Microwave Massacre - Sure genius or Run at All Costs

Microwave Massacre

Director: Wayne Berwick
Cast:
Jackie Vernon as Donald
Claire Ginsberg as May

Opening Thoughts: Microwave Massacre was given to me as a Christmas gift this year. This film was on a shortlist of films I wanted to watch that I have not seen based on concept. The concept is was pretty simple a man devolops the taste for human meat after he wakes up from a blackout after a rage in which he killed a person.

A comedy that sounds like Eating Raoul at heart sounds fun. Especially with comedian Jackie Vernon, who I remember as a child as the voice as Frosty the Snowman. What can go wrong?

The Plot: Donald is a simple man who works at a construction site and just wants a good meal. The issue Donald has is since his wife, May, got a Microwave she thinks she is Julia Childs. Now Donald wouldn't mind her cooking if it was actually good, but unfortunately for Donald gis wife's cooking should land her on Worst Chefs in America.

Now that would be ok, but May is constantly nagging him and questining his manhood. One day Donald flips out in a rage, blackout, and wakes up not remembering much. The only thing Donald knows is thathe has developed a taste for human meat and somehow he killed his wife.

Donald, a free man, decides to cook May in various  ways becoming a well respected cook to his friends. Now that May is gone, Donald has became a ladies man again, but there is just one catch what makes him hard is the thought of killing the ladies after he makes love to them.

Review: The tone, mood, and setting for this film is set up within the opening credits of the film. A hot lady is walking through the streets and stops turns and gets her breasts stuck in a whole that is exposed to a construction site. Two of Donald's coworkers notice and drop everything they are doing to run and take advantage of her all while disco porn music is playing in the background. The actions don't really matter it is just thrown in there as stupid humor to keep the film moving.

Honestly that is what this film feels like a bunch of stupid humor thrown together that makes you want to hurt yourself to make the insanity stop. Jokes on crabs, sex, and food that just seem forced to deliver humor.

Then you come to Jackie Vernon he just seems out of place for this role. This is Jackie's first leading role in film and his last. I'm not sure if this was because Jackie's lackluster performance or he accepted a role that seemed written for Rodney Dangerfield who may of read the script and said no. Caddyshack 2 was written for Dangerfield and he said no. I was hoping for a Eating Raoul like film, instead I got a piece of Elephant dung.

Closing Thoughts: This film wants to be so much more, but there is only so much forced stupid humor I can take. I can't take this much stupid humor no matter how good the premise sounds. There is an audience for this film, but I'm just not that audience and can't recommend this film. That says something because I am a very forgiving person. Even I can't forgive this trash of forced humor by filmmakers whohad bo business making a film. Luckily for us we all can remember Jackie Vernon for Frosty the Snowman.

I am giving this film a 1/10 I see no redemption to this film at all making me glad I watched the film. Instead what the film made me do was pull out a film called Eating Raoul  written/directed/starring Paul Bartel and featuring his wife Mary Woronov. As you can see picture below it's a film that takes itself seriously.

I'll be working on a Facebook and Twitter page this week so updates can be seen there

How to Buy for a Cinephile

How to Buy for a Cinephile 

You have a family member, friend, or a colleague at work that you have decided to get a gift for a special occasion. You know that person has a special interest in a certain area and decided to get that person a gift towards their interest.

You thought you did your due diligence and got that person a great gift only to find out later the person didn't like the gift, couldn't use the gift, or returned the gift for one reason or another. That person's reaction made you feel bad and questioned what could you have done differently.

As a Cinephile I can be a hard person to buy an item for. There are so many factors that come into play and like other cinephiles we all have our likes and dislikes. Well there are a few things you can do to come out a winner.

Simple Rules
A gift card would be the simplest answer, but then that for alot of people is the easy way out and not going to give them the satisfaction of the reaction they are looking for.

Last year I was at the Hollywood Show, when my friends at BS Movies screened Pieces at the Film Bar Phoenix. Lynda Day George the star of that film was at the show I was at. A simple gift from the heart for Brian and Shelly was to have Lynda do a quote from the referencing the screening with a cute little play on it. That one gesture on my part made it a unique gift for two Cinephiles that could only work for them. The reaction gave me all the satisfaction I needed.

The issue is what kind of gifts are going to do that? A gift card is not going to do that. If you buy a Cinephile a film chances are the Cinephile owns the film. If you try to get the person merchandise related to a film or an actor may have that merchandise, may not be into that type of collectible, or you just bought the person a collectible for an actor they love for a film they don't love.

Like I said it gets tricky buying for cinephile when you want to give from the heart.

The Key is Research

Your best way of getting a great gift for a Cinephile is do your research on their Facebook and Twitter accounts and ask friends and Family about the Cinephile. My family and friends might say Michael is into this and this is some of the stuff he has been working on. Yet just be careful on the info the person gives you.

I can tell you I love framing posters and hanging them on the wall. I have a quite a few waiting to be framed, but even if a family member or friend hands you an unframed poster from my collection it's probably best to tell them no.

So the idea is listen to them to find out is there a film a person hold to their heart for various reasons. Like above the film Hello My Name is Doris is a special film to me. I loved the film so much I based my service dog's name tag on the film. So when I recieve something like a signed BluRay copy of the film well then I associate that gift with my partner Gaston.  It takes on a whole new meaning.

That may be a perfect route to go. Yet maybe you will find out that person has been looking for something for years just can't find it that is another good route to go.

Other good options also include signed Vinyl LP soundtracks to films Cinephiles love. They are relatively small compared to a poster and make nice wall art.

Closing thoughts

Buying for a Cinephile can be hard it just means a little extra work, but don't worry that extra work will get you a reaction you will not believe.

Spotlight Release: Bloody Birthday

Bloody Birthday 

Director: Ed Hunt

Writer: Ed Hunt
Music: Arlon Ober
Cast: Lori Lethen, Billy Jayne, K.C. Martel, Julie Brown, and Susan Strasberg

Opening Thoughts: Certain subjects for films just seem taboo in the minds of the public. Like for some reason you are the most dispicable people in the world if you  take part in the production or choose to watch the end product. Films with killer kids, psycho Santa Claus, and any other thing that is supposed to be family friendly. I swear I hear Gene Siskel screaming at me "Shame on you, Shame on you, Shame on you!" Just for watching this film.

Guess what I don't care. My main concern is whether or not a film with Killer Kids can work as a genre of horror. Honestly, I am scared I met end up watching a film with cute children I just want to smother to death like the rabbits in Night of the Lepus.

I can tell you this I do enjoy the strange, unique, and weird when it comes to films, but knowing next to nothing about this film going in other than concept leaves me very open especially with a cast of nobody in the lead roles.

Plot: Timmy Russell (K.C. Martel of E.T. and Growing Pains) is struggling to fit in school with the his peers amd the teaching staff. To Timmy's teacher, Miss Viola Davis, he is a bad apple and to his peers he doesn't share a common bond with them even though he wants to be their friends.

Yet for Timmy to share a common bond would mean he had to have been born on the same day as Curtis Taylor (Billy Jayne), Debbie Brody (Elizabeth Hoy), and Steven Seton (Andrew Freeman). Those three kids were born on the same day, prematurely, during a solar eclipse.

That seems to give them some strange type of bond to where the kids are connected to each other mentally, psychologically, and spiritually. It's as if they have a power over the town and if you don't fit in or anger them you better watch out.

Timmy wants to be friends with this group, but after multiple attempts he realizes all the kids want to do is take advantage of and play tricks on him and the others in town.

Joyce Russell (Lori Lethen), Timmy's sister, starts to see the strange patterns across town. People dying and cruel tricks. If Tommy and Joyce want ti live they will have to come up with a plan to take these kids down. Who will succeed the Russell's or the Eclipse kids?

Review: To try and describe this film by any means will make you think I am bonkers, ridonkulous,and just a little insane in the brain for even attempting a review. This film is like I took the Twilight Zone episode "It's a Good Life" and threw ot into the blender with Halloween.

These three kids are simply evil to the core whther it is Debbie charging kids so they can have a peep show of her sister Beverly to having rhe other two kids kill her father. Then there is Curtis the film wants you to believe he is the most evil person in the film willing to kill anyone in a moment's notice.  I so want to believe that he is that evil, but he looks like Alex P. Keaton's friend Skippy from Family Ties. I just can't instead I find myself laughing  at his actions.

Then you have the sequences like the one above to where the kids try to run over Joyce Russell  and while the scene is effective watching kids being serial killers and their methods let's just it looks more cute than terrifying.

All while at the same time the adults in this film mean mext to nothing. They serve little purpose in the film like the Russell's parents don't show up until the end of the film. Some of the other adts even know what is happening, but they choose to look away. The adults are nothing more than puppets. Even Beverly who finds out about the peephole does nothing about the situation to fix it.

All this combined together leads to a film so terrible on an epic level like Plan 9 From Outer Space that the film turns into a comedy that I want to watch over and over again. I shouldn't love this film, but I do.

Closing Thoughts: I am actually going to have to hide this film or lend it out. I could honestly watch the film any day of the week because Blood Birthday had me on the ground laughing. Even  my service dog had to check on me a few times to see if I was alright. I so want to give this film a 10, but I can't for an overall grade it is a 6/10. That is because some people will watch this film and not see the beauty of what the director created a cheesy flick that should been long forgotten, but instead is begging ro be watched with a large group of friends. I'll give this film a 10 on the cheese and campiness level. All I ask is if you choose to watch this film don't take it seriously because if you do that you will not enjoy the film at all.

Spotlight Release: All the Colours of Sergio Martino

All the Colours of Sergio Martino 
By Kat Ellinger 
Publisher Arrow Films
Release Year: 2018

Opening Thoughts: I've been collecting films since I was a kid on VHS and Laserdisc. I am always looking for those films that leave me on awe wanting more. By 2016, I had amassed a collection of films that few can rival, but still feel like the best is yet to come.

In 2016, at a BS Movies screening I was introduced to the distributor Arrow Video USA. I wasn't unfamiliar with them because I had a few UK releases like Who Dares Wins on BluRay, but this was the first time I got a US release given to me. Blood Rage was the film and that film was bad on a legendary level cheesy, terrible acting, and special effects that left me on the floor laughing I wanted to see more this distributor had to offer.

What I discovered Arrow is a line of cult classics, underappreciated, foriegn, and exploitation films that really deserved another look at. They are films chosen maybe they are not the best in the world like Criterion, but they are films that have a lot of rewatch fun value with friends or by yourself.

In 2017, again BS Movies peaked my interest again during an all night Scream Fest when they chose Stage Fright. That film opened up my world to Giallo. A style of horror with a murderer on the loose that can go in almost any direction with no rhyme or reason with a black glove usually involved. In this case it was a killer with a bird mask on terrorizing the cast of a theater production. The film was simply bonkers and I wanted more. I just didn't know where to start looking other than Arrow Video and through Cinephile guides.

The Author: In my search for more Giallo, my paths crossed with Samm Dieghan and Kat Ellinger. Kat the latter because she is partners with Samm Dieghan on a podcast called Daughters of Darkness. Samm wrote the book Lost Girls: The Phantasmagorical Cinema of Jean Rollin. A fantastic book about the horror films of Jean Rollin. My favorite director in the genre of horror.

I started listening to their podcast after I fell in love with Samm's book. What I noticed when listening to Kat, she seemed to echo alot of my thoughts and gave a perspective to certain films why should women love certain horror films and why certain films shouldn't be looked at negatively just because there are sex scenes in the film. Whether the scene is looked at negatively should depend on how the sex is displayed. I finally heard someone who echoed my thoughts. That is when I started following Kat Ellinger on a regular basis.

 Kat is the editor of Diabolique Magazine and a regular contributor to small specialized Home Media labels retrospective looks at older films like a commentary on a BluRay release. If you own alot of Giallo you probably have Kat somewhere in your collection. The nice thing is Kat is a fresh perspective compared to some the more established horror historians like Kim Newman. I like fresh perspectives of people closer to my age and from both genders.

So when I saw Arrow released the book of All the Colours of Sergio Martino by Kat Ellinger. I got excited because she is already on a few of my releases and her suggestions on Giallo never led me wrong plus I can use more input in that area beyond Massimo Dallamano and Dario Argento.

The Book: What can I say if you follow Italian Cinema enough, you might notice a certain trend. The Italians tend to take a popular new fad in American cinema and create their own genre out of that fad then beat that new genre into the ground until their is nothing left to make or the genre is dead. Mix that in with weird what the stories?, outlandish  scenarios, and unexpected endings they sure know how to make some of the most fun yet weirdest movies you will ever see. I'm actually surprised we haven't seen Django in Space yet.

The director Sergio Martino maybe the best director that crossed multiple Italian genres of films with an almost endless catalog of films to watch. So a book that focuses on his work is a great idea. There was two ways you could go with this book one being  the retrospective of Clint Eastwood's career by Richard Schenkel that did a large in depth look at each and every film Clint ever made. The other option is a smaller look on each film, but more of a Cliff Notes guide or Home Media guide to a director. Kat went with the Cliff Notes version. Each has their advantages and disadvantages.

If you are expecting a large super in depth guide to Sergio Martino this book may not be your cup of tea, but if you are a novice looking for suggestions in a certain genre of Italian film and want a more condensed version of Martino then this book is perfect for you.

I fell in love with certain stories where Kat used actual quotes from Martino and her background knowledge of the director to bring you in and get you hooked. In the first few pages Kat brilliantly described Martino's youth. I actually felt I was in that room surrounded by smoke as a kid looking up at the greatest filmmakers of Italian cinema like Martino was exposed to as a child. I couldn't put down the book.

Then Kat split the book into various parts mostly keeping certain genres together without having them mixed and a home media guide. Splitting the book into multiple parts is brilliant because if all I wanted to focus on is comedy then I can read that section and if I wanted to focus on Giallo I can read that section without having to read to the others.

The nice thing about each section when describing the film Kat would compare films to other directors' films and gave names. So when looking for suggestions and maybe more of a background if I had seen the other material that helped decide whether I wanted to see Martino's film or in some cases I love Martino's film so much I want to see the other directors' film mentioned.

That is what film guides should do make you want to explore more films and give you some background knowledge. The other thing nice was the home media releases guide. Kat lists all the films that have a home media release on BluRay and DVD in what country you get those releases in. So while a film may not be available in the United States if you have a region free player you can import his films to watch them.

Closing Thoughts: I am not going to go out and call this the perfect book by any means. Sorry Kat if you read this. Yet I will say this book is a good gateway drug into the world perfect for the novice or medium level person who has some knowledge on Sergio Martino, just not enough info to make a decision on which films to watch from him. All the Colours of Sergio Martino would be a great purchase to guide you.

If you are that expert on Martino and want super in depth info on him then again this may not be your cup of tea. Where it may be a good for the expert is handing the book to a friend who expresses interest in him.

I found the book quite enjoyable myself. Will be using it more as a reference guide from here on out specifically the home media section. Though I will see if I really enjoy a film what other films compare to it in the sections.

As I write this post some of the home media options are already out of date with new and better releases coming out like All the Colours of the Dark with a brand new Kat Ellinger commentary. So do your research before you buy a release.

New Release: Inside look at Spider-Man Into the Spider Verse

New Release: Inside Look at Spider-Man Into The Spider Verse

Director: Peter Ramsey
Writer: Phil Lord
Cast: Chris Pine, Nicolas Cage, Lily Tomlin, Zoe Kravitz, Liev Schreiber, Hailee Steinfeld

First Thoughts/Opening Thoughts: It is rare as an avid filmgoer that I go into the film cold turkey. I didn't even see a preview for this film. My only knowledge was from my background of reading comics and knowing the different Spider-Mans across the alternate realities. I wasn't sure what versions of Spidey would appear and honestly unprepared for the film. That my friends is sometimes the best way to see a film because you have no expectations.

Plot: Miles Morales is an African American boy who lives in Brooklyn. Miles has a genius intellect and just recieved a scholarship to attend a premier academy designed to get Miles into the best colleges. The issue is Miles doesn't want this education opportunity, to Miles this opportunity is going to mean he will be looked down upon by his peers and possibly considered white.

Miles dad, a police officer, doesn't want Miles wasting his gift. Yet to Miles his dad's suggestions go unheard by him. Miles instead turns to his Uncle Aaron for advice. Aaron has gifts similar to Miles, but squandered them. Yet goes on adventures with Miles to develop Miles's artistic abilities because he is a Banksy in the making.

One day in a secluded area of the subway Miles working on an artistic masterpiece with Aaron gets bitten by a radioactive spider. Miles leaves, but decides to comeback later when he realizes he developed powers like Peter Parker in the comics who is Spider-Man in his world as well. During the investigation Miles gets caught up in a battle between Spidey and the Kingpin.

The Kingpin wants to bring his dead family from another universe through so that they can live together again. The issue is doing so may cause a blackhole that destroys two universes maybe even more. The machine malfunctions  causing devastating consequences for the Spideys across the universes.

Miles completely unskilled and unfamiliar with his powers must rely on the help of multiple versions Spider-Man to learn how to wield his powers to his own advantage if he wants to stop Kingpin and save the Universe.

Review: You would think after seeing multiple Spider-Man versions through film and television that you could probably not accomplish much new without the story feeling like a rehash of some sort. While yes there is some familiarity to other Spidey origins and films, Spider-Man Into the Spider Verse is uniquely its own film and surprisingly a fresh take in what could've been a boring been there seen that film.

The film has more in common with the Karate Kid then it has in common with the other Spidey Media. Miles isn't alone and has a master to teach him the ways it just may not be the master he was intending, which can lead to hilarious and awkward moments in the film. Yet that is not what sets this film apart from other Spidey films.

What sets this film apart honestly is its unique animation style. The film is no question a CGI animated, but it's filmed to look like the pages of a comic maybe from the 90s before the companies switched to nicer magazine paper from the standard newspaper type paper they were using before. Yet each version of Spidey is drawn and animated in the style that is appropriate to their medium. Spider-Man Noir looks he is drawn write off the cover of a pulp magazine from the 30s, Spider-Ham looks like he came from the world of Sunday Funnies, and the Japanese Spider-Man is animated like a Manga comic. The creative team behind this delivered what I would consider to be the first type of animation its type that I can only describe feels like the Italian filmmakers of the 60s Deadly Sweet teamed up with the creative team of the Batman TV show to deliver a campy one of a kind film.

You mix that in with sequences of multiple split screens at once showing different action scenes happening all at one time like multiple panels of a comic on the screen you end up losing yourself in the pure beauty of the film woth a strong story that makes you want more.

With how uniquely animated and a great story. I am not sure how you follow this film up with a sequel if you wanted and maybe should just be treated as a one shot film. Why tarnish this film with a turd?

Closing Thoughts: I can't contain how much I felt like a kid again experiencing something so fresh and unique in the world of film. Spider Verse is uniquely its own film that stands up well by itself. Mix in that with the feel of the comics, great social message, story great for all ages, and the comedy. I am going to give this film 10/10 and say just hand the studio the Oscar for Best Animated Film already nothing deserves it more than this film.

What Happens in this Nursery Stays in this Nursery!

The Baby (1973)

Directed by Ted Post
Starring Anjanette Comer, Ruth Roman, Marianna Hill, Suzanne Zenor, and David Manzy
Written by Abe Polsky
Music by Gerald Fried

Released by Arrow USA in July 2018

Opening Thoughts: Ok a premise so "Weird!" for a film that just says stop everything you are doing put down the remote and watch this film. Why is an adult acting like a Baby? Is the family messed up in the head? Why does the Baby have an ax in his hand? Should make for an interesting watch at least with Arrow's label on it. I do like Ted Post films like Magnum Force, but even for Post this is tossing everything I know about him to the side can he do horror?

Plot: Ann Gentry (Anjanette Comer) is a social worker who takes special interest into the Agency's  weirdest case aka Baby. Baby (David Manzy) is a 21 year old man with the mind of an infant. Baby lives in a home with his crazy "Mama" Wadsworth (Ruth Roman) and his twisted sisters who seem on the onset not allowing Baby to progess. But why is the question.

Ann is determined to find out no matter what the cost. Whether that means getting the state involved to get him placed in special institute, fighting Mama for custody, or giving her life. One thing is for don't mess with a Lioness and her cubs because this Mama is prepared to kill at any cost to keep her Baby.

Review: Woooohhhh!!!!!! I am not sure what to think altogether after watching this film. From over the top acting to who is more evil to the unexpected throw you through the ringer ending to why Baby is Baby is just messed up on so many levels that makes you want to turn off the film, but you can't. The story keeps you interested because of the mystery.

Ruth Roman as Mama is unforgettable she rules over her Children with an iron fist, in what one could say as serious yet comical kind of way that I can only compare to Faye Dunaway's performance in Mommie Dearest. The rules are designed to keep her children each designated position.

The reason for Baby staying Baby is just because Mama doesn't want to lose another man. So she punishes Baby to keep him in that state and uses her daughers to enforce that punishment. What is clear Baby wants to grow up, but is afraid Baby acts one way with Mama around and differently  then when she is not.

Yet then there is Anjanette Comer in the film as Ann Gentry who seems to have the best for Baby in mind, but there are flashes of sequences that makes you think she is in a mental institution herself recalling her experiences with Baby. So as a viewer those scenes leave you guessing as to what could of happened to Ann.

That tension build up leaves you the viewer on the edge of your seat. For an ending, that most people would never be able to guess.

I absolutely love it. There is nothing for me to complain at even the scenes where Baby feels the need to relieve sexual tension.

Video Quality: For this transfer Arrow gave the option of watching this film in a 1:78:1 or a 1:37:1 aspect ratio. While this film may have screened in the theaters im a widescreen format, you should be watching this film in a 1:37:1 format.

I made my conclusion by watching both formats. The 1:37:1 format is oddly the right ratio to watch the film in. What happened probably is one of two things the film was initially intended to be a made for TV movie and the filmmakers realized they had something bigger on their hand after filming and decided a theatrical release was warranted or the filmmakers didn't know how how to film in 1:78:1 so they cropped the bottom and top for a theatrical release. Either way the 1:37:1 contains more screen.

The 1:37:1 has nice colors and decent grain ratio. I didn't see any fallout, but the 1:78:1 had some faded looking colors. Being that the 1:37:1 is the right ratio I am not going to complain especially since the film looks great and that it belongs from that time period.

Final Thoughts: The Baby should be in every horror fans' collection. Quite honestly the film is unique to where there is not much available to compare the film against. Basket Case maybe? I'm not sure. One thing is for sure you will be appalled, laughing, and shocked all at the same time. It's definitely a film just because of its ending, I will never forget.

The 1975 Academy Award Snubs or Great Things Come in Small Packages

What kind of actor can take the world by storm with just one film and not win the best actor from the Academy? What actor loses to Art Carney for Best Actor in 1975? What actor's performance led to millions of lives being saved?

No one is saying Art Carney's performance was not good, but his performance was definitely not Oscar worthy. Especially, when one actor was getting praises like "Not since Dustin Hoffman has such a great performance came from a small package!", "Robert Redford has met his match!", and "His uncanny ability to project emotions definitely makes him the new Laurence Olivier!". Who is this mysterious actor I am talking about?

Well that actor was a retired dog actor by the name of Higgins. Who costarred along greats like Buddy Ebsen, Zsa Zsa Gabor, Eva Gabor, and June Lockhart. Higgins biggest fame up til 1974 was the uncredited role of Betty Jo's dog in Petticoat Junction.

If you were to ask any director on Petticoat Junction who the best actor on the show  was most of them would say Higgins the Dog. Higgins had an uncanny ability to learn tricks, combine them with previous tricks, and display emotion all in one take. Yet by the time Petticoat Junction was done filming Higgins was 13 years old.

Higgins trainer and owner, Frank Inn, decided it was time for his retirement because of age. However one filmmaker had other plans and knew of Higgins's ability. Joe Camp was getting tired of the cheesy family films that were being marketed at that time mostly from Disney with a G raiting. Camp wanted to change that view and make a film people of all ages wanted to see. Camp just needed the right star.

Camp approached Inn with the idea of a smart mutt that develops a relationship with kids, but the father is dead set against them adopting a dog that is not from a breeder. That dog would would have to do something amazing to prove himself worthy of adopting. Inn loved the idea so much that he brought Higgins out of retirement. The film would come to be known as the Golden Globe winning motion picture Benji.

The role Higgins was born for. Higgins fit the part perfectly  a mutt that was the mixture of Cocker Spaniel, Poodle, Schnauzer, and Border Terrier. A dog who in real life was rescued from euthanization at animal shelter. It's the story of Higgins's life.

Benji 1974
Directed by Joe Camp
Starring: Higgins the Dog
Tiffany the Dog
Terry Carter
Patsy Garrett
Peter Breck
Christopher Connelly
Deborah Walley
Mitch Slade

Opening thoughts: Benji is a film I watched as a kid that I loved and holds a special place in my heart. I loved the dogs' interactions with humans, the comedy, and at the same time intense suspenseful scenes. There is a scene in which one of the kidnappers kicks Tiffany the Dog that traumatized me as a child. I actually thought a dog was killed on screen in front of my eyes. I still wonder to this day how this film got a G rating with that scene. I still rank this scene as one of my top three most traumatic sequences that I have experienced when watching film.

Plot: Benji is a mutt that lives in an abandoned home that should be demolished. Nobody owns Benji so he is a free a spirit that roams around town with his daily routines of visiting people across town. Almost every person in town loves him the police, the crazy cat lady, the local diner, and two kids by the name of Paul and Cindy.

Those two kids want to give Benji a permanent home, but their father Dr. Chapman is dead set against allowing a mutt into their house because that type of dog may carry diseases that they can spread to humans. Despite desperate pleas and tears from Paul and Cindy, the Doctor will never give in even if that makes him the bad guy. Benji stands no chance of a forever home.

That is alright for Benji because  he crossed paths with an escaped Malteese Dog by  the name of Tiffany. A high end dog struggling to survive on her own. Benji is in love at first site and takes her underneath his wing on his adventures across town.

One day while the two dogs are at the abandon house, Paul and Cindy are gagged and drug into the place by a bunch of kidnappers led by Mitch.
Benji can tell something is wrong and he needs to get help before the kids get hurt or even worse die.

The issue for Benji is who is going to believe a dog and what challenges must he overcome to find help. One thing is for sure he doesn't want to see another friend get murdered by a bad person.

Can Benji overcome the challenges? Can Benji save the day? Will Benji get his forever home?

Review: OMG 10 years has passed since I last watched this film. I am not going to lie that this film is extremely dated by the clothing, music score, and "I Feel Love" Benji's Theme. Guess what? I really don't care.  This film has a certain charm to it that I believe makes Benji a timeless classic.

Outside of a next to nothing budget of 50,000 dollars going against this film that can be seen in the video quality and lack of big Hollywood stars, the film has everything else going for it. A great story that can still be told today for all ages, unique cinematography in which for the most part is told from Benji's height, superb acting from character actors, intense moments that are unforgettable, and acting from Higgins which in my honest opinion is the best display of animal emotions on the screen that I just can't turn the channel if this film pops up on television.

Yeah the "I Feel Love" sung by Charlie Rich is cheesy along with Euel Box's score, but it works. That score and song takes the movie to the next level, because Box makes Higgins's emotions much more relatable to the viewer. Honestly I  can read a dog's emotions better than a human at times.

The film gets a rare 9/10 from me

Legacy: What can I say more about this film Higgins and Tiffany were Hollywood's power couple of 1974. Camp was able to revolutionize filming techniques on how animals should be shot. The film on a budget of 50,000 dollars depending where you read made 40 million dollars not a bad return and in today's money that would be a 198 million not bad.

The biggest part of Higgins's and Benji's legacy even though he passed away a year after the film's release was that he changed people's thoughts on adopting dogs from rescue shelters. It was no longer a taboo. That one performance saved millions of animals from being euthanized. Art Carney's performance in Harry and Tonto can't say that. This is why Higgins deserved the Academy Award for Best Actor in 1975 or at least a special oscar awarded to him.

Honestly no other performance by an animal has left this much of an impact on humanity years after the fact.

Higgins's daughter Benjean would play Benji from there on in tv series and further films through Benji the Hunted. Every Benji since then was selected from an animal shelter including for the 2018 remake on Hulu.

What if the 1970s WestWorld Saga was a Trilogy of Films

What if the 1970s WestWorld Saga was a Trilogy of Films?

Warning the film I am about to review is a Hardcore Porn film. Please don't read any further if you have an issue with these types of films. Well you have been warned.

In 1971, a relatively unknown author to most of the world book, The Andromeda Strain, was adapted into a movie and became a box office hit. That author would go onto be one of the most influential authors and screenwriters of the 20th century giving us books like Jurassic Park, TV series like E.R., and films like Coma. Of course, I am speeking about Michael Crichton.

Yet in order to make it in Hollywood, a filmmaker needs to show that he is a more than a  one hit wonder. Studios were knocking on his door, for the follow up to the Andromeda Strain. That persistance of the studios allowed Crichton to negotiate a deal to where he can write his story and direct the story onto film.

That film Crichton gave was Westworld. An amusement park in which adults visited to escape their real world problems and live a fantasy of their dreams. The film and concept was a box office success that led to a sequel and later a TV Series reboot that is airing on tv right now in 4K.

The sequel was Future World another world within the amusement park for adults toive their fantasies.

The film while a modest success, did not generate the revenue the studio was looking for to justify a sequel. Yet let's take a step back for a moment and imagine the film was successful enough to warrant a sequel. What would the follow up film be? What concepts would the film want to explore?

Well in 1978, we may have just been given a film that qualifies to be the 3rd film in the Westworld series.

That film is SexWorld.

SexWorld (1978)
Directed by Anthony Spinelli
Starring: Leslie Bovee, Annette Haven, Sharon Thorpe, Desiree West, Kay Parker, Joey Silvera, and John Leslie

Opening thoughts: Disclaimer I thought reading the synopsis for this film on Vinegar Syndrome that I was buying a raunchy sex comedy from the 1970s like HOTS or The Swinging Cheerleaders. I didn't think I bought a 1970's hardcore porn film. When I opened my order from Diabolikdvd.com, I was flabbergasted that Jesse wrapped this BluRay separately from the others. I shook my head because I realized I just bought a hardcore porn film and in general I find them boring and unworthy of watching. Ok let me get the torture overwith at least the film is going to be a spoof of Westworld so I'll get some comedy out of the one time I watch the film.

Plot: The film opens up with a group of people riding on a bus to SexWorld. All of a sudden a disco like song starts
"SexWorld go on a spree
SexWorld Come here with me
All you desire,We have for hire
 you'll turn to fire, we guarantee
 SexWorld do what you will
 SexWorld you'll have your fill"

Well you get the point it lets you the viewer know you are in for a ride. The song ends a glimpse of everyone on the bus appears as one by one you go down the row and see why some people have chosen to come to SexWorld. Each person has their own problems from being unable to deliver in bed, recently dumped by their lover, or simply desiring an experience they think they want.

SexWorld has two rules
1. You will through an extensive in depth interview be given exactly the sexual experience you ask for
2. At no time can you mingle with other guests of the amusement park or have sexual relations with them.

Does everyone get their desires or do some people leave with regrets?

Review: I was blown away by what I saw on the film. A hardcore porn shot in 35mm that looked like it had the budget of a 1970's Hollywood film. A film that delivered on point to tackle some issues and give us a real story instead of like most porno that I saw.

The sets loom like they were taken directly put of Westworld and the film felt like it took place in the Westworld universe because in the end they were at amusement park interacting with robots and living their fantasies.

What surprised me the most about this film though, was the director Spinelli was willing to tackle certain social/relationship issues. If a person can't deliver sexually should you still be in a relationship? Is your anxiety so high that you are afraid to ask anyone out? What if you want the forbidden fruit that you know you can never have? Does the one night stand  really solve any of these issues or does that increase the desire for more.

I'll admit there were times I was disgusted in this film because sometimes the desires the guests wanted was not what they wanted when the act started happening. I couldn't ask for much more out of this film.

Final Thoughts: This was a fun film that in my mind was unintentionally more exciting and fun to watch than Westworld not that it is better. I give the film a solid 8/10 not perfect by any means, but just has a fun charm to it.

Special Thanks: Brian Haas encouraged me to write this review since I was uncomfortable writing one for this film even though I enjoyed writing this film.

Paul Schrader Blames the Audience for Lack of Social Films Being Made

In an interesting interview last week, screenwriter and director Paul Schrader blamed the audiences for why films on social issues are no longer being made by the big studios.

I hate to disagree with the man who gave us Taxi Driver, but I think the statement Schrader made places blame on the wrong party and doesn't take into the fact changes of time and audiences taste.

Does he really think a film like Bob & Carol & Ted & Alice, a film about wife swapping, is a concept today's audiences are asking for? What about other social issues from the 70s? Does he just want a market for social issues of today to get made?

I think Schrader's assumptions of the audience is naive to what is actually happening with films getting made. Styles of comedy, social issues, and drama have a limited shelf time before they are dated and the next generation comes in and takes over.

You can't expect a young generation to watch 80s comedies from Ivan Reitman and John Hughes be able to relate to them. A teenager watching The Breakfast Club probably won't understand why Hall's character is not in jail. The comedy in a film like Lampoon's Vacation in alot of instances doesn't apply. How is a large percentage of young adults who have never been on a vacation outside of their state or been on a road trip able to relate to such a film?

Honestly it is why certain eras ends with certain films. The era of focusing on social issues after decades of the Hollywood code, the Blacklist code, and the studios saying no that prevented those types of films being made that were being made from the late the 60s through the late 70s died with Heaven's Gate financial failure in 1980.

That was a decade of great films being made that were taboos until the relaxation came in that allowed art to be made. Unfortunately, the audience said no to a few films with their pocket book and that era came to an end as we knew it.

The studio is in the business to make money. They are not going to gamble on a film they don't think will make money or make them a certain amount of money they want. A social film can be successful, but may just not provide the return the studio wants.

That is the key, what the studios wants and not the audience wants. That is Schrader's failure to understand what the studios want is to make money over art. Kevin O'Leary can often be heard saying on Shark Tank to small businesses don't get greedy on the percentages it's better to have a small piece of the big pie, then to have a larger piece of the small pie.

What essentially Kevin is saying as an investor and to the owner is, I'm looking for max return and you should too so it's better to own a small piece of larger corporation for return than a big piece of a small corporation. Why would O'Leary invest a film like Tully, a film about post pardom depression, when he could invest in Black Panther that will make a substantial difference in his return.

That is where studios are at now. They tell the theaters what is showing on what screen. They tell the audiences what films they are going to see. Since that faithful day in 1980, the big boys have slowly been brainwashing the audiences into mindless zombies on what they will intake.

It's not the audiences fault, it's the corporations fault why certain films don't get made. If certain social films do get made, then they just don't spend as much and limit the theaters or smaller venues show that film.

A film like Ashby's Coming Home, is better suited for a smaller art house type theater. It allows a more dedicated theater to setup an event that can have veterans speak before or after the show about their experiences with a Q & A possibly even a charity event. Large studios just don't know how to handle these types of films anymore, because honestly they were too busy brainwashing and controlling the audience and theaters.

There is a market for these films and they are still being made and shown, but the honest truth these types of films have a found a new home where they belong with theaters that know how to promote, handle, and show this type of film with an audience who wants to come in searching for more than just seeing a film wanting answers to their questions.

Sorry Schrader it is the evolution of the industry and the studios who you should put the major blame on not the audiences. The audiences are still watching and going to these films.

A Look into the 4K release: Terminator 2: Judgement Day

Terminator 2: Judgement Day 4KUHD

Studio Canal/Lionsgate Release 

Release Year: 2017

I do not need to go into an in depth background/plot synopsis of this film. Trust me almost every living person in the United States has seen this film in some format. If you saw the film in the theaters you could likely tell the story of when, where, and how your life was changed after seeing this film.

The summer of 1991, I was on vacation in Wapakoneta, Ohio the birthplace of Neil Armstrong. I was spending time at my Aunt's house who I considered my grandma on my dad's side of the family. Mix in with that I had just moved to a new city and hardly knew anyone. Most of that summer I spent inside the house watching films that we rented for Blockbuster Video and listening to AC/DCs Thunderstruck, in which I think my sister was ready to destroy the tape from the  nonstop continuous loop that song was on.

I had seen  previews for T2 and had been begging to see the film. Schwarzenegger and Stallone were the two coolest actors on earth to any boy just out of 5th grade. I couldn't contain my excitement. So my Mom believe it or not took me to see this film at a small one screen theater.

What happened next was unbelievable two hours of wall to wall action with Edward Furlong a kid near my age I could relate to trying to survive with the help of Arnie an unstoppable robot with effects I have never seen before like that in a film. I walked out mesmerized and put them on a mythological level that it has never quite seem to be able to live up to since that day.

Anything from Pan and Scan viewings to transfers in which certain details don't look right especially in dark sequences. To this day I keep searching for that magic hoping it will return.

That Magic might have finally just came back depending on what you the viewer are searching for in this new 4K release. It's a controversial release for sure and goes against almost everything I am looking for in a restoration, but maybe not all films are the same and maybe some films should be restored one way while others are restored a different way. Just look at the opening scenes I have screenshot some pictures of.

The clear as day thing you will notice is there is very little to no grain in this release. I can hear the purists now saying what the, how could you, you idiots to Studio/Canal's decision to do a grain reduction for this release. Keep in mind this print is what they used for the 3D release in theater. I get I hear those comments, but at the same time taken back by something else I see going on especially with the flames.

Not only did they do a grain reduction, Studio Canal also gave the film a color bump and may have removed certain things like lines around robots that would have shown the films age. Now I have to put ear plugs in to block the cinephiles and purists out and play King Gizzard just so I don't  have to hear them. I am a Cinephile too, but can be persuaded at times maybe a different direction is right. So let us look at a few more screenshots I took up until the first big chase sequence is over with.

What you will notice is this is a film with a lot of night sequences, but special effects sequences that involve CGI effects. The detail is miles ahead of any other release during the dark sequences and those that involve special effects. The purists might say you were never supposed to see that or Linda Hamilton's beard. I shake my head and say I feel you to those people, but have a slightly different view on this film than others.

Terminator 2: Judgement Day almost 30 years later is the first modern Blockbuster summer film that changed the game of how films are made today. It's the film that said CGI is here whether you like it or not and thus should in my mind be treated like it was just released today. If you are going to go for that look then just go all out and to hell with the naysayers. It's not like the film is Unforgiven from the same time period or Driving Miss Daisy.

This was an action film Cameron held off on for years because the effects were not right and he was still limited then. That is what the scrubbing of grain, color bump, and minor tweaks did to this film gave us a film honestly that looks better now than the day it was released. Honestly looks better visually than most modern blockbusters including the Justice League because like it or not this is the film that set the bar as what a modern day blockbuster should be. 

I'm blown away by this release, because I think Cinephiles and Purists like myself should take a step back and look at the bigger picture. Sometimes changes are needed to make the film more enjoyable for modern audiences if it involves minor tweaks without changing the story. That is what this release does for me the film finally looks as good and truthfully better than the first time I saw the film in theater.

I'm  giving this release a controversial 10/10 because every scene just looks better, I feel for the purists in this one instance. Yet I feel the studio is right. My childhood has been restored.

Up next an in depth look at Nicolas Roeg's Don't Look Now to honor the legend who passed away.

Until then it is time to grab my Terminator 2 toys and play with them. The 80s and 90s were just cool toys were made for kids based off of R Rated movies.