Showing posts with label GENERALIZED GAYNESS. Show all posts
Showing posts with label GENERALIZED GAYNESS. Show all posts

Wednesday, March 2, 2016

Demon Wind


Demon Wind (1990)
Dir and written by Charles Philip Moore
Starring Eric Larson, Francine Lapensée, Rufus Nirris, Jack Forcinito, Stephen Quadros, Mark David Fritsche… I could go on.



In the violent final throes of the 1980’s (1990), this guy Cory (Eric Lawson, DEMON WIND) heads back to his ancestral home in rural Bumfuck, Nowhere to find some answers about why his dad was such a jerk. For some reason he decides to bring along every single person he’s ever met in his life on this painful journey into his family’s dark past, so many in fact that they just keep showing up throughout the entire movie. I think there are like four carloads to start with, and more just keep arriving. And they are among the most aggressively 80’s crews I’ve ever encountered in cinema, covering every stock type from the ubiquitous “knockoff Biff from BACK TO THE FUTURE” and “cardigan nerd” to the somewhat more exotic “kung fu magician” type (more on him later). Wouldn’t you know it, though, the ignorant, untrustworthy locals (eew, poor people!) are clumsily trying to hinder them without explaining why they’re hiding these deadly secrets.


Fortunately, we already know what the gig is, because we saw the opening, where Cory’s ancestral home is under siege by demons. Grandma’s some kinda white witch Harry Potter good guy wizard type, but things are not going well. The demons take possession of Grandpa, who throws up tapioca and then kills Granny, who inexplicably rejoins, “if this crystal breaks, we both die” before dropping a snow globe which blows up the house, why not? Seems’ Cory’s dad, who had just been born and was still in the hospital, was the only survivor, a fact which really seems to have fucked with the old guys’s head, and caused Cory to go on this journey in the first place. Outside, there’s a crucified body on fire, and although it will never be explained who that was or what the deal is with it, it’s a nice detail.



The two openings establish the two competing tones of the movie, which are a) transgressive gothic horror and b) trashy 80’s teen bodycount schlock. Obviously it’s far better at being the latter than the former --the Donald Trump campaign ad which precedes the movie on Youtube is far more terrifying*-- but its ambitions toward provocative religious imagery and disturbing ideas definitely give it some flavor, and contribute to its enviable surplus of total fucking weirdness. I mean, it’s a bad movie, but it’s a standout bad movie, absolutely packed with nutty ideas. It seems like it must take a lot of cues from EVIL DEAD (cabin the in woods, people possessed by demons in gross shiny makeup, magic book of spells, portal to hell) but also seems to want to play it really straight, which makes the howlingly bad acting all the more enjoyable. It’s like if people with less talent than Sam Raimi tried to remake EVIL DEAD 2 without understanding that it’s a comedy.


Anyway, its assertive 80’s-ness defines it at least as much as its horror tropes. Expect to see a cornucopia of late-80’s glory, from the requisite mullets, rattails and perms, to a big dangly earring on one guy, to the aforementioned two guys who show up dressed like wizard vampires and do kung fu and then never do that again.** The two magician kung fu guys get into some serious fucking bromancing; they spend their last night on Earth telling each other supportive things about how cool they both are. And then have a long discussion about where they want to go on vacation together when they get through this (spoiler: it’s a good thing they didn’t book those tickets). And then a naked woman shows up, and they both just contemptuously dismiss her as a “demon.” I mean, they’re right, obviously, but come on guys, let’s have a little enthusiasm for those titties.




There’s a lot of charmingly boneheaded stuff like that. Some examples: A) Cory’s girlfriend, sensing that her mopey fellah is experiencing emotions (he’s just had a vision that he was naked in a supernatural gas station and his mom talked in a demon voice with her throat cut) tries to cheer him up by taking her pants off in the diner they’re standing in and wiggling her butt at him. He appreciates the gesture, I’m sure. B) When nobody wants a beer, the frosted-tips puffy-vest- wearing asshole friend demands, “What is this, ‘just say no’ week?!” “Not for me!” his girlfriends say defensively. “That’s why I keep her around,” he purrs, and they make out for an uncomfortably long time while the camera notes the condemning reaction of every single person at the table. C) One couple show up out of the blue in the last 20 minutes, and are really surprised to learn about all the demons and stuff. I don’t know if they just got stuck in traffic or what, but they really could not have picked a worse time to arrive. Check out this guy’s reaction to seeing his girlfriend about to be eaten by a satanic cow skull. Poor guy seems real bummed out about it:


Cory must be a much cooler guy than he lets on during the events of this movie, because his friends are almost unreasonably supportive. In fact, they’ve all driven god-knows-how-long to join him, and he hasn’t even told them why until they arrive at their destination. When he explains he’s looking for answers as to what evil forces killed his grandparents and drove his alcoholic father to suicide, everyone takes it in stride. These are some really good friends, right here. Hopefully he got them all some real nice Christmas gifts last year (especially since he’s not going to have another chance with most of them, spoiler). They stick with him despite the obvious evil around them and the skeletons and demonic knives and everything way longer than it would be at all reasonable to expect. But even once they correctly decide no good can come of staying, they find they can’t leave because an evil mist descends on them and every time they drive into it, they just end up at the house again. So it’s sort of like THE MIST meets THE EXTERMINATING ANGEL, with a generous helping of crappiness on top. Anyway, surprise surprise, things quickly escalate into a demonic siege, and our beloved crew start to get bumped off one by one (but even then, they don’t seem to be as bitter about being dragged into this as they ought to be).

I really like his stabby face here.

Most of the movie plays out as clunky and low-budget as you’d expect. There’s plenty of demons in gross makeup, but a lot of the time they just shamble around and say threatening things in a distorted voice. And there’s certainly no shortage of goofy side characters having long, inane conversations about their stupid lives. But for a no-budget, indie horror film from a first-time director, it’s not short on ambition or elbow grease. There are usually no less than five and often many more elaborately masked demon actors in makeup at once, that had to take some time. There’s a stop-motion cattle skull that grabs a lady with a long tongue and bites her head off. A bunch of severed heads and limbs, a pretty cool ruined house set, a full-body master demon suit complete with hooves. They set a stuntman in full costume on fire. Plus a bunch of awesome 80’s lightning and a huge explosion (see Exhibits A, B, and C). It’s still dumb as rocks, but boy, you can’t fault its effort. Also at the start of the climax, the hero kicks the giant demon right in the nuts. And that’s after he’s (spoiler?) turned into some kind of crazy space elf angel.



Let’s keep the SPOILERS rolling and talk about that finale for a minute. Like most of the movie, it’s stupid but ambitious, and you have to admit it goes everywhere you don’t expect. To fulfill some sort of vague prophecy, our boy turns into some kind of crazy angel in what you assume will be the last 5 minutes. But actually there are 15 more minutes after that, all of them containing new twists. He’s an angel! No wait, it was a dream! No wait, it wasn’t a dream after all! Wait, that’s his dead father trying to punch him! Oh good, the monster’s on fire and everything is OK! Oh wait, it’s not OK, there’s one more demon! Oh wait, they killed it. Oh wait, there’s one more! Charmingly enough, they make a big deal throughout the whole movie about this set of seven magic daggers which will destroy the dark one. But then they only ever have two, and they throw them both away stabbing minor demons. That doesn’t seem to stop their victory at the end, though. I guess those were optional. It works just as well to set the dark one on fire.


Anyway, DEMON WIND obviously is not a movie I could objectively call “good”, but if you’d be into a super weird mix of low-budget late-80s schlock and lots of freewheeling straight-faced craziness, this is pretty much a goldmine. Add plenty of alcohol, and you’ve got yourself a real howling good time.


In conclusion, yes, there should have been a fart joke in this review. Thank you.***


Appendix A: Alternate Opinion:
“Demon wind is a great horror movie it shows what could happen if people are satanic worshippers and do witch craft. It's a way better horror movie the the horror movies now days they use to much cgi and poor acting story's aren't even good in the now day horror movies. Back then they looked real and the acting was way better. It has a darker gloomy feel to them back in the days. Now it's just action and crap. They should make demon wind 2 cause after Cory left there were still demons out there. The Devils son was creepy has hell and ugly. So are the demons and the way the wind sounded was evil demon wind is a 5 star horror movie and iv seen a lot of horror movies but non has creepy has demon wind it has a life like feel to it. If people paid Attention to the movie and the story they would understand what it's about there isn't any zombies they are corys family body's possessed by demons they walk creepy and slow cause the body's are dead and stiff." -- youtube commenter adrian quinonez


*Boy, there’s a sentence I sure hope will look crazy in a few years.


** One of those guys, incidentally, is Stephen Quadros, a longtime MMA commentator and sometimes B-movie star (he’s worked with Traci Lords, Chuck Norris, AND O.J. Simpson!). He also worked as fight choreographer on EXIT WOUNDS and CRADLE 2 THE GRAVE. This guy’s a regular renaissance man, and that’s before I even mention that his uncited but curiously detailed wikipedia page claims he once auditioned to be the drummer for KISS. The only other cast member who seems to have gone on to anything noteworthy is a guy who plays an uncredited demon, apparently Hollywood Superstar Lou Diamond Phillips, if IMDB can be trusted. Although actress Sherri Lee, who plays “Bonnie” whoever that might be, did stunts in THE KINGDOM, 24, Breaking Bad, and, uh, SID AND NANCY. I’m not sure I remember too many female stunts in SID AND NANCY, but maybe it was because they were so convincing.


*** Dan P: I think the phrase originates from Shakespeare:
"Hark! A demon wind doth infiltrate the defenses of mine nostrils. Didst thou sup on cabbage this prior evening?"



CHAINSAWNUKAH 2015 CHECKLIST!

Play it Again, Samhain
  • TAGLINE: There's Something Deadly In the Air. It'll Blow You Away.
  • LITERARY ADAPTATION: No
  • SEQUEL: None. IMDB says "A sequel was planned, but never materialized." Shame, that.
  • REMAKE: No
  • DEADLY IMPORT FROM: USA
  • FOUND-FOOTAGE CLUSTERFUCK: No
  • SLUMMING A-LISTER: Possibly, if IMDB is to be believed, Hollywood Superstar Lou Diamond Phillips in his pre-fame years as one of the demons.
  • BELOVED HORROR ICON: None.
  • BOOBIES: Yes
  • MULLETS: Definitely
  • SEXUAL ASSAULT: No
  • DISMEMBERMENT PLAN: Head kicked off, hand chopped off, head ripped off.
  • HAUNTED HOUSE: Yes, though by demons instead of the standard ghosts. But it's definitely the house that's the problem.
  • MONSTER: Tons of demons, including a super-demon of some sort.
  • THE UNDEAD: Most of the people killed come back as demons.
  • POSSESSION: Yes, we got people getting all demon-y willy-nilly.
  • SLASHER/GIALLO: No.
  • PSYCHO KILLERS (Non-slasher variety): No
  • EVIL CULT: Definitely; turns out this whole fiasco was the product of some dickhole preacher who decided to get all satan-y. And this is one of the rare cases where you can't just go "well, to be fair, he turned out to be right, that magic shit is definitely real and I don't see organized religion doing any damn good at all," because Heaven intervenes on our behalf and turns our guy into an asskicking space elf.
  • (UNCANNY) VALLEY OF THE DOLLS: One of the girls gets turned into a bloody baby doll, for some unknown reason.
  • EGYPTO-CRYPTO: No
  • TRANSMOGRIFICATION: Everyone turns into demons, our guy turns into... something else?
  • VOYEURISM: Yeah, the waitress at the local diner peeps the girlfriend taking off her pants and awkwardly shaking her ass around/.
  • OBSCURITY LEVEL: Incredibly high, but you can get it on youtube if you're so inclined.
  • MORAL OF THE STORY: Thomas Wolfe was wrong. You can go home again, but there will be demons there, and also some horseshit about magic daggers. Frankly you're better off not bothering.
  • TITLE ACCURACY: Definitely a bunch of demons, there's no wind though. What, was "DEMON MIST" taken or something? 50%.
  • ALEX MADE IT THROUGH AWAKE: N/A.
Ok, this is objectively a terrible piece of shit, but I can't in good conscience give 2 or less to anything which delighted me so much.

Wednesday, November 5, 2014

Hatchet For the Honeymoon


Hatchet For the Honeymoon (1970)  aka Il rosso segno della follia (“The Red Mark of Madness”) aka Blood Brides aka An Ax For the Honeymoon. But oddly no titles that correctly identify that the weapon of murder is in fact a cleaver.
Dir. Mario Bava
Written by Santiago Moncada, Mario Bava
Starring Stephen Forsyth, Dagmar Lassander, Laura Betti, Jesús Puente




HATCHET FOR THE HONEYMOON is, almost without question, Bava’s most entertainingly campy film. Coming in 1970, more or less at the first early crest of the giallo wave, this tale of a psychopathic wedding dress designer, an antagonistic ghost, a bunch of models, a hidden room full of mannequins and a suspiciously shiny meat cleaver (no hatchet, though) is a brilliant mix of hilarious ridiculousness and serious technical chops. In fact, it’s so well made it’s actually kind of a shame, in a way, that it’s not legitimately good. But then again, if it was we wouldn’t have a movie this sublimely silly, and I’d probably complain about that too.


Though arguably a giallo, HATCHET has a radically different structure than Bava’s earlier genre-defining THE GIRL WHO KNEW TOO MUCH and BLOOD AND BLACK LACE. There is a mystery killer, but the murder was a solitary crime committed many years in the past. Does that mean this is one of those irritating bloodless giallos that have some convoluted mystery but almost no body count, like AUTOPSY? Not at all! It just means that this time we know exactly who’s been killing people, because he tells us right up front and we follow him for the whole movie.


The “he” in question would be John Harrington, handsome, debonair and enormously wealthy mansion-dweller and wedding dress fashion magnate. Seems like he’s got it all, but it’s not even a full minute after the intriguing abstract-animation title sequence that he’s hacking up a pair of newlyweds on a train with the aforementioned cleaver. But why? Well, there’s a appealingly simple explanation for that. “The fact is, I’m completely mad,” he helpfully narrates to us. And indeed, that self-diagnosis seems richly supported by the facts; he has a bizarre secret mannequin-strewn wedding-dress fetish room hidden in his sprawling mansion, which I would say handily crosses the fine line between “eccentric” and MANIAC even before I mention it’s where he keeps his trusty cleaver.

The sideburns say it all.

But despite his admitted insanity, he has a good, practical concrete reason for systematically murdering a bunch of screaming women (ideally newlyweds still in their wedding gear, hence the title*). You see, he has a repressed memory of his mother getting murdered, but can’t recall the face of the killer. Each murder he commits releases a little more of this memory, and he gets a little closer to solving the mystery of who offed mommy (hint: you’ve already figured it out). Possibly this concept rests on a somewhat iffy scientific foundation, psychologically speaking, but I dunno, the movie seems pretty certain this is a thing so I guess I’ll defer to Mr. Bava’s superior understanding of the human brain. It’s a patently outrageous premise, but I like it because at least it makes him a little different from the usual giallo killers, who are murdering out of psychosexual frenzy or because they saw their mom have sex with a sailor (usually both). Besides, it means he’s free to enjoy his work and his newfound state of productive psychosis, “the realization of which annoyed me at first, but is now amusing to me. Quite...amusing. Nobody suspects that I’m a madman.”


If the movie starts off as totally fuckin’ nuts as its protagonist, it only gets weirder. The slasher aspect is pretty standard, but just as the cat-and-mouse game with a suspicious cop starts to get a bit rote, another unexpected wrinkle crops up. See, John --despite his easy charm with the ladies-- isn’t entirely free to get jiggy at his discretion because of the minor annoyance that he is married to Mildred (Laurat Betti, LA DOLCE VITA) who openly hates him (who could blame her) and lives only to make his life miserable. Well, any abuse of this guy is richly deserved, but perhaps ill-advised because he has that cleaver and all. So it’s not exactly a surprise when she finds herself on the business end of John’s ceremonial slice-a-ma-jig. But what is a surprise is that her dedication to making his life miserable doesn’t end with death; she accompanies him as an invisible ghost that only other people can see, fucking up his murder routine and cockblocking him at every turn. How often do you see that in a movie?

The happy couple. You'd think something like this would bring them closer, but nope.

I’ve read a couple reviews of the film that mention its obvious similarities to MANIAC (the mannequins, the misogyny, the fact that the movie plays from the perspective of the killer) but a more interesting comparison is actually to AMERICAN PSYCHO. John Harrington and Bret Easton Ellis’ Jason Patrick Bateman are both dispassionate, remorseless psycho killers, but they’re also handsome, articulate and wildly successful. Joe Spinell’s Frank Zito in MANIAC shares their love of killing, but he’s also a penniless, greasy loser, weeping into bloody mannequin hair and tortured by his past. MANIAC shows the killer as an outsider, a weirdo who can just barely function on the margins of society. HATCHET FOR THE HONEYMOON and AMERICAN PSYCHO offer a very different perspective: society is actually set up to reward sociopathic maniacs, and we can see them succeed in pretty much everything they put their minds to. No one notices that they’re absolute monsters, because they’re focused, successful, and conscience-free; on the contrary, we envy their ambition and their power. Of course, AMERICAN PSYCHO was written as a satire, while HATCHET seems to be mostly playing it fairly straight. Still, the fact that John’s mansion is played by the Barcelona villa of notorious Spanish dictator Francisco Franco (in one of Bava’s only cinematic sojourns outside Italy) seems like it must be at least a bit of a wink at the way being a heartless monster can pay dividends.


I’m not convinced that the film is intended to be satirical, or that it has any particular subtext. Still, it’s a surprisingly funny film from Bava, who I never noticed having any sense of humor before. Were it not for the bloody murder scene, the tit-for-tat antagonism between John and Mildred (both before and after her death) is so caustic and blithe that it could have played in an old screwball comedy. There’s some simple but fun irony peppered through, too; John cheerfully hacks up newlyweds, but he’s also so gentle that he literally will not hurt a fly (he rescues one from a watery death, in fact, gently blowing on it to dry its wings), keeps doves as pets, and fastidiously tends to an opulent greenhouse (which also doubles as a body-disposal site, but still).

Interesting man cave.

Not exactly Oscar Wilde, I’ll grant, but this sort of thing is made a lot more effective through the performance of Stephen Forsyth (his last role before retiring to become a composer), who is absolutely perfect for the role in the sense that he over-emotes every single word and expression while at the same time never seeming to have anything remotely resembling a soul. It’s a big, broad performance, but so totally divorced from any kind of recognizable human experience that it manages to be forever hovering at the edge of camp comedy while still maintaining a unnerving undercurrent. It’s actually the sort of role Vincent Price would be great at, but Forsyth’s cartoonish Disney-prince good looks and cold, dead eyes give the character something distinct and different. Like Price, but somehow gayer. A lot gayer. Nevermind John’s ascot and gardening, he’s also a fey, vain and soft-spoken fashion designer with mommy issues and an obsession with wedding dresses. He’s got to be the most outrageously feminine male character I’ve ever seen in a giallo --which tend as a whole to have mostly unfortunate ideas about anyone breaking gender stereotypes (not a terrible surprise in 1970)-- but in this case I’ll allow for it simply because of the campy glory of this over-the-top gayness which at the same time never seems aware of how gay it is. I’m serious, he would be an easy target for the filmmakers to turn him into a mincing, sexually-confused degenerate, but instead they just treat this sort of behavior as normal, no one seems to notice that he’s about one sequen away from being RuPaul.  Maybe that’s just Italy, man. I don’t know.


What I do know, though, is that the real star here is Bava himself. Here he mostly avoids using his old tricks of gothic darks and surreal colored lighting, instead opting for a Hitchcockian world of canted angles, opulent sets and finely-tuned suspense sequences. In fact, the film also has a noticeable similarity to FRENZY, which would come along two years later: both have impeccable, sometimes cheekily extended suspense sequences which completely center around the tension over whether or not an utterly despicable character will be able to get away with murder, and they trick us into rooting for him simply through their strong use of cinema. Bava is helped here by a splendid atonal score by Jerry Goldsmith and a plethora of beautiful locations and imagery, but at the end of the day it’s his camerawork (again, he wrote, directed, and shot nearly all of his films) and splendid sense of pacing that wins the day here. Like Hitchcock (which is not a comparison I make lightly), Bava displays a shockingly strong ability to cultivate scenes which eloquently twist the knife with one subtle complication after another. The difference is, while stuffy Hitchcock had to mostly dance around the more puerile aspects of his dark imagination, Bava is free to indulge in as much sleaze and bloodletting as he requires, marrying the arch, campy performances with explicit, sometimes nightmarish gore and topping the whole thing off with rock-solid fundamentals of suspense filmmaking. The result is pure catnip for a horror buff: frequently outrageous, sometimes intentionally funny, sometimes genuinely unnerving, and never, ever dull. Now, if Bava could just learn the difference between a cleaver and a hatchet, he might really go places.

*Except for the “hatchet” part, obviously. Guess Italians don’t do a lot of wood chopping.



CHAINSAWNUKAH 2014 CHECKLIST!

The Hunt For Dread October


  • LITERARY ADAPTATION: No
  • SEQUEL: No. Seems like they didn't really do sequels to this sort of thing back then.
  • REMAKE: None, yet. It'll happen though, you mark my words.
  • FOREIGNER: Italian, with a hint of Spanish
  • FOUND-FOOTAGE CLUSTERFUCK: Nope
  • SLUMMING A-LISTER: None
  • BELOVED HORROR ICON: None.
  • BOOBIES: ...some T n' A, including one gratuitous scene where the camera just nakedly ogles a bunch of bikini-clad models. But I don't remember any explicit nudity.
  • SEXUAL ASSAULT: Not really, John isn't much interested in that sort of thing.
  • DISMEMBERMENT PLAN: Much hacking, I think a head comes off? Hard to recall exactly.
  • HAUNTED HOUSE: No
  • MONSTER: None
  • THE UNDEAD: Wife returns as malicious ghost.
  • POSSESSION: None
  • SLASHER/GIALLO: Yes, arguably, though it's unusual to have such a film from the killer's perspective.
  • PSYCHO KILLERS (Non-slasher variety): Nah
  • EVIL CULT: None
  • (UNCANNY) VALLEY OF THE DOLLS: Lots of mannequins, PLUS John's childhood bedroom is full of creepy dolls.
  • TRANSMOGRIFICATION: None
  • OBSCURITY LEVEL: Mid. Well-known Bava.
  • MORAL OF THE STORY: If your creepy boss invites you to model wedding dresses in a locked, hidden room in his giant mansion alone at night.... what should we do, ladies?
  • TITLE ACCURACY: No hatchet, does kill one couple on their honeymoon but that's it. Say 40%.
  • ALEX MADE IT THROUGH AWAKE: N/A

Friday, October 11, 2013

April Fool's Day



April Fool’s Day (1986)
Dir. Fred Walton
Written by Danilo Bach
Starring Deborah Foreman, Griffin O’Neal, Thomas F. Wilson, Ken Olandt, Amy Steel




Deep in the bowels of the 1980s, what must be dozens of identical white preppies arrive at the East Coast Island mansion of one of their friends, who is literally named Muffy St. John, for April Fool’s day. One of them is Biff from BACK TO THE FUTURE, the rest are all named Chaz. They’re all dealing with problems so punishingly whitebread that their very existence prompted Pat Buchanan to join the Nation of Islam.


These crackers are ridiculous, but I must say that I actually underestimated this one. I was expecting a dull, gimmicky run-of-the-mill slasher but ended up with a endearingly twisty, engagingly written 10-Little-Indians whodunit. Although I admit that it could actually benefit from a few more colorful kills, there’s an earnest desire to entertain here nicely complimented by a breezy pace and and a competently assembled screenplay. Not that it’s brilliant or anything, but it shows every sign of having had a human being actually write it and then read through it again to edit it, which honestly is a lot more than you can say about a lot of its ilk.


After so many horror casts of interchangeable cannon fodder, it’s nice that this screenplay (by BEVERLY HILLS COP scribe Danilo Bach) focuses some time on at least giving every character a scene or two to define himself or herself. They’re all the broadest possible sketches, of course, but in a movie like this that’s all you need to help keep these Stepford yuppie young Republicans from blending into one neverending chain of blond crew cuts and khaki capris. Special love goes to Muffy herself, Deborah Foreman, who Nic Cage taught to be a punk rocker in VALLEY GIRL and who here commits herself with valor to being a total weirdo.

This room has so much whiteness it looks like a Ozu set.


Some may take issue with the long wait before the murders start (at the halfway point you’ve only seen one disembodied eyeball!) but personally, I actually found the whole thing pretty fun in a naive 80s teen comedy sort of way. Much of the opening is intentionally comic, and the direction is deft enough that the comedy actually works to provide an adequate diversion while the murders crank up. None of it is particularly remarkable, but in its own minor way it has a level of effort and a hit-to-miss ratio higher than you’d expect for something like this. For a Reagan-era slasher starring a bunch of honkies that would make John Hughes look like Spike Lee, there’s a surprising amount of charm here.

PS: The omnidirectional preppie bromance going on for most of the first half of the movie is so intense that for a good while I didn’t get that they were joking with all the mano a mano kissing and groping and so forth, and just assumed that this was an unusually progressive early gay cadre movie. I’m not sure if that counts as progress or not, but boy, was the 80’s the gayest homophobic decade in history or what?



CHAINSAWNUKAH 2013 CHECKLIST!


  • LITERARY ADAPTATION: I think not.
  • SEQUEL: Nah, unless it's GROUNDHOG DAY. And if so then it isn't very faithful to the original, in my opinion.
  • REMAKE: Yup, a real shitty looking DTV one in 2008.
  • HAMMER STUDIOS: No
  • SPAGHETTI NOCTURNE: No
  • MORE (PETER) CUSHING FOR THE PUSHING? These crackers make Cushing look like Richard Roundtree.
  • SLUMMING A-LISTER: Not even close.
  • BOOBIES: There's a funny sex scene featuring a position which must have required extra legs in the bed, but I actually think there aren't any exposed boobies.
  • DECAPITATIONS OR DE-LIMBING: Yep, severed heads galore. Also another anatomy member removed, what the fuck, two movies in a row with dick-cut-off-jokes?
  • ENTRAILS? No
  • CULTISTS: No
  • ZOMBIES: No
  • VAMPIRES: No
  • SLASHERS: Yep, classic slasher
  • CURSES: None
  • OBSCURITY LEVEL: on the high side of medium. Cult classic, little seen outside the cult.
  • ALEX MADE IT THROUGH AWAKE: N/A