds his own but it is a relatively small part so he doesn’t have a lot to chew on. Shame is graphic, if you’re the least bit prudish then this film is certainly not going to be for you. Fassbender is a hollow shell, but the emotion beneath him is bubbling and the final act shows Brandon on a night of careless sexual exploitation, which takes him on a painful journey of self loathing.
It’s a film that will be open to much debate, the last scenes will no doubt set tongues wagging. But through all the controversy lies a film that depicts an addiction just like any other, and tries to break through to the underlying causes behind it, as well as the people that it affects.
When his sister, Sissy (Mulligan) turns up at his apartment unannounced it throws his life into turmoil as she carries with her problems of her own.Brandon’s sexual appetite is a massive part of his life, he doesn’t go in for long term relationships instead finding time to pay for sex and engage in dates and the occasional one night stand.
His hunger drifts into the work place as well, which proves a dangerous playground. As the film grows Brandon begins to realise that his addiction is slowly consuming him, unable to perform sexually in some cases he is gripped by emotional dilemmas while at the same time trying to orchestrate a normal existence.
Fassbender is brilliant, giving by far, one of his best performances. Strange that actors seem to do this in films that generally are not that well known, albeit only around film festivals as opposed to main stream cinema. Brandon is a character that is trying to escape his inner demons, like with any addiction the road to ridding the problem is a long journey.
We see Brandon having a clear out of his apartment, throwing porn mags, DVDs and even his entire laptop, casting it onto the street in bin bags like it was a quick fix solution, which it’s not.
The supporting cast, aside Mulligan, is limited. James Badge Dale as Brandon’s over excited and at times sleazy boss holds his own but it is a relatively small part so he doesn’t have a lot to chew on. Shame is graphic, if you’re the least bit prudish then this film is certainly not going to be for you. Fassbender is a hollow shell, but the emotion beneath him is bubbling and the final act shows Brandon on a night of careless sexual exploitation, which takes him on a painful journey of self loathing.
It’s a film that will be open to much debate, the last scenes will no doubt set tongues wagging. But through all the controversy lies a film that depicts an addiction just like any other, and tries to break through to the underlying causes behind it, as well as the people that it affects.
LeftSideCut (3778 KP) rated Species (1995) in Movies
Sep 18, 2020
Ahh Species. A film I loved to watch when I was a young teen for...research purposes...
It's a bit rubbish really though isn't it? Watching it again now, it's pretty much a bunch of characters talking their way through a manhunt, strung together by regular moments of nudity.
It's suitably corny, boasts some terrible CGI (effects that may have been good back in the 90s, I honestly don't really remember) but in spite of all this, it's still pretty entertaining.
It's cast boasts the likes of Ben Kingsley, Alfred Molina, Marg Helgenberger, Forest Whitaker, Michael Madsen, even a young Michelle Williams...it's pretty stacked. Natasha Henstridge of course plays the creature, and gives the role a sense of empowerment rather than exploitation.
The rubber suit aesthetic of the alien is pretty awesome (in the parts where it's not haunting CGI) and it has a pretty decent music score.
I fully see why a lot of people consider Species to be trashy, but honestly, it's a fun slice of 90s (as fuck) sci-fi horror. Enjoy it for what it is and just pretend the sequels don't exist.
It's a bit rubbish really though isn't it? Watching it again now, it's pretty much a bunch of characters talking their way through a manhunt, strung together by regular moments of nudity.
It's suitably corny, boasts some terrible CGI (effects that may have been good back in the 90s, I honestly don't really remember) but in spite of all this, it's still pretty entertaining.
It's cast boasts the likes of Ben Kingsley, Alfred Molina, Marg Helgenberger, Forest Whitaker, Michael Madsen, even a young Michelle Williams...it's pretty stacked. Natasha Henstridge of course plays the creature, and gives the role a sense of empowerment rather than exploitation.
The rubber suit aesthetic of the alien is pretty awesome (in the parts where it's not haunting CGI) and it has a pretty decent music score.
I fully see why a lot of people consider Species to be trashy, but honestly, it's a fun slice of 90s (as fuck) sci-fi horror. Enjoy it for what it is and just pretend the sequels don't exist.
BackToTheMovies (56 KP) rated The Haunting of Sharon Tate (2019) in Movies
Jun 21, 2019
With it being 50 years since the tragic Manson murders in California we have a year of Manson movies. We have the independent film Charlie Says which explores Manson and his cult in sensitive detail before the tragic night. We have Tarantino’s Once Up A Time In Hollywood which has been given the go-ahead from Sharon Tate’s sister to be made. Then we have this. The Haunting of Sharon Tate. An overly exploitative piece that twists truths to create a narrative and completely trashes the legacy of the late actress.
August 8, 1969, the night that Sharon Tate, Jay Sebring, Wojciech Frykowski, Abigail Folger and Steven Parent were brutally murdered. The film focuses on the days before the tragic event. The movie dramatizes the slayings and plays on the notion that Sharon Tate predicted her own death in the days leading up to the slaughter.
Surrounded by bad acting and awful scripting it was a very poor choice to make this film in the first place. Writer-director Daniel Farrands has created an offensive and frankly insulting ‘thriller’. Hilary Duff stars as Sharon Tate and whilst she somewhat looks the part, she doesn’t have that raw magic and flair that Sharon had. This tragic event has been turned into some stock-horror slash um up movie with a psychic paranormal twist.
At one point Manson’s song ‘Cease to Exist’ plays to Sharon over a tape player and the Manson Family stalks Tate and her friends around her home. It really is that bad. The introduction of the movie shows real-life footage as a black and white Hilary Duff talks about her own death. The opening scene of the movie is enough to want me to turn off the film instantly.
The Haunting of Sharon Tate still
With no care or respect being paid to the real-life counterparts, the movie has very little to say other than ‘you’re going to die soon’. There’s no feeling of empathy. The Haunting of Sharon Tate is just a 90-minute exploitation of a horrific night in Hollywood’s history.
https://backtothemovies.com/exploitative-trash-the-haunting-of-sharon-tate-review/
August 8, 1969, the night that Sharon Tate, Jay Sebring, Wojciech Frykowski, Abigail Folger and Steven Parent were brutally murdered. The film focuses on the days before the tragic event. The movie dramatizes the slayings and plays on the notion that Sharon Tate predicted her own death in the days leading up to the slaughter.
Surrounded by bad acting and awful scripting it was a very poor choice to make this film in the first place. Writer-director Daniel Farrands has created an offensive and frankly insulting ‘thriller’. Hilary Duff stars as Sharon Tate and whilst she somewhat looks the part, she doesn’t have that raw magic and flair that Sharon had. This tragic event has been turned into some stock-horror slash um up movie with a psychic paranormal twist.
At one point Manson’s song ‘Cease to Exist’ plays to Sharon over a tape player and the Manson Family stalks Tate and her friends around her home. It really is that bad. The introduction of the movie shows real-life footage as a black and white Hilary Duff talks about her own death. The opening scene of the movie is enough to want me to turn off the film instantly.
The Haunting of Sharon Tate still
With no care or respect being paid to the real-life counterparts, the movie has very little to say other than ‘you’re going to die soon’. There’s no feeling of empathy. The Haunting of Sharon Tate is just a 90-minute exploitation of a horrific night in Hollywood’s history.
https://backtothemovies.com/exploitative-trash-the-haunting-of-sharon-tate-review/
Darren Fisher (2436 KP) rated 13 Dolls In Darkness (2017) in Movies
Jul 24, 2022
I have been an obsessive fan of horror films since I was a kid in the 70's. Brought up on Hammer and Universal monster films it wasn't long before I delved into pre-cert exploitation films and that is where my preference has been ever since.
Over the last 20 years I have felt that the horror genre hasn't really offered it's fans anything new (bar a few exceptions). Having been left despondent, disappointed and bored senseless by the over-saturation of remakes, reboots and just plain dull horror fare, it comes with great surprise that a black and white silent film from Australia would be the breath of fresh air that the horror genre desperately needs.
The plot of 13 Dolls is pretty straightforward. Marjorie receives a letter from her ailing mother to return home after a 13 year absence. On her return home Marjorie realises that things are not what they seem...
Written and directed by the talented Zeda Müller, this is a film that demands your attention from the start. With its eerie score and moody camerawork it sets a very atmospheric and claustrophobic feel to proceedings. It's a great take on the 'old dark house' horrors of a bygone era, Robert Wiene and Tod Brownings early work springs to mind... yet draws on influences from the likes of Dario Argento, Mario Bava's gothic horrors, giallo and slasher films (there are some nicely placed references for the sharp-eyed viewer). The fact that this is a silent film (I'll get to the score in a bit) actually works in its favour. Gone are the usual mundane dialogue pieces that fill out most horror films these days and the viewer is reintroduced to dialogue cards when required to move the story along. This also means that the actors are given room to act through expression and emotion and they all do a sterling job.
The masterstroke of 13 Dolls though is the excellent use of camerawork and soundtrack. The soundtrack is interspliced with sound effects (church bells, howling wind, dripping taps etc) and moody piano/tension building synths, all used to full sensory effect. The footage and score intertwine brilliantly together and I found some scenes genuinely eerie and creepy (a rare feeling for me whilst watching a new film these days).
Overall 13 Dolls is a mesmerising experience, interspersed with some cleverly executed gore scenes, and at a scant 75 minutes long, it motors along at a cracking pace.
So, you have probably guessed that I liked this film a lot. I highly recommend checking it out, especially if you are looking for something different. It's a great film and I for one am looking forward to Zeda Müller & Co's next venture...!
Over the last 20 years I have felt that the horror genre hasn't really offered it's fans anything new (bar a few exceptions). Having been left despondent, disappointed and bored senseless by the over-saturation of remakes, reboots and just plain dull horror fare, it comes with great surprise that a black and white silent film from Australia would be the breath of fresh air that the horror genre desperately needs.
The plot of 13 Dolls is pretty straightforward. Marjorie receives a letter from her ailing mother to return home after a 13 year absence. On her return home Marjorie realises that things are not what they seem...
Written and directed by the talented Zeda Müller, this is a film that demands your attention from the start. With its eerie score and moody camerawork it sets a very atmospheric and claustrophobic feel to proceedings. It's a great take on the 'old dark house' horrors of a bygone era, Robert Wiene and Tod Brownings early work springs to mind... yet draws on influences from the likes of Dario Argento, Mario Bava's gothic horrors, giallo and slasher films (there are some nicely placed references for the sharp-eyed viewer). The fact that this is a silent film (I'll get to the score in a bit) actually works in its favour. Gone are the usual mundane dialogue pieces that fill out most horror films these days and the viewer is reintroduced to dialogue cards when required to move the story along. This also means that the actors are given room to act through expression and emotion and they all do a sterling job.
The masterstroke of 13 Dolls though is the excellent use of camerawork and soundtrack. The soundtrack is interspliced with sound effects (church bells, howling wind, dripping taps etc) and moody piano/tension building synths, all used to full sensory effect. The footage and score intertwine brilliantly together and I found some scenes genuinely eerie and creepy (a rare feeling for me whilst watching a new film these days).
Overall 13 Dolls is a mesmerising experience, interspersed with some cleverly executed gore scenes, and at a scant 75 minutes long, it motors along at a cracking pace.
So, you have probably guessed that I liked this film a lot. I highly recommend checking it out, especially if you are looking for something different. It's a great film and I for one am looking forward to Zeda Müller & Co's next venture...!