GIRLHOUSE (2015)

 [As Girlhouse has spoiled my night, I have now spoiled Girlhouse. Read on with caution.]

Kylie Atkins' father has recently died, so it's porn for her.

After giving it some very little thought, she accepts the offer of a well-dressed stranger to appear on the porn-centric website "Girlhouse," a Big-Brother sort of set-up where a group of people live away from civilization in an isolated house with cameras in every room that broadcast their every move, only instead of "people" it's "girls," and instead of "every move" it's "every orgasm, fuck show, and methodical soaping of breasts." Once she's dropped off at the super-secret "Girlhouse" location, she meets all her costars, all of whom eventually take off their clothes, and none of whom are particularly memorable or developed.

As Kylie begins her show, she "meets" an online user by the name of Loverboy, whom all the girls know and call a sweetheart. Loverboy soon fixates on Kylie after he sends her a photo of himself and she doesn't throw herself out the window in response, but later on, after another "Girlhouse" performer finds Loverboy's picture and shows it to everyone and they all laugh and mock his not-so-ideal appearance, Loverboy loses his mind and decides there's only one fair way to handle this: murder. (He's also really good at computers, BTW.)

A film that manages to ape its concept from Halloween: Resurrection while somehow resulting in something worse, Girlhouse was written by Fred Olen Wray, directed by Jim Wynorski, and produced by Roger Cor-ohman, none of that is true. It wasn't a wrong assumption to make, however; add some corny self-awareness and even more exploitative nudity, and Girlhouse would have felt exactly like product from the 1980s -- more specifically, from the team who brought us Hollywood Chainsaw Hookers and Sorority House Massacre 2, only with a hip and modern shot of adrenaline (which means now it has internet, cell phones, and terms like "IP address" and "firewall"). An important distinction, though, is that when Corman et al. made those deliciously stupid B-movies, they weren't trying to impart any kind of wisdom or moral stature on their audience: they were more concerned with finding girls with ample breastage who could fit into all that old wardrobe recycled from their last several hundred movies that had "slime" or "massacre" in their titles. They weren't trying to be socially relevant or needlessly (and, inexplicably) preachy and indifferent all at once. They were just trying to make their films fun. And that's where Girlhouse really misses the boat. For actually managing to bring to fruition such an absurd concept as "house of slutty website performers become locked inside by one of its users who gets all pissed off because they called him ugly," only to try and turn it into some kind of disturbing or visceral experience -- well, that was the first misstep of many.

The reason it's neither disturbing nor visceral is because we just don't care.

At no point is there an attempt to devote background or development to any characters. Kylie's sole decision to become a pornographic actress is because "the money is good" and she wants to send some home to her mother. Because her motivation for her decision is to be considered selfless and done out of love and worry, we're supposed to forgive her for getting into porn, but it would have behooved our filmmakers to, perhaps, include a scene where Kylie and her mother actually share a conversation -- in person would have been nice, but over the phone would have been acceptable -- to enforce the significance of this relationship. At least once. As it is, their entire relationship is confined to them leaving voicemails for each other, and the word "MOM" appearing on Kylie's cell phone when it rings...which Kylie doesn't answer.

As for Kylie's pornsemble: two of the girls are (quite quickly) established as lesbians involved with each other, one of the girls as threatened by Kylie's appearance in the house, and another girl, who it would seem was once an actress in the house before her heroin addiction resulted in her getting the ax, makes a surprise return. Pity that NONE of these characters' subplots offer anything to the film rather than cheap thrills of girl-kissing and an additional body to hammer.

Kylie is an irritating character, a girl who willfully gets into pornography, but for whom we're expected to sympathize -- not because of any attempt at her inner conflict with the job, but because she tells anyone who will listen that her father is dead and that's really sad and then equal sign pornography. Not terribly likable, Ali Cobrin still manages to give an okay performance, but as you watch you'll suddenly realize her remarkably similar appearance to actress Rose Byrne, who tends to make good movies, and then you'll become irritated all over again because instead of watching a good movie that stars Rose Byrne, you're watching Girlhouse.

I feel intensely bad for rapper-turned-actor Slain, thanks to his appearance in this mess as Loverboy, and not just because he's the only one attempting to bring actual depth to his performance (which vanishes following the start of the third act, unless we're being asked to believe that it was the actor himself and not an underpaid body-padded stuntman who wore the jumpsuit and girl mask to stalk his house of whores), but rather because he got a pretty good head-start on a career 2.0 when Ben Affleck cast him as the revered Bubba Ragowski in Gone Baby Gone. Affleck subsequently cast him again in his box-office and bank-smashing crime thriller The Town before director Andrew Dominik chose him to play a minor role in his Brad Pitt-starring Killing Them Softly. And here, in... sigh... Girlhouse... Slaine is slumming it, with the kind of bravery needed to play a role of someone who dwells in a basement, subscribes to and depends on pornography, and who feels ostracized because of his physical appearance. The only problem is he's going through all that effort for the film Girlhouse. The actor deserves better.

Ironically, the makers of the film are selling Girlhouse as a "Halloween-type slasher," and by god are they testing the durability of the word "type," for the only thing these two films have in common is that someone wears a mask and kills some girls. Kylie is supposed to be Girlhouse's version of Laurie Strode, only instead of her character being virginal and pure by abstaining from acts and behavior that would force her to retire those traits, she instead embarks on her pornographic webshows where she willfully shows off her naked body to her viewers, but with the camera never showing her breasts: according to these filmmakers, that makes her virginal and pure. Added to Halloween are the nauseating references to Rear Window and its director, Hitchcock, who as you know reveled in cinema in which girls played strip-poker or strip-billiards and performed dildo shows on websites for users named "Tugboat" and "Cream_Slinger." Hitchcock would be sincerely proud. No, that's not sarcasm - not at all. I mean that, you idiots, he would love your dumb fucking movie.

Girlhouse is violent and filled with nudity, if you're into that sort of thing. I am, normally, but only when the actual movie surrounding the violence and nudity is worth a damn. Girlhouse isn't. Girlhouse is about as subtle as a truck carrying fireworks driving through a fireworks factory. It makes no bones about clearly endeavoring to satirize the "art" of pornography, but then doing absolutely nothing to either support or condemn it. Girlhouse offs a character by beating her in the head with a dildo before shoving it into her mouth and sealing her head with packaging tape so she suffocates. Girlhouse offs another character by having her commit suicide after her confrontation with the killer has left her mutilated because OMG, without pornography, she is, like, of no use to anyone. Girlhouse fucking ends with Kylie beating her killer to death with a camera. If that's not a failed idea at clever subtlety, ladies and gentleman, I don't know what is.

BLU-RAY REVIEW: GRINDHOUSE RELEASING'S 'THE TOUGH ONES' (1976)

One of the most popular European cinematic sub-genres of the ‘60s and ‘70s was the giallo — a hyper-stylized approach to filmmaking pioneered by Italian filmmakers Mario Bava and Dario Argento, and largely credited as the inspiration behind the slasher sub-genre. Another movement also came to prominence during this time, spearheaded by European filmmakers less interested in depicting the ghastly crimes and more in the ensuing police investigations that looked into them—poliziotteschi: dark and gritty cop and crime thrillers that often offered the same kind of pulpy thrills and graphic violence, but in far less amounts. In American terms, films like Dirty Harry and The Laughing Policeman would fall under the poliziotteschi label, even though they were less graphic than their European colleagues. While poliziotteschi weren’t necessarily graphic with horrific imagery, they often could be.

Enter 1976’s The Tough Ones (aka Rome Armed To The Teeth – god I love Italian movie titles), directed by Umberto Lenzi (the giallo Seven Blood-Stained Orchids). Leaning back on the prior example of Dirty Harry, The Tough Ones tells your typical story of a police detective making it a personal mission to stop a killer while skirting “official channels” and “the book” in order to make that happen. Detective Leonardo Tanzi (the Frank Nero-looking Maurizio Merli) is that official channels skirter, furious with a system that coddles instead of punishes, and will absolutely, positively get his man -- by any means necessary. That man? The very Scorpio-ish Vincenzo Moretto (Tomas Milian), a hunchbacked slaughterhouse worker involved in much bloodier business than merely slicing cows down the middle, and who somehow manages to out-ooze Dirty Harry’s Andrew Robinson. (“I shat this out just for you,” he tells Tanzi at one point, holding up a bullet that Tanzi forced him to swallow in a total act of male dominance earlier in the film. Talk about having explosive poop! I’m sorry!)

The Tough Ones is hard-hitting and angry. Everyone is angry at everyone else. Tanzi hates Moretto, who hates him back. Tanzi and the police chief share an equal and mutual hatred. Tanzi, at times, even seems to hate the very woman he’s dating (Maria Rosaria Omaggio), as she basically represents the liberal society that releases all of the criminals he arrests on a daily basis. Like other films from this time period, and especially with it being an Italian production, The Tough Ones is very much indicative of its era. It’s impatient and cynical like lots of ‘70s cinema, with the added discomfort of pure misogyny, perpetrated against every single female character, and often at the hands of our lead hero. At the worst of them is a random rape attack committed by a group of thugs, most of which is thankfully left to the imagination, along with a disturbing insinuation that, post-rape, the victim was additionally sexually assaulted with a tree limb. There’s more than one instance of a woman being slapped, or talked down to, or outright threatened – not a single female character walks away unscathed in some form or another. Most cinephiles already well versed in this era of filmmaking likely won’t be surprised or turned off by this, but for those of you just getting started, best prepare yourself now.

Most importantly, Lenzi knows how to stage exciting action sequences, with the standout being an extended car chase that directly leads into the finale. The chase never reaches the heights of the graceful automotive ballet Bill Hickman achieved during his stunt driving in the likes of The French Connection, Bullitt, and The Seven-Ups, but only because Lenzi wants the car chase to look manic, gritty, and very dangerous instead. Leading up to that is an impressive barroom fight, which sees Tanzi taking on a Van Damme level of henchmen and reigning supreme. (A punk gets his head smashed through the glass top of a pinball machine and it’s the most satisfying thing.) The shootout during the climax, also, gets that blood pumping – that fun, unrealistically bright kind not seen since Romero’s Dawn Of The Dead. Like most Italian genre flicks, the plot doesn’t fully gel, and the editing can sometimes make the film’s events hard to follow, but, like Bullitt, the plot of which is near incomprehensible, Lenzi’s visceral way of presenting the story and the action make up for the weak cohesiveness. 

From a technical perspective, The Tough Ones looks and sounds fantastic, lovingly restored for a 4K presentation. The release comes with both English and Italian audio tracks, along with English subtitles for the Italian track only. You can attempt to watch English with English, but the subtitles barely match; the intent is the same, but the dialogue is always different. (One of the best examples of this is when someone calls someone else a “dummy” onscreen, but the subtitles replace it with “proletarian,” which I found very amusing.)

As typical for a title from Grindhouse Releasing, this new edition of The Tough Ones comes absolutely packed to the gills with special content, not the least of them being a third bonus CD of the film’s soundtrack by Franco Micalizzi. Most viewers will likely start with the new interview with director Lenzi, which runs 55 minutes in length. Lenzi starts at the beginning of his career, talking about how he got started, along with his admitted comfort in working in the crime genre over horror, despite his having contributed several titles to the latter. But if there’s a must-watch supplement on this release, it’s the 90-minute(!) interview with Tomas Milian. He explores similar ground as far as his start in filmmaking and acting, but his interview begins with a deeply personal and sad account of his childhood at the hands of loveless and abusive parents. If you’re anything like me, you’ll be hooked on his every word following this stunning admission.

The complete list of special features included on this release is as follows:

• NEW 4K RESTORATION OF THE UNRATED AND UNCENSORED DIRECTOR'S CUT OF THE FILM
• Optional Italian language soundtrack with optional English subtitles
• Audio commentary by Mike Malloy, director Of Eurocrime! The Italian Cop And Gangster Films That Ruled The 70s
• NEW in-depth interviews with director Umberto Lenzi, actors Tomas Milian, Maria Rosaria Omaggio, Sandra Cardini, Maria Rosaria Riuzzi and Corrado Solari, screenwriter Dardano Sacchetti, and composer Franco Micalizzi
• Special tribute to Maurizio Merli with appearances by Enzo Castellari and Ruggero Deodato
• Vintage VHS intro by cult movie superstar Sybil Danning!
• Original international theatrical trailer
• Liner notes by Italian crime film expert Roberto Curti
• Deluxe embossed slip cover
• BONUS CD – original soundtrack album by Franco Micalizzi – newly remastered in stunning 24 bit/192khz sound from the original master tapes
• AND OTHER SURPRISES...
• LIMITED BONUS - Custom 30-Caliber Metal Bullet Pen – Strictly Limited to 2500 Units

The Tough Ones is now on Blu-ray from Grindhouse Releasing. 

[Reprinted from Daily Grindhouse.]

PET SEMATARY (2019)

[Contains spoilers for the novel and both adaptations of Pet Sematary.]

A remake of Pet Sematary has been bouncing around Hollywood since 2006, ever since George Clooney and Steven Soderbergh attempted to produce it through their then-new company Section Eight Productions, which had also done Christopher Nolan’s remake of Insomnia. Clooney was even set to star as Louis Creed, patriarch and serial burialist of the Creed family. That, obviously, didn’t happen. But, after a decade of development hell, Pet Sematary has arrived, and…this is what we got.

Dennis Widmyer and Kevin Kölsch, the directorial pair behind the creepy and successful indie Starry Eyes, had their work cut out for them. Doing a remake is thankless. From the very beginning, you have two choices: stay faithful to the source material (King handled the screenplay for Mary Lambert’s 1989 take, so it’s nearly identical to the book), which will have people asking you, “Why bother?” (see: The Omen remake), or find ways to stay true to the spirit of the story while taking new chances. The danger with this latter approach is making changes that devout fans will see as arbitrary, but something about which the filmmakers can say, “See? It’s different.” Pet Sematary does this a lot—makes small, seemingly unnecessary changes. Yet, if you sat down with the redux for any five-minute segment without actually knowing what you were watching, by the end of those five minutes, you would know. It’s a familiar story with familiar characters, and certainly a familiar concept; Pet Sematary never strays so far as to become unrecognizable, but if you’re already intimate with the story, you can’t help but think, again, “Why bother?”

To its credit, Pet Sematary wants to include as much as it can from the novel that the filmmakers consider “essential,” but with everything vying for space, significant portions of these elements are spread too thin. Victor Pascow (Obssa Ahmed) is barely utilized, reduced to such a footnote that you have to wonder why the filmmakers felt compelled to include him; and despite a far more graphic head wound, complete with pulsating brain, the specter doesn’t come close to matching the former’s onscreen presence. Additionally, we’re robbed of Louis and Jud meeting for the first time, given the dynamic the two men will share and the things they will experience together; instead, we find that the men are already politely acquainted halfway through a throwaway dinner sequence. Weirdly, there’s a complete lack of acknowledgment regarding the connection between the existence of the pet cemetery and the very dangerous road that cuts through the Creed and Crandall estates, being that canon explicitly states the former exists because of the latter. Meanwhile, the Timmy Baterman story, one of the creepiest sequences from the original, is downgraded to a newspaper headline. The character of Zelda, the most terrifying part from the original and the novel, is reduced to a pile of rubber bones and limbs dropped repeatedly down an elevator shaft. (Seriously.) The mishandling of this character in particular is Pet Sematary’s worst offense.

From the first frame, even before a single “scary” thing has happened, Mary Lambert’s 1989 original adaptation oozes dread. You can feel that things will go very badly for the Creeds, and already your chest begins to tighten. For example, she knows everyone has read the book, and she knows everyone will be waiting with bated breath to see little Gage lose his life in the road. That’s why she, wisely, cunningly, even sadistically, introduces the Orinco truck several scenes before the final encounter, because she wants to milk that suspense for every ounce, interrupting a happy-go-lucky picnic more than once to cut back to the truck speeding down the road toward them. Now, when the Creeds 2.0 pull up to their new rural home, you already know bad things are going to happen—not because of any induced dread, but because you’ve experienced this story twice already, so no shit. Yet, there’s a complete lack of suspense or ominousness. The admittedly beautiful opening overhead drone shot of a burning house, which we all know to be Jud’s, is another immediate reminder that, yep, bad things are afoot, but it still doesn’t quite help stoke those brooding fires. Nor does the surprisingly lifeless score by Christopher Young, who ordinarily dominates the horror genre.  

Pet Sematary makes the same mistake as another high profile remake, Rob Zombie’s terrible Halloween: whenever the filmmakers deviate from the story audiences know and love, you can feel their spark, their interest, their excitement in exploring this new direction. But when leaning back on the mainstay elements from those same stories, you can feel their obligation to just barrel through and begin tackling all their material—to infuse the property with their identity, to put a stamp on a title that they’ve temporarily borrowed before sliding it back onto the shelf. Pet Sematary doesn’t fully come alive until, ironically, Ellie does—from the dead, that is. Obviously, this is the biggest change in this new iteration, as the filmmakers felt using Ellie as the resurrected child would provide additional pathos. With Ellie being older and in a position to understand what was happening to her, she could better echo those sentiments to her god-playing father, which was meant to boost the film’s philosophical look at death. 

But what, ultimately, did we learn from this? 

What we already knew from the novel and the original adaptation.

Sometimes, dead is better. 

As for the ending, it’s dreadful; very strangely borrowing from Pet Sematary Two, it’s made even more frustrating by the fact that the alternate ending included on the home video release is far better—gloomier, more ominous, more satirical, and more tonally appropriate. The one that went to theaters was the stuff of Hollywood hokum, rendering whatever mature goodwill the film had achieved as kaput. Screenwriter Jeff Buhler says this is because they wanted the audience to leave with a smile, which seems like a bonehead decision, being that smiles don’t belong anywhere near Pet Sematary, a manuscript King found so vile that he shoved it into a drawer upon completing it, deciding it would never see the light of the day because he’d finally gone too far. 

In spite of all the whining, Pet Sematary isn’t a bad flick, and there are several things lending to its favor. Ellie’s post-resurrection appearance is subtly but deeply unnerving; a drooping eye hints at major damage going on beneath the surface (that bathtub sequence…Jesus), and young Jeté Laurence is incredibly creepy in the role before the film falls victim to the pitfalls of the “evil kid” genre. After a while, she’s reduced to a pint-sized zombie kid using “scary” glaring eyes and coming a little too close to rattling off ironic Chucky-like threats. Amy Seimetz as Rachel is easily the film’s most interesting character, and Seimetz’s performance is a large reason why: she ably sells Rachel’s extremely mangled view of death, due to her childhood experience with her sickened sister, Zelda. Lithgow, too, does fine with the role of Jud Crandall, made iconic by Fred Gwynne, though he sheds Gwynne’s folksiness in favor of curmudgeonness. He also doesn’t even attempt a New England accent. (Not a single a’yuh! What gives!) Lastly, there’s Jason Clarke—an actor capable of much more than the scripts he signs onto. It feels weird to say, but his take on Louis never reaches the same emotionally tormented heights of the original’s fairly unknown Dale Midkiff (whose “NOOOOOOOO!” is still one of the best anguished screams in cinema). 

The filmmakers poke fun at their audience by presenting sequences they think they know, only to see they’re heading off in different directions. (Jud’s death is a perfect example.) Additionally, and I don’t know this for sure, but I’d swear they lifted audio from the original flick, borrowing one use each of Zelda’s screechy “RAAAAACHEL!” and a growl from an undead Church. There also several loving nods to King’s other works, one of which includes an off-screen Jud telling a guest at Ellie’s birthday party about a rabid Saint Bernard. Widmyer and Kölsch’s design of the deadfall and the Indian burial ground behind it is ripped right from the film cells of old fashioned monster movies like Frankenstein and The Wolf Man, depicted as dreamlike and different, since this part of Ludlow’s woods are meant to be evil and mysterious. As a concept, this is tremendous, though it suffers in execution from some surprisingly shoddy green-screen. 

Paramount’s Blu-ray contains over 80 minutes of special features, including the before mentioned alternate ending, along with “Beyond the Deadfall,” which runs an hour in length across four different “chapters.” This supplement is rich with information and content, and goes beyond your standard EPK to delve heavily into the film’s genesis and production. (Stephen King does not appear.) Sadly, however, this is yet another studio release that lacks a commentary with the directors, and in its place are strange and very brief narrative pieces where several of the flick’s major characters have their own unique nightmares about the burial ground. Finally, we do get the story of Timmy Baterman, but in a weird one-man show where Lithgow, in character, sits down and presents the story as a campfire tale to us, the audience. 

Far worse adaptations have come from Stephen King, and if you asked the man himself, even he would probably rank this new version of Pet Sematary above bonafide classic The Shining, an adaptation he never misses the chance to impugn. Even so, it’s ironic that Pet Sematary’s main conflict comes from “those damned Orinco trucks” speeding dangerously back and forth, being that this new version of the story is standing directly in the middle of the road.

Pet Sematary is now available on Blu-ray from Paramount Pictures.

[Reprinted from Daily Grindhouse.]

THE REAL CREED 2

Get it?

Incredibly proud to have made something so stupid.

BLU-RAY REVIEW: ESCAPE PLAN: THE EXTRACTORS (2019)

The first Escape Plan is an unremarkable but admittedly fun throwback to high-concept action fare typical of the 1980s. Nearly every action star had his own prison flick during that era, and in Stallone’s case, he did it twice. (Tango & Cash totally counts.) By the time he and Arnold Schwarzenegger joined forces in 2013 for what was originally called “The Tomb” and which eventually became Escape Plan, even the critics who enjoyed the film accurately observed that such a team-up would have been the stuff of action fans’ dreams…had they done it 20 years ago. 

Escape Plan did so-so business at the domestic box office, but was a major title in China (as tends to happen with big dumb Hollywood spectacles), so when Lionsgate announced not one but two sequels, cynics were both amused and confused. That they would be mostly funded by Chinese production companies, and would star Chinese actors alongside returnees from the first film, made sense of Lionsgate’s decision. 

The first of these was Escape Plan 2: Hades, directed by master hack extraordinaire Steven C. Miller, who has had the distinct pleasure of working with Bruce Willis (three times), Nicolas Cage, John Cusack, and Malcolm McDowell but without ever making anything even approaching watchable. That Stallone doesn’t even appear in the sequel beyond a contractual 20 minutes was the icing on the cake of mediocrity that effortlessly proved why movie goers avoid direct-to-video titles whenever possible. 

Escape Plan: The Extractors, following on the tail end of this, seemed doomed.

Imagine my surprise.

Directed by actual filmmaker John Herzfeld (15 Minutes, the underrated Tarantino ripoff 2 Days in the Valley), and with nearly every surviving cast member of Ray Breslin’s team returning (except for Amy Ryan, who is replaced by Jamie King), Escape Plan: The Extractors feels like a bonafide sequel to the first film in every way that its predecessor, Hades, didn’t. As if knowing how much of a turd the previous flick was, Escape Plan: The Extractors has dropped the “3” from its title to more closely associate only with the first film. Better yet, there’s no bait-and-switch this time. Stallone is definitely your lead hero AND actor this time out, though he shares the screen with a bodyguard named Shen (Jin Zhang), who works alongside Breslin to rescue a former asset that’s been kidnapped by the film’s primary villain. And it’s not just the familiar faces that help render this connection to the first film, but the sequel’s conflict ties back directly to the first film’s events—specifically the resolution of the character played by Vincent D’Onofrio (who appears here courtesy of stock footage). One can look at this connection and groan and say, “of course a direct-to-video sequel to an okay action flick is pulling this,” but I’m fine with it: if Escape Plan: The Extractors wants to riff a little on Die Hard With A Vengeance, I won’t stand in its way.

But okay, the action: that’s why we’re all here, isn’t it? Like most other quiet direct-to-video/VOD releases from Lionsgate, Escape Plan: The Extractors suffers from some really poor CGI during the action sequences, but thankfully, director Herzfeld relies on practical effects whenever possible, dialing back gunfights in favor of some genuine, hombre-on-hombre fisticuffs. The final fight between Stallone and villain Devon Sawa – yes! the cutie boy from Little Giants! – is a brutal ass-handing, with Stallone landing such heavy hits that you’ll swear you can feel them.

Future Expendable Dave Bautista returns from the second film to lend a hand in all the ass-kicking, even getting to enjoy the rare novelty of fighting his own body double/stunt man, who plays a nameless villain within the Estonian prison where the third act plays out.  Bautista, who also barely appears in Hades, is finally given something to do, and while his screen time won’t please his most ardent fans, he appears enough that no one should feel ripped off about it. (There’s very little 50 Cent, which suits me just fine.) 

The Blu-ray release offers a respectable dose of special features: a commentary with director John Herzfeld and actors Sylvester Stallone and Devon Sawa, along with a pretty typical ten-minute behind-the-scenes/interview EPK that sees participation from almost all cast and the director. Stallone talks specifically about the final fight scene and how he approached doing it, which was—for the first time in his career—to just wing it, instead of relying on careful choreography. (The fight scene is rawer and angrier than one would expect, so his experiment was a success. It lacks any kind of polished grace in favor of brute force brutality.)

In the interest of full disclosure, I could never responsibly say that this latest sequel is a good movie. The script contains some hammy dialogue, which leads to some hammy performances, and again, the conflict is ripped straight from the school of cliché, but if we’re being fair, the first flick didn’t exactly have a well-oiled script, either. In fact, since comparisons are inevitable, I can’t even responsibly say that the first Escape Plan is a good movie, but it is fun, and good for what it was. Escape Plan: The Extractors is a darker take on this world, dialing down much of the humor (a lack of Arnold will do that, I suppose) and even offering a couple of genuinely shocking moments that one wouldn’t expect to see in such an under-the-radar title. In that regard, it’s fair to say that The Extractors is a low-fi but worthy follow-up. 

Will there be further Escape Plan sequels? As of right now, none have been officially announced, though the ending teases a new adventure. Based on the reception of Hades, the future of the franchise hinges on how the world takes to The Extractors. Personally, I wouldn’t bet on Escape Plan 4, but if there’s one thing Stallone is good at, it’s proving me wrong.

Escape Plan: The Extractors hits Blu-ray today from Lionsgate Films.

[Reprinted from Daily Grindhouse.]

INVASION OF THE BODY SNATCHERS (1978)

Within a window of three years during the late '70s/early '80s, the world would receive two of the greatest sci-fi remakes of all time. The latter would be John Carpenter's grisly and bleak monster opus The Thing, but preceding it would be Philip Kaufman's Invasion of the Body Snatchers, itself also an update of a 1950s classic. That both films would heavily lean on the idea of those you knew being taken over by an organism from another world, rendering your former society untrustworthy and even deadly, were reactionary from a previous decade of civil, governmental, and international unrest and distrust. While The Thing was much more about the inability to trust on the individual level, 1978's Invasion of the Body Snatchers was centered on the fear of the bigger picture. The original Invasion, as the best cinema does--especially horror--was a reflection of the times--namely communism. Whether or not the film satirized the idea of communist ideas spreading like a virus, or was in essence a legit warning that such an event were actually taking place, will likely always be up for debate, but make no mistake: communism was at the forefront of Don Siegel's original invasion. It's one of the main reasons that the classic film hasn't dated all that well.

In the America of the 1970s, especially San Francisco, everything was changing. By then, Americans had grown disillusioned and angry over its involvement in the Vietnam War, and by the Kent State shooting which directly resulted from its protests. They had learned, through the Watergate scandal, that their own politicians didn't have the heart of the people in their best interests. Americans began looking to themselves for the social change they so desperately wanted. Feminism was born out of this. Culture exploded into more intense explorations of art, music, and literature. The sexual revolution. All the things the people gave to themselves while they waited around for their government officials to do the right thing.

But all during these awakenings, the people couldn't shake the feeling that the world around them, in which they existed, wasn't capable of the same kind of change. It hovered in the sky above and surrounded them on the ground below. Societal and international unrest was something that could be counteracted with positive social movements, but couldn't be quelled by them. Try as the people did to lose themselves in the art scene, at book readings, or in mudrooms, reminders of an unstable world was a constant crushing weight that, finally, overtook them all. As Kaufman says in his audio commentary, the 1970s saw the birth of pop psychology, during which psychiatrists relied on hugs and positive reassurance that everything was all right. "But everything was not all right."

Critics have been willing to lavish on Kaufman's Invasion redux the kind of praise it deserves, but reticent to label it as superior to its predecessor, even though it absolutely is. Not only does the Kaufman version feel timeless, it had the balls to carry through with its iconically bleak ending, whereas the original had original star Kevin McCarthy (who cameos in this version as a street lunatic bellowing "they're here!") waking up in a hospital bed and being told, basically, "Don't worry, America solved the whole invading alien species thing while you were asleep." Kaufman's take is eerier, more intimate, and somehow grittier. The camera moves around the room like an antsy witness to all that is unfolding, going in close and low on those who, it seems, have already been duplicated and replaced. The ragtag group of individuals embark on the same kind of grassroots movement to fight back against the invading threat that they would have utilized for giving the people back their voice and their freedoms to be who they are.

There's also, somewhat satirically, an emphasis on making our characters as forthright as they are oblivious. There are multiple instances in which characters are mired in their own personal connections to the unexplained phenomena unfolding around them, leaving them lost in thought--even as they walk by people tearing down the streets as if in a panic and being chased by something, or looking out a window for the imminent threat, somehow not noticing trash trucks collecting large dried out husks and crushing them into clouds of dust. Our characters are looking so hard for the explanation for the conflict surrounding them that they are missing what's in front of their faces. It leaves you wondering just what Kaufman was trying to say.

Are we already doomed? By the time we realize what the threat is, will it be too late?

The way this Invasion concludes, perhaps we already known the answer.

When strictly considering staying power, Kaufman's Invasion will likely be considered the ultimate take on Jack Finney's original novel, even though I'm sure there will be more iterations down the road as the people's strained relationship with their government continues assuredly down the wrong road. Forty years later, Invasion of the Body Snatchers is still a relevant mortality tale. Much in the same way George A. Romero used the same zombie threat to explore different facets of a failing society, the invading threat of alien organisms duplicating the human race one member at a time will continue to be explored in different ways, but for the same reason.

The 1970s has long been heralded as the greatest decade for film, giving birth to a cinematic movement known as the paranoid thriller, which includes titles like The Conversation, All the President's Men, and The French Connection. Included in this lineup is Philip Kaufman's Invasion of the Body Snatchers, which is not just a worthy contribution to the paranoia movement, but also an excellent sci-fi tale of immense fear and suspense, a call for social awareness, and finally, a superior remake of a groundbreaking predecessor. It's the kind of horror story that will live on through the ages, and like Richard Matheson's "I Am Legend," will be retold every so often to reflect the current times, though it's likely none of them will ever be as successful as Philip Kaufman's take.

DER SAMURAI (2015)

On the audio commentary included on its Blu-ray release by Artsploitation Films, producer Linus de Paoli paraphrases a former film teacher when he says that every film has to leave at least some questions unanswered, for if every possible curiosity the audience held for a certain film were satisfied, it would make that film forgettable. Nothing about that film would linger in the audience's mind. Such a philosophy has fully informed the construct of Der Samurai, which presents a lot of questions and provides very little answers. And boy, audiences do not like this -- especially the mainstream -- and Der Samurai is as far away as one can get from mainstream before traditional narrative is left behind entirely.

Der Samurai has been described as a black comedy, or a Lynchian mind-twister replete with bouts of dark humor. The first is fully incorrect, and the second is pushing it, but closer to the truth. For once you get over the fact that, yeah, you're watching what's clearly a man (or a man-shaped being) walk around in a formal dress and kill random people with a samurai sword, all while not-so-subtly trying to convince poor Jakob (Michel Diercks) to desire him, there's not that much humor to be found. A moment or two allows some levity - the scene in which Jakob violently assaults a lawn ornament flamingo is beyond surreal and kind of comes out of nowhere - but Der Samurai appears to be playing its outlandish concept very straight. And a certain understated beauty comes out of that. Or it could very well be what was intended as humor gets lost in the utter madness unfolding before you, leaving you ready to accept that this slice of oddness over here isn't meant to be more or less funny than all the other oddness surrounding it.

Jakob, awkward in his own skin, is an outcast. He doesn't maintain any groups of friends and lives with his grandmother (his parents are deceased). And the fact that he's a police officer doesn't earn him even a modicum of respect from his community or superiors. He's lonely, and likely wrestling with the fact that he is homosexual (though this is never flat-out admitted). His comfort in the presence of girls, in any way other than his role as server/protector of the people, is lacking. He sadly dreams of making a cavalier move on a pretty girl nice enough to give him a ride...but it's all in his head - a quick and stolen daydream; in actuality, he's staring out her car window, unaware of what to say or how to act.

In the same way that Tom Hanks made audiences cry over a volley ball, or Bruce Campbell wrangled tears by playing an elderly dying Elvis mortally wounded by a mummy, Der Samurai is adept at triggering a surprising melancholy reaction despite all its surrounding insanity. The Samurai, who is never named anything beyond that (and who is never actually called that during the film), makes his appearance in an ominous fashion, immediately gaining the distrust of the audience. But throughout the one long dark night over which Der Samurai's events unfold, the dynamic between our two lead characters begins to slowly change. The Samurai begins to embody many different things to the tortured Jakob: first, an antagonist; then, a leery friend; finally, a subject of sexual desire -- all before turning back around to becoming his antagonist again, only it's of a different sort: not of the sword-wielding psychopath, but of Jakob's refusal to admit who he is.

What may come off sounding like pretension is actually quite the opposite. Heavy themes aside, Der Samurai is wicked fun, strikingly directed, boasts an extremely brave performance from Pit Bukowski as The Samurai (see the film and you'll know why), and yeah, it does manage some mileage from some pretty dark gags. Seeing a man in a woman's dress taking off heads with a samurai sword is something that would likely never get old -- but lucky us, we get that along with an engaging story, likable characters, and even a tug at the 'ol heartstrings. It just may be the most unorthodox romance in the history of cinema.

Please see Der Samurai. There's no promise that you'll love it, or like it, or even understand it, but films that possess such an individuality and which circumvent typical cinematic machinations need to be supported to encourage other filmmakers to make more of them. Der Samurai offers something that films very rarely offer: the chance to experience something as graphic, thrilling, and mystifying as it is touching -- all while chopping off heads.

Der Samurai us available on Blu-ray from Artsploitation Films.