Dementia 13 (1963)

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Aka The Haunted and the HuntedI think you should spend more time with your wife to be. After John Haloran (Peter Read) dies suddenly, his wife Louise (Luana Anders) fears she will be denied his inheritance and conceals the death. She travels from the US to join the rest of the Haloran family at their Irish estate, Castle Haloran, as they hold a memorial for John’s young sister, who died in a lake eight years ago. Her brothers-in-law Billy (Bart Patton) and Richard (William Campbell) perform a strange ritual. Louise schemes to convince her mother-in-law Lady Haloran (Eithne Dunne) that she can speak with the dead child. However, this plan is interrupted by an axe murderer on the loose and family members start dying off, one by one.  Local medic Dr Justin Caleb (Patrick Magee) attempts to solve the mystery  It’s a true sign of the late, great lord y’are. A neat little slasher made by producer Roger Corman with funds left over from The Young Racers (and three of the stars, Campbell, Anders and Magee), this is Francis Ford Coppola’s proper debut following two nudie pics. It’s nicely shot on location in Ireland (at Ardmore Studios, Howth Castle and Dublin Airport) by Charles Hannawalt.  It’s an effective little slasher flick made in the mould of Psycho, with some new sequences shot by Jack Hill when Coppola’s original didn’t fit Corman’s exacting requirements with a tacked-on prologue done by Monte Hellman. It’s a good role for the underrated Anders, one of my favourite actresses of that era and there’s oodles of atmosphere with the murderer appearing out of the dark in the many murder sequences, making superb use of the picturesque setting. Who could have guessed that the director of this story about family business would turn into America’s version of Luchino Visconti in less than a decade with The Godfather?! He made a wax doll to relieve his guilt

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Christiane F. (1981)

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Aka Wir Kinder Vom Bahnhof Zoo. You’ll never forget her … In mid-1970s Berlin, an aimless teenager (Natja Brunkhorst) who lives with her single mother and sister in a social housing project falls in with a drug dealer Detlef (Thomas Haustein) after meeting at a nightclub where her hero David Bowie is performing. Soon her addiction leads her to hanging out with other junkies at Bahnhof Zoo subway station and then to a life on the streets… I only did it because I wanted to know how you feel. Adapted from tape recordings with the real-life junkie whose story it tells, this has cult written all over it. From the Berlin setting, the drugs, Bowie and the excruciating portrait of a beautiful child lost to sex and heroin and, well, rock ‘n’ roll, it’s tough stuff. Working from a screenplay by Herman Weigel and director Uli Edel adapting Kai Hermann and Horst Rieck’s non-fiction book, Edel directs with verve and a realistic grit. This is not an attractive experience despite the superficial elements of cool – its low budget, graphic sex scenes and shooting style place it in the exploitation realm while the classic score by Bowie (Station to Station, Boys Keep Swinging and unofficial theme song Heroes are the most famous tracks) and the great Jürgen Knieper give it a real kick. The cast are mostly non-professionals and the beautiful Brunkhorst is the only one who proceeded to an acting career. However watching dead-eyed kids having underage sex, shooting up and overdosing ain’t pretty and this squalid depiction of Berlin in the 70s is miserable – no wonder it cleaned up. A film that truly shocked upon release, it’s dedicated to Atze, Axel and Babsi, all portrayed here and all dead from heroin ODs.  A grim Euro-classic with a cameo performance by Bowie actually recorded in NYC.  I can’t get hooked if I just use a little, only once in a while. I can control my using

The Love Witch (2016)

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Men are like children. They’re very easy to please as long as we give them what they want.  Elaine (Samantha Robinson), a beautiful young modern day witch, is determined to find a man to love her following the death of Jerry, the husband from whom she was divorced. She moves from San Francisco to Arcata California to rent from a friend and in her Gothic Victorian apartment she makes spells and potions, then picks up men and seduces them. Lecturer Wayne (Jeffrey Vincent Parise) is so overcome by their hallucinatory lovefest he dies and she buries him in the grounds of his cabin (actually a huge house). Her spells work too well, and she ends up with more hapless victims including Richard (Robert Seeley) the husband of interior decorator Trish (Laura Waddell). When she at last meets the man of her dreams, Griff (Gian Keys) the policeman sent to investigate Wayne’s death, her desperation to be loved drives her to the brink of insanity and murder... l’ll bet you like to spend time in the woods. ‘To say that this oozes style is to understate the affect of a fully-fleshed sexploitation homage from auteur Anna Billen – who not only writes and directs and edits but designs the costumes, painted the artwork, designed the production, composed the theme song and for all I know manufactured the lenses and served the crew gourmet lunches from the craft vehicle.  Clearly the woman can do just about everything. It’s fabulous – a wicca-feminist twist on a serial killing murdering witch who just wants to use sex magick for ultimate personal fulfillment but gosh darn it wouldn’t ya know it, men just never know what to do with their feelings after an amazing session in bed. Shot by M. David Mullen so that this beautiful out-of-time pastiche looks like it could have been made circa 1970 (only a cell phone conversation removes the impression), it works as a satire that goes full tilt boogie at the tropes of romantic melodrama while evoking sly commentary on what men really want from women, principally in the performing styles and an occasional internal monologue. At this rate, never the twain shall meet. If there’s anything wrong with this is it’s overlength:  at two hours it could lose 25 minutes without any fatal damage, probably from the police procedural subplot. But it’s quite incredible, a loony tunes essay on gender roles that’s drenched in sex, sensuality and humour, a pulpy delirium no matter how you look at it and the soundtrack culled from Ennio Morricone’s Italian giallo scores is to die for. Literally! According to the experts, men are very fragile. They can get crushed down if you assert yourself in any way

Dick Miller 25th December 1928-30th January 2019

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Cult actor Dick Miller has died. A veteran of Roger Corman’s American-International Pictures, he rarely got a starring role but it was as Walter Paisley in Beat satire A Bucket of Blood that he made his name and he reprised the part several times, including in his final screen appearance for the upcoming Hanukkah.  He became a favourite character actor, particularly for Corman alumni like Allan Arkush, Jonathan Kaplan and especially Joe Dante, who never made a film or TVM without him. He appeared with fellow exploitation stars Mary Woronov and Paul Bartel several times. Whenever he popped up, in anything from The Howling to The ‘Burbs or Gremlins or The Terminator he brought a smile to everyone’s face, like a friend you’re happy to see again. What could be better than that? Now that’s a real legacy.

Death Wish (1974)

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I mean, if we’re not pioneers, what have we become? What do you call people who, when they’re faced with a condition or fear, do nothing about it, they just run and hide? Once a mild-mannered liberal, New York City architect Paul Kersey (Charles Bronson) snaps when intruders break into his home, murdering his wife Joanna (Hope Lange) and violently raping his daughter Carol (Kathleen Tolan). On a business trip to Tucson, Arizona he is given a gift from a client Aimes Jainchill (Stuart Margolin), a revolver he uses to patrol the streets when he returns home when he realises his ideals have been completely compromised in the worst possible way. Frustrated that the police led by Detective Ochoa (Vincent Gardenia) cannot find the intruders, he becomes a vigilante, gunning down any criminal that crosses his path. Then the public finds his vigilanteism heroic… Wendell Mayes adapted Brian Garfield’s 1972 novel which arose from his own spontaneous reaction to being a crime victim. Under the direction of Michael Winner this exploitation fare becomes a muscular revenge thriller, brilliantly honing Bronson’s persona to effectively express what any normal individual might feel like doing – but would restrain themselves from actually pulling the trigger. His transformation is key to establishing the audience’s empathy. You’ll have fun identifying the thugs – watch for Jeff Goldblum. Also in the cast:  Stephen Elliott, Paul Dooley, Christopher Guest and that’s Olympia Dukakis in the precinct. The cinematography by Arthur J. Ornitz is realistic and the score by Herbie Hancock immersive, making for a powerfully atmospheric narrative. Probably Winner’s best film. Fantastically judged and controversial, this is for anyone who’s ever felt f****d over.

My Bloody Valentine (1981)

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It happened once, it happened twice. Cancel the dance, or it’ll happen thrice. Ten years ago, an inexperienced coal miner named Tom Hanniger (Jensen Ackles) caused an accident that killed five men and put a sixth, Harry Warden (Peter Cowper), into a coma. A year later, on Valentine’s Day, Harry woke up and murdered 22 people with a pickaxe before dying. Now Tom has returned home, still haunted by the past. And something else is back in Harmony: a pickaxe-wielding killer in a miner’s mask, who may be the ghost of Harry, come to claim Tom and his friends.  The accident long forgotten, the dance resumes. Many of the town’s younger residents are excited about it: Gretchen (Gina Dick), Dave (Carl Marotte), Hollis (Keith Knight), Patty (Cynthia Dale), Sylvia (Helene Udy), Howard (Alf Humphreys), Mike (Thomas Kovacs), John (Rob Stein), Tommy (Jim Murchison), and Harriet (Terry Waterland). Of this group, Sarah (Lori Hallier), Axel (Neil Affleck), and the mayor’s returning son T.J. (Paul Kelman) are involved in a tense love triangle. … This Canadian exploitationer is notorious for its gore and violence which led to it being heavily cut but it has become something of a cult item due to its status in the vanguard of the slasher genre. What’s striking about it at this distance is how it treats its subject – seriously! You may think twice about using a nail gun after this. Written by John Beaird with a story by Stephen Miller, this is directed by George Mihalka.  And this holiday serial killer flick gave a certain great band their name. For that at least we are grateful.

Wolves at the Door (2017)

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Some years ago an older friend of mine who is a psychiatrist said that showing another friend A Short Film About Killing had altered that man’s opinion about the death penalty with which he had previously agreedThe story of that film is about a passenger who randomly and brutally murders a taxi driver and is then sentenced to an equally violent death. Apparently this third party now agreed with my psychiatrist friend that the death penalty is wrong. My psychiatrist friend thought I would agree. I didn’t. I argued for my part that it was precisely the callous random nature of the act – a total stranger being murdered for pure pleasure, presumed sexual excitement and on a whim – that justified the punishment. A life for a life, if you will. My psychiatrist friend was duly horrified by my reaction. Nowadays I believe in life imprisonment. And I mean life. Which is all by means of introducing this re-staging of the horrifying so-called Manson Family murders 8th August 1969 of the beyond beautiful heavily pregnant actress Sharon Tate (Katie Cassidy), her unborn son Paul Polanski, her best friend Abigail Folger (Elizabeth Henstridge), Tate’s ex-boyfriend Jay Sebring (Miles Fisher),  Folger’s boyfriend Wojciech Frykowski (Adam Campbell), and Steven Parent (Lucas Adams), who wasn’t in the Cielo Drive house but met his end at the gates. If there is a text here that is worth discussion beyond the psychotic violence at the core of this exploitation film, it is about carelessness. How careless people are about their own safety, their presumption of civilised behaviour from others and the means by which a gap between our experiences and our expectations can be filled by the utterly inexplicable hate-filled rage of people we don’t even know, exiled from normalcy, refugees from society, indecent and obscene. There’s a reason we are hard-wired to have a circle of 150 family, friends and acquaintances – survival. It’s why kids are taught as soon as they speak, Stranger Danger. Some of this is expressed in the portrayal of William Garretson (Spencer Daniels) the so-called caretaker on the Polanski property who is portrayed here as a witless drug user with earphones clamped to his brain-dead head throughout. He finally died in 2016. Some of the perpetrators are still breathing. There are some episodes that do not require gruesome and explicit re-enactments. This vile explosion of depraved horror lingers in the communal memory for a reason. It fundamentally altered most people’s view of the death penalty which Manson and his smirking wenches escaped by the pure fluke of timing, unlike their wretched and helpless victims. One of them even got away to live her life in exchange for bearing witness. Other than that, I have nothing to add. Written by Gary Dauberman and directed by John R. Leonetti. Ghastly, tasteless and misjudged, in the truest sense.

Fifty Shades Darker (2017)

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I was being romantic then you go and disturb me with your kinky fuckery.  Sex is ever thus. Anastasia Steele (Dakota Johnson) is assistant to a fiction editor Jack Hyde (!) (Eric Johnson) at a publishing company and he has designs on her. She bumps into Christian Grey (Jamie Dornan) at an exhibition where her friend’s giant photos of her are the star attraction – and he’s bought them all. He inveigles his way back into her life, screws her, has her boss fired after he comes on to her, and then she gets his job. Only trouble is a girl is following her – subplot one. It’s Christian’s previous submissive – who bows before him causing Ana to have a crisis of at least two minutes because she knows she will never kneel down when he tells her! Then Christian asks her to move in and he instructs her once again. Then he nearly dies in a helicopter crash – except he doesn’t. At his birthday party he announces their engagement and the woman who introduced him to S&M (Kim Basinger) gets teed off and his mom (Marcia Gay Harden) hears about it and banishes her. Like the one night stand that stays for breakfast, this nonsense will just not go away and they even had the cheek to include Jeff Buckley and The Police on the soundtrack. Ms Johnson’s clothes slip off as regularly as Dornan’s accent and it’s all as smooth as those Ben Wa balls. Allegedly not as filthy as the books by E.L. James this is still shit. Barely plotted, it was adapted by Niall Leonard (her husband). Directed by James Foley.

Hell’s Angels on Wheels (1967)

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It’s better to reign in Hell than serve in Heaven. Not often do you hear a line from Milton at the movies, certainly not in a biker film. But this was in the vanguard of that cycle (!) in the late 60s and took the lead from the previous year’s Wild Angels and ran a little farther with Sonny Barger himself on the sidelines. Poet (Jack Nicholson) is pumping gas when he joins Buddy (Adam Roarke) and his gang after having his sickle damaged by one of them and then getting set upon by a bunch of sailors. The Angels take to the road and Buddy’s girl Shill (Sabrina Scharf) becomes the main attraction for this new ‘prospect’ as they ride around and provoke violence among hapless bystanders. This was written by R. Wright Campbell (who wrote a handful of screenplays for Roger Corman) and directed by Richard Rush whose decided distaste for the material is evidenced in a variety of contrasting setups lensed by Leslie (Laszlo) Kovacs who comes into his own with the handheld photography. It starts promisingly, with a riff on Kenneth Anger’s Scorpio Rising and there are some quite bizarrely languid pastoral interludes in the breaks between outbursts of violence, which are designed and shot rather amateurishly. It will all end in flames with that woman and those guys involved … It certainly looks like a lot of kicks were had vrooming around CA pretending to be violent while the real Hell’s Angels filled in the bike seats as extras. This is notable as one of those early-ish Nicholson performances where he seems to be almost horizontal in contrast with the perpendicular effortful grimacing of those around him, particularly the leading man, Roarke. B movie directors Jack Starrett and Bruno VeSota appear respectively as the policeman and priest who cross the gang’s path.

Jonathan Demme 02/22/44-04/26/17

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Multi-talented director Jonathan Demme has died. He got his start with Roger Corman and debuted with a biker movie and naturally graduated to women in prison flicks before entering mainstream Hollywood and making his name with some fine films starring terrific women like Goldie Hawn and Melanie Griffith.  His first critically acclaimed movie was however the wonderful Bo Goldman screenplay Melvin and Howard, one of the best of the Seventies with an unforgettable performance by Jason Robards as Howard Hughes and beautifully shot by longtime collaborator Tak Fujimoto. He made some wonderful documentaries particularly the landmark music film Stop Making Sense with Talking Heads:  who can forget David Byrne on stage in that enormously boxy suit? But his name will be forever associated with a shocking adaptation that is one of that tiny number of films to win the Big 5 at the Academy Awards – The Silence of the Lambs won for Actor, Actress, Picture, Adapted Screenplay and Director. He may have made some missteps and unnecessary remakes but humour, humanity and compassion shone from his work. Demme will be missed.