Direct to DVD: Jim Mickle’s vampire apocalypse film Stake Land

stake-land

Zombieland with vampires? Not exactly. Several years ago, the zombie film Mulberry Street became one of my favorite zombie films of all time! It was directed by Jim Mickle and written by Mickle and Nick Damici (who also stars in the film). If you’re interested, just “probe my thoughts” right there on the upper right corner of this page to find my post of that film.

I was psyched when I found out the two have finally returned with another film. And once again, I’m not disappointed. Nick Damici returns as the star—looking a little rougher with his long hair then he did with his cute short cut in Mulberry Street. Stake Land also has the benefit of the one and only Danielle Harris. And on top of that, this gloom and doom horror film has some freaky deaky horrific vampires! The vampires have that Night of the Demons feel to them, so they aren’t your run of the mill sexy, seductive vamps. However, while the gore and makeup is delicious, this isn’t an action film. This is a slow burning, heavy character driven film—with serious religious themes!

When the film begins, you’ll feel like it’s picking up right where Salem’s Lot left off like 4 decades ago. A man (Damici) and a teen boy are traveling across what remains of the U.S., which has been overrun by vampires. In this interesting post apocalyptic tale, those humans who have survived have either established small communities in locked down towns, or gone off to create some psychotic religions of their own. Extracted vampire incisors have become hot commodities for trading and purchasing life’s necessities.

While pretty much bashing religious extremism as destructive cult practices, the film also has a kinder, gentler approach to traditional Catholicism. After a sick opening, including a baby falling victim to the vamps, the pair comes across a nun—being raped by two rednecks! And she’s played awesomely by big old dyke Kelly McGillis, no less! The man teaches the rapists a violent lesson, and the nun joins the pair. She is essentially the symbol of faith, lack of faith, and loss of faith in a world gone evil. At the other extreme is the bald leader of a cult that wears creepy hoods and is soon the worst nightmare of our traveling trio. This becomes the central conflict of the film as our group of heroes travels across country picking up strays here and there.

This harsh, brutal, bleak film brings some really fresh and freaky additions to the bloodsucker genre. The vamps are afraid of fire. Ages-old vamps need to be killed with a spike through the back of the neck. There’s a frightening scene in a cornfield (but, let’s be honest. If you put a cornfield scene in a movie and it fails to be frightening, then you really suck as a director). And there’s also an absolutely mind-blowing scene involving vampires and dive-bombing. That’s all I’m going to say….

The only bizarre aspect of the film (that kind of ruins it!) comes right near the end with the sudden introduction of a sort of ‘super vampire.’ In a film that seems to be suggesting that false religions are bad and only true faith will be your salvation, the presentation of the super vamp works like some sort of great contradiction—we can only assume the offered theory as to how he became a super vamp is wrong. But we aren’t presented with another explanation as to why he became a super vamp, so you are left with a sense that having faith is a big fricking waste!

Although, in the end we get a definite metaphor for Adam, Eve, and the Garden of Eden, so perhaps the Biblical explanation for creation is the answer to rebuilding humanity after a vampire apocalypse.

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These dead aren’t living, walking, evil, or even ‘un.’ They’re just plain old Dead.

the-dead

2010’s The Dead takes me back to old school zombie films and undead African cannibal exploitation films of the 1970s. The blow-by-blow of pretty much every moment an individual spends trying to survive in a world overrun by zombies may seem incredibly boring to many, but the lack of focus on frenetic action (these are slow zombies after all) and repetitive footage of the challenges our heroes face (most often with car problems as they drive through the African deserts), feels incredibly real and immersive…sort of like a Resident Evil video game! In particular, RE5, which takes place in Africa!

Granted, I definitely feel the film runs a little long and it does become sort of ridiculous how many times they have car problems, are suddenly surrounded by zombies, and get away in the nick of time. But maybe the much more stretched out story arc of the zombie series The Walking Dead has given me the ability to better appreciate the nuances of this approach to zombie films.

The change of setting alone immediately captures your attention. The dry, barren African land is so expansive it is actually disarming, because you feel like everything is quiet and isolated so you put your guard down, then all of a sudden this lone zombie will crawl out from under a damn bush or amble out from behind a tree. This is the essence of what made the slow zombie era so effective. They sneak up on you instead of announcing themselves in the form of a roaring hoard.

So there’s this army plane on which is an infected dude. You can guess what happens, hell breaks loose, the plane crashes into the water, and our lead dude makes it to shore…only to find himself being approached by a shit load of zombies on the beach! The delicious super gory zombie cannibalism begins right away, so you know this film won’t be skimping on the nastiness.

Our lead gets away, has a nightmarish scenario in a cornfield (the beach, a cornfield…see? Not your average zombie settings), and hooks up with an incredibly attractive black dude who eventually, after much hoping on my part, has a shirtless scene involving some serious pumping…of water. Anyway, now it’s the two of them working together to make it through the plains of Africa. No, there are no wild animals, which is a big complaint I’ve read on the message boards, but seriously, I’m not looking to see men ripped apart by lions or tigers when I watch a zombie film…

Indeed, the film is long, but it delivers some awesome tension, jump scares, and excessive gore that fuel the pacing. There’s even a ‘scarezombie’ as I like to call him—a lingering shot of a scarecrow. Of course, a hay stuffed dummy in the shape of a man wouldn’t exactly scare zombies as much as it would attract them until they realized the promise of dinner is nothing more than a bunch of horse shit.

The film also has a bunch of those ‘WHY is he going in there???’ moments. It’s these investigative instances that give this a real Resident Evil video game feel, the difference being, in a video game, you sometimes have to go into places you never would in reality in order to progress the game! Yet, despite some foolish decisions by the characters, by the end, I really felt emotionally vested in them. Unfortunately, for that reason, it’s pretty likely that viewers will be disappointed/confused by the ending—is it a case of “Everyone’s The Dead,” or is it a message of hope? Kind of hard to figure out. But really, you walk away from the film not wanting it to be ambivalent for the sake of a possible sequel. Because this film’s approach to the zombie apocalypse simply doesn’t need to be expanded upon.

And finally, for those who complain about the film being too long, boring, and repetitive with bad acting and bad zombie makeup, IMO, the original Dawn of the Dead, which many consider the ultimate zombie film, is all of the above, not to mention unintentionally humorous….

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For the love of backwoods horror and deformed killers…

Just added 2 films from the backwoods horror genre to my collection—and naturally, they’re pretty derivative. So naturally, I’m a fan of both.

the-cottage

In the tradition of movies like From Dusk Till Dawn, Dead Birds, and Malevolence, the premise of 2008’s The Cottage is that a bunch of guys up to no good suddenly find themselves in the middle of a horror movie.

This British film has a very LONG crime black comedy beginning and ‘character development’ so you can get to know and like the nice chaps who’ve taken a chick hostage for a ransom, bringing her to a cottage in the middle of nowhere. Throw in two Asian hit men and a bunch of bumbling kidnapper humor, and you have a film that some might think is really funny, but one that begins to wear thin pretty fast for those of us who know this eventually becomes a horror movie and are (im)patiently waiting for the blood to hit the fan.

When the fun finally begins, this becomes a comedy horror goody, with your usual ugly creepazoid killer hacking and slashing everyone into gory pieces. For me, the tone of the humor actually works better in the horror segment. This is typical Hatchet silliness, so you’re caught between giggling and O-ing and Ah-ing loudly at the over-the-top brutality.

If you’ve watched all the typical backwoods horror standards, you’ll know what to expect here, and I personally never get tired of familiar territory and more of the same. But there are some surprises. For starters, you can’t really predict who’s going to die, and characters you’d expect to live don’t make it. Plus—there’s only ONE woman in the whole film! But this is no David DeCouteau homoerotic master(bate)piece, so they simply have to throw in a tittie bar scene at the beginning of the film to restore hetero balance.

I just wish the first part of the film had been shorter and more time had been spent on the horror segment, because the horror seems to be over before it’s even begun. Oh. And make sure to watch the entire closing credits (aka: fast forward) to see the tag, which is nothing more than a really bad open-ending for a sequel.

mask-maker

Meanwhile, 2010’s Mask Maker is a total rehack…I mean, rehash…of every other backwoods slasher ever. For his girlfriend’s birthday, a really cute college kid buys her a HOUSE in the middle of nowhere. But it was only ten grand—which every college kid has lying around. As always, if I were the one being brought to this house, I would immediately say, “that’s some Texas Chainsaw shit right there. Take me home NOW or I’ll walk.” Unlike me, the couple instead invites a bunch of friends to fix up the derelict house that comes complete with filthy dishes and furniture and a pig head covered in flies in the fridge. Really? You don’t see any red flags here?

The cute guy also finds a cemetery in their yard. There’s some sort of Indian symbolic ceremonial spear stick thing in the ground—so he pulls it out. Uh-oh. The best part of this scene is the cheap scare when he’s grabbed from behind by a creepy electrician who tells the cute guy he’s a ‘sensitive’ type that he is going to turn on. Moments later, cute guy gets poked in the back and lifts his shirt to show off some nice torso and some ass cleavage. Yeah, this film is gay-okay by me. One of the female characters even mentions how guys like getting a finger stuck up their butt….

Of course, the house has a back story—and we get some clues of trouble from none other than the famous bald cannibal fellow from the original The Hills Have Eyes. He’s a nice guy working at a store this time, and one of his fellow employees is a man who also seems to know about the house’s past—and he intends to do something about keeping the evil from coming back to life. We get the scoop on the deformed killer’s history through flashback footage starring always-cute Treat Williams. The funny thing is, this flashback footage looks like something out of the 1600s, but it’s probably only supposed to be like 20 or 30 years before. I kid you not, you feel like you’re watching The Crucible, yet some of the modern day characters are part of the flashback events!

Naturally, there’s also a diary the girls find in the house that offers even more unsettling information. Yet everyone starts separating to screw. Yay! We get to see boobs (including some really big areolas), and some pretty nasty kills—most often in the barn, which seems the number one place to get fucked and killed.

The most awesome part is, like all awesome backwoods killers with gnarly faces, Mask Maker wears the faces of his victims as masks. This predictable unfolding of events features a couple of hot chase scenes, and in a last ditch effort to stop the insanity, the lead girl wears the dress once worn by the killer’s mother. It’s like coming home! And of course, there’s the promise of Mask Maker 2: More Mask Making. Plus, the film leaves you pondering the age old question: When a girl sitting in a tub with her eyes closed suddenly feels a dirty grimy hand twice the size of her boyfriend’s caressing her, why does she always just smile with pleasure and keep her eyes closed???

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Do people really believe any of the Prom Night sequels are better than the first?

prom-night-2prom-night-3-and-4

There’s no point in discussing the original Prom Night. It is a classic of not only the slasher genre, but of the Jamie Lee Curtis scream queen era—although it seems to get a shitload of hate thanks to a world full of assholes who use the internet as a forum to express their ridiculous opinions and believe those opinions actually matter. So anyway, back to the gospel by Dan. The original 1980 Prom Night is amazing and should be watched, not discussed. The 2008 Prom Night ‘remake’ should pretty much not be watched or discussed (in 10 years, kids who saw it when they were the age I was when I saw the original will most surely hail it as a classic).

So I’ll just talk about the sequels. They almost did with the Prom Night franchise what they were thinking of doing with Halloween: make every movie a non-related sequel that just happens to take place on the same night, in this case, prom night.

In 1987, when Hell Mary Lou: Prom Night II was released, me and everyone else who had grown up on the original were like, “Mary Lou WHO???” Yes, the series went into new territory with a new ‘iconic’ killer. See, in 1957 at Hamilton High, there’s this slut named Mary Lou. She goes to church and advertises her shit on the confessional wall. She goes to prom with one guy, hooks up with another guy behind the stage…and then you feel like you’re suddenly watching Carrie. Tragically, the last thing Mary Lou does in her young life is claim her prom queen crown. The fun is what she does in her death….

To continue on the Carrie homage, the lead chick in this film, a long-haired blonde, has a freaky religious mom who doesn’t want her to even go to prom. Luckily, there’s a reasonable dad in the picture, so prom is on. But our leading lady has to go through the prop room at school to find a dress—at which point, she unleashes Mary Lou’s soul. Mary Lou might have specific men in mind for her 30-year reunion revenge, but she’ll kill anyone if the movie’s pacing requires it.

Yeah, Mary Lou’s legacy is kind of lame in retrospect. It’s not really a good slasher film, although it gets credit for mega 80s teen hi-jinx and fashions…and a couple of awesome faux new wave songs at the prom that are not even listed in the credits, so I’ll never know if they were just recorded by friends of the director or something. Carrie isn’t the only film ripped off (btw, there’s also rigged voting at the end of this film). There are a lot of major Elm Street-esque dreamlike sequences, including being sucked into a chalkboard that turns into a watery liquid (SO Freddy), as well as a scene that’s like fingernails on a chalkboard (again, SO Freddy). And to thrown in a little Linda Blair homage, there’s even a part where a priest is trying a preemptive strike to exorcise Mary Lou with with the words “The body of Christ compels you!”

This sequel is LOADED with Catholicism. On top of that, you get naked lesbian action, girl boobs and bush, a chick giving one guy a BJ and then kissing another guy who really digs the taste of her kisses, father-on-daughter face sucking (no, I don’t mean priest-on-daughter), more Carrie chaos at the prom, and finally, a car-drive-away ending that’s right out of Elm Street.

But Mary Lou is not gone. She’s back for 1990’s Prom Night III: The Last Kiss (which it so isn’t). And she’s a different actress! Yep, knock off one star immediately. She’s a much bustier, sexier Mary Lou. Give one star back for straight guys only. The lead guy shows an impressive full frontal if you find the unrated version (okay, give the star back for gay guys, too). Three things came to mind when I watched this sequel for the first time in over 2 decades. It has that really bad, trippy, nonsensical feel of episodes of Freddy’s Nightmares that did not star Freddy. It has the unsustainable dark humor/black comedy and over-the-top murders like the sequels to the original Sleepaway Camp. And it came out in 1990, and as a result, sucks like most late 80s/early 90s horror—which explains why I thought the first two things I did.

And yet, the internet assholes who are not me seem to think this film is great. It started off well enough, and I was actually rather entertained and finding some humor at first. But by the end of the first half hour, the film fell victim to its attempt to be wild and wacky. I simply got bored.

Let’s see. We open with footage of Mary Lou’s grave exploding…the same footage used during the priest’s failed exorcism in part 2, now being used to signify that Mary Lou is busting out for more murders. Then we cut to I don’t know what the fuck—it looks like Toto Coelo in their 1982 “I Eat Cannibals” video, but these dancing chicks are chained to stones in what I guess is supposed to be hell, and Mary Lou is one of them, and she gets escapes. I’m telling you, this movie SUX. And that was my favorite part (second to the big wiener, of course).

Returning to Hamilton High, we get some Night of the Demons/Evil Dead camera travel through the halls, a janitor makes his way to the boiler room, sees a big jukebox just sitting there, is confronted by Mary Lou, recognizes her from 30 years ago (how, I don’t know—she’s not even the same actress!), and is then electrocuted by the jukebox.

Our lead with the big wiener has a girlfriend, but keeps hooking up with Mary Lou. She kills someone, he finds the body, he cleans it up, they have sex. It’s all very Elm Street 2 (yes, I believe Freddy and Jessie had sex—that was the gayest movie ever). He goes to his sister’s bedroom door at night, and when she stirs, he says, “Sh…go to sleep”; he gets weapons ready to take on Mary Lou; he downs stay-up pills and drinks caffeinated soda; his house has a carpeted stair runner the same color as the one Nancy sinks into in Elm Street 1. If you have the Elm Street movies pretty much memorized, it all sounds very familiar, right? Not to mention, the kills are way up there with the asinine shit Freddy started to pull in his films by the late 80s/early 90s.

Mary Lou has gotten seriously supernatural in this one. She shoots electric beams from her eyes, gets neon halos around her body like Olivia in Xanadu, turns Alex into a leather sexy greaser…like Olivia in Grease. Wait, why I don’t like this movie? Oh, probably because at the prom, they have a rock n’ roll dance montage instead of a Jamie Lee Curtis disco dance montage like in the original Prom Night. Anyway, everything comes to a head on the night of the living dead prom, there’s a red car out of the 50s that bares a striking resemblance to Christine, and our lead with the big wiener gets stuck in the 50s like Marty McFly at the end of Back to the Future II.

And we’ll never know what become of that big wiener. When Prom Night IV: Deliver Us from Evil was released in 1992, Mary Lou was left in the gutter like the undead whore she was. In case you didn’t catch on by the title of this one, the obsession with Catholicism is back. This time around, a priest is determined to kill all the little sluts on prom night. I hate to admit it, but although this film drags and the possessed killer priest plot is not all that terrifying, the film somehow returns the franchise to its slasher roots. It actually USES musical score from the first film, and the prom kids even drink a toast to Jamie Lee Curtis. A self-referential slasher 4 years before Scream!

Part 4 begins on prom night 1957 at Hamilton High—yeah, the same night Mary Lou bit the dust (well actually she turned to ash). Must have been an unforgettable prom. Another horny couple is parked in their car—and set on fire by a priest! The priest has a rockin’ bod. He returns to a cave at his seminary, flogs his shirtless back, and then sucks face with another priest. Hot. The film also makes subtle references to child molestation in the church. Creepy.

Flash ahead to 1991, and the killer priest is locked up and under the care of a young priest—who isn’t all that hard to outwit. Meanwhile, a new group of 4 kids decides to skip prom (a prom in the middle of the snowy winter?) and go to one of their summer homes in the woods: a summer home that was once a monastery (hint hint). See, the big problem here is, there are only 4 kids going up there, and they are all pretty much ‘leads,’ so there’s not much slashing going on until the end. Therefore, the film is loaded with footage of them talking, drinking, eating, dancing, having sex, going to the wine cellar, going to get wood from the barn—and the ridiculous overuse of the sustained tension chord. Listen up score editor. it’s out of place when we’re watching the girls in the kitchen cooking. Seriously.

So, when the film starts to get boring and all else fails, throw in lesbian action—and let that fail, at least as far as I‘m concerned. What worked for me was the man moon out the limo window. But really, when the film finally takes off at the end, there are some fun slasher conventions that make you feel at home. The priest places an obscene phone call. There’s a ‘lady sitting in a chair’ Psycho scene. There’s a subtle yet effective smiley face change in a steamed bathroom mirror. And the final chase scene virtually rivals Wendy’s chase scene in the original Prom Night. And when everything comes to a close, there’s the promise of a very Halloween 2 hospital sequel…that never happened.

I do believe part 4 is my favorite of the three sequels. What actually makes them all okay in my book though is that ONE actor, Brock Simpson, actually appears in all FOUR Prom Night movies. In the first film, he was one of the young kids in the prologue. After that, he played various teenagers, eventually portraying a priest in the fourth film! Other interesting tidbits—all 4 films take place at Hamilton High, and in every movie, someone says the line, “It’s not who you come with, it’s who takes you home.” So yeah, if it weren’t that late 80s/early 90s movies suck, the Prom Night series could have been a really cool franchise.

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Did I just watch Paranormal Activity 3…or Poltergeist 4???

paranormal-activity-3

Okay. So I made it through the third film in the Paranormal Activity franchise last night, and I have to say, it is by far the best of the three…until the end…

Okay. Let’s start with the good. The film scared the bejesus out of me. I was sitting there in the dark with a great big case of stomach flops. The newest introduction into the camera-POV series is the most effective visual device yet: the oscillating camera. The main dude in this film sets a camera up on the base of an old oscillating fan, and it slowly swings back and forth, moving from a shot of the kitchen to a shot of the dining room, with a big bulky wall in between. Each time the camera shifts, you brace yourself for what might be waiting in the other room.

The Oscar for best performance in this installment goes to the friend of the main dude. There’s a scene in the bathroom in which you barely see the guy’s face (since he’s holding the camera), but you can HERE the terror in his voice and see it in his trembling movements. This is one of the ‘Bloody Mary’ moments, and it’s possibly my favorite scene in the film. However, if you’re looking for the Bloody Mary scene that was shown in the film’s trailer with the two little sisters in the bathroom, you won’t find it. It’s not used in the movie (there’s an alternate version) and it isn’t even in the ‘lost footage’ in the extras on the Blu-Ray.

The on-camera effects in this one are pumped up, so there’s definitely a bigger budget (and probably more computer enhanced moments?). The film also relies on a load of cheap scares, with characters jumping out in front of the camera as a prank. While a really lame way to get jumps, it worked like you wouldn’t believe. I so wanted to get these people back by hiding in a closet and waiting for them…but unfortunately, this wasn’t the 80s in the house I grew up in with my brothers.

Actually, correction. It IS the 80s. In fact, the movie takes place in 1988. Sadly, there isn’t an 80s song to be heard or an 80s fashion in sight (maybe the mom’s hair if you imagine a metal head chick who forgot to use her hairspray). But there are VHS tapes! The lead guy, her boyfriend, works in the wedding video business, and of course, back then, we were using VHS tapes. The other interesting thing to note about it being 1988 is that this is the year in which little Carol Anne was living in a high rise apartment with her Aunt Nancy Allen and Uncle Tom Skerritt. Yep, it’s the year Poltergeist III was released. Coincidence? I don’t know…

Paranormal Activity 3 is loaded with references to the original Poltergeist. Most of the haunting takes place in the bedroom of two little children (both girls in this case). The younger girl is the one communicating with the ghost. There’s a demon closet that likes to drag blankets, beds, and little girls into it. The ghost likes to fuck with the furniture in the kitchen. There’s a ‘snowmage’ to the snowy television. And there’s a bedroom pot smoking scene in which the parents are conscious about hiding their fun from the children. Oh, and in this scene, while the mother is puffing up, she is wearing a long men’s shirt and just her undies. Remember JoBeth Williams’ wardrobe in Poltergeist???

This installment gets bonus points for paying tribute to one of the best haunted house movies of all time, and there is a babysitter segment that could possibly be a tribute to The Amityville Horror as well. But Paranormal Activity III also gets points for REALLY fucking with your head. The feeling of dread you get as you try to absorb what’s happening in every corner of every room is just awful (in a good way). I mean, seriously, there’s a part with the oscillating camera that you REALLY need to watch closely. I was sitting there agonizing over this camera moving slowly back and forth, when all of a sudden I was like ‘did I just see what I think I saw in the dining room section?’ only to find out when the camera gets back to the kitchen that I really wasn’t imagining things. I don’t think this scene can be nearly as effective if you don’t notice the approaching horror….

Of course, like all these ‘found footage’ films, the movie also has issues, most obviously the big one: PUT DOWN THE FUCKING CAMERA!!! Sorry. I’ll never get past this. The amount of offending moments in this film are ridiculous. The guy even films himself watching the footage he already shot!!! WTF? I know the filmmakers need us to see these moments for a reason, but they make NO SENSE. He calls his woman in to tell her the bad news that there is some seriously horrifying and most likely life-threatening ghost attacks on his footage and that her kids are at risk—and he’s FILMING her while he does it. They flee the house and go to her mother’s house—and he sets up cameras there! His woman gets FLUNG down a flight of steps right at him—and he STILL grabs the camera and continues to film. He’s being chased by—well, I won’t spoil it—hiding in a closet so he won’t be found, yet he has the camera light on to FILM himself in the closet. RIDICULOUS. Not to mention, there’s a part where he actually captures his soon-to-be mother-in-law trashing him on camera, and yet it’s never addressed! That’s the scariest footage of all for a man on the verge of taking a bride!!!

And finally, there’s the end of the film. Paranormal Activity appears to be going in the direction of the Saw series in more ways that just releasing a new film every Halloween. The arching storyline is also getting increasingly more convoluted, jumping all over the place as far as a timeline. In part 3, we are left with a total cliffhanger that insists on a sequel for an explanation and also takes us into a whole new realm of plot complications. It looks like it’s heading the direction of how the Halloween series tried to make Michael Myers so much more than the simple evil-born killer that he was in the first film. So essentially, just as the Paranormal Activity series might be hitting its stride in terms of fear factor, the storyline is falling apart. We’ll wait and see, but I’m thinking part 4 may really begin to suck the life out of this ghost story.

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Against gay marriage? Great news. You don’t have to get gay married.

Who would have guessed that the great threat to the future of humankind would be individuals falling in love and pairing off. Yes, all over the country, the unthinkable happens. Gay couples live their lives together in houses alongside heterosexual couples. And just like these heterosexual couples, we struggle to make it through our time on Earth in one piece, dealing with economic hardships, job losses, illnesses, debt, car repairs, home repairs, friends, family, deciding what’s for dinner, and then eventually…you know…dying.

My journey is quite similar to that of the many heterosexuals in my life. Marriage is just a tool to make the challenge of merely existing as a couple a little easier without having to constantly jump through the legal loop holes of: owning a house together; sharing responsibility for bills and expenses; having the opportunity for health coverage for both of us if one of us is unemployed; securing a financial future for one partner in the case of the other’s demise; being allowed to visit each other in the hospital and be each other’s caretakers until death do us part.

This big claim that gay marriage is the ‘gay agenda’ to destroy humanity seriously boggles my mind. Not sure to which gays opponents are referring, because I personally have no colossal agenda. I got my own personal problems. I don’t have the time or energy to join in anarchy, and in no way want to witness the end of humanity. I’m DYING to hear the next Gaga album! In fact, none of the gay people I know (and I know a lot of them) have a gay agenda. Marriage and family are a heterosexual agenda—a preprogrammed, predetermined mainstream society lifestyle. Sadly, many are the heterosexual individuals I know who deeply regret having guzzled the Kool-Aid, so maybe it’s just a matter of letting us gays learn our lesson by giving us the opportunity to do the same. I would think it would be a great stroking of egocentricity to know others want to emulate what you’ve so…um…brilliantly perfected and executed without a flaw (that’s “cough ‘not!’ cough” for the sarcasm impaired).

As things stand now, we live in our quiet homes on our quiet blocks in our quiet suburban neighborhoods. We retain our privacy, so in no way do our relationships affect our neighbors, just like their relationships don’t affect us. Here in New York, where marriage is legal for now, our neighbors have NO idea if we’re legally married yet. Whether or not WE have those legal papers and legal rights, our cohabitating, which we’re doing either way, in no way impacts our neighbors or changes what they see when they glance over at the exterior of our home. Same bushes, same grass, same trees, same cars parked in the driveway, same cracks in the steps, same dogs staring out the same windows in search of the same squirrels. Heck. We’re not the ones putting ten-foot high wooden storks out on our front lawn announcing that we had sex!

If our pieces of legal papers don’t affect the people living on the other side of our fence, how can they possibly affect the millions of people we will never ever meet? Let’s take someone who is against gay marriage as an example. How about we pick on Chuck Norris (since he picks on us)? Consider this. I will never meet Chuck, and neither my marriage nor my life will ever affect him or have any influence on his life or how he lives it. I don’t care if he’s married, so why does he care if I’m married? In fact, if it weren’t for the fact that he speaks out against my existence, I wouldn’t care if he existed at all. Even for those who are a part of my life, the only way my marriage will affect them is that, for once, they’ll have to cough up 200 bux for my one special day, and I’ll finally get a return on the never-ending investments I’ve made in heterosexual marriage.

I’ll never understand the gluttonous craving to have so much say over the lives of others who have no bearing on your own life—especially from those who are most often the most vocal about government trying to infringe on their rights to guns (aka: violence) and freedom of speech (aka: bigotry). Instead of taking into consideration that they are messing with individual lives, these people are fed, blindly digest, and then vomit out an ‘us and them’ point of view. The anti-gay marriage supporters are the poster children for mob mentality, and above and beyond that, bullying. We can’t teach our children that bullying damages individual lives if we don’t lead by example. People who have never fully experienced discrimination (I’m not talking about being called choice words here) have no idea what it is like to be subjected to others dictating the quality of one’s life. It’s twisted enough to not ‘like’ someone you’ve never met (aka: hate), but to want to be in charge of his or her fate is barbaric and perversely inhumane.

Those up in arms over this preposterous notion of individuals wanting to devote their lives to one other individual often argue that the government shouldn’t be deciding if individuals who are gay should be allowed to marry. First of all, let’s not give the politicians too much credit for instituting gay marriage. Only a few of them have (and I thank them). Usually, politicians are more than happy to use our lives as a rhetorical bargaining chip—when in fact they are messing with uncountable REAL lives, holding individuals’ happiness and individuals’ quality of existing captive for the greedy purpose of political and financial gain, even if they know gay marriage isn’t going to have any harmful affects on their lives outside of their careers.

Secondly, let’s turn the whole ‘the people decide’ argument around. What if every single person of any orientation was subject to the country voting on whether they should be allowed to marry the consenting adult they love? That’s right, a complete denial of freedom of choice. Because, let’s face it, even if one wants to argue that gay is a choice and therefore not worthy of marriage, isn’t most marriage in the free world a choice? Sure, there are nagging, controlling parents and many inflated egos that get in the way of the details, but heterosexuals decide when they want to get married, why they want to get married, who they want to marry, and even if they want to get married at all. Could heterosexuals even FATHOM if all these options were taken away from them? It would be the ultimate attack on their pride. Sorry Devo, but freedom of choice is only what some of us got. Let’s face it. We don’t even decide by popular vote who should be running our country. So why should popular vote be deciding who runs another individual’s life?

If we want to strictly adhere to the steadfast restrictions placed on marriage by a power greater than all of us, marriage serves one sole purpose: the sustainment of society. If that’s the case, shouldn’t there be NO choices when it comes to marriage? Shouldn’t all people be forced to marry and have children? And further, shouldn’t people who are infertile or don’t want children not be allowed to marry? If you get married and can’t conceive, shouldn’t your marriage be annulled and shouldn’t you be forced to remain single for the rest of your life?

Scary Big Brother shit, right? Being forced to have others decide on the state of your union is psychologically traumatic. Believe me. I know firsthand. It feels to me like most heterosexuals have no valid reason to object to gay marriage other than to retain that ‘us and them’ status: ‘we deserve to have this, you don’t.’ It’s not exclusively the anonymous voters who have that attitude. Many are the people I’ve known who have friends and family with whom they share their lives, holidays, happy times, and hardships, and yet those same loved ones wouldn’t vote to grant them the right to make their commitment official despite having full knowledge of the validity of their relationship. It strikes me as a completely selfish attitude and reeks of superiority complex syndrome. Hello. Power trip anyone?

Perhaps the objection is just to the word marriage. Yes, there are those who have said “Let them have (some of) the same rights, but don’t call it marriage. That’s between a man and a woman.” Actually, what marriage is…is a public domain WORD. Say, for instance, gays were specifically permitted to join in civil unions. Chances are, gay couples are not going to go around flashing their engagement rings saying, “LOOK! We’re getting civil unionized!” They’re going to use the word that special interest groups are coveting. Can you imagine if we had to establish a thought police force to go around ticketing any gay couple who dares to define their legal bond that dares not speak its true name?

I know, I know. That’s not it at all! It’s about religious values (because we all know that even the most spiritually slothful feign a strong belief in God when they need the Lord to back their argument). Although it may be sacrilege to say it, marriage is not a religious institution (that’s called holy matrimony). Religion is not a requirement for marriage—in fact, it’s not a requirement for being a human being. So why should anyone else’s religion have a say in my existence? A vote by the people for or against gay marriage would be heavily weighted by religious convictions. That’s the inflicting of the religious beliefs of others on me—and actually, an infringement on my right to my own religion or my lack of religion! That’s playing God, puppeteering the lives of others, and that’s just sinful.

Do the faithful feel like gay marriage threatens their relationship with God? It doesn’t if they don’t get gay married (Hey! That’s what we can call it to distinguish it from marriage between a man and a woman!). Even if, hypothetically, one of the faithful makes a living serving dinners at a wedding hall and is faced with serving guests at a gay wedding (it’s easy to remember—guys get the beef, gals get the fish), that server is not supporting gay marriage, merely doing the job he or she is paid to do (and if you detest watching people enjoying dinner and dancing that much, just take the day off). Just like the faithful would be doing their job if they worked at McDonald’s and I came in and ordered two Happy Meals—one for myself and one for my partner. In neither case is it compromising any favoritism by God, because in neither instance is the faithful participating in gay acts.

For isn’t that the religious stance? ‘Gay’ is just an act in which we partake? Doesn’t it stand to reason then that we are only gay when we choose to have gay sex, not when we’re, say, standing at the bus stop listening to our awesome 80s playlist on our iPod? For gay to be a choice, heterosexuality has to be as well: anyone can CHOOSE to be either gay or heterosexual at the drop of a pair of pants. Which essentially means we’re all bisexual (you’ll find an ally in me if you want to argue that point). Those who are currently choosing heterosexuality should prove to all us gay-from-birthers that it’s a choice by holding an international gay day where EVERYONE falls in love with and has sex with someone of the same gender—basking in the sights, the feel, the scents, the emotions, and the impulse of being with the same gender, while absolutely relishing every moment of it like a true gay.

What I don’t get is, if gay is a choice, why do people who are ‘happily’ married with wonderful families chose to leave the heterosexual lifestyle to go gay (most often destroying promising political careers in the process…)? Is it because gays are running rampant, leading by example, and now everyone wants to do it? Do heterosexuals really think everyone is going to go gay and get gay married if it’s an option? I have much more faith in heterosexuality than that. I’m virtually positive heterosexuality isn’t a choice—lust that determined strikes me as purely instinctive. Besides, I couldn’t imagine why anyone would choose to do something I find soooo repulsive.

If just bearing witness to the interactions of gay people can make our children gay, shouldn’t all children be straight since heterosexuality has become such an epidemic? You can’t get away from it. It’s EVERYWHERE! That’s all I witnessed when I was growing up (I had three straight older brothers), and yet, here I am, gay as can be. Maybe I didn’t pay attention in heterosexuality 101 class, which is a big part of the heterosexual agenda, where children have to be taught to be heterosexual. Little boys and little girls think the opposite sex is positively icky and must be conditioned that actually, if they’d stop playing with and enjoying the hell out of their own body parts long enough, they may become convinced that the opposite sex isn’t that bad and maybe even tolerable.

Banning gay marriage is not going to put an end to gay relationships or dissuade gay identities—so any affect they could possibly have on society has already taken effect. But continuing to treat gay relationships as substandard might just continue causing young gay people to commit suicide because they think there’s no place for them in the world. What happened to protecting the children? Oh. I get it. It’s protection with exclusions. Only protect certain children. I know. I know. That’s not true at all. Young people can’t identify as gay because it’s a concept (and an act) they know nothing about and is a choice made later in life—now being made earlier in life because kids have become too exposed to the gay ‘option’ and find it overwhelmingly appealing: everyone else is being bullied and committing suicide? I want in!

So odd how adults can draw such a conclusion about children and their sexuality—because kids know damn well when other kids are gay. As early as third and fourth grade, I remember being called gay myself by fellow students, as well as watching them pick out other students to label as gay in class. They made no mistakes in identifying and unleashing their anger on classmates that I know are gay as adults because I ended up seeing them in the gay community after graduation. Hey, wait a minute. Maybe being called gay by heterosexual children when we’re young is what makes us gay! See. It’s all society’s fault! And to think, my hard-earned money pays taxes to put bullying heterosexual kids through school….

Why DO heterosexual adults assume everyone is going to get gay married? Is heterosexual marriage that bad that everyone wants to bail? Or are those envious heterosexuals just jealous of our gay love? Perhaps the religious folk have an attitude of, “No fair! If I can’t do it, you can’t!” If you ask me, I think that the faithful firmly believing everyone is going to go gay and stop having children are demonstrating the biggest…lack of…faith…EVER. Gays aren’t trying to put an end to procreation and advancement of humankind. In fact, it’s beyond me why, but many gays actually want to raise children! And many times they are raising the children that have been left in dumpsters (naturally, I mostly exaggerate, but you see my point). Plus, we adopt loads of unwanted dogs and cats. Someone has to be moved to action so all those Sarah McLachlan animal rescue commercials aren’t in vain! And we’re the ones who empathize with other creatures shunned by the self-righteous. We have a purpose, dammit!

Finally, let’s consider the opinion about gay marriage by the most influential man in the most powerful religious organization in the world (no, not Tom Cruise).  Actually, let’s not. Why should the leader of an organization that allowed men to molest little boys (and girls) for centuries have any say in how to protect our families and our children? This organization CHOSE to expose children to physical and psychological damage—destroying young lives for centuries. Just as they try to destroy ours now by blocking gay marriage or attempting to take it away once the right has been granted. Maybe if this organization had allowed every human to fulfill his and her romantic and sexual needs naturally with another consenting adult, there wouldn’t have been such an epidemic of sexual dysfunction to cover up.

There I go, obviously an evil atheist (God, forgive me for playing the role to make a point), attacking the sacred, those who choose to believe what they believe, those who can choose a different belief system at any time with a few conversion courses, those who feel it is their right to choose what God to follow and what practices best fit and enhance their lives. My ignorant verbal assault is no better than that of the lone anonymous vandal who we occasionally hear about on the news who has, without provocation, vandalized a place of worship with spray paint and some nasty words, sending waves of shock and fear through the hearts of the voluminous number of members of these huge organizations. If only I could find a way to identify with their terror and pain and better understand the negative effects these unsolicited attacks have on their lives, I might be more sympathetic and tolerant. Unfortunately, the only experience I have that vaguely resembles theirs is the daily vandalism of my menial individual life by a huge organized group with an agenda to hold the roads in my journey hostage—while I cower in my home, in fear for my existence, with an agenda of my own: deciding what to have for dinner.

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Just when you thought it wasn’t safe to go in the woods…

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If you love backwoods horror like Texas Chainsaw, Wrong Turn, Monster Man, 2000 Maniacs, then you will fully appreciate Tucker & Dale vs. Evil, a horror comedy satire that is absolutely in no way a horror film. But it is LOADED with gore and some of the best mockery of the genre and just how unoriginal it has become.

See, a group of teens heading into the woods to party runs into two hillbillies (Tucker and Dale) and quickly convince themselves that they are being stalked and gruesomely picked off by the rednecks—when they are actually each killing themselves through a series of accidents!

Tucker is recognizable as Jeremy Sisto’s best friend in the sitcom Suburgatory, while Dale is best known for his roles in numerous failed television shows like Invasion, Reaper, and Mad Love. Together, they’re a simple-minded unshowered pair who are just misunderstood by snobby, educated, elitist suburban kids.

This film has it all—obnoxious teens, skinny dipping (but no nudity!), a rundown house in the woods, ominous newspaper clippings, creepy hicks at a gas station, campfire stories, chainsaws, axes, band saws, a naïve local sheriff, and one of the best flashbacks ever to what happened 20 years ago—a group of kids partying in the woods get slaughtered to the beats of “Pump Up the Jam.” That’s right kiddies. It’s been 20 years, and what was once a cutting edge track is now nothing more than an oldie but goodie that can be used in the prologue of a modern horror film. Feeling old???

That’s the only thing I want to give away about this film. It would simply be ruining it to dwell on any particulars, but if backwoods horror is your thing and you can laugh at what a loser you are for watching tons of it, then you will love this film. The other important thing to note about the film is that it is loaded with kids who have been in tons of hot horror messes, from TV shows like Supernatural and Fringe, to SyFy crap like Yeti: Curse of the Snow Demon, and even major motion picture classics like Final Destination 3…..

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Check your boobs at the door (where they’ll definitely get eaten)

Strippers! Prostitutes! Burlesque dancers! Zombies! If you go into any of the 3 movies I’m about to discuss with ANY expectation other than boobs and blood, then a) you’ll be sorely disappointed, and b) you have no taste in movies.

While all three films have their merits, there definitely is a hierarchy of which is the master and which are its bitches. Let’s just say if there was an AVN award for best zombie stripper movie ever, the award would go to, well, Zombie Strippers! You can’t be all that surprised. I mean, it stars porn powerhouse Jenna Jameson and Robert Englund in one of his best roles EVER.

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There’s this virus that the government is working on to make “super soldiers” out of the dead under the Bush administration (George W., not pubes). Yeah, so if you worship boobs, blood, AND dick heads, you not only have a serious conflict of interests, but you also might be offended by this brilliant piece of liberal agenda trash. To test out the super soldiers, they are pitted against living soldiers, one of the living is bit—and knows his fate is to be killed before he turns. So he escapes….and ends up in a strip club!

No time is wasted. Jenna is on a pole, her boobs are out, and so is her beaver. And her real-life cutie gorilla juice head boyfriend Tito is the bouncer. Robert Englund is a germ-a-phobic sleazoid who owns the club. Girls dance and get naked, repeatedly. Lots of strippers means lots of cute guys in the strip club! Fun for everyone.

Finally, the infected army soldier bites Jenna and she turns into a pretty damn creepy sex slut zombie. She reminds me of Megan Fox in Jennifer’s Body.

Freddy…I mean, Robert Englund…soon discovers that the male patrons are TOTALLY turned on by seductive zombie strippers who bring them in the back room for lap dances…at which point the strippers literally eat off their laps.

The living strippers become jealous of the tips the zombie strippers are getting, so many of them begin opting to get bitten. Soon, the number of male patron bodies are piling up—in the basement where Robert Englund is stashing them. But these horny hungry male zombies won’t be contained.

All hell breaks loose. There’s phenomenal gore, zombie lesbian stripper action, zombie stripper orgies, zombie va-jay-jays shooting ping pong balls…this movie rox. The only downside is the arrival of the army at the end, which actually ruins the flow of the film and makes the last 20 minutes or so drag. Although, some of the army soldiers are HOT, especially the baldy with the goatee.

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By total coincidence, in 2008, the same year Zombie Strippers became a cultural phenomena, ANOTHER film was released called Zombies! Zombies! Zombies! – Strippers vs. Zombies. But this one is completely unique. See, this time, It’s the strippers fighting off the zombies…who are predominantly strippers….and prostitutes.

Interestingly enough, in the ‘prologue’ of the film, scream queen Tiffany Shepis is attacked by a hoard of what are being called zombie ‘super soldiers.’ And despite her top billing, this is the ONLY scene Tiffany is in. WTF? When is Tiffany going to get the true horror film lead role she deserves?

So anyway, Tiffany was just in a TV movie some little kid was watching. In the real world, there’s this doctor working on cancer cures. Some slimy maintenance guy comes into his lab and mixes up a concoction that he thinks is going to be an awesome recreational drug. Instead, it turns people into zombies—at the local strip club.

The film really should have been called “Strippers vs. Prostitutes vs. Zombies.” A bunch of strippers, prostitutes, bouncers, pimps, and the adorable leading man Chris hole up in the strip club fending off zombies. While the film is only an hour and 20 minutes long, they should have cut about 20 minutes. The film gets a bit bogged down by plot, dialogue, and romance. There are plenty of jokes, some very funny, many which fall flat.

There is some great gore in this one, more lap dancing and crotch munching, an homage to Snakes on a Plane, big nipple ringed zombie boobs, an awesome first in which the zombies don’t bother banging on windows or doors but instead smash right through a wall, and an incredibly original ending that presents a whole new way to blow the heads off all these undead be-otches—without using a shotgun.

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Zombie burlesque dancers! No, I’m not talking about Cher and Christina Aguilera. This is 2009’s Zombie Women of Satan. There’s no satan, but there’s plenty of boobs and blood. This is the U.K.’s take on zombie strippers. This time around, there’s just some crazy old dude living in the country and making women into zombies.

Along comes a traveling band of freaks led by the hot-bodied Pervo the Clown. He’s got a sidekick with whom he constantly spars, usually with derogatory gay insults—until he eventually dry humps his sidekick. There’s a leather daddy little person, and there are plenty of burlesque dancers exposing their tits.

Have the absolute lowest expectations for this film and you might enjoy it. Come on. It’s got boobs and blood. TONS. Pervo the Clown wears tasseled pasties on his nipples. A little person punches a zombie bitch in the va-jay-jay. There’s little person shitting in the woods humor (which goes on forEVER). There’s fart humor. Zombie tits get tweaked. There’s even a zombie in a wheelchair. And there’s a grand finale involving a chainsaw and a big ‘Oops.’

Don’t hesitate. Have a zombie T&A marathon immediately. Watch this film first, save Zombie Strippers for last. And if you get a hard-on even once, you’re a nasty necrophiliac freak.

Posted in Movie Times & Television Schedules - Staying Entertained, The Evil of the Thriller - Everything Horror | Tagged , , | Leave a comment

Check your brain at the door (where it will probably get eaten)

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Way back in 1985, just after George Romero’s official third film in the ‘of the dead’ series hit theaters, the campy horror Return of the Living Dead, an unofficial continuation, was released, and did something Day of the Dead didn’t. It introduced us to BRAINS! Plus, we found a cult zombie hero in Tarman, Linnea Quigley ran around as a naked punk, and zombies crawled out of the grave, something they hadn’t done in the Romero series up to that point. Plus, the rockin’ sountrack was loaded with thrash metal, punk, and an awesome synthpop horror tune by awesome early 80s new wave band SSQ—whose lead singer would soon break out as ‘solo’ artist Stacey Q! “I-I-I-I-I-I-need-I-need brains…”

Stacey Q is just the tip of the 80s iceberg. We got punks and new wavers. We got a lone black dude with Jheri curls that put Lisa Lisa and the Cult Jam with Full Force to shame. We got boomboxes and walkmans. We got the dad from A Nightmare on Elm Street 2. We got the guy who took over the role of Tommy Jarvis in Friday the 13th Part 6. We got the Pathmark guy!

Hugely popular for being a campy horror comedy when released, the film to me now feels heavier on the camp side rather than laugh-out-loud funny. The cast totally rox the camp though, especially the Pathmark guy and his hick boy toy. The film’s dark humor and corpse action also feels incredibly similar to that in Re-Animator, which was released shortly after. Tarman totally steals the show, as does any zombie that groans “Brains!!!” It never gets old. The gore is delicious and the scene with the zombies rising from the grave almost surpasses that in the Thriller video. Almost. Heh heh.

Return of the Living Dead makes no secret about being an unofficial continuation of Night of the Living Dead. The culprit in this film is not zombie bites, it’s both the release of gas from a government experiment and the burning of zombie bodies, which causes fumes to rise into the atmosphere and create the toxic rain that brings the dead to life. Thankfully, the fun is not ruined by the arrival of the army until the very end. And the film ends like every Resident Evil video game—the infected zone needs to be blown up.

And BTW, before I move on to part 2, might I note that if you’ve been crediting 28 Days Later for the introduction of running zombies or infected or whatever, you need to watch older zombie films like this.

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Return of the Living Dead Part II has a few things going for it. First, it was also made in the 80s. Second, one chick actually says “No duh!” Third, Tarman is back. Fourth, the Pathmark man and his hick boy toy are back—playing the same kind of comic duo, but as totally different characters. It’s totally forgiven because they make sure to reference it in the dialogue.

Unfortunately, other than that, this sequel sux. One of the main characters is a young kid, and quite frankly, you’re better off watching the far superior The Monster Squad if you want kid horror. There’s also a teen flick vibe thanks to the kid’s sister and the cute cable guy she hooks up with. Night of the Living Dead is openly referenced again, but the overall zombie vibe is weak (the same exact zombies appear again and again!).  The film tries for all out slapstick comedy and ends up as this shrill and tedious exercise in characters screaming into each other’s faces ad nauseum. Plus, there’s way too much army involvement, which is the number one way to RUIN a horror movie for me.

While there’s some yummy gore, this lame flick is mostly PG-13 horror. Since the movie is so bad, I’ll give props to them throwing in a full-fledged Michael Jackson “Thriller” zombie for laughs (and as an homage, since this series TOTALLY stole the zombie grave rising from MJ’s video). The final speaking zombie definitely gets the last laugh with her one-liner. Oh, and the DVD version uses TWO Robert Palmer songs, “Looking for Clues” and “Bad Case of Loving You,” neither of which was in the original U.S. cut of the film. Personally, I think they’re one of the few things to look forward to when watching part 2.

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Return of the Living Dead 3 immediately goes down hill because it was released in 1993, when horror was trying SO hard not to be like 80s horror—which means it almost immediately FAILS in being good. Gone is any attempt at camp and humor. Plus, the film does two of the worst things you can do in a horror film—it has full army involvement AND it tries to humanize one specific zombie. RUINED. Why even watch?

If you do watch, this is what you get. Boy’s dad works in secret military facility experimenting with reanimation of corpses (the series still references Night of the Living Dead). Boy has freaky goth bitch girlfriend. They get into motorcycle accident. Girl dies. Boy brings her back to ‘life’ at army facility, kicking off an incredibly annoying, drawn out zombie/human love story that features barely any zombies until the end. Even so, the gore is great and the eventual zombie action is pretty good. But then the freaky goth bitch zombie girlfriend transforms herself into this sexy S&M meat eater, complete with piercings, spiked hands, fishnets, and leather. What a fricking mess this film is.

This installment does get credit for being the first that features infection spreading through bites to the brain. Thankfully, they waited until the god-awful 90s were over before attempting another sequel. In fact…they made TWO of them simultaneously and premiered them on the SyFy network. I know. That’s a bad sign.

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Part 4, subtitled Necropolis, is a necropoMESS. Man, this film makes no sense, especially when you consider that a good portion of the characters appear in the film that follows. Peter Coyote is fucking around with the zombie virus shit this time, keeping it contained in his lab. Living with him are his two orphaned nephews, a young boy and a college kid. The college kid’s friend gets into a motorcycle accident and then disappears. So a group of his motorcycling friends infiltrate the uncle’s lab—on their motorcycles—to bust the friend out because they’re sure he’s in there. You can guess what happens next. ZOMBIES.

It’s ridiculous. Peter Coyote is cloning zombie babies, plans world domination (Peter Coyote? Really???), and has actually turned his nephews’ deceased parents into zombie robot machines. The army is called in. RUINED. Gone is any humor or campiness for which this series was known, except for ONE line, when one zombie says to the gang of kids, “This is the part where you all run screaming.” Oh, and there’s also a nod to a scene from the first film involving a zombie getting on a CB and calling for ‘backup.’ Plus, the cry for BRAINS has returned.

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So finally, we get to Part 5, subtitled Rave to the Grave. Aside from the fact that by this film’s release in 2005, raves were SO 1992, this really crappy movie is my second favorite in the series after the first film! It doesn’t even TRY to disguise its humor with cleverness. It’s just all out stupidity. I can’t even believe that this film and Part 4 were made at the same time with many of the same actors, because they are SO completely different in tone and style. This film seems to have at least a clue as to what made the first film such a cult classic.

I don’t understand any of it, but evil Peter Coyote is still up to no good, but then things go horribly wrong for him. His younger nephew is completely out of the picture, but the older one is back, and finds canisters of virus goo in the attic. He brings it to his science nerd friends to examine. Before long, they are convinced they may have the next rave drug on their hands. Conveniently, they are THROWING a rave on Halloween night! Drugs are dealed, techno beats start pumping, and zombies start munching. Awesome.

Don’t even try to take this one seriously. There’s a comic duo of agents looking for the drums of virus goo, and they are campy goofballs. There are plenty of boobs and lesbian dancing, and one of the most used lines of dialogue in the film is simply “BRAINS!” It’s perfect. Zombies bite into brains like they’re eating an apple. Plus, there’s a shirtless male zombie with nipple rings. Come on. When are you EVER going to see that in another zombie film???

Yet, despite all its laughable traits, the film also has one moment that will make your skin crawl—zombies in a room flashing with strobe lights. And I thought running into a hoard of zombies in the dark was my worst nightmare. Now I have to imagine watching myself being eaten in flickering slow motion….

And there you have it. Watch part 1. Watch part 5. The rest can rot in their DVD coffins. Just hope that they don’t come rising out of those plastic coffins as undead discs….

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Wrong Turn takes a wrong turn somewhere around the middle of part 3

The original Wrong Turn is one of my favorite horror flicks of the Y2K decade. It’s got Eliza Dushku. It’s got that hot guy as her love interest. It’s got deformed backwoods freaks, suspense, gore. That’s all I really need to say about it. The straight-to-DVD sequels are the ones that need some nurturing….

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Wrong Turn 2: Dead End

I have to say, I’ve seen people say on the message boards that this one is their favorite and better than the first. I don’t totally agree, because the first one takes itself seriously to great effect, while this one tries to be more fluffy. Come on. It’s about a bunch of young people who gather in the woods to do a ‘survival’ reality show. But it works for what it is. AND, it stars Henry Rollins—shirtless.

The opening of this sequel rox. First of all—“Electric Avenue” is playing on the radio. Bonus points. American Idol alum Kimberly Caldwell plays herself, driving down a country road looking for this stupid reality show in which she is participating, arguing with her agent about how her career sux. Not only does she have a sense of humor about it, but she actually makes quite a good scream queen. Too bad she only lasts a few minutes. The gore starts right up with a phenomenal down the center slicing. Excellent effects here.

The film is loaded with stereotypical characters, out in the woods playing a reality show game while getting offed one by one. Chicks take off their tops, kids film a porn on the side, obnoxious guy thinks it’s hot to be teamed with a lesbian and resorts to toilet humor. But who cares? We just want to see them get sliced and diced, and they do. Plus, have I mentioned, Henry Rollins is shirtless? Oh, I have? Well, did I also mention he gets roped and bound upside down?

The nastiness is good n plenty in this one. We’re introduced to a female cannibal inbred backwoods freak with a freak baby. One male freak jerks off while watching a hot chick lying by the lake—which begs the question, if they think these women are so hot to look at…why do they mutilate them and make them into dinner? This scene quickly gets horrifying because the cannibal perv is caught in the act by his freak bitch—who then runs out on the shore with a knife screaming like a banshee. Can you imagine sunning yourself in the middle of the woods when one of these things comes bursting from the forest heading right for you???

But the ultimate moment in this movie (putting aside Henry Rollins shirtless and hog-tied) has to be the freaks playing a game of sex decoy…sick. However, the film does eventually resort to more of a torture porn feel that quite resembles dinner scenes out of classics like The Texas Chainsaw Massacre. When all is said and done, we’re left with the promise of a bright future for our cannibal inbred backwoods freaks: a baby sucking on a finger…

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Wrong Turn 3: Left for Dead

Okay, so the deaths are plentiful and gruesome in this one, but CGI pretty much takes over, which is a big part of this installment’s problem. On the bright side, the plot revolves around a bus full of despicable prison inmates being transported through the country when they encounter the cannibal inbred backwoods freaks, so we don’t give a SHIT who gets mangled and slaughtered.

The film starts on the rapids with just your generic group of friends hanging out in the backwoods having sex. An arrow through the boob is a great way to start the fun, but from there we’re taken to the plight of the prisoners. Sure it’s great to have a predominantly male cast, but it also means way too many egos and constant infighting. Who cares??? The lack of a real ‘human’ element in this film makes it just a battle between different gangs of barbarians.

There are a couple of deliciously gruesome deaths, but there are also WAY too many of those CGI slicing effects…you know, a series of straight blades cuts through a body, the victim stands alive just long enough to throw us look that says, “Holy shit, I’ve just been sliced like a hard-boiled egg,” and then it melts into a pile of pieces. There’s also a brain-eating scene inspired by that of Hannibal Lecter. The real downfall for this film is when they kill a dog. So pointless. On a positive note, the lone female heroine is an AWESOME screamer. Oh, and there’s a nice twist at the end.

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Wrong Turn 4: Bloody Beginnings

Just how did our favorite deformed cannibal hillbillies come to be? Why, the answer is simple, as outlined in this prequel sequel. In 1974, there was this crazy house in rural West Virginia. There were loads of inbreeds being ‘studied’ there. But then one day, the inbreeds got smart. They figured out how to unlock their cages. They also must have watched a lot of modern horror during their time in the pen, because they make sure to give us a nice bit of torture as they wreak havoc on the mental institution.

Flash ahead to 2003 (get it? Before the first Wrong Turn), and it becomes even more clear that this movie was made specifically to cater to an adolescent male audience. Two couples are fucking in the same room—a guy and his girl…and an interracial lesbian couple. Another chick walks in and gives them a little scolding, is invited into bed with them, and laughingly says that she can’t because they have to get going. If she had only said yes, this would have been the beginnings of one hell of a porno instead of a horror movie.

From there, it’s a detour into backwoods slasher clichés. The gang is headed to a cabin in the woods—on snowmobiles. They get lost (one character self-referentially says they’re “making a wrong turn, I know it.”) It’s a blizzard. They need shelter. There’s a big building in the distance. It’s…an old abandoned crazy house!

Amongst our gang of young horn dogs is none other than the drug addicted boyfriend from Queer as Folk—no longer looking like a twink a decade later, and actually looking a bit pervy hanging out with these college kids.

Conveniently, there’s no cell service, and the lights are out in the building. They all go exploring, the pitch black building looks surprisingly well lit, one of the asshole dudes plays a scare prank, they finally get the lights working, there’s a music/party/dancing montage, and then they find clues about the horrible hillbillies that once roamed these halls—incredibly well kept clues like file folders and movie reels in this place that was supposed to have been abandoned for like 30 years after a horrible mass slaughter, but which is perfectly intact with fresh blankets and sheet on the beds for the kids to have sex in.

Finally, the hillbillies make themselves known and the CGI gore begins. These are some seriously smart hillbillies, even pulling the spark plugs from the snowmobiles so the kids can’t get away. Once the kids are aware of the danger, they make the most obvious decision—they split up.

Sure, there are some average kills in the film, but torture fans and homophobes will rejoice when they capture the Queer as Folk guy, strap him to a table, and systematically cut off pieces of his flesh as he screams non-stop. It may seem derivative of Hostel II, but really, it’s completely knew and original. They slice up onions and potatoes, they shish-kebab his meat, and they eat fondue style with a big vat of hot oil. I’m not kidding. About any of it. And while all this screaming is going on, the remaining friends are in another room taking a vote by show of hands to see if they should actually go save him. Again, I’m not kidding. And I’m even more not kidding when I tell you the girls enter a room single file wielding butcher knives (which made me laugh out loud), they end up locking the hillbillies in a cage, they are ready to torch the inbreeds, and then the lead chick puts on her IRC badge (Inbreed Rights Campaign) and talks them out of it.

So, are we really supposed to feel any sympathy for the remaining characters when the hillbillies escape…? And think about it—this is a prequel. The hillbillies are still a secret from civilized society when they slice up Eliza Dushku’s friends in the first movie, which can only mean one thing about how this prequel ends….

 

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