V is for...

Beyond being Jess Franco's masterpiece, Vampyros Lesbos is a highpoint of the lesbian vampire film genre. Like Daughters of Darkness, The Vampire Lovers, and the New Wave vampire film, The Hunger, Vampyros features an extremely hot vampire, Countess Nadina Carody (Soledad Miranda), who dances at strip clubs in her spare time. In a brutally sexy opening scene, Miranda hypnotically seduces audience member Linda Westinghouse (Ewa Strömberg), calling her to her castle in Anatolia, on business from which Westinghouse never returns. Linda's boyfriend, Omar (Andrés Monales), eventually finds Linda institutionalized, cared for by one Dr. Seward. The characters in Vampyros Lesbos are foils for the cast of Bram Stoker's Dracula, in radical opposition to the traditional, clichéd horror film stereotypes. Psychedelic moments, like when Linda is seduced by the Queen of the Night, recall the grainy, erotic scenes of Jean Rollin's Requiem Pour Un Vampire, and Le Frisson Des Vampires. To dwell on the convoluted plot is clearly missing the point. With arguably the best horror movie soundtrack every released, Vampyros Lesbos revels in the sultry aspects of vampirism, resulting in long, romantic sequences of nude women playing in ocean waves, lying on chaise lounges, and making out in bed. Franco's other films, like She Killed in Ecstasy and Venus in Furs, serve as sequels, so see this first. In fact, see this film period. (synopsis provided by Amazon.com)

released 1970

directed by Jesus Franco

Monday Muzak: Rocking In the Free World

Spoiler Alert: 3000 Miles to Graceland

Michael though looking like he wasn’t going to make it – survives the massive gun fights at the end because he’s wearing a bulletproof vest. He runs off with Jesse & Cybil and the money – and they all sail away together on a boat named ‘Graceland’ with the implications he’s one of Elvis’ illegitimate children.

You’re welcome.

Walkabout [1971]

Prey [1978]

Strange lights in the sky awaken Jessica from her sleep – she’s scared she runs to Jo – her lover in the next room – who is more than willing to calm her down. Anderson is making out with his girlfriend in the woods when he gets out to take a pee is attacked. The next morning Anderson shows up at Jessica & Jo’s country house looking dazed and acting concussed – they invite him to stay with them. But there’s something wrong with Anderson - he’s possessed by an alien!

This is an acting tour de force! Each character is so extremely messed up that you it brings up the obvious question – “who’s the real monster?”

Jessica is just too naïve to be believed – or are all Canadians like that? (ha ha – sorry guys) She obviously lost her parents in a sudden and traumatic way that allowed Jo to sweep in and “help” her by basically kidnapping her. Yet, she’s overly trusting of this strange man who literally wanders into their house – and she’s immediately drawn to him as a lover. Then again – Jessica is the only one who points out the strangeness of Anderson - how he never eats – or how his name is ANDERS ANDERSON!

Anders Anderson is obviously messed in the head to the point where I wouldn’t feel comfortable around him so why would two women living alone in the country feel comfortable around him beats me. He’s played very low key and withdrawn – yet has an extremely profound moment where the three of them are playing hide & seek and he tells Jessica that she’s a prisoner of Jo’s. I can see the importance of having Anderson deliver that particular line – but it’s so out of character that it’s just not believable.
Jo is comically militant. She belittles Anderson for being a male in so many annoying ways that she should’ve noticed right away that Anderson wasn’t reacting – and instead of Jessica pointing out Anderson’s oddities - it should’ve been Jo. She emasculates Anderson by dressing him up as a woman at a party after he does a very manly thing and saves the women from the fox (who was the patsy for Anderson’s blood lust). Yet, she awkwardly tries to kiss Anderson while they are dancing – which shows some cracks in Jo yet that doesn’t seem to affect her past that particular scene.

The directing of Norman J. Warren is standard in this film. There are only few highlights to his craft – namely the ending chase scene - along with the bizarre “drowning” scene (which is worth watching the film for). One reoccurring part of the film seemed like they kind of threw together some b-roll and a voice overdub to make up for a ‘nada scene’ – which is just poor directing.

The writing as I pointed out above doesn’t really add up. Motives of the characters are uncertain and character depth is never really given to each of them 3 main characters. I should also point out that the story is more of a series of odd events – than a full on plot. I do particularly like how the sex scenes are quite cynical and disturbing – it was a welcomed touch to go along with the extreme characters – so I’ll give kudos to the screenplay for that.

It was a fine movie that drew me in with it’s acting – yet not much further in than that.

U is for... [part 2]

Luc Besson wrote and directed the stylish thrillers La Femme Nikita and The Professional; though he didn't direct Unleashed, the script has his trademark fusion of outrageous sentimentality and over-the-top violence. Hong Kong action superstar Jet Li (Romeo Must Die, Hero) stars as Danny, a man raised to be a brutal attack dog by a nasty gangster named Bart (Bob Hoskins, Mona Lisa)--when Bart removes Danny's collar, Danny pulverizes everyone in the room. But a chance encounter with a blind piano tuner (Morgan Freeman, Million Dollar Baby) reveals to Danny the possibility of a less brutal life, and when a retaliation attack gives him the chance to escape, he does--but Bart won't let him go that easily. The fighting in Unleashed is effectively jolting; Li and fight choreographer Yuen Wo Ping (The Matrix) have purposefully stripped away the smoothness of most movie combat (especially with a genuine martial artist like Li) with raw, unnerving results, especially when juxtaposed with the sweet and earnest scenes of Li regaining his humanity with Freeman and his step-daughter (Kerry Condon). This freewheeling cocktail of bloody noses and ice-cream cones isn't for everyone, but fans of both Besson and Li will leave satisfied. (synopsis provided by Amazon.com)

released 2005

directed by Louis Leterrier

Storm Watching

Over the holiday weekend we were hit with some massive thunderstorms so I pulled some movies off the shelf and had a movie marathon - none of which do I want to write up in anything huge - so here's the quick 2-sentence hits.

Psycho [1960]
The scariest thing in this movie is the scene of the getting rid of the body - it seemed almost in real time - and that's all it takes to make you never seen again. The end with the condescending psychiatrist's speech explaining and over explaining doesn't hold up well for modern audiences.


One Flew Over the Cuckoo's Nest [1975]
I think this one holds up pretty well all the way around for modern audiences - the whole antiestablishment feelings people seem to always seem to carry with them from generation to generation. After this particular viewing, I was feeling that Mac brings it on himself - so even though I get the message of the overall movie - I wasn't feeling much sympathy for the anti-hero.
Lars and the Real Girl [2007]
This one is starting to pull away from the pack and it might make it into my top 10 movies - every time I watch it - I have the same reaction like I was watching it the first time. I love how the town pulls together for Lars - making Bianca real - bending just enough of their lives to pull Lars back into "reality".
Splice [2010]
It's the same old Frankenstein story but with a modern genetics twist and more sexual tension. Something about this time - made me draw a few parallels to some of Jesus Franco's creature/genetic abomination films - and wonder if he had helped inspire any bit of the story.