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Matthew Krueger (10051 KP) rated The Last House on the Left (1972) in Movies
Sep 3, 2020
To Avoid Fainting Keep Repeating...Its Only A Movie
The Last House on the Left- was wes's directoral debut and what a start. Its a disturbing, psychological, graphic, exploitation horror film.
The plot: Teenagers Mari (Sandra Cassel) and Phyllis (Lucy Grantham) head to the city for a concert, then afterward go looking for drugs. Instead, they find a gang of escaped convicts who subject them to a night of torture and rape. The gang then kills the girls in the woods, not realizing they're near Mari's house. When they pose as salesmen and are taken in by Mari's mother (Cynthia Carr) and father (Gaylord St. James), it doesn't take the parents long to figure out their identities and plot revenge.
Wes Craven, who had no money at the time, was put on the job of synchronizing dailies for Cunningham's re-shoot. He soon began editing the film with Cunningham. He soon began editing the film with Cunningham and they became good friends. Hallmark bought the film for $10,000, and it was considered a "hit"; this prompted Hallmark to persuade them to make another film with a bigger budget, and gave them $90,000 to shoot a horror film.
This script, written under the title Night of Vengeance, has never been released; only a brief glimpse is visible in the featurette Celluloid Crime of the Century (a 2003 documentary on the making of the film).
The majority of the cast of The Last House on the Left were inexperienced or first-time actors, with the exception of Richard Towers, Eleanor Shaw, and Sandra Peabody who were all soap opera regulars and had prior film roles.
The film underwent multiple title changes, with its investors initially titling it Sex Crime of the Century. However, after test screenings were completed, it was decided to change the title to Krug and Company; however, this title was found to have little draw during test screenings. A marketing specialist who was an acquaintance of Cunningham's proposed the title The Last House on the Left. Craven initially thought the title was "terrible."
Due to its graphic content, the film sparked protests from the public throughout the fall of 1972 who called for its removal from local theaters.
Promotional material capitalized on the film's graphic content and divisive reception, featuring the tagline: "To avoid fainting, keep repeating 'It's only a movie' ..." advertising campaign. Under the Last House... title, the film proved to be a hit.
Though the film passed with an R-rating by the Motion Picture Association of America, director Craven claimed that on several occasions, horrified audience members would demand that theater projectionists destroy the footage, sometimes stealing the film themselves.
It is a distubing film but it is a excellet film by a horror icon.
The plot: Teenagers Mari (Sandra Cassel) and Phyllis (Lucy Grantham) head to the city for a concert, then afterward go looking for drugs. Instead, they find a gang of escaped convicts who subject them to a night of torture and rape. The gang then kills the girls in the woods, not realizing they're near Mari's house. When they pose as salesmen and are taken in by Mari's mother (Cynthia Carr) and father (Gaylord St. James), it doesn't take the parents long to figure out their identities and plot revenge.
Wes Craven, who had no money at the time, was put on the job of synchronizing dailies for Cunningham's re-shoot. He soon began editing the film with Cunningham. He soon began editing the film with Cunningham and they became good friends. Hallmark bought the film for $10,000, and it was considered a "hit"; this prompted Hallmark to persuade them to make another film with a bigger budget, and gave them $90,000 to shoot a horror film.
This script, written under the title Night of Vengeance, has never been released; only a brief glimpse is visible in the featurette Celluloid Crime of the Century (a 2003 documentary on the making of the film).
The majority of the cast of The Last House on the Left were inexperienced or first-time actors, with the exception of Richard Towers, Eleanor Shaw, and Sandra Peabody who were all soap opera regulars and had prior film roles.
The film underwent multiple title changes, with its investors initially titling it Sex Crime of the Century. However, after test screenings were completed, it was decided to change the title to Krug and Company; however, this title was found to have little draw during test screenings. A marketing specialist who was an acquaintance of Cunningham's proposed the title The Last House on the Left. Craven initially thought the title was "terrible."
Due to its graphic content, the film sparked protests from the public throughout the fall of 1972 who called for its removal from local theaters.
Promotional material capitalized on the film's graphic content and divisive reception, featuring the tagline: "To avoid fainting, keep repeating 'It's only a movie' ..." advertising campaign. Under the Last House... title, the film proved to be a hit.
Though the film passed with an R-rating by the Motion Picture Association of America, director Craven claimed that on several occasions, horrified audience members would demand that theater projectionists destroy the footage, sometimes stealing the film themselves.
It is a distubing film but it is a excellet film by a horror icon.
Jon Savage recommended A Hard Day's Night (1964) in Movies (curated)
Cypriot Cinemas: Memory, Conflict, and Identity in the Margins of Europe
Costas Constandinides and Yiannis Papadakis
Book
Cyprus, the idyllic "island of Aphrodite," is better known as a site of conflict and division...
Awix (3310 KP) rated Q: The Winged Serpent (1982) in Movies
Mar 31, 2019 (Updated Mar 31, 2019)
Hugely likeable, tongue-in-cheek mash-up of monster movie and crime drama. An ancient Aztec dragon-bird-god begins terrorising window-cleaners, construction workers and other people on top of high buildings in New York. Small-time crook (Moriarty) comes across the lair but will only tell heroic detective (Carradine) if the price is right.
The stuff with the monster is grisly good fun, while the more down to earth scenes are lifted hugely by the terrific performance of Moriarty, who seems to think he's appearing in a John Cassavetes film. The special effects are heroically over-ambitious and a subplot about an Aztec cult committing human sacrifices feels like an awkward afterthought, but that just adds to the entertainment value of an unashamed exploitation movie, and a mighty fine one too.
The stuff with the monster is grisly good fun, while the more down to earth scenes are lifted hugely by the terrific performance of Moriarty, who seems to think he's appearing in a John Cassavetes film. The special effects are heroically over-ambitious and a subplot about an Aztec cult committing human sacrifices feels like an awkward afterthought, but that just adds to the entertainment value of an unashamed exploitation movie, and a mighty fine one too.
Gareth von Kallenbach (965 KP) rated Grindhouse (2007) in Movies
Aug 14, 2019
Back in the 70’s cheaply made independent films often came into their own. The studio released films were drawing smaller audiences’ thanks in large part to the arrival of color television and a greater variety of entertainment that people could view in their homes.
During this time, the Blaxploitation era as it became known, saw many films become big hits thanks to the films modest budgets and subject matter that was quite different from the films of the day. Aside from Blaxploitation, there were also sexploitation films as well as action and horror films that embraced the urban and youth cultures of the time and were loaded with sex, violence, and anti-establishment themes.
The films were often show nonstop in all night theaters known as “Grind houses”, where repeated showings of prints caused them to have image blemishes as films were usually shown in a city for a week before the same print was whisked off to a new city for even more wear and tear.
Inspired by the classic exploitation films of old, Directors Quentin Tarantino and Robert Rodriguez have teamed up to treat audience to a modern day ” Grind house” experience that comes complete with nostalgic intros and credits as well as movie trailers for exploitation films that the duo has not yet created.
The first film is “Planet Terror” and stars Rose McGowan as a Go Go Dancer named Cherry who is about to have a very bad night thanks to a deal gone wrong between a shadowy soldier (Bruce Willis), and a mysterious scientist (Naveen Andrews).
Before long, Cherry is minus a leg, and living in a town overrun by zombie like creatures, which forces her and a band of survivors to fight the deadly invaders to get to the bottom of the mystery.
The film is packed with gore, action, and enough cheesy lines to make even the most jaded moviegoer wince, yet all is done with loving reverence to the genre films that inspired it.
Rodriguez even includes little glitches in the film to give a sense of realism to the film. Were it not for the starts of today and some slightly better effects work, you could easily believe that this was a film from the era.
The second film is “Death Proof” and it stars Kurt Russell as Stuntman Mike. A man who drives a souped up hotrod and spreads mayhem wherever he goes. While the film does not have much of the signature dialogue that marks past Tarantino films,
it does have its moments and is one of the most demented, and intense car chase stories you will ever see.
I have gone very light on the plot recaps as to be honest, the films both have paper thin plots and characters which do not really warrant much examination.
To do so would be to miss the point of Grind House as the goal was to create two modern exploitation films that were true in character and form to the films that inspired them. Yes, this film had a budget that could have created well over a thousand such films back in the day, and has more stars than Hollywood Bld. But despite this, still would be worthy of those famed theaters of old.
There were many times that I noted the bad acting, lines, and other problems in the films, but reminded myself that flaws were for the most part intended.
I compare the experience to watching “Mystery Science Theater 3000”, in that you need to be familiar with the types of film being featured in order to get the full benefit.
I for one really enjoyed myself and I loved the false trailers that were included in the film as it was great fun not only watching them, but seeing the big name stars who helped create them getting in on the fun.
If you set your expectations accordingly, than Grind House may be the most nostalgic fun you have had at the movies in a long time.
During this time, the Blaxploitation era as it became known, saw many films become big hits thanks to the films modest budgets and subject matter that was quite different from the films of the day. Aside from Blaxploitation, there were also sexploitation films as well as action and horror films that embraced the urban and youth cultures of the time and were loaded with sex, violence, and anti-establishment themes.
The films were often show nonstop in all night theaters known as “Grind houses”, where repeated showings of prints caused them to have image blemishes as films were usually shown in a city for a week before the same print was whisked off to a new city for even more wear and tear.
Inspired by the classic exploitation films of old, Directors Quentin Tarantino and Robert Rodriguez have teamed up to treat audience to a modern day ” Grind house” experience that comes complete with nostalgic intros and credits as well as movie trailers for exploitation films that the duo has not yet created.
The first film is “Planet Terror” and stars Rose McGowan as a Go Go Dancer named Cherry who is about to have a very bad night thanks to a deal gone wrong between a shadowy soldier (Bruce Willis), and a mysterious scientist (Naveen Andrews).
Before long, Cherry is minus a leg, and living in a town overrun by zombie like creatures, which forces her and a band of survivors to fight the deadly invaders to get to the bottom of the mystery.
The film is packed with gore, action, and enough cheesy lines to make even the most jaded moviegoer wince, yet all is done with loving reverence to the genre films that inspired it.
Rodriguez even includes little glitches in the film to give a sense of realism to the film. Were it not for the starts of today and some slightly better effects work, you could easily believe that this was a film from the era.
The second film is “Death Proof” and it stars Kurt Russell as Stuntman Mike. A man who drives a souped up hotrod and spreads mayhem wherever he goes. While the film does not have much of the signature dialogue that marks past Tarantino films,
it does have its moments and is one of the most demented, and intense car chase stories you will ever see.
I have gone very light on the plot recaps as to be honest, the films both have paper thin plots and characters which do not really warrant much examination.
To do so would be to miss the point of Grind House as the goal was to create two modern exploitation films that were true in character and form to the films that inspired them. Yes, this film had a budget that could have created well over a thousand such films back in the day, and has more stars than Hollywood Bld. But despite this, still would be worthy of those famed theaters of old.
There were many times that I noted the bad acting, lines, and other problems in the films, but reminded myself that flaws were for the most part intended.
I compare the experience to watching “Mystery Science Theater 3000”, in that you need to be familiar with the types of film being featured in order to get the full benefit.
I for one really enjoyed myself and I loved the false trailers that were included in the film as it was great fun not only watching them, but seeing the big name stars who helped create them getting in on the fun.
If you set your expectations accordingly, than Grind House may be the most nostalgic fun you have had at the movies in a long time.
YN
You're Not Dead Until You're Forgotten: A Memoir
John Dunning and Bill Brownstein
Book
Much to his chagrin, John Dunning was born into the movie business. But once he came to accept his...
Sweet Smell of Success
Book
The highest artistic achievement of Hecht-Hill-Lancaster, an innovative production company that...
Darren Fisher (2436 KP) rated Island of Death (1976) in Movies
Jan 11, 2021 (Updated Jan 11, 2021)
70's Exploitation At Its Best
Story has it that Greek director Nico Mastorakis saw the Texas Chainsaw Massacre at the cinema and was impressed that such a violent low budget horror film could make so much money. So with that in mind Nico decided to make an even more depraved feature than Tobe Hooper and therefore make even more money! He succeeded in the latter but as for make more money? Well, we can only guess not. I won't bother going into the plot as I assume most people already know about this depraved and sick little flick. All that I will say is that as far as 70's exploitation flicks go this is one of the best. Depravity has never been in so much abundance as is on show here. This will not be to many viewers taste (and a big "no, no" for the Snowflake Generation) as we are subjected to rape, gay rape, incest, drug abuse, beastiality, torture, urinating on pensioners and even a fart in the face as a downright insult. The list of depravity doesn't stop there but to list them all would take some time and spoil it for those that want to watch it for the first time...
The gore is kept to a mimimum and the acting is pretty bad, but as the film progresses this is not really an issue (there are some great bits of crazy dialogue throughout). The majority of death scenes are very imaginative, including deaths involving a plane flight, bulldozer and a pot of paint.
Also there is a cracking soundtrack provided by the legendery Nikos Lavranos (Destination Understanding being the obvious favourite of the 'cult elite').
I cannot recommend this film enough, it is superb, but if you are easily offended I would suggest giving this one a very wide berth. Maybe I need psychiatric help... A MUST SEE.
The gore is kept to a mimimum and the acting is pretty bad, but as the film progresses this is not really an issue (there are some great bits of crazy dialogue throughout). The majority of death scenes are very imaginative, including deaths involving a plane flight, bulldozer and a pot of paint.
Also there is a cracking soundtrack provided by the legendery Nikos Lavranos (Destination Understanding being the obvious favourite of the 'cult elite').
I cannot recommend this film enough, it is superb, but if you are easily offended I would suggest giving this one a very wide berth. Maybe I need psychiatric help... A MUST SEE.
Awix (3310 KP) rated Planet of Dinosaurs (1977) in Movies
May 24, 2019 (Updated May 24, 2019)
A great title goes to waste in this low-budget SF knock-off. Spaceship gets into trouble; the crew are alarmed to realise that the planet they crash-land on is inhabited solely by dinosaurs; the viewer will be alarmed to realise the film is inhabited solely by people who can't act, and the script is cobblers too.
Not even any fun as a dodgy exploitation movie; the chamois-leather bikinis promised by the poster never materialise and we are left with a bunch of dull characters in velour outfits and adult-movie moustaches (the men are even worse) being snippy with each other. The dinosaur animation is actually astonishingly good, certainly the best thing about this movie; whether it's a good enough reason to sit through the rest of it is a question each of us must answer for him or herself.
Not even any fun as a dodgy exploitation movie; the chamois-leather bikinis promised by the poster never materialise and we are left with a bunch of dull characters in velour outfits and adult-movie moustaches (the men are even worse) being snippy with each other. The dinosaur animation is actually astonishingly good, certainly the best thing about this movie; whether it's a good enough reason to sit through the rest of it is a question each of us must answer for him or herself.