Showing posts with label horror western. Show all posts
Showing posts with label horror western. Show all posts

Nov 9, 2021

PRISONERS OF THE GHOSTLAND (2021)


Spoiler: This review does not serve any purpose.

Nicolas Cage has made the most interesting movies of his career over the last ten years. I didn’t say good, mind you, although there have been quite a few of those—I said interesting. Even his failures, like 2018’s low-rated Between Worlds, a metaphysical erotic thriller that breaks the fourth wall and recognizes Cage’s character as actually being Nicolas Cage during a sex scene, is far more interesting than the last highest-rated Hollywood Marvel tentpole you saw. Despite his reputation as being a quirky, rubber-stamping performer saying yes to every offer that comes his way, well…broken clocks and all that: saying yes to a lot can yield occasionally awesome results, and it’s given us horror fans a handful of terrific titles during this period. Though it’s impossible to keep up with Cage’s movies at this point, I feel confident in saying it’s been a while since I’ve seen a particular movie where he slept walk through his role. Cage is always trying, and always giving it his all; he’s quite possibly one of the bravest actors from the old guard still taking chances with wild abandon, unafraid to ascend to the most manic heights if it serves the movie. (See the binge-drinking, underwear-clad bathroom freak-out scene from 2018’s incredible Mandy.) This was something I always knew, but of which I was reminded following an impromptu double-feature of two Cage flicks brand new to video: the understated, beautifully made Pig, in which he offers a tragic, brokenhearted performance as a man seeking the last remaining thing on this planet he loves, and Prisoners of the Ghostland, in which he plays a criminal forced to go looking for something he couldn’t care less about, screaming his face off and gnashing his teeth and contending with roving desert threats the whole time—ghostly or otherwise. His range across those two random examples was remarkable, the first bringing tears and the second bringing wide-eyed astonishment. Very few actors can do this, and Cage is one of them, though his genuine talent is often forgotten thanks to his internet folk hero status as a meme, those “crazy reel” YouTube compilations, and his doppelganger in that old-timey 1800s photos that suggests he is, in fact, a vampire. (Insert scene from 1988’s Vampire’s Kiss which sees Cage running down the street screaming, “I’M A VAMPIRE, I’M A VAMPIRE!”)

Cage himself has described Prisoners of the Ghostland as “the wildest movie [he’s] ever made,” a quote wisely utilized in the film’s marketing, as anyone considering watching a movie with a concept as wild as this one would likely be enticed by his presence alone, so once you see that quote, well, holy shit—strap in. Such a proclamation is a very ballsy boast, as by now I’m sure your own choices for Cage’s craziest are playing in your brain like a powerpoint presentation. Could Prisoners of the Ghostland out-crazy the Hellraiser-meets-Death Wish vigilante horror-thriller Mandy, or the stone-faced supernatural comedy/horror hybrid Willy’s Wonderland, or Werner Herzog’s Bad Lieutenant: Port of Call New Orleans, which has a scene where Cage’s bad cop sees the breakdancing figure of a thug his goons just killed and says, “Shoot him again—his soul is still dancing,” before breaking out in wild, unhinged laughter? Directed by Japanese filmmaker Sion Sono (Cold Fish, Suicide Club), Prisoners of the Ghostland is a mish-mash of genres; not content to borrow influence just from Yojimbo or just from The Good, the Bad, and the Ugly, it’s instead both—a collision of Japanese samurai warriors and the lone American western about a gunman looking for redemption, creating a nonsensical world of imagery that feels more like a boardwalk sideshow where tourists stop to put on garish costumes and take novelty photos with their families. Cage, of course, is the film’s man with no name—a leather-clad cowboy known only as Hero, or sometimes Nobody, yanked out of jail following a botched bank robbery in a sandy nowhere called Samurai Town and forced into a rescue/retrieval mission across the desert at the behest of the villainous Governor (Bill Moseley). Yes, it’s a direct riff on Escape from New York, or, technically, Escape from LA, but also contains elements of Dances with Wolves, Mad Max, Book of Eli, and the spaghetti western of your choice. Yet, in the face of these largely American and Japanese inspirations, something about Prisoners of the Ghostland feels strangely Australian; though that might be explained away by the Mad Max influence, it almost seems to be echoing the work of cult directors Brian Trenchard-Smith (Dead End Drive-In, The Man from Hong Kong) and Russell Mulcahy (Razorback), leaning on crazy color schemes, an unrelenting quirkiness, and a driving identity only Australian cult cinema is capable of. While I can’t say Prisoners of the Ghostland’s puréed influences all get along, I can say that it’s enchanting, allowing moments of genuine artistry, and, of course, moments of obligatory Cage freak-out scenes. (Cage’s Hero bellows “TESTICLE!” at one point with so much operatic gusto that I swear to Bale’s Batman you can see his tonsils.)  

Though both actors have been dabbling in smaller productions that skip mainstream theatrical debuts altogether, it seems strange to see Cage sharing the screen with character actor Bill Moseley, who has been playing unseemly characters in under-the-radar horror flicks since the 1980s, perhaps most infamously known as Chop Top in Tobe Hooper’s 1986 sequel to The Texas Chain Saw Massacre and Otis Driftwood in Rob Zombie’s Firefly trilogy. Moseley’s career is filled with as many movies you’ve never heard of as Cage’s…but they’re a different variety of films you’ve never heard of, and likely stocked with other character actors who make most of their living traveling the country for various horror conventions. Really, the whole cast is a combination of different worlds, from the appearance of Cage’s Face/Off co-star Nick Cassavetes as Hero’s former partner in crime and current desert-dwelling ghost (he’s best known as having directed The Notebook) to Sofia Boutella, mainstream sweetheart of Hollywood fare like The Kingsman and Atomic Blonde. How all these people managed to come together and collaborate on a movie that feels like it transcends each of them as individual personalities, I’ll never know, but it only adds to Prisoners of the Ghostland’s indefinable identity.

Prisoners of the Ghostland isn’t a movie so much as it is a dare. It’s a challenge to cinemagoers everywhere, but especially a gauntlet for those like me who are tasked with writing about it. “Dare to make sense of me,” Prisoners of the Ghostland says. “Go ahead and find meaning in the madness.” It’s why this review opens with that spoiler tag: Prisoners of the Ghostland is critic-proof. I’m sure many have tried to bring forth some kind of thoughtful analysis, whereas some others simply threw in the towel and dismissed the title out of hand, tucking tail and fleeing from the carnival of lunacy—from the strange plot, the in-and-out moments of broad humor, the ambiguous sense of whether or not anyone involved in the film’s making is taking it seriously, and what it’s supposed to mean…if it’s supposed to mean anything. If there’s any one thing that Prisoners of the Ghostland isn’t, it’s subtle. Even when the flick takes a break from the fight scenes and ghastly gore, its smaller moments are still peppered with that perceptible sense of “what is this?” It’s so broadly played and relishing in its over-the-topness that it becomes one of those movies where it can either be about nothing at all, or whatever you want it to be. You could walk away claiming it’s an allegory for manifest destiny and I sure as hell wouldn’t argue with you because you’d still be closer to the true “meaning” than I’ll ever get. One thing is for sure: if you’ve ever wanted to see a flick where Nicolas Cage wears a full body leather suit covered in boobytrap explosions while screaming, “I’LL KARATE CHOP YOU!” and “HI-FUCKING YAH! HI-FUCKING YAH!,” well, I’ve got just the one…

Aug 13, 2020

GHOST TOWN (1988)


Remember that one time you went on vacation with your family to Tombstone, Arizona, or Dodge City, Kansas, and just after finishing your "Buffalo Bill Burger Blast" you went outside and caught the noontime showdown in the street between those two guys in the really bad beards shooting each other with blank pistols whose gunfire seemed to be coming out of the crackling speakers behind you instead of the deadly instruments grasped in their hands?

That's Ghost Town, in a nutshell, with costume store make-up. It is glorified dinner theater with a horror bent and a budget slightly higher than the one possessed by those people who put a little too much effort into their front lawn Halloween displays. And of course, there's obviously nothing wrong with this, because Ghost Town, despite its obviously low budget, its lack of anyone with name recognition (beyond Bruce Glover), and its somewhat restrained use of visual effects (how many times "ghosts" disappear/reappear on screen after a while becomes hilarious), remains an infinitely watchable film, perfect for those late nights when you don't want to surrender to sleep just yet, but you don't want to watch anything heavy. It's Ghost Town, all the way.


What's refreshing about Ghost Town (and unlike many other Charles Band productions) is that everyone on screen knows they're making something silly, yet everyone is sincerely giving it their all. Not every performance is Day-Lewis caliber, but obviously that doesn't matter, because even though the film revolves around a hapless deputy wandering into a ghost town in the middle of the desert and stumbling upon a collection of ghosts, skeletons, and people trapped in time, every member of the cast does admirable work, including the Michael Bay lookalike lead character of Langley, played by Franc Luz.

With a typically quirky story by, at one time, go-to Full Moon Pictures auteur David Schmoeller (interviews with him here and here), Ghost Town is charmingly innocent and not the least bit pretentious. Band became a producer infamous for not only low budget horror, but low budget trash horror, which has only gotten worse over the years, so to see his name affiliated with a project built on good intentions of just trying to tell an old fashioned story is not only surprising but welcoming. Except for the icky ghost make-up exhibited by some of the on-screen ghouls, and a few moments of bullet carnage, Ghost Town isn't terribly violent, either. (It also exhibits the most restrained and tasteful allusion to ghost rape probably ever.) Its tone goes for serious but light at the same time, and except for a moment of side-boob, Ghost Town feels like something to put on for the kids on Halloween night.


Ghost Town's "rules" get a little fuzzy as the film progresses: sometimes the characters Langley encounters are ghosts, sometimes living skeletons, and sometimes living folks (?) "trapped in time," and after a while it's hard to figure out what exactly is going on, and who is in danger of what (apparently those trapped in time can still die - again, or for the first time), but Ghost Town's intentions are pure enough that after a while none of this really matters. There's no denying that the film is patently stupid, but that's okay, because the amount of love that went into this production evens out its inherent stupidity, resulting in a good time.

Ghost Town is deliciously, lovingly, charmingly, and acceptably stupid. It's the perfect example of a title that would have fallen into obscurity in the years following its release just because of how odd, quirky, and somewhat kid-like it is...and let's not forget those visual tricks on the same level of a ghostly Unsolved Mysteries episode.


Sep 18, 2019

VAMPIRES (1998)


  
John Carpenter grew up watching westerns. 

One of his very first short films, The Resurrection of Billy Bronco, was inspired by them. And although known as a horror director, he’s really been making westerns since the very beginning: Assault on Precinct 13, They Live, Escape from New York/L.A., Ghosts of Mars and there are even more. But when it comes to the weary and embattled few taking on many in the dusty, sandy landscapes of the Midwest, complemented by the appropriate acoustic-guitar-driven musical score, it’s Vampires that claims the top spot as the western Carpenter always wanted to make. Sure, the enemy might be sunlight-avoiding bloodsuckers, but they spring up from everywhere – from behind buildings, or elevator shafts – and it’s up to Woods’ Malcolm Crow and his desperadoes to mow them down with a glorious collection of weaponry. The only thing scarier than facing your certain death in the OK Corral at sundown is being out there in the New Mexico desert at all once the sun begins to set, allowing the legion of vampires beneath the sandy surface to rise, looking for necks to suck on.


Vampires is a hell of a lot of fun – the type of fun of which only Carpenter is capable – the type of fun that is completely without pretension, and which only wants to entertain, emboldened by that “to hell with mainstream audiences” mentality that Carpenter has been rocking since The Fog. It’s never spoken of fondly among cinephiles, but for the ardent Carpenter fan, it’s generally regarded as the last great feature from the filmmaker. It opened # 1 at the box office its debut weekend and enjoyed a laudable collection of favorable reviews – again, and sadly, it may be the last time of Carpenter’s career. To follow would be the box-office and critical bomb Ghosts of Mars, followed by the little-seen The Ward, and then endless speculation of just what projects Carpenter might tackle next, should the necessary funding come together (which seems more and more like a red herring as time goes on).

Carpenter films contain a certain energy and swagger that’s not commonly seen in other films of the genre. There’s something about the way he crafts the story and develops the lead that feels different – that establish their own identity. His siege-like tales always center around that one strong lead fighting back against adversity; heroes either anti or reluctant leading a small squad of people against the threat coming down hard upon them; heroes taking on the establishment with little hope for success.


Malcolm Crow is among them, and he is brought to boisterous, cigar-chomping, scenery-chewing life by James Woods, not only enjoying a rare lead performance, but enjoying one in which he gets to play the hero. And man is he shooting for the rafters. Woods’ performance exudes a kind of energy rarely seen in a genre project within the confines of a major studio release. (Watching him stake vampires while screaming, “Motherfucker, die! Die!” over and over is the stuff of dreams.) This wasn’t just a relatively unknown Kurt Russell taking on Snake Plissken, free of the constraints of having achieved mainstream success and straddling that line between risk-taking and reputation-maintaining. This was James Woods, a twice Oscar-nominated actor (the second nomination having been the year prior for Ghosts of Mississippi); who had, in the few years leading up to Vampires‘ release, worked with Martin Scorsese, Oliver Stone, and Robert Zemeckis; who, in the following year, would work with Clint Eastwood. Not to belabor the point, but this was an actor who had a lot to lose, creatively, by taking on a project of such potential embarrassment. But he threw caution to the wind, likely so he could let back his proverbial hair and just have fun.

And man, that’s what Vampires is. It’s fun.

As for the supporting cast, Daniel Baldwin (the most underrated Baldwin, for serious) as Montoya doesn’t get enough credit for his abilities as an actor. His contributions to the film are to offer a believable and somewhat restrained counterpart to Crow’s eccentric and bigger-than-life persona. That he begins to slowly fall for Katrina (Sheryl Lee), a prostitute bitten by the film’s main baddie, only adds to his likability. He’s written as the loyal and dependable partner – the ideal person to have in your corner when you’re up against it – and you completely buy the rapport he shares with his fellow vamp-killer. 


Thomas Ian Griffith also does a fine job retreading very old and established ground with his take on Valek, likely the fifth hundred vampire to hit the screen since the film medium began. With one foot each in the sexual-being and the monstrous-killer camps, his Valek is an interesting addition to the vampire sub-genre, which, by now, is in desperate need of rejuvenation following too many years of so many pretty bloodsucking boys. (Also look for brief appearances by Mark Boone Junior of Sons of Anarchy and Cary-Hiroyuki Tagawa, a.k.a. Shang Tsung of Mortal Kombat.)

To suggest that Vampires is within throwing distance of Carpenter’s top films wouldn’t be accurate, but it’s deserving of so much more respect than it receives – not just from the genre community, but audiences in general. Allegedly, Carpenter, at this point in his career, had become burned out by the filmmaking process; however, it would be his experience making Vampires that would cause him to reassess his feelings and decided to stick with it. Only when Ghosts of Mars came along three years later would the director lapse into a half-retirement/hiatus for nine years before returning to feature filmmaking with The Ward.

Spoiler.
With each passing day, as Carpenter prefers to focus on graphic novels, video games, and his beloved Lakers, it seems more and more to be the case that he could very well be done with the film business for good. While it would be terrible for The Ward to serve as his swan song, perhaps it would offer the opportunity for the ’90s portion of his career – one not nearly as celebrated as his two previous decades – to enjoy the same kind of rightful adoration. Second only to In the Mouth of Madness in terms of ’90s era-Carpenter, Vampires is deserving of that kind of adoration.

If, for whatever reason, you may have dismissed Vampires after a one-time viewing, or perhaps none at all, it's time for you to consider a reevaluation. A manic performance from James Woods, a healthy dose of violence and blood-covered grue, and a full-on embracing of western aesthetics makes Vampires an underrated addition to Carpenter’s filmography and one of the more unique contributions to the vampire genre.


Feb 24, 2012

PROSPECT


Theodore “Tubby” Ellsworth and Jack smith are two criminals on the run, lost in the untamed wilderness. When they stumble across a mutilated Prospector, dying on Indian ground, they promise to give him a Christian burial. The fugitives break their oath and steal the old man’s gold…but that night, the Prospector’s corpse returns to make them pay!
A western-themed horror film entitled “The Prospector’s Curse” has wrapped production near the remote town of Ponty Pool, Ontario. Set during the Klondike Gold Rush of the 1890’s, the darkly comedic short is Written and Directed by Josh Heisie (‘Mail Order Bride’), Produced by Bruno Marino (‘Anything Goes’) and is currently in Post Production in Toronto, Canada.
The talent lineup for “The Prospector’s Curse” includes David Roberts (‘Curious and Unusual Deaths’), Johnny Quinn (‘Mind’s Eye: The Series’), Amanda Ives (‘I Hate Toronto: A Love Story’) and Robert Nolan (‘Worm’).
Rounding out the creative team are Director of Photography Michael Jari Davidson (‘SICK’), and Special Effects Makeup Artist Carlos Henriques (‘Red: Werewolf Hunter’) of The Butcher Shop.
In this blogger's opinion, the world needs more horror westerns.