Featuring: Kurt “Escape From New York” Russell , Rosario “Clerks II” Dawson , Zoë “Game of Death (2011)” Bell
Director & Writer: Quentin “Inglourious Basterds” Tarantino
Also Known As:Death Proof
“I’m afraid you’re gonna have to start gettin’ scared immediately.”
Intro: As mentioned in my Planet Terror rerun review, Grindhouse hits the big 1-0 this year, so what better time to exhume the remains of a pair of my old pontifications from the rubble of the old site (I should really get around to having that cleaned up) and see whether or not this double-feature retained its luster after the last decade? The answer: there is no better time…unless we’re talking about last month on the anniversary of Grindhouse‘s actual release date. But, what has been done cannot be undone, and what was not done is being done now. Got it? Me neither. Anyway, heeeeere’s Death Poof!
I mean, “proof”… here’s Death Proof…
Quentin Tarantino comes in with the second feature of Grindhouse and, unlike Planet Terror‘s demolition derby of start-to-finish action and gore, Death Proof makes you earn that privilege by sitting through a lot of characterization and dialogue first. In other words, it’s a Tarantino movie. I’ve never had a problem with Quentin’s movies, I just hate the man himself because he’s a spazzy little pissant that should never be allowed to do interviews or step foot in the general public. But, if I was going to be slowly driven insane by listening to actors spew lines of vulgarity and pop culture references at each other until it pulled a Chinese Water Torture on my frontal lobe, I’d want it to be written by QT…or Kevin Smith.
Stuntman Mike (Kurt Russell) is, well, a former stuntman, in case you didn’t catch that part of his name. Mike used to do a lot of “falling off horses” stand-in work in the old days of TV westerns before falling back on car crash stunts when he ran out of actors to look like. But, in this modern day of Hollywood penny pinching bullshit like computer graphics imaging, jobs are scarce for guys like Mike. With all this free time on his hands, Mike’s got plenty of opportunities to find new ways to keep himself entertained. Whereas most normal guys would simply work on their porn collection or take up a hobby like pyrography, Mike instead discovered his new fetish: killing women!
Mike’s technique of choice isn’t anything as simple as stabbing, shooting or strangulation, though. Instead, he likes to involve them in violent car wrecks the likes of which no one could ever possibly walk away from. This way, said meticulously plotted slaughters can never really be seen as anything more than one guy’s unfortunate string of car wrecks. Would-be accusations of stuff like “premeditated murder” are immediately followed by stuff like “no concrete evidence”, so Mike gets away with little more than a brief stint in a hospital room for a broken bone or two, which is all in a day’s work for a stuntman anyway. But how does SM pull off such a thing without getting himself an early ride to the grave in the process? Turns out that stuntmen can super reinforce a car in a way that guarantees the driver will not be killed should the car be otherwise destroyed. This method is called…wait for it… “death proofing”.
That’s right kids, we have ourselves a title.
So, we have our antagonist. Now, where will we find him some victims? Enter Abernathy (Rosario Dawson), Kim (Tracie Thoms), Lee (Mary Elizabeth Winstead) and Zoe (real life stuntwoman Zoe Bell as herself!) – four friends looking for fun. Ab, Kim and Lee are all on break from their current jobs on the set of the latest Lindsey Lohan tripe, which gives them time to hang out with their pal Zoe who’s in town visiting from New Zealand. Seems that while she’s here, Zoe plans to live out a longtime goal of riding on the hood of a car (a game she calls “ship’s mast”) that’s the exact make and model of her panty-peeler fantasy ride from the cult classic carsploitation movie Vanishing Point – a white 1970 Dodge Challenger.
As luck would have it, such a car is being offered for sale by one of the yokels in the Tennessee area where the ladies are residing! After Ab sweet talks the car’s slack-jawed stereotype into letting the gals take a test drive (which includes a terrifying allusion to leaving Lee, cheerleader costume and all, behind so Billy-Bob can “get to know her”), the remaining trio of ladies take the Challenger out for a spin. Too bad for the babes that what starts off as a dream come true for Zoe turns into a car chase nightmare when who else but our homicidal hombre Mike, out of the hospital and behind the wheel of his newly proofed Chevy Nova, is back on the prowl to grind more fresh lady flesh under his Goodyears. What follows is one of the greatest car chase finales since The Road Warrior.
As mentioned before, the movie’s a bit talky. Since Grindhouse is over 3 hours long, people are going to be begging for any opportunity to hit the restroom and empty their Pampers. My best recommendation would be to drain the reservoirs during the first 20 minutes of so of Death Proof. If you love Tarantino’s writing you might want to ignore what I just said, but if you’re not the type who absolutely must see half an hour or so of characters being established only to have all of that effort flushed in the long run, heed my words. I could live with seeing everything before the first car accident scene trimmed down considerably, then leaving the last half of the movie as is, to be honest. But, like everything else on this website, that’s just my opinion. Despite the innately inessential opening act, the latter half of the flick makes sitting through the first half so worth the effort.
Kurt Russell looks like he had as much fun playing the weathered Stuntman Mike as Tarantino probably had directing the whole movie (despite its lack of his infamous inclusion of n-word carpet bombing the script). The man-who-was-Snake runs the range from funny to creepy to charming to pathetic and he does it all with a wink and a smile. His performance is nothing if not a blast to watch… sorry, “blast” was the best word I could come up with when typing this.
The cast of gals are all having a lot of fun here too and it shows. Zoe Bell should definitely mix in more actual acting roles with her stunt work (FYI: she was Uma Thurman’s double for the Kill Bill movies) and she looks like she’s genuinely having a pisser of a time riding that hood. Tracie Thoms is the definition of “crazy bitch” as she hoots, hollers and curses her way through the last 30 minutes of the movie and makes me wish I was cool enough to hang out with her. And Rosario Dawson? I’ve fallen in love with her all over again since the first time she made me do so in Clerks II. She’s cool, she’s sweet, she’s hot, she’s adorable, she’s a FUCKING COMIC GEEK and, when it gets down to it, she’s a hellacious bruiser! Her best moment? Wait till about two seconds after “The End” pops up on the screen and you’ll see what I’m talking about.
As with Planet Terror, everybody else on the credits scroll did their job and that’s about all I can say about that. Eli Roth (who directed the Thanksgiving trailer I’ll be mentioning later) and Tarantino himself have small roles too – Quentin as a friendly bartender and Roth as a patron at said bar trying to get his ovarian target for the night drunk enough to go home with her. Can’t say I blame him though, as I can only imagine the looks he gets when he tells chicks, “Yeah, I’m the guy who made Hostel! Wanna go back to my place and shit on my chest?”.
Aside from the two or three hundred movie references Tarantino drops throughout the dialogue (you’d think he was making a commission on DVD sales from these things…), I’m sorry to say that I’m not a follower of car chase flicks, so many of the tribute pieces were probably lost on me. For instance, if my mother-in-law hadn’t pointed out that the chrome duck hood ornament on Mike’s car was an homage to one used in the movie Convoy, I would’ve just seen a stupid chrome rubber duck. The one thing that I did pick up on (at least I think so…) was a scene where Stuntman Mike plows through a roadside movie marquee advertising a double feature for Scary Movie 4 and a Wolf Creek sequel. Somebody correct me if I’m wrong, but I’m gonna say that this is a little tribute to Wes Craven’s now classic use of a torn Jaws poster in the original The Hills Have Eyes as a way to say that the latter was a superior scare flick in comparison to the former. Did Tarantino use this to say that the double feature in Grindhouse is superior to an imaginary double feature of these other non-existent movies, or am I just reading too much into it? More importantly, do you care? Me neither.
As far as the Grindhouse gimmick goes, Tarantino shies away from the liberal use of film scratches and superficial burns that Rodriguez leaned on for Planet Terror, opting instead for other loving faux faults like audio hiccups and a couple of frames missing from the reel that cause cars to suddenly disappear, small pieces of conversation to be left out and people to magically teleport from one place to another. He also does a great bit with the opening credits, in which the title card for the movie’s original fake original title of “Quentin Tarantino’s Thunder Bolt” is clipped out for a generic looking still of the alternate title (that of course being “Death Proof”) printed in white on a base black background. That was a definite favorite moment for me. This movie’s “Missing Reel” moment is a lap dance scene that I couldn’t care less about missing to be honest, so if this was never shot and doesn’t make it into the DVD, I won’t mind.
For you trivia hounds out there, Stuntman Mike got into the stuntman biz through his brother, Stuntman Bob. If that helps you win ‘Jeopardy’ someday, you owe me 20%!
All in all, I meant what I said and I said what I meant: I recommend Grindhouse 100%. And now, for the “coming attractions”…
I’m going to talk about two of Grindhouse’s fake trailers here and the other two in my review for Planet Terror, so if you haven’t checked that out yet, do so when you’re done here.
The first trailer (which is actually the third trailer shown throughout the length of the double feature) is Don’t. In a hilarious lampooning of the infamous “Don’t [Action to be Disparaged Goes Here]” movie titles US release companies gave European releases in the States during the sleazy ‘70s, Shaun of the Dead director Edgar Wright previews a fake movie for us about people trapped in a haunted house, including the director’s frequent collaborators Nick Frost and Simon Pegg. Pushing the joke all the way, the trailer is entirely narration (by Will Arnett) with none of the actors getting off any actual lines, a trick used by said US releasing companies 30 years ago when they didn’t want potential audience members to know that the European movies being released under these new pseudonyms were cast with actors of heavy accents, worried it would turn people off. Much like Shaun of the Dead, this trailer’s literally brilliant and uses the underlying humor of its source material to full comedy effect. If I were the kind of guy who rated trailers, this would be a five star all the way!
Our final trailer is from Cabin Fever horror wunderkind Eli Roth, who brings us a parody of ‘70s and ‘80s holiday gimmick slasher movies called Thanksgiving that seems to be equal parts Halloween and My Bloody Valentine homage humor. The trailer goes for total shock factor, dick slapping everybody with graphically implied sex scenes and over-the-top gore. To put it in terms of audience reaction, everybody in the theater was laughing for Don’t, then groaning and gasping as loud and painfully as possible for Thanksgiving. Severed heads aplenty here, along with Cinemax level softcore scenes of chicks giving out blow jobs like they were Christian propaganda fliers, a disturbing scene of a topless cheerleader on a trampoline getting a very sharp alternative to a Tampax shoved up her birth canal, and a baffling final scene of someone cooked and stuff like a giant turkey before a very brief glimpse of what looks like Roth himself being sodomized at a dinner table…what the fuck?! Roth has shown he likes shock value over “artistic vision” and I’d definitely watch Thanksgiving as a feature, just to say I sat through it without blinking…because I’m a desensitized sociopath. Though I can appreciate some fairly done graphic violence and sex, the actual urge to see something like this isn’t as inspiring as I think the man was trying to do. 3 out of 5.
Xtro: Okay, for starters allow me to redact my pissing and moaning about Tarantino being a spaz, as it’s hypothesized that the mad genius of genre tropes and snappy dialogue may well have Asperger’s or at least fall somewhere on the autistic spectrum. I’m not saying he needs to be pitied as a result, I’m just over being annoyed by his manic mannerisms and “too much cocaine in his coffee” personality. Considering the mental demolition derby I’ve been involved in in recent years myself, that would also make me a bit of a hypocrite. And remember kids, it’s not hip to be a hypocrite… just ignore the difference in spelling there. My PSA is still viable, G.I. Jerkoff.
Unlike Planet Terror, Death Proof‘s special effects skew more traditional to the grindhouse theme, opting for what at least looks like 100% practical magic (housewife witchery not included) rather than dicking with digital deceptions. This ain’t no Fast and Furious fuckery, fanboys! This is a straight up traditional car-on-car bump n’ grind! And what did R. Kelly teach us before he was trapped in his closet and pissing on teenage girls? There ain’t nothin’ wrong with a little bump n’ grind. Or, if you too were raised on Mad Max movies (like moi) or those classic off-the-radar car flicks of the ’70s, the old way is the only way. It’s an art form that, depressingly, has fallen victim to technology and breaks my heart…well, except for Mad Max: Fury Road, because I pray George Miller my soul to keep.
Tarantino also made Death Proof with what you’d imagine to be an anorexic budget, as its 2 hour run time takes place in fewer locations than an agoraphobic’s weekly routine. So much of it happens in a honky-tonk bar or a diner or on back roads or just in the cars themselves that it has to be Quentin’s most minimalist shoot outside of Reservoir Dogs and The Hateful Eight. This doesn’t keep the man from shooting it all beautifully with his usual “100 different angles” style though, and even for someone who hasn’t spent so much as 5 minutes in a film class, it brings a tear to my eye and a jealousy to my heart. Speaking of jealousy, I imagine that most of the obscure movie posters and paraphernalia that decorates the sets belong to Tarantino himself, which no doubt saved a fair amount of pressure on the prop budget…unless he was smart and used said budget to buy a bunch of cool shit he himself didn’t already have, then just pocketed everything when the job was done.
The cast is fantastic, the direction and cinematography are beautiful (moreso if you’re a foot fetishist like QT, far less so if you’re a podophobic like my mother-in-law), if you’re a fan of Tarantino’s usual heavily scripted free-flowing dialogue by characters who would all kick your ass at Trivial Pursuit you’ll be happy to know it’s all there, the soundtrack is pitch perfect (because it’s gods damned Quentin Tarantino, so of fucking course it is), and the stunts are so eye blisteringly stellar that the team deserves a friggin’ constellation named after them! It’s almost a perfect movie. But…
The biggest problem I first had with DP (huh huh huh) was watching it directly after having sat through the 100+ minutes of Planet Terror. Even if I weren’t a lightweight when it comes to theatrical marathons (I’ve only watched two movies back-to-back in a theater twice), following up a zombie slaughtering action-comedy with a “talkie” that takes the better part of an hour before it sheds any blood? It’s a rough transition. I wouldn’t blame anyone who walked out, fell asleep in their seat, or passed on paying for a ticket altogether. Even as its own entity, I still have a major issue with the movie’s structure: it sandblasts my ass to introduce and flesh out a cast of characters just to kill them off halfway through the movie and introduce a second cast of would-be victims after. Why? Because the only person we follow throughout the flick is Stuntman Mike, but he’s less a main character than a catalyst! He’s the antagonist, fine, but we get no inclination of his motivation beyond that he’s a former fall guy who really hates women for… some… reason. Want to excuse this as part of the bad movie gimmick? No. If you’re giving us snappy dialogue delivered by talented actors but leaving out important background details about the only constant character in the movie, that’s flying like a lead zeppelin full of mud sharks.
My other gripe is the inconsistency of the grindhouse mimicry. The gimmick shit comes on heavy in the first few minutes with intentionally awkward cuts, audio skips, and that great title card change paving the way (pun intended). The grimy grainy motif carries on throughout the first half, but then the second half starts on an incredibly clean black & white scene (of which QT is keen) for reasons unseen. The colors come back on after the new apples of Mike’s evil eye are introduced, but the crisp look continues on until the finale. It’s an absolute orgasm for the oculars, especially now being able to see the grand 20 minute vroom vroom chase in 1080p, but why drop the titular shtick?! Punch my ticket and tickle my pickle.
And if you’re wondering if Tarantino’s penchant for excessively over-salting his scripts with a Lt. Col. Killgore level carpet-bombing of the n-word (and no, that’s not short for “napalm”), then yes. Not Samuel L. Jackson levels, granted, but Tracie Thoms does utter enough “niggas” to give Jeff Sessions a semi. So, if hearing said term churns your aural sensibilities, your ears will not be spared here.
While my reunion with Planet Terror reminded me just how much fun it is to watch, seeing Death Proof again bore me an all new respect for it. Despite my criticisms, I do appreciate the ass off of it! It’s not Quentin Tarantino’s best (in fact, he’s called it his worst), but it’s only one shelf below top shelf, and that makes it money in my book.
With that, kiddies, it’s time to say goodbye. Join us next episode when we get a visit from a certain team of super powered people who “guard” humanity from evil…
Moral of the Story: Bars offer all manner of pleasantries outside of booze. Alcohol is simply the lubricant for social interaction… unless you’re me, in which case alcohol is the legal anesthetic through which my body pisses off my brain by becoming completely unresponsive to any and all commands.
“I’m so glad I cut an emergency hole in all of my pants so I can plug up any unexpected leakage issues! Why doesn’t everybody do this?!”
“And then the monster was all like, ‘FIRE BAD!’ and shit. Hahahaha.”
“Bitch, does this look like an Appletini? If I wanted a margarita, I would’ve asked you to get me a margarita!”
Eli Roth wasn’t quite prepared for the vitriolic text he received from Keanu Reeves following the critical response to Knock Knock.
Cousin It spends yet another Saturday night dressed in drag and picking up strange men in bars, despite promising the rest of the Addams that it would never happen again after that weekend he spent locked up in Roman Polanski’s basement.
Special cameo by Eddie Izzard!
I wonder if he got that scar from eating pussy… or “pineapple” if we’re being censored.
In case you forgot you were watching a Quentin Tarantino movie. Oh well, it could be worse. At least his fetish isn’t school girls showing live eels up their butts or octogenarians shitting on Precious Moments Figurines!
If this were made in Japan, that would just be an indicator that she’s incredibly horny.
Beauford misread Jake’s comment and leaned in for a kiss that, sadly, would never come to pass. He and his broken heart resigned from the department shortly after to avoid the uncomfortable awkwardness between them that resulted, and spent the rest of his years married to Martha, dreaming of what could have been.
“Damn it, guys, I told you not to let Jenny have second and third helpings of chili for breakfast! I’m stuck back here with her for the next hour and it already smells like the ladies room at White Castle!”
A rare still from the long lost Michael Myers parody porn, “Hallowiener: Is That a Butcher Knife in Your Pocket, or Are You Just Happy to See Me?”. The producers were advised not to distribute it as a Betamax exclusive, but they insisted it was the wave of the future. But, as this ad proves, sometimes it takes more than sex to sell.
We’ve all been the odd one out when it came to 3 people riding in a 2 seater and you weren’t fast enough to call “shotgun”.
Despite his wealth and fame, Kurt Russell refuses to pay drive-in prices, opting instead to watch Guardians of the Galaxy Vol. 2 from his neighbor’s roof.
“Well, it looks like Boss Hogg didn’t take too kindly to those Duke Boys leaving an upper decker in his private moonshine still, so it was up to Roscoe to put Bo and Luke on ice. And all this just hours before the annual Hazzard County ‘Wings & Wangs’ barbecue and penis measuring festival!”
Hey ladies, are your pants registered with Airbnb by any chance? Because I’d like to live in ’em for a few days while I’m in town! *rimshot*
“And THIS is for Overboard! You ruined my trust in men for years with what you did to Goldie Hawn, you sick freak!”
Anubis will return next time in “In Soviet Russia, Copyright Laws Infringe You!”
Enjoy the review? Hate the review? Have a movie you’d like to see judged in The Tomb? Fill out the feedback form! Never has it been easier to make contact with a deitic being!
Featuring: James “Black Milk” Johnston , Eliza “Boudica Bites Back” Russell , Marie Findley
Writer & Director: Ken “Tommy” Russell
Also Known As:The Fall of the Louse of Usher: a Gothic Tale for the 21st Century ; Ken Russell’s The Fall of the Louse of Usher
“Even if you come in here sane, no way you’re gonna get out of here anything but crazy!”
Guten tag, schmutz-kinder! Today marks the annual event known to wrestling fans as Wrestlemania. On a larf, I thought it would be fun to do a roundtable of reviews for Ken Russell movies. What does Ken Russell have to do with professional wrestling? Nothing. At least not that I know of. No, the theme for this gathering exists for no other reason than because it lends itself to the ‘table’s puntacular title!
Yep. That's the kinda shit I do. And thanks to my fellow cinemasochists for taking this journey with me! Though never a big Ken Russell fan, I have seen a few of his better known flicks. I thought Altered States was a fun acid trip through pseudo scientific madness, Tommy was an enjoyably dark and unique musical experience, and Lair of the White Worm is still one of my favorite flicks to come out of the UK and the definite catalyst for my bizarre attraction to serpentine women who want to eat me alive. Despite the creep-ass little goblin from the cover of the Gothic VHS being burned into my memory from childhood, I never got around to renting it. From what Ragnarok has to say in his review, it sounds like I didn’t miss much. Too bad that copy of The Devils I sent him was rerouted back to me via USPS, otherwise he could’ve reviewed that instead. Stupid lack of proper postage!
Before I get started, I’m throwing out the disclaimer that this review is going to be a rush job, so apologies if it lacks the polish (or Polish) of other episodes. I’ve been entangled on the battlefield of the mind in a war with the Overfiend for possession of my soul and just recently managed to lock the beast away in the Crystal of Zoloft, putting me at odds with my own predetermined due date. As such, I’ve filled my gut tank with several cans of Tear Ass energy drink from Dollar Embargo to give me the fuel I need and, as an odd side effect, the ability to taste color! I can confirm that, yes, purple is indeed a fruit. The only flavor they had on-shelf was the nebulous “Citrus X”. Unlike Chemical X, which turns inanimate objects into Powerpuffs, the only thing Citrus X transforms is the odor of your urine. My piss bucket smells like it’s full of orange peels swimming in battery acid. I’m not 100% sure my kidneys aren’t going to explode by the time we get to the moral of this story. Oh well. Sallying forthwith!
In the twilight of his career, Kenny Russell wasn’t much for movie making. He stuck with weird short subject shit for the most part, while my pick for this Celluloid Zeroes collaboration is the final feature length flick the freaky fiend filmed before punching his ticket to the Underworld in 2011. And when I say “filmed”, I don’t mean it literally, because The Fall of the Louse of Usher was shot entirely via camcorder!
Yes indeed my flowers and weeds, the technology your parents used to have to rely on when they wanted to make their own sex tapes (back when they were actual tapes) is the medium through which Uncle Ken chose to tell this backyard gothic rock opera of his. And I gotta say, upon discovering this, my immediate concerns were that I had been bamboozled and this wasn’t the same Ken Russell I was looking for. Learning that its legitimacy is legitimate however, I felt like I was watching home movies of someone’s grandpa in the final days of a fatal cancer diagnosis. Without mincing words, you just can’t shake that awful feeling of pity for seeing someone brought so low. Even if just done as a simple pet project to have fun with his friends and neighbors (which it was), it still feels so beneath what the man had done with his prestigious (or at least semi-prestigious) career that it’s… well… pathetic. If they’d kept it as a private joke to share with each other and bring out for summer barbecue viewings, that’d be one thing. But to put it out on a DVD and demand people pay to see it? By Roger Daltrey’s tasseled togs, are you fucking yankin’ my crank?! Clearly not, otherwise I’d have nothing to rag on here! Well, aside from the extension cord I use for a belt.
Roger Daltrey – Innovator of the “glue huge strands of cooked spaghetti to your sleeves” look.
Okay, enough puttin' off the lovin'. Let's rinse off our genitals, put on my Lou Bega mixtape of bone medleys, and bang this bitch out like Sean Michaels (the porn actor, not the wrestler)! Let's just hope we don't let loose any two-cheek squeaks (or squeakquels) while we're at it.
The setting for our story in simply “Orange County, USA” according to our opening. Okay, so is it the Orange County with the arguing family of motorcycle builders, the one with Mischa Barton, or one of the half-dozen other fucking Orange Counties in the damn country!? Though it’s later revealed that our setting is the West Coast edition, that tiny tidbit of info would’ve been nice to know beforehand. As Baphomet would say, “Bah”.
Roderick Usher (James Johnston, who doubles as the movie’s composer) is a goth rock musician 20 years behind the curve. Lead guitarist and singer/whiner (and occasional whisper rapper) of a heretofore unnamed band (might I suggest “The Poegues”?), he’s arrested for the suspected murder of his wife/maracas player, Annabelle Lee (Emma Millions), to whom everyone likes to attach the preface descriptor of “Sweet”. Not so sweet when she’s found walled up in the Usher house with half her face missing and her pet mini-pincher chewing through her guts! Since her rocker widower is clearly off his rocker at the time of his capture, barely coherent and ranting about his innocence, rather than going to prison Roddy’s instead carted off to the local loony bin. Here he’s put under the care of the demented Dr. Calahari (Ken Russell) and his sex bomb assistant, Nurse ABC Smith (Marie Findley).
Not a good sign of things to come… pun intended.
Not just another bimbo in a medical fetish costume, ABC (Already Been Chewed?) is one of those wonderfully empowered ladies who uses her sexuality to manipulate others into getting what she wants, the endgame of which is often something fatal for those seduced by her charms. Also, as everyone is keen to point out, “She’s a great piece of ass”. Pretty much what you’d expect from a Russell girl.
They’re similar to “Bond girls”, only way more likely to be emotionally damaged and way more likely to have some manner of underlying disfigurement that will make you paranoid of any woman who hits on you during last call. Not unlike how Basket Case taught women to never talk up any guy at a bar carrying a picnic basket.
Russell's oddball headshrinker has a penchant for wearing a variety of headpieces, which may or may not be the writer/director/producer/editor/cinematographer/actor's unsubtle pun to the audience that he himself is a “man of many hats”. Or, it could just be a sign that he had a bunch of goofy hats lying around in his home prop box that he thought would make for a running gag funny only to him. Either or. Said fetishizer of up top props also puts on a “hard to pinpoint but I'm pretty confident it's meant to be German because ABC keeps referring to him as 'Herr doktor'” accent that sounds exactly like the frantic urine lab doctor from the English dub of Dominion: Tank Police. And if you don’t know what that is, your life is a little less happy than it should be. Fix that. Soon. Or be forever denied existence as a complete person. Tank Police. Feel the power that we’ve got. We’ll give it our best shot.
No sooner is Rod tossed into his new cell then he starts in on the standard issue sexually deviant hallucinations that every lead of a Ken Russell movie suffers from. In this case, our hero envisions an orgy of blow up dolls that includes an inflatable dinosaur for added “Da fuq?!” factor. As he writhes, physically in his straight jacket and emotionally in his madness, ABC looks on intrigued. Speaking of our Nightingale on Elm Street, her role at the hospital is seemingly as Calahari’s personal caretaker more so than as his assistant. Much of their screen time together is spent with ABC feeding him, cleaning out his ears, and constantly checking the old fart’s vitals while they discuss the Usher case. Mayhaps the demented doc is a hypochondriac and needs frequent reassurance that he’s in stable health? Could it be that he’s due for a mandatory physical by the Department of Health? Then again, it may just be a thinly-veiled metaphor about how nurses tend to do all the work as doctors sit around getting fat off their fancy college degrees and trying their best to distinguish between a patient’s sphincter and a hole in the ground… which should probably raise some concerns from everyone given that doctors’ offices generally don’t include holes in their floors.
While DC and ABC try to unravel the mystery of Annabelle’s death (and whether it has anything to do with Roderick’s sister/violinist Madeline Usher [Ken’s wife Eliza Russell]) With a bona fide celebrity in their midst, Cal wants ‘Rick to perform for the institution’s patients-and-staff mixer, leaving it up to ABC to do the convincing. When her lusty demeanor isn’t enough to persuade the disturbed music maker, she confines him to a makeshift torture bed (that looks to be a beach chair with a blanket tossed over it) as a swinging pendulum butcher knife gradually descends back and forth above his pelvis. Though the protag laughs off her threat, citing an erectile deficiency, he’s not so sure of himself when XYZ reveals that she gave him Viagra. At the mere mention of her boner juice roofie job, Lil’ Rod (sounds like a personal problem) springs to life and Mr. Usher gives in to his caretaker’s demands. Good thing my doc’s accompanying CRN isn’t that hardcore. Being the world’s worst diabetic, she’d have had me paying dues to the Eunuchs Union Local 37 before you could say “THIS IS A MEDICAL EXAMINATION! STOP EATING THAT CHEESECAKE!”.
During the crazy people social soiree, Roderick is encouraged by Dr. C to get every available appendage he can up Nurse Smith’s very short uniform skirt. Hey, getting turned down by trim doesn’t mean you can’t encourage your fellow phallus holder to have a try! Bro code… or some horseshit. Anyway, Mr. Usher is then accosted by a pair of his fellow inmates that are heavy on a hippie astrology kick, asking him if he’s into “Ass-trology”, which I assure you that I certainly am. They allude to Miss ABC’s past interactions with a group called “The West Side Boys” which, from their intonations, presumably refers to some fucked up tribulations. More specifically, the ones spelled G-A-N-G-R-A-P-E.
No, not “gan grape” you nards! I meant “gang rape”. She had her flower forcibly plucked by a vulgar group of ne’er-do-wells with more testosterone than social grace. At least as far as I can infer. The later reveal that her entire erotic demeanor is made up of literal artificial bits and pieces (including that “great piece of ass!”) to disguise whatever shapeless horror she really is, postulates clearly that her outer self is a deceptive shell to hide the fragile truth beneath. Some obvious symbolism for Uncle Ken to waterboard us with. It’s an interesting visual representation, but is smashed so hard into our faces that it’s like being talked down to by a tech support rep that makes you wanna reach through the phone and elbow them in the throat.
I don’t do great with “message movies”. Unless they involve people getting run over en masse.
While Nursey Poo and The Rod explore their blossoming relationship, Dr. C uses the astrologist gals (one of whom is your typical old gypsy lady, while the other is a minstrel mummy… let that sink in) in an effort to Ouija up the soul of the slain Annabelle Lee and get the story of her demise straight from the victim’s protoplasmic mouth. Unable to establish a direct connection to the lass, they do manage to summon OSIRIS(!!!) instead, who speaks to them through the sacred vessel of… a Big Mouth Billy Bass.
Okay. This part got me. A surprise kidney punch of happiness I wasn't prepared for that left me on the floor with upturned lips ever so slightly trembling. This leads to a riddle that leads to a vibrating slinky version of those “weasel chasing a ball” toys that finally leads to the gypsy character divining that the question to the answer “The reveal of Annabelle Lee's true killer” is “What's the secret of her bones?”. Man, trying to force gags into a ‘Jeopardy!’ shaped mold requires mental gymnastics that my caffeine fueled cortex can’t fucking handle right now. This leads to Calahari sending his masked henchman Igor to retrieve Ann’s pearlies from her gravesite.
Taking a break from all story progress, Dr. Cal takes a scenic route scene to gloat to Roderick about his prized experiment – having hypnotized (via several props acquired from a Spencer’s Gifts clearance sale) a previous patient/guinea pig named Ernest Valdemar (Peter Mastin) in the midst of the man’s death throes, allowing Ernie’s mind to continue living indefinitely and communicating through a voice amplification box despite the death of the rest of his body… except for the part about how his jaw and eyes are still functional, and the other part about how THE BRAIN CANNOT SURVIVE WITHOUT BLOOD FLOW OR OXYGEN. Unfortunately, despite Mr. V’s predicament being an interesting piece about a person buried alive in the grave of his own corpse for 7 months, this bit of sidetrack has zilch to do with Rod’s tale and only serves as a *wink*wink*nudge*nudge* to EAP readers that reeks of time filler.
Sick Destro cosplay, bro!
Speaking of filler, the next segment takes the same theme, makes like a looter with a new TV and runs with it. Calahari has a therapy session with a woman hidden behind a mask who has some weird psycho-sexual fear of garden gnomes. Through his mania-delving analysis, the doc helps her realize she's actually famed femme fatale female wrestler, Beulah Von Birmingham (Sandra Scott)! Her revelation is interrupted when a masked prostitute named Mary (Mrs. Russell again) inserts herself into the scenario, declaring herself a birthday present to Roderick from his big sister… while ironically being played by the same woman who plays his big sister. Beulah recognizes her as one of her wrestling rivals though, and the pair have a no holds barred hardcore brawl for supremacy! It degrades into the two just dry humping each other before the silliness subsides prematurely with the pair escaping over a wall via convenient step ladder, to the chagrin of Calahari who planned to imprison the pair in his crazy house. Again, fun random bit of wackiness, but also again, entirely disconnected from having anything to do with advancing the damn story!
Wait a sec… Whoa. That’s a bit weird, isn’t it? I establish this review on the basis of its creator’s surname being a pun on the word “wrestle”, and ultimately there’s a scene of female wrestlers doing just that. The hypothesis of my subconscious being an astral projected time traveler while I sleep gains more and more traction. Nanoo fucking nannoo.
When Igor returns with the disinterred dentures of a dozen or so Ushers buried in the same boneyard (or, purchased from a gumball machine outside the corner deli as the case more likely is), Annabelle’s rise from the collection and hint at Poe’s short story ‘The Murders at the Rue Morgue’ as being the key to unlocking what really happened to her. Cal deciphers this as meaning Rod’s wife was actually murdered by a gorilla, but before he can question this logic further he’s called away to Valdemar’s room, where his pet zombie finally gives up the ghost. As if that weren’t enough to upset the bloated old goat, the institute’s previous staff, which the doctor had apparently imprisoned in the asylum’s basement for challenging his “revolutionary methods”, have somehow escaped (or at least the two members we’re ever privy to) and are wilding throughout the building in pursuit of revenge! Less the “pee in the communal coffee pot at work” type and more the “Carrie White on prom night” version.
Roddy, herr doktor, the old gypsy (now wearing a tea cozy on her head) and the blackface mummy lady escape the hospital with all limbs intact, returning to the Usher Estate. Once there, ‘Ricky discovers beloved sister Madeline dead at her own hand on what looks to be a teenage girl’s bed, amid some topless statues in the yard. Seems the “fake news” media reported that her brother had died in the sanitarium riot and the resultant grief with which she was overtaken pushed her to Romeo & Juliet herself, leaving behind a recorded confession (played for them by a crimson faced gorilla) that she was the one who prematurely punched Sweet Annabelle Lee’s mortality ticket! In the thralls of his own heartbreak, little brother Usher demands Death take him too, to which Dr. C relinquishes with an injection of something lethal. The duo are laid in state in their yard, surrounded by potted flowers probably taken from the dumpster behind the WalMart Garden Center.
With 15 minutes left in the movie, the aforementioned gorilla gather the remaining trio of guests in the siblings’ old childhood playhouse to view a VHS tape (played in a microwave for laughs). The vid is a further confession by Mad Maddie, telling of how she used Gory (the gorilla) to kill Annabelle with an obedience chip that the family had planted in the hulking simian’s brain after the poor brute was rescued from an abusive trainer. Thanks to an off-brand Playstation 2 controller, Mads maliciously manipulated the monkey into murdering her only rival for her dear brother’s dingus. From here it’s all about wrapping shit up, as Calahari is captured and returned to the asylum to undergo treatment, Nurse ABC is fine (except for an unexplained hand crushing incident in the end), Roderick and Madeline’s souls descend to hell on a righteous deflating bouncy castle, and their son and daughter prepare to move back into their family home with Gory now that everyone else has been driven away… I’m not going to explain anything from that last sentence, as I’ll leave it up to your own minds to fill in the blanks that, well, we’re never given anyway.
Unless Russell’s next of kin have some 2-4-5 Trioxin laying around, I’m pretty sure this is the end.
And there it is: Ken Russell’s final feature, The Fall of the Louse of Usher. Though greatly hampered by its poor choice of medium and “let’s just use what we’ve got lying around our houses!” budget, there’s actually a lot of entertainment to be had. The sound quality isn’t great, sometimes even bordering on horrible as it makes certain scenes almost completely auditorially illegible, with the worst being a stair well exchange that’s nothing but shouty echoes. Speaking of noise, one of my least liked parts of this cacophony of crazy are the awful little music videos that Rod and Mad made for their band, not the least bothersome of which involves the siblings being all “anguished high school goth kids” (well into their thirties/forties) with each other in a cemetery, dragging numerous visual aids about their incest relationship across our faces where, like the scrotum intimation I’m trying to make here, none were needed.
The cast is actually pretty solid for a buncha no-names. Not everyone, mind you, but our top-of-the-credits trio – Johnston, Findley & Mr. Russell – all make this a much more pleasant pill to swallow. Their characters are entertaining if not always interesting and their performances are appropriately campy without going overboard. Broken heart throb Roderick is well lost in the forest of confusion and desperate to find his way out; Nurse ABC carries a sensuality, charm and foreboding smile reminiscent of Cassandra Peterson’s beloved Elvira or a mash-up of Rocky Horror’s Columbia & Magenta; and Doc Calahari is a kooky crackpot who’s really a lot of fun to watch when you warm up to him, even in spite of Russell’s absurd German-ish accent, which grows on you if your ears don’t revolt against you first.
If you’re a Poe nerd, or have a Poe nerd in your life, you’ll enjoy picking out Louse‘s varied variety of references to the godfather of goth’s library of extensive materials. Some are obvious, some are a bit more obscure, and still others I’m sure I missed entirely because I’m barely acquainted with the chronically depressed fiveheaded oddball’s greatest hits, let alone his deep cut ditties. If what I’ve heard was true, Louse of Usher is a much better homage to Eddie Allan’s efforts than 2012’s The Raven, so again, consider it for the Poephile in your presence. And don’t you worry John Cusack, I’ll be kicking down your door sooner or later with crackling criticisms to burn your nose hair by!
The “gothic tale for the 21st century” has great potential that peeks out from behind its discounted Halloween seasonal mall shop props and modified tool shed sets, and with a little bit of script tampering and an injection of capital, I think, sans hyperbole, that TFotLoU could have easily been another Rocky Horror! Hell, with a Kickstarter campaign and some talented hands, it could still be. It’s as likely as Hulk Hogan playing the dad in a(nother) remake of Guess Who’s Coming to Dinner, but it’s fun to think of what could have been. Speaking of what could have been…
Hey! I finally made it to episode 100! It only took me… gimme a sec here…
Three and a half years. Shit. That’s an average of 2-3 reviews per month. Double shit. Billy Bass Osiris damn me and whatever wacky fantasy scenario I’m using today to stunt double for my real life personal hindrances. Oh well. I’ve got a pot of chili and a copy of Cannibal Killer Clowns on Dope calling my name with their siren song, so let’s hurry this up and just say it’s a case of quality over quantity.
Moral of the Story: If you ever want to get out of a mental institute alive, never question the sanity of the staff.
On the topic of superior quality, go treat yourself to some more RussellMania from our fellow Zeroes!
I envision a lawsuit by the Estate of Edgar Allan Poe against the Estate of Ken Russell as presided over by the Estate of Judge Wopner here, in ‘The Dead Peoples’ Court’.
See, shit like that is why you’ll never get me within a mile of a LASIK office!
“I have to say, when my wife said she’d gotten me that reverse-gangbang I’d always wanted for my birthday, I wasn’t expecting… well… this. Oh well, let’s make the best of it, girls!”
Yes, kids, Ken Russell as a literal dick nose.
Scary Movie prop mask purchased from Marlon Wayans’ “Fund the next A Haunted House sequel” yard sale.
The New Slash Co. Mark 12 collection of knives! They’ll cut through shoe leather, a soda can and a full-sized rhinoceros, and STILL sever a human head like it were a ripe tomato without a single sharpening! I’d buy that for a dollar!
What? You’ve never been to a white trash Eyes Wide Shut party before?
My sex shed is way nicer than theirs!
“With the Psychic Readers Network, you can get in touch with the Egyptian gods for advice on life, love, and lucky lottery numbers for just $2.99 per minute! Call me NOW!”
Saint Polident – the Patron Saint of Denture Cleansers and veteran of the 100 Years Crusade against the kingdom of the Cavity Creeps.
And this is why I never trust elderly women in lingerie who ask me if I want to “smell their flower”.
A scene from Annie Sprinkle’s long-since-banned educational video for elementary school children on how bees pollinate flowers.
My attempts at bringing my own Frankensteinian meatloaf man to life didn’t go as I had hoped… at least he made for some delicious leftovers!
The only surviving still from a proposed 1992 reboot of Planet of the Apes that, I think we can all agree, would have probably been too awesomely reprehensible for this world anyway.
Alright! The Better Homes and Gardens annual “DIY Funerary Displays on a Budget” issue is out! They printed my article in this one!
In 1997, Nintendo introduced the first “rumble” function for video game controllers, causing them to vibrate as a form of sensory feedback for players to help increase their immersion in the games. 20 years after the introduction of vibrating controllers, females now make up nearly 50% of video gamers. Coincidence? My eye.
Anubis will return next time in “Guess Who’s Dying at Dinner”
Enjoy the review? Hate the review? Have a movie you’d like to see judged in The Tomb? Fill out the feedback form! Never has it been easier to make contact with a deitic being!
A pleasant post-‘Giving to you, maladies and not-so-gentle men. Today’s movie is the finale to Turkey Day Month 2016. Call it the dessert, if you will. We all know that pumpkin pie is the traditional after-dinner dish for the celebration, but Woke Up Dead is a new spin on an old favorite – the blumpkin pie. Instead of strait pumpkin pie filling, the blumpkin (sorry, “president-elect blumpkin”)’s filling is cut 50/50 with fresh diarrhea from a dysentery infected water buffalo, the crust is made with shredded cardboard soaked in dumpster water, while the cream topping isn’t dairy-based, but instead fresh lemur semen whipped in a men’s room toilet. The more pungent the lemur the better!
With that lovely image in mind, you are now adequately prepared for a slice of Woke Up Dead. Bone ape-tit!
If you’re anything like me, you’ve no doubt asked yourself at some point in your life, “Whatever happened to John Fasano?”. Well, as of 2014, the writer/director of such lynch pins in the history of film as Rock ‘n’ Roll Nightmare and Zombie Nightmare ain’t doin’ shit. Why? You may wanna sit down for this, because it turns out Mr. Fasano… well… you see…
Yep. Sadly enough, the man who helped introduced cinemasochists to the Velveeta geyser that is Jon Mikl Thor the actor (as opposed to the musician, for whom I cannot speak) is a few calendars removed from this mortal realm. Rock ‘n’ Roll Nightmare was truly a legacy to be proud of though, at least around here, because as someone who’s seen enough terrible movies to choke a Humpback, RnRN was one of the stupidest, ugliest, chodiest (yes, that’s a word… now) fucking movies I’ve EVER seen. But in a good way. Kind of. Or maybe I just have Stockholm Syndrome… or was that The Stendhal Syndrome? Fuck it. Either way, John Fasano’s worm food.
3 years prior to his passing, JF joined forces with the director of ‘Shasta McNasty’ (if you don’t know what those words mean, allow me to be your Rosetta Stone – “Do Not Watch This”) to give the zombie movie genre one final mental curb stomp in the shape of Woke Up Dead – a so-called movie that’s actually just the collected volumes of a web series of 22 4-ish minute episodes released over the month of October 2009 via Sony’s free video streaming service, Crackle.
Remember them? The service that later brought us those luster lacking Dead Rising movies? Indeed.
My decision to review this particular living dead waste of time is born of yet another of those obnoxious clickbait links littering your favorite websites. Not a “celebrities you didn’t know committed suicide!” list (which always seem to use a pic of the still-alive Jonathan Taylor Thomas), but one of those “Find out why no one in Hollywood will hire ______ anymore!” articles. The one in question promised to blow the roof off of the supposed backlot blacklisting of Napoleon Dynamite star Jon Heder. There was no need to waste precious minutes reading it though, since the day before I had made the mistake of watching Woke Up Dead. And as Gruncle Stan would say, “that just put me 90 minutes closer to death”.
I came across WUD while wandering aimlessly through the entertainment desert of free online streaming content mentioned above (Crackle, in case your short-term memory makes Verne Troyer look like Andre the Giant). Desperate for even the smallest drop of refreshment, my dried and cracked (yes, “cracked”) eyes came upon this pile of festering entrails soaked in beer farts pretending to be a movie. My “never ends well for me” curiosity was drawn in by Jon Heder (one of the most one-hit of one-hit wonders of the Willennium), while my Cialis fueled side locked onto Krysten Ritter: the televisual siren who first caught my eye in ‘Breaking Bad’, caught the other during ‘Don’t Trust the B(itch) In Apt 23’ and has held both of said oculars right up to ‘Jessica Jones’. This wouldn’t be the first time my lusty eyes have gotten me into trouble, nor will it be my last. At least until I can get some of those ritzy bionic eye implants. I’m just saving soda cans until I have enough to afford one of the x-ray vision models and another that comes with a death ray!
The show movie also stars semi-sought after offense-to-the-senses (and current thrall to the House of Mouse) Josh Gad as the comedy relief (a fraud deserving of litigation) and features “voted most likely in high school to be mistaken for Josh Gad’s biological father” Wayne Knight as a cubicle bound clone of his ‘Seinfeld’ nuisance, Newman. By the end of the movie (if you make it that far), you’ll agree that a face full of genetically engineered dinosaur venom couldn’t have happened to a nicer guy! Except Josh Gad. Speaking of, I’ll do my best to get us through this review like crap through a goose, but I make no legally binding promises, so leave your lawyers at home.
FINE! One morning, during his self-professed aimless life of meandering nothingness, our protagonist-to-be Drexel (Heder) is hit by a bus. He was likely distracted by concerns that the knock-off of REM's “The One I Love” he was listening to on his iPod was going to result in the production getting sued. Though killed in the exchange (as one often is when struck by a speeding bus), Drex wakes up later that day on the examining table of “attractive but not intimidatingly so” coroner Cassie (Ritter), just as she's about to perform his autopsy. You might think this to be fortunate for the lanky wanker, but given the molestery things that all who handle dead bodies on a daily basis get up to when alone with their work (didn't know Nekromantik was a documentary?), had D-Rex waited 10 more minutes he could’ve been hilt deep in Jessica fucking Jones! Too bad, boy-o. You botched living out one of my (wet) dreams. “To be dead?” Well, you’re leaving out the most important part (being ridden by Ritter – and I don’t mean John!), but sure! It wouldn’t even be the first time a woman wanted to jump my postmortem member (true story!), so don’t act so surprised.
A quick and “only in TV Land” conversation reveals that the pair coincidentally went to school together, but as with any scholastic peer relationship Cass has zero recollection of him while Drex is probably still soiling his favorite crunchy sock with the occasional memory of her when he wakes up in the morning. Drex-n-Effect then goes into a recap of the presumed pilot episode, chronicling the prior night’s events. He and his “can I uppercut this chode into a herd of stampeding bulls for my birthday?” roommate Matt (Gad) were attending a party in Southern Cali along with Drex’s girlfriend Debbie (Taryn Southern, who was born in Kansas and thus isn’t even southern!). While Dingus McPunchFace spent the evening trying to get college girls to flash their chesticles for his digital camera (ah, the charmingly obsolete technology of 2009), ‘Rexel (“Rectal”?) opted to exit stage left due to a knockin’ noggin. Seeking out his lady so they could hit the bricks, our leading man instead walked in on Debbie doing Dallas (not his actual name, but go with it) in a random bedroom. While he sat there whining in cuck mode, Matt attempted interjecting himself into the proceedings in an amateur porn effort. Do you understand now why I’d sooner see this sack of burning hair in a human suit drawn and quartered than sit through even 5 more minutes of his hippotwatamus antics?!
My violent daydreams not withstanding, Drex bemoans his Excedrin Headache #69 and the beach bum knuckles deep in his dream girl shows us he’s a cool guy by giving our hero zero a gel tab of unknown origin to kill the pain. More upset about his migraine than his manhood (SLC Punk‘s Stevo he is not), ‘Rex popped the presumed pharmaceutical before retreating home to sleep it off. He awoke later doing his best Whitney Houston impression in a full bathtub, only to find Shatt video eulogizing his presumably drowned (and presumably nekkid) body. Asking why his guy-who-looks-as-if-he-smells-of-unwashed-feet-and-canned-cheese roommate was recording him rather than trying to revive him, Uggo Von Porkpie replies that Drexed ‘Em Damn Near Killed ‘Em was submerged well past the point of human lung capacity and beyond the aid of any medical practitioner that isn’t Baron Samedi.
Having “woke up dead” (a term we’ll hear a dozen more times before this is over), Drex is now a zombie, presumably due to the mysterious pill he ingested the night before. Then the bus hit him, which brings us up to speed. Intrigued by the opportunity to diagnose Drex’s heretofore unknown undead condition (and the fortune and fame that would come with it), Cassie injects herself into the geeky ghoul’s day-to-day, which he sees as the perfect chance to get his very own love interest now that Debbie’s back in the singles scene. As for Matt, he puts his dollar store Girls Gone Wild dreams on hold to catalog his friend’s new life as a living dead dork…so he can post the whole thing online and wrangle the reality TV rights. How has someone seriously not pushed this irredeemable pud tugger down a set of stairs by now?! The character has zilch in the integrity, empathy AND human decency departments, and there’s NOTHING he does for the rest of the series/movie to swerve us with a surprise showing of the opposite! The closest he gets to what Fasano probably mistook as a sympathetic character moment is whining to Drex later about how exploiting his supposed friend is the closest he’s ever come to getting a paycheck for making his idiotic videos! So, until this point he’s failed to make a career out of harassing people with his camera and we’re supposed to feel sorry for the disgusting little sociopath?! You know what makes this bullshit scene all the worse? That Drexel falls for it! How does showing us that our supposed hero is an easily manipulated dipstick make him in anyway endearing? How are we supposed to champion this simpleton when he’s ready to throw himself off of a building just to enable his shitbag associate to continue being a self-centered prick that abuses their relationship for financial gain with zero consideration for his friend/victim?!
In another poorly conceived “only in TV Land” cosmic coincidence, this is the exact time in his life when Drexel picks up a job doing data entry for the public records people. This access to LA’s master database of all things pertinent really comes in useful when the Three Muskatards need help tracking down leads later on, like the amateur pharmacist who gave Drex the mystery pill (turns out it was just an ibuprofen) or the further mysterious mystery of mysteriousness that is an unidentified source sending instant messages to Drex via his work computer, making thinly veiled references to his new status as a Zombie-American. That last one is never solved, by the way, as the show runners were a bit more keen on making a second season than, well, everyone else on the planet. Unfortunately, this new area of employment also introduces us to the humanoid infection known as Andrew (Knight), who shores up the “pelt the audience with an incessant amount of annoying fat guys in glasses” factor when Matt isn’t around. Constantly harassing Drex or scheming to get the new guy fired, Andy’s the physical manifestation of that really wet cough your one co-worker who’s always sick brings to work with them. He’s irritating, discomforting, and you just know that the longer you’re exposed to him, the more likely your immediate future is going to become miserable.
As the hi-jinks stumble along (with needless flashbacks to events that occurred just 10 minutes earlier being awkwardly jumbled in with them), Drexel’s progression into ghoulhood includes an inability to feel pain, an uncanny healing prowess (he can smash his fingers in a door and just pop them back into position like nothing happened or throw himself off of a building with nary so much as a limp after), enhanced speed and reflexes, heightened senses, an inefficacious digestive system that won’t allow him to hold down anything but animal brains, and the nauseating delusional power to believe that someone like Cass would be into a wretched sloth like Matt perving on her by incessantly trying to record footage of her lack of hinder and even more malnourished cleavage.
To anyone who knows me that would like to point out my own illicit interactions with members of the female species as the catalyst of perversion everyone knows me to be, mine are done in a harmless way that includes timing, wit, charm, compliments, and a familiarity that two people who know each other well enough can share without either party being uncomfortable and/or offended. On the rare occasion that my filthy aggression is unwanted, I cease and desist. Oh, and I also don’t follow them around with a camera bugging them to get their tits out under the erroneous erogenous objective of self-profit. I only request such intimate displays in payment for similar services rendered and personal perusal on nights where I’m too caffeinated to sleep.
For anyone who isn’t fond of my little personal sidebars such as the one that just happened, I needed an excuse to get away from talking about Woke Up Dead for a few sentences, otherwise I’d be putting myself as an escalated risk for a brain hemorrhage. It’s hard enough to keep my thoughts from turning into a broken kaleidoscope without adding a physical impairment atop the preexisting mental ones! Okay. With my little cognitive coffee break accounted for, shall we get back to the daunting task at hand? As much as I’d like to say no, I’d hate to leave the episode unfinished. You’re welcome…or I’m sorry? Not important. Sally forth!
The longer this goes on, the less Drexel’s condition sounds like zombism and more like a Sony exec’s “suggestion” that the show try to appeal to both zombie fans and superhero fans. Or maybe just long-term Highlander fans who miss following the exploits of a male lead whose death leads to his discovery that he’s an immortal? Either way, this whole scenario is a clusterfuck that will leave you wondering why it was made in the first place, but leave you 100% sure as to why there was never a 2nd season. The chance of it becoming a cult classic whose die hard supporters (let’s call these non-existent people “Wakers”… and it’s no accident that it’s one letter away from “Wankers”) put together a campaign to demand a follow-up carries as much likelihood as Santa Claus riding a flaming meteorite into the White House and emerging from ground zero as our new holly jolly dictator-for-life.
When he overhears M and C making fun of him one day as the pair riff on Zombie Nightmare, the already down on himself Drex decides to track down the unknown IMer on his own, putting himself in danger for reasons I’m not willing to go back and watch it a third time to verify. His lone wolf act ultimately leads nowhere when the power of friendship ends up reuniting the trio (remember, 5 minute episodes and all that) and leads to the discovery of another undeader named Aurora (Meital Dohan). An evocatively dressed blonde who sounds like she was brought here C.O.D. from an unnamed country in Eastern Europe (her accent rakes my fucking brain), ‘Rora has taken the bad girl route with her new talents and set herself down a path of super speed jewelry store heists. Well, she had a criminal record before her transformation, but now she can actually get away with it.
She educates our lead lad on how to dodge bullets (only a decade behind the bullet-time craze) and shows him that barely-food like hot dogs can serve as an alternative way to sate his brain hunger. He could probably spend the rest of his life eating pink slime and sucking the congealed slime out of cans of Vienna sausages, but I’d rather opt for a steady diet of gray matter, were I him. Not just a trailer park hooker-with-a-heart-of-tin-foil, Aurora’s primary goal in all this is to seduce Drex into being her new accomplice. Meanwhile, he counters by trying to convince her to detour down the straight and narrow, offering to break into his job and set her up with a new identity, relieving her of her employment disqualifying past. Your classic Batman/Catwoman or Spider-Man/Black Cat relationship, destined to end with both resenting the other for trying to change them and each going their own way faster than Fleetwood Mac (N Cheese).
Cassie gets jealous when D starts to ignore his pals (just like most people do when they start getting their private parts poked at by someone new), clearly setting the stage for an intended hook-up betwixt the two in the never-to-be season la deuce. Lucky for her that the inevitable break-up occurs when Drex tricks ‘Ro-ro into breaking into his data entry job for his identity reassignment plan and the two come to the conclusion that they’re better off apart. The most notable moment of this scene? Super Melania opens a locked door by simply smashing its security card reader.
I wonder why other criminals never thought to do that? Oh wait…
Having overcome the sexually charged temptations of evil
Uhm, yes. Evil. As I was saying, having proven himself a tool of positive moral character, Drexel decides to take the Uncle Ben stance of using his great powers with great responsibility and takes a personal vow of heroism. The first step of his new life as a good doer? Threatening to murder Andy if he doesn't stop being a dickhead. Granted, it's a bit more Frank Castle than Peter Parker, but even Batman had to kill a few guys before taking on a life of non-lethal vigilantism! Don't believe me? Look it up! Pointy ears started off his crime-fighting career breaking necks, strangling people, throwing others from fatal heights, tossing one guy into a vat of acid and, in complete diametric opposition of the character he would become, gunning down goons in cold blood left and right! He made Dirty Harry look like Hanukkah Harry!
After putting the poopies into Andrew’s Underoos, Dre returns home to have his newly throbbing shaft of blue steel confidence pummeled into flaccid submission when he finds his mother Maryl (Jean Smart) waiting for him. In typical sitcom form, mom’s a mega bitch who neglected ‘Rex for most of his upbringing and forced him to eat purple sandwiches… it’s a long story that goes nowhere, so don’t ask. She’s just here to drop some last minute cliffhanger bullshit about her connection to what’s really behind her son’s recent case of post life super puberty. Something about a cult she and her husband were members of in the ’70s-’80s called The Sleepers whose intention was to unlock humanity’s true potential through some pothead Altered States hippie shit. While we leave our main cast to stare at each other with mouths agape in anticipation for answers that were never meant to be revealed (and that were probably never written in the first place), elsewhere we discover that Aurora’s been working this whole time with an Army Intelligence doofus who’s not only been shadowing Drex since his Quickening (and who I didn’t mention until now because who cares), but has been keeping tabs on an entire apparent collective of “Woken”.
Which may or may not mean the same thing as whatever the current definition of “woke” is. I lost my +1 invite into the black community and forgot the secret handshake, so I’m just staying out of the whole “fine line between allyship and appropriation” debate. I get enough dirty looks for being a white boy who bitches about movies under the alias of the blackest member of the Egyptian pantheon as it is. However, once president-elect blumpkin ignites American Civil War II, I will gladly scalp as many crackers of their confederate flag bandannas as needed to prove which side I’m on.
Movies/shows like Woke Up Dead are so painful to watch that they take time off of my life. Literally. I have one of those arm band debit card dealies like Justin Timberlake had in In Time and every time I watch something this horrible, my lifeforce account takes a mule kick to its figurative asshole. Not even the cheeks, but square in the sphincter itself! Think nothing could be worse than being part of a human centipede? Try again. Even if you feel like you’re starting to get used to WUD, it shows there are still kidney shivving levels of awful through which it will drag you further. Just when you start to sympathize with Andy Dufresne’s cramped septic tunnel crawl, you see you’re only half way through the runtime and realize that the final 200 yards of said pipe are lined with a whole lotta barbed wire and broken glass for no apparent reason! I’d like to say I came out of the end credits with the same roar of defiant victory demonstrated by Gale during his own penitentiary exodus in Raising Arizona, but I did not. I was laid out bare, beaten, empty and exhausted. Nearly broken if not for the stubborn anger that has long since turned my heart into concrete and my spirit into Kevlar.
I reviled this epic instance of entertainment incompetence, but the flames of my rage were snuffed out every time I attempted to put any effort into writing this review. For Turkie’s sake, any thanks that I gave for this year’s annual giving of meal (of which there were very few) must now be rescinded, not just because this exists, but because the Herculean task of forcing my fingers to transcribe these words has, again, stolen precious time from my life that could have been spent doing useful things like banging my shins repeatedly against the coffee table or trying to talk sense into people who refute science in favor of archaic dogmatic verses while doing so on their fucking smart phone. Strike 15,827 for the human race. But you’ve been there for all of my gripes already, so let’s get downright heretical and spend the rest of this episode taking the show/movie’s creator to task!
If John Fasano were a John Cusack movie, he’d be Better Off Dead, because barring me making a descent into the Ninth Circle (he’s there for the treachery of presenting this to viewers as being about zombies and being funny), his passing means he gets to avoid my justified wrath for giving us the most grossly humorless “comedy” endeavor since whatever the Hel Adam Sandler’s been putting on NetFlix. Would that I could voodoo the departed Mr. Fasano’s carcass back to unlife, tie him to a chair, then set his feet on fire and watch him suffer for his crimes. Had he a grave Cerberus and I could piss napalm on, we would. Daily. For the rest of my life. 16 months, give or take.
And for anyone who thinks it uncouth to shit talk the deceased, get over it. The dead don’t care if you speak ill of them. They’re DEAD. Have you ever been to a séance where the phantasm tells Mark to stop talking trash about them now that they’re gone? No. It’s always “I must remain in limbo until you gather my scattered remains and bury them on the consecrated grounds of my ancestors!” or “TOM STEWART KILLED ME!”. As such, fuck you Fasano. Rock n Roll Nightmare and Zombie Nightmare were garbage, but at least they were the kind of garbage you can play in and have fun with. Woke Up Dead is just a swimming pool full of used hypodermic needles. HIV infected needles. HIV isn’t funny. You know what else isn’t? Woke Up Dead. It’s appropriate that your heart failed you, John, because you failed everybody who’s ever made the mistake to choke down this tripe. Keep my seat in Hel warm for me, you soul patch sporting douche pipe, because you’re in for an eternity of Indian Burns!
By the way, apologies to anyone who knew John personally and read the above paragraphs. Their malice was most assuredly intended, but not toward you or your feelings for the guy. Given the crap he created, I imagine that the late Mr. F was aware of how terrible his movies were and was hopefully the type to roll with the punches and, perhaps, even would have embraced the effort and cadence with which I figuratively painted his face with my scrotum during this review. From my experiences, most makers of the movies bemoaned in The Tomb actually end up appreciating the reviews despite the oft times extremely negative connotations, so hopefully he would’ve been counted among them. If anyone makes it a point to collect call him from beyond the grave in one of those aforementioned Ouija dalliances though, I’d love to get his reaction!
Now, if you’ll excuse me, I’ve still got approximately 15lbs of leftovers taking up much needed real estate in my Frigidaire right now just waiting in line for their spot on the roller coaster that is my digestive tract. Join me next time when a certain costumed fat man with a penchant for boys sitting on his lap stops by for some seasonal cheer! Until then, consider this TTFN*!
(*Ta-Ta, Fuck Nose)
Moral of the Story: You forfeit your dignity when you serve Doritos with a spoon. Think about it. Or don’t. I’m not your mother. At least not that you know of…
You mean like one of those farms where they breed chinchillas, then send 30k volts up their asses to kill them so they can be harvested for their fur? In that case, very fitting name.
Miss Ritter made the same face when I showed her the “I ❤ K R” design I'd shaved my pubes into for her birthday. I don't think she liked it.
A shot from Heder’s Aquaman audition for Warner Bros. They said no because he could only hold his breath for 7 seconds and has the body of Jimmy Olson, but they let him try anyway for laughs.
A disturbing shower situation that I’m sure Grandma Gad has had to reprimand Josh for several times over the years.
The true story behind that time Heder told his Twitter followers to pray for his “girlfriend” because she’d been in a horrible accident.
At least co-workers’ brains are healthier than the room temperature can of Chef Boyardee ravioli he usually has for his lunch break.
I’m pretty sure Wayne Knight’s never eaten an apple that wasn’t candied or drown in sugar and baked into a pastry of some kind.
“I never get tired of my old Andrew Dice Clay tapes! ‘Bada boom’! Hahahaha!”
From Gad’s tryout tape for the Blair With Project sequel. Not only did he not get that role, but it couldn’t even get him a cameo in Scary Movie V years later.
“Don’t ask me! I don’t know how I manage to keep getting paying jobs either!”
“Looks like Mel Gibson’s back on the bottle. Such a shame… Make sure you get everything nice and clear so we can really squeeze TMZ for this one!”
“Don’t worry about money, honey. I didn’t care for Napoleon Dynamite, but after tonight I’ll have been entered by all three stars of The Benchwarmers! It’s my FAVORITE movie!”
The manager at A&W asked her to bring her resume with her for the job interview. Instead she said “Here’s my resume”, pulled a hot dog out of her purse and started doing that. She didn’t get the job.
Alternate joke: She’s gonna need a lot more training if she hopes to stand a chance at next year’s Nathan’s July 4th contest.
Drexel finally gives up trying to scan Andy’s head at work and resorts to the good ol’ fashioned way. And boy was he bursting with fruit flavor! And here I thought everyone around the office called him “Gusher” for a more sexually nauseating reason.
“A Kickstarter for a ‘Designing Women’ sequel movie? I’ve told you a hundred times, Josh – NO. Remember what my lawyer said would happen if you didn’t stop bothering me about this? As far as I’m concerned, Charlize Stillfield is dead and she’s never coming back!”
Anubis will return next time in “Pogo’s Big Adventure”
Enjoy the review? Hate the review? Have a movie you’d like to see judged in The Tomb? Fill out the feedback form! Never has it been easier to make contact with a deitic being!
Featuring: Ángel “Street Knight” Vargas , Vera “Stigmata” Yell , Lee “Once played an uncredited drug dealer on an episode of ‘The Young and the Restless‘” Marks
Director: Craig “Dead South” Ross Jr.
Writers: Carl “Urban Massacre” Washington
Followed by:Killjoy 2: Deliverance From Evil ; Killjoy 3 ; Killjoy Goes to Hell ; Killjoy’s Psycho Circus
“Damn, this motherfucker got some big ass feet!”
A glorious day to you, my heathens and sheathens! It’s me, it’s me, your A-N-U-B… I-S. Always rousing suspicions and arousing suspicious women! From Frankenstein Meets the Wolf Man to House of Frankenstein to Frankenstein Vs. Baragon, everybody loves a crossover. Tapping into that vein for so much of its delicious delicious blood, I bring you the “Turkey Day Month Casually Mingles with the Year of the Painted Horrors” pairing you never knew you wanted (because you probably won’t) – Killjoy!
And boy does it fucking ever. I haven't seen a movie so forthcoming with its titular content since New York City Lesbian Gangbang.
Fun fact: I once couch crashed for a week in the Brooklyn apartment of Maria DaMaris, one of the titular participants of said location specific “no Y chromosomes allowed” flesh exchange. It’s true! Also, despite my emphasis of the “tit” in “titular”, Maria’s major physical asset is her posterior, even after her breasticular supplementation procedure. Also also, I was there as a regular guest, not as a sexy guest. Also also also, I may or may not have masturbated repeatedly in her shower…
Remember back at the turn of the century, when Charles Band tried to re-ignite the Blaxploitation subgenre in the late-90s/early-00s with his Alchemy Entertainment/Big City Pictures “urban horror” label? Whether it was a note of romantic intent to the ’70s milestone of cinematic screwiness or just a cheap marketing attempt to convince black and “pale skinned appropriators of urban African-American culture” (you know, “whiggers”) audiences to buy into his bullshit, it happened either way. The tent poles of this inner-city circus were The Horrible Doctor Bones, Ragdoll, and the face-painted farce of fear from today’s feature. Given that we never got Ragdoll Vs. Dollman or the much hoped for prequel Doctor Bones: the College Years, while Killjoy would see the light of DVD again and again in no less than a trio of sequels, the Dollar Embargo Pennywise knock-off was the sole survivor of the label’s purge. His adventures culminated with 2012’s Killjoy Goes to Hell, but unlike a certain masked menace who did the same 15 years prior, this monstrous mischief maker has yet to find his way back.
Oh wait, scratch that. It looks like Chuck Band has summoned his jugular juggling jester back from the lake of fire for the recently released Killjoy’s Psycho Circus. Fuck me.
Speaking of getting fucked, I’m reviewing my physical copy of this movie, which is included on a single disc with both the second and third such flicks that were available at the time. The main menu of the trilogy has no extras or options, simply offering the ability to select each movie individually, or to “Play All”… Who THE FUCK marathons the first three Killjoy movies?! This isn’t the original Star Wars or Indiana Jones trilogies! Fuck’s sake, my juice is dried up by the finish of the first film, let alone would I ever have enough left over to even attempt another 3 hours of half-baked harlequin horrors after the fact! Speaking of juices, let’s squeeze this rancid orange (I’m sorry, president rancid orange) for all its worth and hope we don’t get any in our eyes. Sally forth!
In case you weren’t aware that Killjoy was shot almost 20 years ago, it’s made very apparent from the start as our two allegedly high school age female leads, Monique (Dee Dee Austin) and Jada (Vera Yell), exchange dialogue likes extras out of “Martin”. The Martin Lawrence comedy, not the George Romero “vampire who’s not a vampire” movie, in case I needed to be clear. Their deep conversation on the ethical quandary of “using a boy for his phat ride because you’re tired of walking home from school” is interrupted by nice guy Michael (Jamal Grimes), who’s got a heart-on for Jada, despite Monique’s clear disgust of him and, well, pretty much any guy who doesn’t offer to drive her around in their Mustang convertible. Much as Jada opts to treat the lad like a human being, and may even have a little appreciation for his blatant affections for her, it’s made very clear that Mikey’s immediate future will be in a body bag if Jada’s boyfriend Lorenzo (the oil guy?) discovers the pair have been conversing. Despite all this, Mike still feels compelled to spit into the wind and asks Jada to their school homecoming dance. If you think this is the perfect place for this poor man’s Dulé Hill to get his Jansport kicked in and the Puma logo imprinted on his pancreas, you’d be a way better predictor than Nate Silver right now!
And if you don’t know who Dulé Hill is, I’ll do you a favor: he was the black guy on “Psyche”. Yeah, the one who looks kinda like he played Kenny/Bud on “The Cosby Show” in the ’80s, but didn’t. That’s Deon Richmond, who was in the 2011 Kevin Sorbo, Danny Trejo movie Poolboy: Drowning Out the Fury… Sorry, just trying to avoid talking about Killjoy. I’ll get back to swallowing this capsule of broken glass now.
Featuring all of the cinematic professionalism of an after-school special, our movie actually starts like one too! In true movie fashion, this is the scene that “hood thug stereotype that red states think all black people look and act like” Lorenzo (William Johnson) and his cronies T-Bone (Corey Hampton) and Baby Boy (Rani Goulant) roll up upon. Mikey receives the beating alluded to previously, courtesy of the “even more of a hood thug stereotype than his boss” T-Bone, as Jada screams in protest. Though seemingly vicious in execution, NY Strip’s assault doesn’t draw an ounce of blood (probably no room in the budget), while the most vicious blow is made instead by ‘Zo, who steps on Piggy’s specs and tells him not to be caught “slippin”. Getting up with relative ease despite his back being the stage for Porterhouse’s stomp dancing (maybe the bully was wearing Pumps, so it was like being stomped with little hemorrhoid donuts?), Michael shoots some pretty harsh stink-eye at a nearby homeless man who offered no help during the incident. Our hero (by default, I guess) then goes home and does what any victim of a tragic love triangle would do – attempt to summon a vengeful spirit named Killjoy by sitting in the center of a circle of his mom’s votive candles and angrily manhandling a clown doll!
No fucking attempt at explaining Mikey’s ritual is made, let alone where he learned such a practice, but the homemade voodoo ceremony is cut short when Tiny Male lures Mike out into the streets under the guise of regretting the earlier fracas and wanting to be friends. Anyone who falls for something that stupid deserves to be beaten up by a guy named after a cut of meat, Mikey, so you’ve only got yourself to blame when the goons kidnap your naive ass. They drive him out to a vacant lot (by way of a car rocking back and forth in front of a blank black back drop!), and getting a lead pacemaker “accidentally” shot into his chest. Well, a bit of a downer ending, but at least the movie’s over now, right? Let’s go home and have a piping hot mug of triple Swiss Miss with brandy!
Awww shit. I knew it was too good to be true. Instead we’re thrown a year into the future, where Jada has long since broken up with Lorenzo and is instead now being courted by another classmate, Jamal (Lee Marks). She still has unresolved feelings for ‘Enz (“What am I supposed to do? He took my virginity when I was with him!”), but Jamal tells her she needs to forget about him and start thinking about Michael… Wait, what?! Why should she be thinking about the would-be boyfriend her ex killed? Shouldn’t she be thinking about herself? Just ’cause you’re black doesn’t make you Montel Williams, man. Stick to the Easy Cheese pick-up lines and lookin’ pretty, leave the self-help shit to the professionals.
Elsewhere from all this woo pitching, Lorenzo, Newborn Male and Sirloin are still in their west coast ménage à trois, trying to freestyle about weed and passing blunts between their shifts at wherever the hell it is they make their money. Let’s say Good Burger. Anyway, as soon as Lorie kisses his homies goodbye so he can engage in a little bump and grind with whatever girl he’s currently staining sheets with, Infant and Rib Eye are lured out of their domicile by the siren song of a passing ice cream truck. Looking to indulge their munchies, the lads engage the truck’s owner, who proclaims himself an undercover drug dealer selling his product under the disguise of an ice cream shilling clown. Of course this painted pusher is actually the mirth spreading murderer of our title, and when he invites the pair into his parlor (well, his truck), they’re magically transported to Killjoy’s private pocket universe: a warehouse covered in shitty graffiti. Yep. No three-ring carnival of carnage, just an abandoned building. Once there, naturally the duo are done in, with Flank being “smoked” like a blunt and Kiddo being… hit by a truck? Okay, Tenderloin’s dollar store Freddy Krueger demise is expected, but dragging a guy all the way to your own little death dimension just to hit him with a truck?! That shit’s whack like Rob Ford’s crack!
Oh well. Adieu, T-Bone. You were too well marbled for this world.
Lorenz falls for the same gag sooner than later (as in the very next scene), attempts to unload 21 rounds from his magical movie REVOLVER into joy boy, then ends up holier than a Swiss cheese sex doll when Killy straight up steals Weird Al’s Rambo gimmick from UHF by making with an oral machine gun and spitting Zo’s bullets back at him, rapid fire. Well, technically there are NO holes in Lorenzo, because this minuscule effects budget couldn’t cover squibs, so instead he just has little bursts of red digital splatter flash over his torso for a few seconds, leaving behind NO holes and NO blood! You can see why it’s one of my “Top 25 Hemorrhage Inducing Movie Moments of All Time”… a list that doesn’t actually exist, but probably should.
Though infuriating, this scene brings with it the movie's solitary redeeming moment (aside from its 65 minute running time) – watching Lorenzo's new girlfriend Kahara (Napiera Groves) engage in a gratuitous shower scene. I know it's an all too common device that I've complained about in the past, but in such a white dominated genre, you just don't get to see a whole lot of brown-skinned beauties in that classic exploitation position so, well, I really appreciate it when it happens. Reminds me of my high school days when porn wasn’t available at the clit click of a touchscreen. Pardon me while I get “nostalgic” for a minute or two…
Ahhhh. I feel two quarts lighter! Back to business (or “biznaas”), Jada gets a midnight call from Monique of much urgency. In fact, it’s of such urgency that Foreigner would proclaim it an urgent urgent emergency. So urgent, so urgent, just wait and see. Remember that ineffective hobo (Arthur Burghardt) that sat idly by and watched a certain refugee from a butcher block scuff test his new kicks on Mike’s torso the year prior? Well, on the anniversary of the love-lorned loser’s loss of life that same nameless squatter, possibly while hopped up on Viper (+25 movie nerd points to anyone who knows that reference without Googling it!), has sought out the girls to recap everything from the first act to burn off another 5 minutes. For reasons he never explains, the “not nearly filthy enough to be a believable homeless guy” knows that Killjoy operates on CPT (Clown People Time) and has just now answered Michael’s call for revenge, 365 days late. Having offed Lorie and the Hoods though, shit should be all peaches and plums, right? Well, no. Turns out that Killjoy wants to ply his namesake to Monique and Jada too, while Jamal’s just a bonus, I guess. What did the girls do to deserve such treatment? Never underestimate the blind anger of a nerd scorned.
Pro-tip, ladies and gents: just because someone isn’t romantically interested in you doesn’t mean they’re evil. In fact, you’re the more than likely the only one who’s an a-hole, for holding it against them when they reject you. Trust me. Don’t set yourself up for the same regrets I did. Movies and TV and books and songs lie to you – there’s no such thing as someone you were “destined” to be with, and it sure as shit isn’t their fault or yours if they don’t have the same feelings for you that you have for them. Forget about ’em and keep looking elsewhere. Hell, stop looking for love and that little prick Cupid’s arrow might just pop you in the back when you’re not expecting it! Worked for me and EDB, just might work for you too. Now enough of the touchy-feely tripe! I’m not Dr. Drew and this sure as shit ain’t “Loveline”!
So, the old man disappears in a puff of smoke (maybe he has a stick of chronic burning in his jacket pocket?) and our trio of young African-Americans pretending to be even younger African-Americans opt to take the initiative and confront Clown Boy head-on (“Apply directly to the forehead!”), climbing into the back of his seemingly abandoned truck, parked conveniently right out front where the old man said it would be. Wow, so these kids are ready to attack welfare Pennywise (who’s yet to approach either of them and may not even have beef to resolve), all on the word of a random vagrant whose validity is due solely to his knowing their names and disappearing in a cloud of smoke like David Copperfield or Batman? These guys would probably follow David Blaine across an ocean of molten magma!
As soon as the three materialize in Killie’s murder warehouse (why everyone who goes to this place does so by landing on the floor in some kind of Power Rangers pose, I couldn’t tell you to save my fucking life), Jamal starts up with some Scooby-Doo “We need to split up!” nonsense that the girls aren’t having. Jammy-Jams even flubs one of his lines, but director Ross keeps it in anyway! Bravo, sir. John Singleton you’re not.
With repeated utterances of “We got to!”, Jamal pushes his insistence that splitting up is the only option and wanders off alone, leaving the ladies to their paired fate. In reality, I'm guessing this has to do at least partially, with the fact that there are three of them and only two doorways on the set for Bozo von Chucklefuck’s Haunted World of Spooky Black-on-Black Crimes. This lasts every second of about 2 minutes before the three are reunited, scared back together by Killjoy who…doesn’t really do much to bother them beyond his bad laugh, worse lines and some Tim Burton Joker-ish gag where he offers Jamal a literal hand. You know, cuz it’s a hand…and he offered him a hand…because it’s a severed hand…and Jamal thought he was just offering him a figurative hand…but it was literal… because…it’s…a…hand… Anybody wanna go in halfsies on a gun rental and a pair of bullets? I’m really not feeling much for this whole “not being dead” gimmick lately.
Our heroic trio are then forced to fight off illusory dopplegangers of ‘Zo +2, not because Jada needed to evolve as a character by physically exorcising her residual emotional attachment to her ex (she squares off with Steak ‘Ems instead), but because her new boyfriend just needed to kick her old boyfriend’s phantom ass to prove he’s better than a ghost. And he does, thanks to a ninja sword that he recovers from a tipped over box, because I guess Killjoy’s warehouse services those Chinatown outlet stores that sell decorative weapons to wanna-be Bruce Lees for less than a tenner. Right next to the polyester kimonos and the plaster dragons painted to look like they’re made of jade. Speaking of jade, Jada also benefits from said stock as Mo’ passes her a comically theatrical battle ax to fend off Ghost Beef. Because Charles Band’s props department is made up mostly of day-after-Halloween purchases he made from Big Lots. I had to fight him over a battery-operated wolf skeleton this year! It was weird too, cuz the damn thing still had ears somehow despite being a skeleton. I let him keep it. I’ll have to think of something else to get my sister for Cthulhumas this year.
Pastrami is shown that, despite his claims, being dead doesn’t mean he can’t be killed (or in this case, decapitated by Jada), while Jamal struggles with undead Toddler, attempting to gouge out the vato’s oculars only to miss completely and gently massage his eyebrows instead. Fortunately for our hero, it seems the brow ridge is just the weakpoint the exorcist ordered, as said light caress causes the baddie to leak green smoke from his eyes, cry out in pain, dissolve into a cloud of eyesore particle effects, and make that weird zapping sound you always heard from the Tesla Coils in a b-movie mad scientist’s lab.
‘Joy reappears, dispatching Jam and Monique with ease, then corners Jada and asks for a kiss. She complies, but only if he leaves their world forever. The capering antagonist could’ve easily pulled the lawyer card and instead forced her to stay in his world forever, citing unclear wording, but instead just does the dickhead thing and refuses to honor their agreement, just because. He then reveals himself to be Michael, who delivers a monologue about how unfair it was to be bullied by everyone when he just wanted some friends. Jada offers to be his friend, but he wants her to be his girlfriend, not his friend that’s a girl. She clearly wants to tell him she doesn’t like him “that way”, but hesitantly says yes instead, only to knife him in the guts a few dozen times when he gets aggressively huggy. Nothing to do with her station in life or where she comes from, but I’m guessing Jada did a stretch up the river at some point because she shivs that boy like a woman who’s seen some shit (or done some shit) in a prison lunch line before! This Dorothy’s been to Oz, and I’m not talking ruby slippers and flying monkey bellboys!
If you thought everything sounded stupid up to this point, you’ve only dipped a toe in the stupidity quicksand. Now, after murdered Mikey fades away, Jada collects Jamal and Monique and the three stroll out of the warehouse like everything’s hunky-dory. It’s not, of course, because we’re only 55 minutes into this little-over-an-hour mire. As I was saying, they walk out of the warehouse (which is just a warehouse now and not a parallel dimension?) and find the Killjoy Mobile parked across the street. You-dread-who pops up AGAIN with his three lackeys still in tow and proclaims that he can’t be killed in his world. You mean exactly like Freddy Krueger had to be brought into our reality to be killed? Right. But, I’m presuming that they’re all in our reality right now, right? Or are they still in his world?! I’m shit out of theories on this one, and hold your ponies lads and lasses cuz it only makes less fucking sense in a minute!
The good guys hear the homeless guy Obi-Waning in their heads and telling them they need to “kill the doll” (rather than “use the Force”), which they make it a point to vocalize out loud, cuing Kony the Clown in on their plan. He gets pissed and tries to chase them down, but they escape into the back of his ice cream truck, because it looks like all you need to do to get out of his trap dimension really is just walk out of its front door! And this time, rather than being thrown back into the warehouse-between-worlds, the magic fool bus instead transports them to…Michael’s old apartment?! How the fuck does this work!? What the FUCK was going on in your head when you wrote this, Mr. Washington?! I feel my brain being spaghettified right through my eyeballs by the black hole this movie’s collapsed reality is creating! ARRRRRGH!
Before Jada can destroy the doll it turns into Michael, begging her (while she straddles him in Cowgirl position…awkward) not to kill him because everything he did was out of love for her. She hesitates, which is odd considering how savagely she pig stuck the guy not 10 minutes ago! Ultimately her killer instinct wins out again and she gets the chance to murder her admirer a second time. Mikey cries out in pain, reverts back into a toy, and some mystical earthquake sends the villains back through a vortex to whatever homeboy purgatory they’re stuck in now. Jamal warns the girls not to break the circle of votive candles (which aren’t lit anyway…) and they huddle together to hold hands, transported back to Monique’s place with no explanation as to why. Jedi Fred Sanford awaits them there too, only to dissolve sans any further dialogue. Without batting an eye, Jamal suggests that the three go out for a bite to eat and everybody learns to feel good about laughing again. No, seriously, they get all dressed up, sit in a nightclub, and talk about how great it is to laugh… Somebody actually got paid to write these lines!
To keep up with the knock-off A Nightmare On Martin Luther King Blvd bullshit, it turns out this ending is just a nightmare Jada’s having that ends with Killjoy showing up. She awakens screaming in bed next to a horny Jamal who figures the best way to cure his girl’s bad dreams is with a mouthful of beaver, and with a Vera Yell, she cried “MORE! MORE! MORE!”. See what I did there? But when he comes back up from spelunking the meat curtains beneath the sheets, care to guess who he’s turned into? Yep.
And they made threefour more of these fucking things?! There is no god.
I mean, there’s a lot of us, clearly, but there’s no god specifically for shitty movie prevention. I put in a dozen requests with H.R. (Human Resources, not Pufnstuf) and they just keep telling me that jars full of internal organs with “DO WHAT I SAY!” etched into them aren’t acceptable requisition forms. Friggin’ office politics.
And so goes the story of Killjoy, Carl Washington’s double rip-off of A Nightmare on Elm Street and It. A movie that can’t even follow the rules it makes up for itself as it goes along. A movie whose plot has more holes than Biggie Smalls and Tupac Shakur combined. A movie whose dialogue sounds like it was written by a mentally impaired 10 year old who just learned the term “good pussy”. A movie whose villain’s quips couldn’t even make a hyena hopped up on Nitrous Oxide and Red Bull crack a giggle. It’s sad too, because for the most part the cast isn’t horrible, they’re just playing one-dimensional characters and are bogged down further by the shit Washington filled their mouths with. Sick bastard.
Out of this cast of extras from a season of “The Wayans Bros.”, the only one who can’t blame the script for their piss poor performance is Lee Marks. Sure, he’s given some especially harsh lines, but his readings are wooden enough for Nick Offerman to carve a canoe out of. Either Marks didn’t get a chance to practice his lines and this flick was shot in the Roger Corman “one and done” style (which is very likely given some of the flubbed lines and bumbled camera work that were left in) or the guy was hired straight off the casting couch based on his looks, his lacking of acting be damned. Maybe he’s the ugly girl the others keep around to make themselves look hotter by comparison. Only… you know…the thespian version.
Batting 0-2, Killjoy‘s third strike comes at the hands of director Craig Ross, who is just as bad at his job as everyone else is at theirs. Wretched shot composition, miserable efforts to be creative by shooting from a low “pendulum” angle that even first semester film school students wouldn’t waste their time on. The gratingly stupid Superman landing that he has everybody do when they “jump” into Laughing Boy’s urban squalor Purgatory! It all flies as well as Thoth after a 40 oz. of Olde Egyptian 800 BC. That is one man-bird that cannot hold his liquor, malted or otherwise.
To finish out the bingo card, Killjoy‘s soundtrack, cinematography and editing are also dumpster refuse. Specifically that dumpster Willennium Smith kicks open in Men in Black that vomits cockroaches all over the ground. The only thing it’s consistent at is being terrible. Reminds me of the first time a girl went down on me, only with less teeth. If I were to best sum up my feelings for this incompetently cobbled together “Frankenstein’s monster if he were assembled from large pieces of putrid deli meat” via the medium of referential humor to a scene from a culturally relevant comedy movie released in the last 15 years (oddly specific criteria, sure, but just go with it), it would be the Sex Panther fallout scene from Anchorman where an office full of Paul Rudd’s co-workers are driven to odorous agony by his bio-hazardous, nostril napalm cologne. Remember “SMELLS LIKE BIGFOOT’S DICK!”? That was me by the time the end credits hit.
In the spirit of the season, Killjoy is such a gobbler that Turkey Volume Guessing Man gives it 3000 turkeys!
And if you don't get that joke, go back and watch the Riding with Death episode of “MST3K”. It’s magic. How magic? Remember that time Merlin turned his penis into a rainbow spewing dragon to have 6 month long tantric sex with Grendel’s mother so they could give birth to Electric Light Orchestra and raise them to write and perform “Oh Oh Oh It’s Magic”? That episode is MORE magical. 2 Legit.
With that, I leave you to your dinners of mass consumption, my friends and fiends. You know, if USA Thanksgiving is your thing. I’ll be back after the Great Binge for at least one more course of Turkey Day Month before the upcoming glut of end-of-the-year holiday themed nonsense waiting to come crashing down my chimney. No peeking, you pricks, or Anubis Claus will have to hollow out your eye sockets with a hot fire poker!
Moral of the Story: When you’re unarmed and fighting someone swinging a 3′ long Ginsu, maybe don’t defiantly proclaim “Yo ass is MINE!”. Unless you always wondered what it would feel like to have your internal organs shish kabobbed, in which case I recommend eating a big bowl of cherry tomatoes and cocktail onions beforehand. It’s always good to have a balanced, healthy kabob.
And ladies, here’s one for you: don’t ask your man job interview questions post-coitus. He doesn’t wanna hear any of that “Where do you see yourself in 5 years?” crap after getting his kumquats juiced.
“Big City Pictures”? Maybe in about as much as Provo, Utah is technically a big city too, sure.
“You paid how much for this fencing, girl!? I told you, my cousin Shaun is the chain link KING! Tell him we’re friends and he’ll hook you UP!”
“I believe I can FLYYYYYYY! I believe I can touch the SKYYYYYY!”
Hey geniuses, you forget to turn on the rear projector for the driving scene! I’d call you the modern day Notorious B.I.G. (Burt I. Gordon), but you couldn’t even get that right!
“You’re right Lorenzo, there is something blocking your barrel. It looks like a… bullet? … Oh shit.”
His stage name should be Rhythm Method Man, cuz just looking at him is birth control. *rimshot*
Movie immersion breaker #262: Who the hell has sex with the bedspread around their waists like that?!
“Come on B, you gotta help me find my contacts! The insurance company’s gonna raise my rates if I tell ’em I lost another pair of lenses, son!”
I’d make fun of her for picking that robe up at Phyllis Diller’s yard sale, but she looks better in it than the guest star of Boneyard ever did.
“Ugggh. I gotta stop eating out of the dumpster behind that vegan place. Those vegetables and shit give me gas out both ends!”
Note to our readers: Just because you memorized the lyrics to every track on “36 Chambers” and own every VHS in the Wu-Tang Collection reissue set doesn’t mean you’re qualified to swing the hardware!
“Hey kids! Remember krumping? Of course you don’t! No one does! Nor should they! We’re all better off without it!”
Looks like somebody didn’t learn their lesson from Richard Pryor’s example.
“There is a great disturbance in the Circus. We have a new enemy. The young rebel who destroyed our clown car. This boy is the offspring of PT Barnum. Search your feelings. You’ll know it to be true.”
Damn McDonald, your teeth are disgusting and your gums look infected! Time to lay off the Kools and Colt 45s, or the suits upstairs are gonna make McCheese the new face of the franchise!
Anubis will return next time in “Napoleon’s Waterloo”
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Featuring: Reggie “Phantasm” Bannister , A. Michael “Phantasm” Baldwin , Bill “Phantasm” Thornbury & Angus “Phantasm” Scrimm in his final role
Director: David “Tigger & Pooh and a Musical Too” Hartman
Writers: Don “Phantasm” Coscarelli & David “Channel 101” Hartman
Sequel to:Phantasm ; Phantasm II ; Phantasm III: Lord of the Dead ; Phantasm: OblIVion
“My use for you is at an end. You’re not even real. You’re my bad dream.”
You know those moments when you get your hype up so high that you’re oozing pre-hype, only to have the source of your oozing not just deny you said hype, but hit you in your hype zone with a hammer? Well, join the club. Uggh. Ra5ager is another one of those “I wanted to post this for Halloween, but had to hold off until November (I’m sorry, “NoVember”) because it’s too big a turkey to pardon” movies, like the Rocky Horror re-branding. Unlike the aforementioned botched effort to appeal to Willennials (what with their “gettin’ jiggy” and “big Willie” style), this irredeemable tank of cinematic septic sludge doesn’t even get the excuse of being a network exec’s cash-in fantasy.
Phantasm. Wow. In 1979, writer-director Don Coscarelli unleashed a new flavor in the field of fear when he introduced us to an old man and his balls. Now, in an Adam Sandler movie, that last bit would ravage the mind with horrifying images of a grandpa getting his testicles caught in his zipper, but in the world of Phantasm it’s horrifying for a whole different reason. When Angus Scrimm debuted as the now iconic Tall Man, a generation of horror fans pissed their collective pants. Five years before Freddy was giving teens fear-for-their-lives insomnia, this mammoth mortician was stalking his victims’ nightmares when he wasn’t prowling his mortuary workshop. Unlike other fear mongers, who would inject their terror through masks, He of Above Average Height relied on his everyday “twisted old man” visage, piercing stare and growling, bowel loosening voice to paralyze his enemies. And once they were paralyzed? That’s when he’d whip out his balls.
Said bloodthirsty spheres of steel became some of the most recognized death dealing utensils in horror. Flying through the air, they would chase down their victims, cutting them with their blades, boring into their skulls with power drill extensions, exploding through them at terminal velocities and even scorching them with death rays in later instances. So cool were these airborne murder toys that Anchor Bay release a Region 2 special edition DVD set of the first four flicks, contained in a big plastic replica ball case. My Evil Dead Bride begifted this little pocket universe of fantastic to me. Not only does this make me better than you, but it makes Her better than your significant other. Weep.
In addition to his vile volley of chrome cohorts, this tall glass of terror water (or “Flynt refreshment” as such libation would be known now) had under his wingspan a small army of small monsters. This cadre of diminutive demons were basically zombies that had been shrunken down in a giant food dehydrator then dressed up in robes. Basically Jerky Jawas. Despite the obvious opportunity for endless dwarf tossing jokes, the little beasties were always a source of hideous scares.
Over the course of the previous quartet of movies, Tally antagonized brothers Mike (Baldwin) and Jody (Thornbury) along with their guitar playing ice cream man amigo Reggie (Bannister) until 1998’s OblIVion, which ended on… a weird, Möbius strip type of endless looping…thing.
Though putting the series to bed on that note could’ve been acceptable (though confusing), after 37 years since its initial release we’re finally given the finale to the Phantasm legacy.
If you want a more detailed rundown of the individual movies and the labyrinth that is their cumulative narratives, don't look at me. I'm not Edward James Olmos and this isn't Stand and Deliver. Get your ass to Mars Google! When you get back, we’ll talk about RaVager, which lives up to its nomenclature by doing just that to its lineage. See ya in 2 and 2, Chuck Woolery!
…[Pause for station identification]…
Groovy? Groovy. Let’s get this over with.
Originally conceived in 2008 as a web-only gaiden (aka an internet side-series) that would follow the further adventures of hair-curtain hero Reggie, this concept (and footage) was integrated into Coscarelli’s pre-existing RaVager plot plans circa the turn of the millennium regarding a final battle between our heroes and their nemesis amid the post-Apocalyptic ruins of a disease ravaged (*nudge*nudge*) Earth in which The Tall Man reigned over the crumbling remnants of humanity. I remember Bruce Campbell being included in these original plans, and was sad to eventually learn that he was no longer connected with the project. He would go on to make some magic with Mr. C in Bubba-Ho-Tep, but that’s another tale for another episode.
I’m not 100% on the extent of Dadtasm’s involvement during the final countdown to his brain child’s demise, but I do know that he passed the creative torch on to David Hartman to finish what he himself had started. Why? Well, my hypothesis is thus: Coscarelli was unwinding one day, watching Tigger & Pooh and a Musical Too , when the radiation from a passing meteor bestowed temporary sentience and telekinesis upon a frying pan in his kitchen, providing the cookware with the momentary ability to throw itself at the back of his head, exacting revenge upon its owner for the many times he washed the poor thing with unforgiving Brill-O pads rather then letting it soak in soapy water first, then applying a soft sponge to remove the now loosened debris. Following said cortex rattling collision, Coscarelli returned to consciousness to see Hartman’s name on his TV screen. Feeling this to be a sign, he immediately got in touch with the man, ceding the reins to his purebred metaphorical horse and carrying out the prophecy laid before him.
But I’ve always had an “active imagination”. My parole officer’s been saying that ever since I was 15!
Whatever the case, RaVager returns the washed-up vendor of frozen treats Reggie to us after his altercation with Tally (pronounced like “Tall-E”) at the finale of OblIVion. Emerging in the middle of a desert wasteland with his vaunted double-double barrel shotgun, he discovers his beloved phallic compensater (and series mainstay), the jet black Plymouth Barracuda, not where he left it. Beginning his long self-narrated march down a barren highway in search of the nearest civilization (preferably prior to his death by dehydration), what should he come across, but that very same hot rod, now driven by its new owner (as per the “Finders Keepers” law), an even dumpier and less attractive loser than himself! There’s no explanation as to why the humanoid lung oyster would return to the scene of the crime, how he managed to find the ‘Cuda in the first place, or why he’d stop to pick up a thumb jockey in the middle of nowhere (clearly he’s never seen The Hitcher or heard ANY urban legend EVER), but whatever the reasons, the exchange ends with Reggie recovering his beloved whip and fat boy ending up in the middle of nowhere with nothing but his European-cut man briefs and a big silver sphere drilling into his face. Yep, as the poster for Phantasm II so joyfully declared “The Ball is Back!”
I love that movie. Oh Phantasm V, why can’t you be more like Phantasm II? D’oh.
Where the movie goes from here is, well, the very definition of a clusterfuck. Reggie jumps back and forth between scenarios where he’s driving across country in the “Ooooooo, Barra-Barracuuuuuda!” and being pursued by the occasional ball attack, suffering from dementia in a nursing home where he shares a room with a certain white-haired old man while being visited by Mike and Jody, or battling TM and his army of re-animated soldiers in a bloody red tinted “post-Skynet” world where he joins a group of revolutionaries that includes Mike, a woman named Jane (Dawn Cody) that Reg knows as “Dawn” in one of the other planes, and a pint-sized action hero named Chunk (Stephen Jutras) who’s your typical “I may not be tall enough to get on most carnival rides, but I can single-handed murder a dozen people with a knife!” breed of elite fighting dwarf that movies give us to up their action figure sales.
Though some viewers determined that these reality jumps are just Reggie having bizarre nightmares, in one of their nursing home scenes Mike tells Reggie about Membrane Theory (a.k.a. “M-theory”). Or at least boils it down into a small enough serving to make it edible for both Reg and we laymen in the audience. It’s basically a unifying concept that melds variances of superstring theory together to put out the possibility that our universe is just one of potentially thousands, and these other realities/dimensions are all bundled on top of each other in such a way that energy can pass between the weakened spots where their borders intersect. How does this apply to the movie? It’s never spelled out in big letters for us, but the presumption is that Reggie’s mind or “soul” (or whatever you want to refer to his consciousness as) plays illegal alien and passes between several of these dimensions, inhabiting alternate reality versions of himself (NONE of which have hair and ALL of which saw their careers apex behind the wheel of an ice cream truck) that spend their time fighting the Tall Man, running from him, or just rotting away in a hospital bed.
That’s about the extent to which I’m going to get into the story. Rather than settle on a single plot and map out the trip from point A to point B, we got this multi-reality excuse shoehorned in so Hartman didn’t need to settle on a single story. Even with said safety net setup below him, Hartman still churns out one majorly confused and overly complicated rigmarole of a fable. It’s the proverbial octopus trying to fingerbang a wood block – too many scenarios and nowhere to put ’em. What do you mean you’ve never heard of that proverb? There will be no free rides, no excuses. You already have two strikes against you: your name and your complexion. Because of those two strikes, there are some people in this world who will assume that you know less than you do. “The octopus trying to fingerbang a wood block” is the great equalizer!
Best of luck figuring that one out. Here’s a hint: it’s a callback to earlier in the review. 😉
I’d tell writer Hartman not to quit his day job, but since director Hartman is his day job, I’m going to request he quit both and do something for the betterment of humanity. Like drownee in a charity carnival dunk tank or jizz mopper at the local glory hole.
And what of our cast? Well, Reggie’s still the star of the show. Though his action hero stuff will never be believable, he’s still the best actor of the group. It makes sense why he became the series’s everyman comic relief focal point. Meanwhile, Baldwin and Thornbury seem to have become blander as their parts have become smaller. As for Scrimm? Oh man. Poor Angus. The dearly deceased inter-dimensional undertaker was on his last legs during shooting of his scenes, and it’s impossible not to notice. His face is heavily caked in makeup, his scenes are all smeared with digital haze to try and obscure his raVaged visage, his eyes look tired and the demon of time had long since withered away the Tall Man’s soul searing gaze. He has a handful of scenes with Reggie, where he cryptically refers to their roles in this grand scheme of things, but the poor guy couldn’t muster even an ounce of the terror he gave us in ’98, let alone in ’79. This isn’t how I wanted to remember Angus Scrimm, just like RaVager isn’t how I wanted to remember Phantasm. Uggh. Life is an unending march through the avenues and alleyways of suffering. Such is what happens when you let Pinhead plan your parade route. That guy’s such a prick. *rimshot*
Now, how about the visual effects? Unlike those car wrecks that people are always saying they can’t look away from (morbid fucks), RaVager is a car wreck you should look away from. Not just because doing so is insensitive to the victims, but because one of the drivers is Medusa and the other is Cthulhu, and if you make eye contact with either one, you’re fucked. By that convoluted metaphor, I mean to say that this movie is a visual mess. The digital format it was shot in makes it look like a crap-ass direct-to-video flick you’d find on the “New Releases” wall at Blockbuster 15 years ago. Back before NetFlix and RedBox ruined the video store experience and made the 13 membership cards in my wallet into useless plastic rectangles. You know what else looks like it’s a relic from the ’90s? The CG effects! Holy Helheim. As if I wasn’t having a hard enough time getting through this unadulterated gauntlet of shin-high spanking machines, I finally came across the point where my mind splintered. Not in the way that it physically broke into shards, but more in the way that Mrs. Menard’s eyeball was splintered in Zombie.
The CG is so hard to look at, I’d rather watch a baby put through a punch press. I understand budgetary constraints, but the stuff we get shafted with here was ugly 10 years ago, let alone by 2016 standards. The awkward attempts to splice these outdated digital effects with stock footage of riots and helicopters and skyscraper demolitions are heartbreaking. And it doesn’t stop there. Driving the splinter further into my cerebral cortex? During the climactic final conflict between our heroes and The Tall Man in his hellish home dimension, (a battle so poorly executed that I wish I could go on a three page tirade about it, spoilers be damned!) Mr. Scrimm is replaced by spliced footage of his younger self, awkwardly mugging his eyebrows up for the camera while not moving his lips at all (old test footage, perhaps?), excusing the piss poor paste job by having Tally speak to his opponents WITH HIS MIND… Really?! As if that wasn’t cheesy enough, said footage makes the man monster look flat, while everyone else in the scene clearly has that all important third dimension the bad guy lacks. I’m not a whore for high-grade graphics, I get that nothing will ever look as flawless as Jurassic Park did, but this garbage came close to shoving me into the malicious arms of an anxiety attack.
For Fenris’ sake, you know what RaVager reminds me of, now that I think about it? The way everything is so amateurish? The pitiably developed story? The lazy camera work? The cheap gore? It looks and feels like a fucking FAN FILM! It should’ve been titled Fantasm and sold as bootleg-only DVDs at dirt mall comic stores and hotel horror conventions! It would’ve been the perfect way to excuse Coscarelli not directing it, and it would’ve given the movie a Tower of Pisa level of leniency! I might have actually enjoyed it somewhat if that were how it had been presented! Son of a three-headed bitch! Leave it to me to pan some sliver of gold from a gurgling septic tank.
Why, why, WHY couldn’t David Hartman have been the Hartman killed by his crazy wife in 1998 (the year I’d swear these in-no-way-special effects came from) instead of Phil Hartman!? Phil Hartman brought us all so much joy and inspiration! “Newsradio” was one of my favorite sitcoms! David Hartman brings me nothing but disappointment. A disappointment that I’m sure extends to his family. There’s a Phil Hartman shaped hole in my soul that can never be filled, but there’s a David Hartman shaped hole in a New Jersey landfill that should be!
Okay, that’s a bit much. I shouldn’t be calling for someone’s head just because they exhumed a series better left dead, pissed all over it, then buried it upside down out of disrespect and built a pet shop on top of it. Maybe we should just have Rawhead Rex baptize D-Hart and let that be it. Truth be told, I’m not even a major mark for the Phantasm series. My dad was always a way bigger follower of it than I was. But even as a slightly-more-than-casual observer of the Misadventures of Bomb Pop Reggie and the Brothers Pearson, RaVager is the worst instance of someone disgracing a franchise beloved by others since that video I sent my ex-girlfriend, in which I gave her The Lord of the Rings trilogy DVDs a Cleveland Steamer. That’s what happens when you kidnap one of my Re-Animator t-shirts, EDNA!
I’m just kidding!…partly. Which part? Only the court documents know for sure.
I didn’t cry when I’d heard Angus Scrimm had died, but I cried after RaVager. Wait, did I say I “cried”? I meant I “fell face first down a twenty-story spiral staircase of cinemasochism that left me questioning if there was anything good or decent left in the world”. This abomination should never have happened. I was overcome by the urge to induce vomiting in an effort to evacuate this poison from my system. Sadly, there is no such thing as mental ipecac, so can somebody PLEASE do me a solid and Eternal Sunshine the shit out of me on this one? It can be my Cthulhumas gift for the year!
And there you have it, Phan-boys and Phan-girls. Gobble gobble in agony, because you’re Glenn/Abraham, David Hartman is Negan, and RaVager is Lucille. *SPLAT* I can’t believe I’m typing this, but I think we would’ve received a better movie if Syfy had bought the rights to it and tossed it in The Asylum’s food dish. Uggh, despite standing behind my statement, I feel so dirty for having made it. Look what you made me do, David fucking Hartman!
I’m gonna buck my usual credo and give you a spoiler as far as how one of the alternate realities ends – Reggie dies of some manner of degenerative disease. It’s appropriate too, since this movie doesn’t allow the series to go out with a bang or even peacefully in its sleep. Instead, it rots away with franchise cancer. R.I.P.
And Hartman? As Jon Stewart (the comedian, not the Green Lantern) once said, “You will always be judged by your worst elements”. Consider this your judgment. Welcome to the enemies list.
Moral of the Story: When the only thing standing between you and a pair of Gatling guns is two bad guys, have no fear! As long as you’re the hero(es), you might as well have skin like Luke Cage, because you’re not taking a scratch! Oh, and if your movie calls for digital effects and has a climax that requires extensive green screen work, don’t hire some chumpsteak(s) off of Craigslist to do the job.
After-school rush hours get real nasty real quick. That’s why I had to get out of the mobile frozen treats business!
Hey, it’s 1990s Tall Man! And he brought Member Berries with him! Member the old Phantasm movies? Yeah, I member.
“There’s only room for one lovable loser on this cast, and it’s the one holding the gun! Hit the bricks!”
Yeah, this is a pretty accurate representation of how fans feel once RaVager is over.
“So… why the FUCK are we doing this stupid movie again?! Oh, right, the paychecks. Got it.”
“Sorry, old man, but I’m the only female character in this series who doesn’t have some repressed urge to want to bang her grandpa, so keep it your pants.”
Geraldo Rivera reveals to the world, “The Secrets of Charlton Heston’s Trunk”!
(It’s pretty much exactly what you expected)
Hold on a minute! In a previous movie we were shown that the balls are each powered by a human brain. What the fuck is in THAT thing?! Are there several thousand brains all working as a colony, or did Tall Man harvest GODZILLA’s brain!? Stupid stupid movie!
“Good news Reggie! I pulled a few strings and, despite that whole sorted “killed a hooker” thing, I got you into Heaven! Welcome aboard!”
Wow! That little boy’s Negan costume is AMAZING! Way to go, kiddo.
Tally tried to make his global takeover more marketable with limited edition Christmas themed murder balls. ‘Tis the season!
Wow, it finally happened. There’s finally a movie that makes me wish I was watching The Matrix Revolutions. You blew it up! Damn you! Damn you all to Hell!
See kids, this is why Uncle Anubis always tells you to never look directly at a masturbating T-1000. “Save your eyes; don’t look between its thighs!”
Phantasm finally turned into that Vigilante 8 movie adaptation I always wanted!
“Hey folks. Remember me? I was Rocky in Phantasm III. I have no clue why I was brought back to shoot a single scene for this movie, but here I am. Well… bye!”
“Made in America”, eh? You know what else shares that distinction? The KKK, nuclear weapons, and 3 Doors Down! But congrats, RaVager, for proving to us that America is capable of creating something even WORSE than the 2016 election.
Anubis will return next time in “Homey Don’t Play That”
Enjoy the review? Hate the review? Have a movie you’d like to see judged in The Tomb? Fill out the feedback form! Never has it been easier to make contact with a deitic being!