LUCIO FULCI : BEYOND THE BEYOND! A Critical Reassessment! His 7 Best Films!

The Roman born Director Lucio Fulci when remembered today is primarily remembered for his his schlock and gore filled horror films of the 80s such as THE BEYOND, HOUSE BY THE CEMETERY, ZOMBI 3, which is a crying shame, because these were the lowest common denominator films of a filmmaker reduced to making dreck to make a paycheck, rather than his films of the  late 60s and throughout the 70s that can be considered his artistic passion projects.

His film-making and use of the camera in this period was ground breaking and incredibly influential, and his best films remain among the best of their respective genre.

From 1966’s MASSACRE TIME (an early inspiration and precursor to the dove filled blood ballets of John Woo) to 1978s rarely seen SILVER SADDLE, was a twelve year period of unbridled creativity  and staggering experimentation, and contain not only Fulci’s best films, but some of the best films by anyone during the period, and films that stand the test of time.

 

Here without further ado our Fulci’s best films and essential films for any true lover of cinema:

 

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PERVERSION STORY AKA ONE ON TOP OF THE OTHER – Don’t let the salacious poster fool you this is a MAGNIFICENT film. It’s a reworking of a more well known film, a classic film by one of the world’s most respected directors, however I have to say… I prefer this Fulci film. It is an unjustly little seen masterpiece, beautifully shot, and deserves a great and feature rich Blu-ray disk. Fulci’s best film.

 

In second place I put PSYCHIC, just adore this film.

 

I follow that up with his LIZARD IN A WOMAN’S SKIN and DONT TORTURE A DUCKLING solidly in 3rd and 4th place.

SILVER SADDLE in 5th place, is the best of Fulci’s three westerns which says a lot. As it beats out the praised MASSACRE TIME in 6th place. (FOUR HORSEMEN OF THE APOCALYPSE does not make this best of list. It’s overlong, and I can do without its denigrated and stereotyped Black character. But its distasteful parts aside, it remains, like all of his wide-screen films… beautifully shot.)

BEATRICE CENCI, in 7th place, is the director’s own favorite film, his attempt to make a serious Fellini level film, and its poor critical and commercial response was a blow the Director never truly recovered from. The film is solidly good if not great. But definitely deserving of a watch. It’s a solid B/B-.

And those are Fulci’s seven best films, and are must watch films for anyone desirous of the best of Euro-cinema of the period.

 

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1966’s Massacre Time – This film was the one to put Fulci on the genre/world map. One of the earliest of the Spaghetti Western craze, and one of the best. This is an ultra violent flick, that shows off Fulci’s adeptness and creativity in staging action scenes. You can definitely see in this film with its gravity defying blood laced shootouts and its prevalence with doves, a clear inspiration and precursor to the later ‘blood ballet’ films of John Woo. Made during the glory days of the spaghetti western genre (roughly 1966 to 1968) MASSACRE TIME stands out as being one of the most extreme of these extremist westerns.

 

More detailed reviews to come next installment!

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NetFlix Movie review : THE EXORCISM OF MOLLY HARTLEY

 

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THE EXORCISM OF MOLLY HARTLEY – There’s a very interesting opening to this film, and a wonderful texture that belies this film’s formulaic poster and unoriginal title.

This is a sumptuously filmed, and quite sexy film. Well performed, well directed by Steven R. Monroe, with a score that is reminiscent in places of John Carpenter or Daria Argento scored films. But particularly the look of this film compels… it is gorGEous.

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This is a film that is less horror and more a taut thriller and in some ways a muscular but dumb action movie aesthetic, crafted onto the bones of what should be just a formulaic possession film.

I like this film, even though the fourth act is something of a misfire, it is not doing anything exceptionally original, and in many ways it is very trite and yes dumb, (the patient gets to take a trip out of the asylum, gets to go back in with his vestments. Really? The demon voice, and pea soup, spitting, it is all this close to parody. I may be twisted but I found the scene with the scissors and the ear, hilarious. So there are definite tonal issues), however compelling visuals and  a quick moving story keep the film ahead of its flaws, and makes for an entertaining watch. 

So while not in the same league (or hemisphere) as the granddaddy of exorcism films… THE  EXORCIST, it’s head and shoulders above more plodding and dire Excorcism films, such as EXORCISMUS,

Grade: Recommended. B. Not worth a purchase, but worth a look if you catch it on VOD or as a rental. Currently showing on NetFlix.

 

 

Short Film of the Day : Jason Eisener’s TREEVENGE

 

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TREEVENGEIn a word… brilliant. You’ll never look at Christmas Trees the same way.

As someone who has always felt cutting down trees to celebrate life is something of an oxymoron and idiocy (and indeed looked on holidays in general and Christmas in particular with a dubious eye, creationS more of greed than gospel), this film is Horror Satire at its best. Co-creators Rob Cotterill and Jason Eisener are filmmakers to watch. Highly Recommended Film.

 

View it for yourself here!

 

 

Movie Trailers of the Day!

 

click for larger (if applicable) Trailer shows promise in this tale of cat and mouse.

The Hours Till Daylight (2015) I saw the first few images of this trailer, and turned it off. Because I was sold on seeing this immediately.

Camino (2015)The trailer plays a bit like THE WITNESS meets FIRST BLOOD. Definitely intriguing.

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This THE WAVE (BOLGEN) Trailer made me go… Awesome. That’s pretty high praise for a trailer.

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I watched the first thirty seconds of this trailer, and turned it off. Why? Because I knew this is a film I would be trying for myself. So much of what sepArates good genre movies from bad ones, is do you care about the characters?

Most genre fiction gravitates to the annoying or stupid kids who go exploring usually where they shouldn’t. This trailer in 30 seconds showed more depth to these characters than most genre films ever pack into a full movie. So yeah, I was immediately intrigued by the isolated THE THING like vibe.

All movie trailers courtesy of my new go to spot for watching trailers… Amazon Prime via Roku!

 

If you dug this blog post, leave a like or send an IM, or better yet go here and purchase today’s DEAL OF THE DAY:

Movie Posters Re-Imagined: Alternative Designs for the World’s Favorite Cult Films

 

THE CINEMA OF STATUES : The Films of Rainer Werner Fassbinder


“He was a personable looking man. First your eye said he’s not young anymore, he’s not a boy anymore. Then your eye said : he’s not old. There was something of youth hovering over and about him, and yet refusing to land in any one particular place… In short the impression was agelessness. Not young, not old, not callous, not mature – but ageless. Thirty Six looking fifty six, or fifty six looking thirty six, but which it was you could not say.”

FOR THE REST OF HER LIFE by Cornell Woolrich

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Have you ever watched a film, and mere moments into it been so captured by its construction, its strangeness, and its audacity that it earns a spot in your pantheon, your metaphoric showcase of worthy things? I’m guessing the answer for some of us is yes. I say some, because the strange, by its very nature, will not be the cup of tea of everyone.

MARTHA based on a Cornell Woolrich story “FOR THE REST OF HER LIFE” was my first introduction to the world of Rainer Werner Fassbinder, and what an introduction. I’ve been a huge devotee and fan of all things Cornell Woolrich since discovering his pulp fiction a few years ago. I own and have read a ton of Woolrich stories and novels. When I heard about this movie based (illegally it seems) on one of his stories, I had to try it.

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And MARTHA finally seen, I was blown away by the strange, nearly alien craft and audacity of that film, and that led me by fits and starts to today’s review of Fassbinder’s WORLD ON A WIRE.

I’ve watched movies all my life, I consider myself well informed when it comes to cinema. I’ve seen all the great genres, and most of the great directors. I can speak to you about German Expressionism, Film Noir, French New Wave, Italian Neo-realism, the Pan-African and Post-Colonialism movements. I can talk to you about blockbusters and straight to VOD masterpieces. And when you have seen as many films as I have, to get me through a movie these days… you have to either a/tell the familiar in a captivating way, or b/create something vibrant and unfamiliar.

Most movies and all Blockbusters are the former, they are variations on types of movies and a thematic structure that we have seen time and time again, since the dawn of cinema; what makes them successful is the ability to do the ‘rescuing the girl from the train track’ in a fresh and innovative way.

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Much rarer is the latter, films and filmmakers that fundamentally challenge and expand are definitions of the scope and pathways of cinema.

I’ve seen two of Rainer Werner Fassbinder’s films all the way through, and both of them have struck me that way. Now admittedly they are from phase 1 of the three loosely defined phases of his career. Phase 2 being his Melodramatic phase, Phase 3 being that melodrama morphed into his identity films, dealing with themes of national, sexual, and familial identities in collusion and in conflict. (for more on this and for an overview on the films of Fassbinder please see the excellent Film.com article by Daniel Walber here!)

Phase 1 is arguably his most experimental and innovative films, here you’ll find the genre infused stuff, tinged with film-noir, horror and scifi trappings, the genres that I enjoy. Pro-active genres. I find myself generally not the audience for his phase 2 or 3 films, I’m not a fan of melodrama or just statement films. But with most of these later films not yet tried, I’m open to being pleasantly surprised.

But Phase 1, his cinema of statues and stylization, static but wonderfully composed frames, filled with actors who are at times more statues than men, and when they are animated it is often in very jerky, stilted ways. His women, leading ladies, are variations on a theme, big eyed, statuesque but often emaciated to the point of boniness, strawberry blonds, odd beauty bordering on the antithesis of beauty, mannequins and masks, and a wonderful use of angles and reflections.

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In pieces the movies should not work, stilted, unnatural performances, what is generally considered signs of amateurish or bad acting. However in WORLD ON A WIRE (WELT AM DRAHT, 1973), that ugliness and unease, the uncomfortable pauses, the shots held too long, the awkward pacing, inappropriate and at times overbearing use of music, things we typically identify with bad films and bad filmmakers, in these two films of Fassbinder all these flaws are stylistic choices and become instead function, negating themselves and becoming calling cards of a fundamentally different definition of cinema.

WORLD ON A WIRE, which virtually nobody talks about, is this outrageous and ambitious and way long mini-series of a movie, equal parts science fiction, mystery, and avant-garde film, that has this incredibly intriguing and prophetic premise about a world in which they create not just an artificial intelligence, but an artificial world peopled with artificial intelligences.

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The intelligences are programed to be perfect representations of people, and have a based in time and motion relation to each other, and capable of sex and love and procreation. So an AI universe that is self propagating, and more predictive, as the world is designed to be on a 20 year curve, so the shopping habits and economic changes and housing changes and conflicts that occur in the artificial world today, will be predictive of what happens in our world in 20 years.

It’s a brilliant, mind blowing concept, that you’ll find in better science fiction stories, but not in movies; particularly not in movies of the period, the early 1970s. On top of which the AI universe is viewable and interact-able by means of downloading someone into one of the AI inhabitants of the AI world. What??? That is mind blowingly brilliant and audacious premise for a film, even today in 2016 in an age of avatars, much less for a film made nearly 50 years ago.

And all of that, is not even what the movie is mostly about: it’s a film-noir movie. With a scientist trying to get to the bottom of his coworker’s disappearance. And then there is all the Fassbinder weirdness going on this movie, that just adds yet another level to the movie.

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The doll like women who never seem to blink, random moments of strangeness, [a party scene, where people seem not to move, and the few who do, do the same movements over and over again. A scientist called into his bosses office for serious conversation which they have while not looking at each other and spinning in circles in their chair. a night club with mostly nude attractive Black Men and women dancing while the clothed patrons walk past feeling them up… it is just craziness that comes out of nowhere, but all of it leaves you gobsmaked and off-kilter and not knowing what is coming next.} And it’s not comedy, Fassbinder isn’t just taking the piss or going for laughs here, he is telling a straight story, but he is using a crooked path, fueled by dream logic, he wants the delivery not to be what you are expecting and in WORLD ON A WIRE he succeeds.

Fassbinder, very much the spiritual predecessor to later avant garde filmmakers such as David Lynch and Lars Von Trier, was a young maverick director who died way before his time at the age of 37, however in less than a score of years (before his untimely departure) he would make 44 films, 39 of those being feature films. It is a staggering body of work to have produced by the age of 37. How many of us will ever make one film, much less 44 of them. And to make such across the board unique films, love them or hate them, is a great testament to someone who obviously ate, drank and slept cinema.

600full-rainer-werner-fassbinder Image courtesy of film.com

I can see people not liking or dismissing Fassbinder’s 3+ hour Sci-Fi epic as just flawed. And it is flawed, like I said previously, Fassbinder likes the mistakes, the mistakes of time, mistakes of gender, mistakes of intention, mistakes of moment, and out of all these mistakes with WORLD ON A WIRE he makes, at least for me, something composed of the old, that feels endlessly new.

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Grade: B+. It is definitely not for everybody, but if you like directors who are creative with cinematography (not just 360 degree shots but 540 degree shots), adventuresome in storytelling, and loyal to their actors (Fassbinder works with the same actors repeatedly, including actors of color, such as El Hedi ben Salem, rarely done for the period, and still too little done today) then this is a film for you. Recommended.

The Fassbinder Collection Two – MARTHA

World on a Wire (The Criterion Collection) [Blu-ray]

Speak to Me of Death: The Selected Short Fiction of Cornell Woolrich, Volume 1 (Collected Short Fiction of Cornell Woolrich)

Podcast of the Day : NO SLEEP Season 1 Ep 1-3

Podcast of the Day : NO SLEEP SEASON 1 First 3 Episodes!

EPISODE 01 – Two stories in this inaugural episode.
THE STAIRS AND THE DOORWAY is the first story and the stronger one. The second story THE MIDNIGHT MAN starts strong, but fizzles, as if the writer couldn’t work out an ending, and just abruptly turned it off.

EPISODE 02 – Matt Dymmerski’s THE BASEMENT as read by David Cummings is the last story of this 2nd episode, and the only memorable one. More than memorable, it’s a tight, effective burst of Poe tinged horror. A crazy quilt TELL TALE HEART as viewed by the victim. And Cummings is an effective Narrator.

EPISODE 3 – This is the first really strong episode of NO SLEEP with all three of the stories being satisfying reads/narrations. They are DON’T EVER TURN IT OFF, THE CORNFIELD, and THE THING IN THE FIELDS.

7 Best Podcasts of Jan 2016!

7 Best Podcasts of Jan 2016!

Knifepoint-HorrorKNIFEPOINT HORROR ‘These tales of supernatural suspense by Soren Narnia adhere to the most primal element of storytelling: a single human voice describing events exactly as it experienced them. The stories, stripped of even proper titles, spill forward as taut, uninterrupted confessions. Knifepoint Horror leaves nothing but the story’s riveting spine to compel and chill you to the core. Music by Kevin MacLeod.’

bookriotBOOK RIOT‘Book Riot – The Podcast is a weekly news and talk show about what’s new, cool, and worth talking about in the world of books and reading, brought to you by the editors of Book Riot.’

wtf_logoWTF

11oclock11’OCLOCK COMICS ‘VinceB, David Price, and Jason Wood talk comics and stuff.’

bmc960-37kB-MOVIE CAST ‘The B-Movie Cast is a website podcast and forum devoted all things B-movie and cult move related.’

blacktapesTHE BLACK TAPES PODCAST ‘The Black Tapes is a weekly podcast from Pacific Northwest Stories and Minnow Beats Whale, and is hosted by Alex Reagan. The Black Tapes is a serialized docudrama about one journalist’s search for truth, her enigmatic subject’s mysterious past, and the literal and figurative ghosts that haunt them both.’

cgsCOMIC GEEK SPEAK ‘Comic Geek Speak (CGS) was started in March, 2005 when Bryan and Peter decided to try their hand at the then-new world of podcasting. They quickly invited their friends to join them and then the show was complete.

CGS is far more than just a few friends in a room with microphones. CGS is now a worldwide community of comic fans that helps to foster and grow the love of comics that is vital to the industry’s success.’