2022 in Film – Missile Test

October Horrorshow: Venus

Lucía (Ester Expósito) is having a bad day. A platform dancer at a shady nightclub, Lucía decides the best plan for her life is to steal a gigantic stash of ecstasy pills from the club’s gangster owners and sell it. But, on her way out the door, one of the bouncers/mob muscle, Moro (Fernando Valdivielso), catches her in the act. Lucía escapes, but not before Moro bruises up her face and stabs her in the leg. Her plan ruined, Lucía does what so many others do when in a serious jam: she leans on family.

Rocío (Ángela Cremonte), Lucía’s sister, has problems of her own. A single mother, she is raising young Alba (Inés Fernández) in a decrepit tower block named Edificio Venus that has been bleeding tenants for years. Tragedy after tragedy haunts the Venus’s past, and Rocío has had enough. One last night of pounding sounds coming from the ceiling has convinced her, unlike the protagonists of just about every horror movie ever made, that it’s time to get out of the danger early. Just as she and Alba are packed and in the corridor on their way to safety, the elevator opens and there is the bloodied and exhausted Lucía. That’s the setup for director Jaume Balagueró’s 2022 film Venus, which he wrote with Fernando Navarro. Continue reading “October Horrorshow: Venus”

Shitty Movie Sundays: Alien Sniperess

The internet is a ruthless killer. Its convenience has strangled retail, shoved a dagger through the heart of newspapers, put a bullet through the brain of the recording industry…et cetera, et cetera, et cetera. The internet has even done a number on the movie business. Hollywood spent a long time consolidating releases into megaplexes, crowding out older theaters and independent distributors in the process. The megaplex killed both the drive-in, and its greatest contributor, regional cinema.

But, lo and behold, it is the internet, normally such a destructive force for prior forms of business, that has saved regional cinema. It’s possible now to shoot a movie digitally and get it onto a streaming platform, bypassing big Hollywood gatekeeping. Low budget b-filmmakers from the furthest reaches of the country are back, just like when they were polluting drive-in and grindhouse screens back in the 20th century. Which brings us to Alien Sniperess. Continue reading “Shitty Movie Sundays: Alien Sniperess”

October Horrorshow: Lockdown Tower, aka La tour

Horror films are more than just about fear. They run the gamut of distressing emotions. Besides fear there is its more frantic cousin, panic. There is also disgust, grief, loneliness, and, of course, dread. Going beyond fear into these other realms of negative emotional experience can do a lot to rob the fun from a horror flick, but they also introduce realism and honesty into stories that, otherwise, have little more depth than a carnival funhouse. Today’s film dips far into a reservoir of hopelessness, so much so that the experience will linger in a viewer’s mind after the credits roll. Continue reading “October Horrorshow: Lockdown Tower, aka La tour”

Shitty Movie Sundays: Wrecker (2022)

Outsider filmmakers with a dream are the best kinds of filmmakers. These are the folks who get it into their heads to make a movie regardless of massive obstacles. All the things that make filmmaking difficult are mere challenges to overcome, annoyances to bypass. What requires a small army to get done in Hollywood, they do themselves. Of course, the final product betrays the humble nature of these movies, even when they are 127 minutes of bombastic insanity.

Bryan Brooks had a very limited career in film before 2022’s Wrecker, appearing in a handful of shorts and doing some work as a grip. If the internet is to be believed, Brooks had an epiphany while he was pinned beneath an 800-pound crab pot on a boat in the Bering Sea. After his shipmates lifted the cage and his lungs took in precious lifegiving air, Brooks took stock of his life and decided that filmmaking was his life’s calling. What followed was a decade of painstaking study of the craft of film before he unleashed his talents on the moviegoing public. It’s almost a superhero origin story. I don’t care if any of it is true. A little mythmaking in the b-movie movie industry never hurt anyone. Continue reading “Shitty Movie Sundays: Wrecker (2022)”

Shitty Movie Sundays: The Space-Fighter

The Space-Fighter movie poster There is some mythmaking surrounding today’s film, so a little internet detective work was called for.

The Space-Fighter, according to its credits, is a production of The Stryker Brothers, Michael and Matthew. They wrote, directed, produced, starred, and handled the digital effects. On the IMDb page for the film, though, the credited director is Matthew Arnashus, who also stars as Vic Rider. Vic’s brother in the film, Ken, is credited to Michael Jean. However, Vic and Ken are clearly twins. But, are they?

Some more digging in the tubes has turned up info that Matthew Arnashus is a freelance editor and voiceover actor working out of the Chicago area. He has a brother named Michael, but I couldn’t find out if they had the same birthdate, because I’m not going to pay some sketchy white pages site for that information.

The reason the birthdate for Michael is something I was poking around for is because of how this movie was shot. Vic and Ken are twins, but in many scenes the two share, it was shot as if a single actor was playing the two characters, with them rarely sharing the same shot, and the occasional use of a body double. Yet, in the first scene in which they appear, it looks very much like there wasn’t any trickery involved. It’s a mystery. Maybe there were scheduling conflicts keeping one or the other away from the set. Maybe they were just messing with poor viewers like me. Anyway… Continue reading “Shitty Movie Sundays: The Space-Fighter”

October Horrorshow: The Lake (2022, Thailand)

There haven’t been many films from Thailand here in the Horrorshow, despite there being a nice little industry for the horror genre in that country, going back decades. Ghost and supernatural films seem to be de rigueur. Today’s film, though, is a monster flick that was done in by its storytelling and some bargain basement dubbing.

The Lake, from writer/director Lee Thongkham, tells the story of a pair of monsters that emerge from a lake and begin terrorizing the surrounding village and city.

In the opening scene of the film, audiences see some villagers out on the lake at night, and a big monster appears. It’s not kaiju-sized, but it could give a real life Tyrannosaurus fits. But, that’s not the only monster. The next day a more human-sized scaly biped emerges from the lake, and that’s the beast that wreaks the most havoc. Continue reading “October Horrorshow: The Lake (2022, Thailand)”

October Horrorshow: The Cellar (2022)

There’s nothing quite like a creepy old house for atmosphere. Even better when it’s a stately pile — a relic of the gilded age whose halls were once filled with scurrying servants and aloof aristocracy. They were the engines of their own destruction, but what pleasant ruins they have left behind.

The scene of The Cellar, from writer/director Brendan Muldowney, isn’t on the scale of a Victorian-era English country home from Henry James, or the mansion from The Changeling, but it is a house with ceilings high enough for a game of pickup basketball, and wood molding everywhere. At some time in the last century, a house like this — one built with care and craftsmanship — became a place that has a sense of unease about it. Perhaps we’ve gotten too used to the plain boxes that accompanied the post-WW2 population explosion. Or, perhaps, we see a once-grand residence on its downward slope and the weight of years and events that happened there is too much to consider. So much life passed through there, and so long ago, that an old house is a reminder of death. No matter. I’d live in a place like this film’s Fetherston House in a heartbeat (interiors and exteriors were shot at a house in Roscommon, Ireland). Continue reading “October Horrorshow: The Cellar (2022)”

October Horrorshow: Night’s End

It’s tough watching a movie lose it in the final act. Whereas a film that shows little promise at the start, but then builds and builds to something special at the end, is always a pleasant surprise, a film that stumbles to the finish after a strong start can’t help but be a disappointment. Much hard work, good acting, and fine storytelling is, if not wasted by a poor ending, at least squandered somewhat. I can’t say that Jennifer Reeder and company should have just packed it all in if this was the best ending they could come up with, but I would like to see what they could have done given another chance, and maybe a couple extra bucks in the effects budget. Continue reading “October Horrorshow: Night’s End”