Mad Max: Fury Road (R)
"What a Lovely Day!"
In the bombed out dusty future of our world, the remnants of society are banded together in savage attempts to survive the wasteland. Those, like Max, who cling to the past and refuse to submit to the new world are seen as mere untapped resources, lone wolves. And those that revolt against this insane patriarchy are pursued with chrome and bloody exhaust in Post-Apocalyptic godfather George Miller's 30 years in the making follow up to the Mad Max series, Fury Road.
With a character design dregged from the weird fantasies of Brom, vehicle designs that Ratfink would salivate over, a brutal world finally fully realized and minutia-ized, and stunts and action that are in-camera and astonishing to behold, Mad Max returns full throttle and on the red line. This is the kind of film either you know the genre and enjoy immersion or the over-the-top-ness will turn you off and you'll avoid. There are quite a few surprising twists thrown into the mix however, completely shattering the mold that Miller himself invented. CGI is prominent and a bit unwelcome (mostly it looks like for 3D showings and sometimes cheaply). Females now have a more prominent role, lead by Imperator Furiosa (the incomparable Charlize Theron who is well cast as the co-lead of the film). This may in fact turn off some of the muscle car and gear head beer swillers who traditionally enjoy Max films, as Furiosa commands much of the bad-assery on screen, what with the Evil-Dead arm and newly styled savage fem-action hero who somehow retains her femaleness (a woman Max she's not). Grrl Power is the name of the game in Fury Road, and many fans will astound at the backseat driving Max does for most of the film. Now played by Tom Hardy (Mel Gibson is retired in all but name due to his shenanigans), Max almost barely deserves to be in the title. And, unfortunately, Hardy is either not up to filling Gibson's Mad shoes or Miller unwilling to completely allow him to. The character is missing the insane drive and masculinity that Gibson brought the role, and combined with sharing the screen with Theron and having his character's madness upped to actual insanity really hampers one of the great action roles of all time. Perhaps a return of the character to full glory first without all the femme-fatals (sic) would have lessened the sting, but Max almost seems like just another of the interesting side-characters that colorize Miller's Apoc films.
And what colorful characters there are! The ultra-males, the seed saving grandmothers, the War Boys and concubines and Bullet Farmers, all tumor laced and disgusting. One is a stand out, young Nicholas Hoult (Hank McCoy in X-Men First Class) is a stand out as Nux the sickly War Boy. He has a manic energy and fanaticism that drives the first half and mellows the second, and is a stand out performance. All of the Max films have benefited from villains that you enjoy spending time with and seeing defeated, but Fury Road has so many of these characters whose insane lifestyle you just can't help but admire, who ride into battle like Valkyries with a Rock'N'Roll opera being performed live as they drive (like Wagner gene-spliced with GWAR) with flame throwers spitting and exhaust pipes flaming, that unlike much of the genre of post-apocalypse, Fury Road is a dangerous outback that seems fun to visit (even if no one would want to live there). The first break in the action left the audience winded, and then continued for another hour and a half. Fantastic stuff.
9 Don't Look Thumbs Up out of 10 (GREAT)
Bone-us Haiku
Shotgun eyes at dusk
Lizard skulls and blood bag dust
Chrome fenders eat well.
(Humongus Approved)
Showing posts with label Guiltypleasure. Show all posts
Showing posts with label Guiltypleasure. Show all posts
Crank (2006)
Crank (R)
"Crank it up!"
Jason Statham is Chelios, a loveable former L.A. hitman that receives a lethal dose of "the Chinese Shit," a poison that is slowing down his heart and slowly killing him unless he can keep moving, keep running, keep his heart lurching as he speeds around town on the bend for revenge and trying to keep his stoner girlfriend safe in directors Neveldine/Taylors wild entertaining freshman effort Crank, an action comedy that is a nonstop all-downhill rollercoaster with the brakes removed and the operator on seriously messed up drugs as the camera zooms and distorts, the filmmaker's love of video games and action movie quips apparent even as they reinvent the genre with so many so-over the top moments it will make your grandchildren's grandchildren blush even as they cheer the amazing mishmosh of music and kinetic camera work nailed to a razor thin plot that not only trumps action film classics in speed and versatility, but does it smartly like Tarantino with a coke hangover for even when you think you have this film figured out it finds other gears, other fumes to huff as it blasts and lampoons itself with a gregarious finale that not only delivers on it's premise of leaving Chelios, but leaves the audience hopelessly hooked on exotic junk that they have little hope of finding again.
8 Flared Nostril Police Drawings in Chinatown out of 10 (GREAT)
"Crank it up!"
Jason Statham is Chelios, a loveable former L.A. hitman that receives a lethal dose of "the Chinese Shit," a poison that is slowing down his heart and slowly killing him unless he can keep moving, keep running, keep his heart lurching as he speeds around town on the bend for revenge and trying to keep his stoner girlfriend safe in directors Neveldine/Taylors wild entertaining freshman effort Crank, an action comedy that is a nonstop all-downhill rollercoaster with the brakes removed and the operator on seriously messed up drugs as the camera zooms and distorts, the filmmaker's love of video games and action movie quips apparent even as they reinvent the genre with so many so-over the top moments it will make your grandchildren's grandchildren blush even as they cheer the amazing mishmosh of music and kinetic camera work nailed to a razor thin plot that not only trumps action film classics in speed and versatility, but does it smartly like Tarantino with a coke hangover for even when you think you have this film figured out it finds other gears, other fumes to huff as it blasts and lampoons itself with a gregarious finale that not only delivers on it's premise of leaving Chelios, but leaves the audience hopelessly hooked on exotic junk that they have little hope of finding again.
8 Flared Nostril Police Drawings in Chinatown out of 10 (GREAT)
From Dusk Till Dawn (1996)
From Dusk Till Dawn (R)
"Hackula, Dead and Loving it"
The deadly Gecko brothers, fresh from a bank robbery and jail break, are causing havoc throughout southern Texas, take a ex-Preacher, his RV and two children hostage, using them to sneak over the border to Mexico where they can live out their lives in the sun. The only thing that can halt their spree are their own self destructive tendencies, one decent man's spirit, and a brood of devil worshiping Aztec bloodsuckers in Robert Rodriquez' (El Mariachi) direction of one of Quentin Tarantino's best action scripts.
FDTD is two movies with a swerve connecting them, arriving at a swift pace and razor sharp dialogue. George Clooney, in his first starring role plays the brains of the Gecko brothers. He steals the show from the get go, shedding the OR scrubs for a professional thief with a black suit and neck tattoos that proved he would soon be Hollywood's go-to bachelor superstar. Quentin himself plays the other, seedier Gecko, one with a predilection to rape, murder and hallucinations (QT actually nails this role). Their relationship is center to the first half of the movie, a buddy dynamic that is loving as it is demented. The characters that cross their paths are likewise well defined and cannon fodder for the Gecko's mayhem, centered by headliner Harvey Keitel (Bad Lieutenant) as the burned out preacher with a dead wife on his soul. Together they make it through Texas and to a low life bar across the border, drinking and waiting for sunrise and their escort to the good life. And that's where the second movie begins and things almost fall apart.
What once was a on-the-lam crime film with red hot dialogue (some of Tarantino's snappiest and most believable) with good action and vibrating with testosterone injected one liners oh-so-bad-guys you love to hate, suddenly transmogrifies into a supernatural gore fest with silly cheesy effects and over the top ridiculousness. It is jarring, but not altogether unsuccessful. There are ideas aplenty, ideas rushed onto the screen and smashed with gleeful vigor (as often is the case with Rodriguez' films). Some of the make up does not hold up well, bad masks and awful morph effects straight from the 90s lowbudget wave (RRs bread and butter). Prudction desings like a biker (infamous VFX guru Tom Savini) with a six-shooter for a penis, the lovely Salma Hayek gets a makeover only a snake mother could love, blacksploitation star Fred Williamson gets a makeup job that looks so cheap in closeups it looks like it came off the Halloween rack at Walmart.
Yet somehow Clooney and Keitel push through this madness and deliver an emotional, action fueled mad house of bat-killing frenzy. QT's script is subdued in just the right ways (no overlong conversations about some off topic pop culture wizbangs), RRs manic camera links to the ridiculous on screen story very well (demonic Mariachi bands aside). There is gravitas and red-gravy spraying everywhere, the film is a half greatness and half lunacy. Which half appeals to you is all a matter of taste (with a side of tequila, salt, lime and bloody body shots).
7 Cheechs Double Cameos out of 10 (GOOD)
"Hackula, Dead and Loving it"
The deadly Gecko brothers, fresh from a bank robbery and jail break, are causing havoc throughout southern Texas, take a ex-Preacher, his RV and two children hostage, using them to sneak over the border to Mexico where they can live out their lives in the sun. The only thing that can halt their spree are their own self destructive tendencies, one decent man's spirit, and a brood of devil worshiping Aztec bloodsuckers in Robert Rodriquez' (El Mariachi) direction of one of Quentin Tarantino's best action scripts.
FDTD is two movies with a swerve connecting them, arriving at a swift pace and razor sharp dialogue. George Clooney, in his first starring role plays the brains of the Gecko brothers. He steals the show from the get go, shedding the OR scrubs for a professional thief with a black suit and neck tattoos that proved he would soon be Hollywood's go-to bachelor superstar. Quentin himself plays the other, seedier Gecko, one with a predilection to rape, murder and hallucinations (QT actually nails this role). Their relationship is center to the first half of the movie, a buddy dynamic that is loving as it is demented. The characters that cross their paths are likewise well defined and cannon fodder for the Gecko's mayhem, centered by headliner Harvey Keitel (Bad Lieutenant) as the burned out preacher with a dead wife on his soul. Together they make it through Texas and to a low life bar across the border, drinking and waiting for sunrise and their escort to the good life. And that's where the second movie begins and things almost fall apart.
What once was a on-the-lam crime film with red hot dialogue (some of Tarantino's snappiest and most believable) with good action and vibrating with testosterone injected one liners oh-so-bad-guys you love to hate, suddenly transmogrifies into a supernatural gore fest with silly cheesy effects and over the top ridiculousness. It is jarring, but not altogether unsuccessful. There are ideas aplenty, ideas rushed onto the screen and smashed with gleeful vigor (as often is the case with Rodriguez' films). Some of the make up does not hold up well, bad masks and awful morph effects straight from the 90s lowbudget wave (RRs bread and butter). Prudction desings like a biker (infamous VFX guru Tom Savini) with a six-shooter for a penis, the lovely Salma Hayek gets a makeover only a snake mother could love, blacksploitation star Fred Williamson gets a makeup job that looks so cheap in closeups it looks like it came off the Halloween rack at Walmart.
Yet somehow Clooney and Keitel push through this madness and deliver an emotional, action fueled mad house of bat-killing frenzy. QT's script is subdued in just the right ways (no overlong conversations about some off topic pop culture wizbangs), RRs manic camera links to the ridiculous on screen story very well (demonic Mariachi bands aside). There is gravitas and red-gravy spraying everywhere, the film is a half greatness and half lunacy. Which half appeals to you is all a matter of taste (with a side of tequila, salt, lime and bloody body shots).
7 Cheechs Double Cameos out of 10 (GOOD)
Last Action Hero (1993)
Last Action Hero (PG-13)
"No One Likes a Smart Ass"
The young Danny is a lone film lover who doesn't fit in with High School or the dangerous streets of his home town of NY, NY. He'd rather be scarfing popcorn in old decrepit movie theaters with the house speakers blaring. When his friend and projectionist gives him a sneak preview to the latest Jack Slater movie, the magic of the movie sucks him in, literally. Finding himself inside the movie with his hero and playing by the genre rules, Danny tries to help Jack (Arnold Schwarzenegger) avenge the death of his second cousin from nefarious gangsters and the Machiavellian assassin, Benedict (charmingly played by Charles Dance (Alien 3)). When the action spills out into the real world, the antes are upped and the threats become more real as the nonfictional world is threatened by the fictional ones.
Arnold's first Producer credit sees him fronting a horse of a different color called Last Action Hero, a post-modern satiric romp through the tropes and cliches of Action fiction amid our violent crime filled reality. The studio went all out, advertising via NASA and selling nonviolent action figures, then allowed the film to be stomped flat by Jurassic Park's scaly second weekend. However the failure of LAH is more likely due to the bad word of mouth and obvious misinformation and expectations of audiences & critics alike, both of whom missed the point entirely. The dreary depressing real New York, with its rotting old cinemas and bloody knuckled muggers are the sour to the sunshine bullet ridden escapist fantasy's sweet.
The balancing act is astounding, the quality of the action and the humor in the face of general opinion proves the movie was ahead of it's time. The stupid jokes are mostly on purpose, the 90s rock n roll attitude and soundtrack are too loud by half, the flubs and continuity errors are obviously intentional. The movie laughs and whoops it up with you; it's funny bone is firmly connected to it's trigger finger. Perhaps over the top humor and plotting went way over the heads of its intended viewers? The smart script had numerous rewrites (ironically by one of the 90s sharpest action scribes Shane Black of Last Boy Scout fame) but in the end attains the perfect balance of funny and dark tinged fun. Director John McTiernan lives in this genre, and is basically spoofing his own successes (Die Hard, Predator). He delivers some great action sequences, visuals and heart while at the same time satirizing those same style of sequences found in dumbed down man-flicks with slo-motion leaps from the edge of you seat that we all know and love. Huge advertising, huge budgets, huge expectations on everyone's part, Last Action Hero was almost doomed to fail. Very few "got it," and most just stayed away. Yet over the years cult fans, both Action genre-ists and art-house purists, have spearheaded its positives and home audiences seem to finally be "getting it".
If you squint just so, a murky undercurrent of painful nostalgia for the golden age of cinema and the love of single screen movie-houses can be seen running through the film's veins, skillfully rounding out the punchy jokes and quips with an adept melancholy for things long gone (that just keep on getting truer). Last Action Hero is, most surprisingly, the funeral for all those theaters that have been torn down to make way for the multiplexes, for all the old men in booths upstairs who lost their jobs, for all those Houdini's who don't have anywhere to perform with gold gilded balconies. Places where you can no longer hear the soft purr of the projector, or sit in the complete dark without advertisements or cell phone screens, it was Last Action Hero that eulogized them with a nod and a wink. It was a unlooked for Roast of "the-way-it-was" and foreshadowing of "where-it-is-going". Unfortunately, they don't make them like this anymore, and certainly never did.
7.5 Shooting Dynamite in a moving car while changing your Sony MiniDiscs out of 10 (GOOD)
"No One Likes a Smart Ass"
The young Danny is a lone film lover who doesn't fit in with High School or the dangerous streets of his home town of NY, NY. He'd rather be scarfing popcorn in old decrepit movie theaters with the house speakers blaring. When his friend and projectionist gives him a sneak preview to the latest Jack Slater movie, the magic of the movie sucks him in, literally. Finding himself inside the movie with his hero and playing by the genre rules, Danny tries to help Jack (Arnold Schwarzenegger) avenge the death of his second cousin from nefarious gangsters and the Machiavellian assassin, Benedict (charmingly played by Charles Dance (Alien 3)). When the action spills out into the real world, the antes are upped and the threats become more real as the nonfictional world is threatened by the fictional ones.
Arnold's first Producer credit sees him fronting a horse of a different color called Last Action Hero, a post-modern satiric romp through the tropes and cliches of Action fiction amid our violent crime filled reality. The studio went all out, advertising via NASA and selling nonviolent action figures, then allowed the film to be stomped flat by Jurassic Park's scaly second weekend. However the failure of LAH is more likely due to the bad word of mouth and obvious misinformation and expectations of audiences & critics alike, both of whom missed the point entirely. The dreary depressing real New York, with its rotting old cinemas and bloody knuckled muggers are the sour to the sunshine bullet ridden escapist fantasy's sweet.
The balancing act is astounding, the quality of the action and the humor in the face of general opinion proves the movie was ahead of it's time. The stupid jokes are mostly on purpose, the 90s rock n roll attitude and soundtrack are too loud by half, the flubs and continuity errors are obviously intentional. The movie laughs and whoops it up with you; it's funny bone is firmly connected to it's trigger finger. Perhaps over the top humor and plotting went way over the heads of its intended viewers? The smart script had numerous rewrites (ironically by one of the 90s sharpest action scribes Shane Black of Last Boy Scout fame) but in the end attains the perfect balance of funny and dark tinged fun. Director John McTiernan lives in this genre, and is basically spoofing his own successes (Die Hard, Predator). He delivers some great action sequences, visuals and heart while at the same time satirizing those same style of sequences found in dumbed down man-flicks with slo-motion leaps from the edge of you seat that we all know and love. Huge advertising, huge budgets, huge expectations on everyone's part, Last Action Hero was almost doomed to fail. Very few "got it," and most just stayed away. Yet over the years cult fans, both Action genre-ists and art-house purists, have spearheaded its positives and home audiences seem to finally be "getting it".
If you squint just so, a murky undercurrent of painful nostalgia for the golden age of cinema and the love of single screen movie-houses can be seen running through the film's veins, skillfully rounding out the punchy jokes and quips with an adept melancholy for things long gone (that just keep on getting truer). Last Action Hero is, most surprisingly, the funeral for all those theaters that have been torn down to make way for the multiplexes, for all the old men in booths upstairs who lost their jobs, for all those Houdini's who don't have anywhere to perform with gold gilded balconies. Places where you can no longer hear the soft purr of the projector, or sit in the complete dark without advertisements or cell phone screens, it was Last Action Hero that eulogized them with a nod and a wink. It was a unlooked for Roast of "the-way-it-was" and foreshadowing of "where-it-is-going". Unfortunately, they don't make them like this anymore, and certainly never did.
7.5 Shooting Dynamite in a moving car while changing your Sony MiniDiscs out of 10 (GOOD)
Hell Comes To Frog Town (1988)
Hell Comes To Frog Town (R) - Review
"You are One Weird Dude."
Sam Hell, the last sterile man in the post frog-alyptic wasteland of America, is forced by commando female nurses into a quest to rescue some fertile women from the slimy clutches of the mutant amphibious denizens of Frogtown. You see after the last nuclear war the birth rates have bottomed out, sterile US citizens are the norm and Hell's gotta do his duty to single"handedly" get the good ole USA back into fighting shape, if he can get past all the 6 foot frogmen.
Roddy Piper (Hell) broke out of his WWF stereotype in 1988 with the release of both the SciFi masterpiece They Live and campy cult classic Hell Comes To Frog Town. The latter defines BMovie nirvana, a low budget riot of fun with everything you need from 1980s midnight movies: cornball dialogue with amazing over acting, a much better plot and leading man than anyone was expecting, far superior makeup effects than the obvious low budget should allow for and just a touch of that genuine 80s sleaze to go along with its ample braun and distorted brains.
Hell Comes To Frog Town is the midnight junk food that you do not need but relish completely from start to finish.
7 Dances of the Three Snakes out of 10 (GOOD)
"You are One Weird Dude."
Sam Hell, the last sterile man in the post frog-alyptic wasteland of America, is forced by commando female nurses into a quest to rescue some fertile women from the slimy clutches of the mutant amphibious denizens of Frogtown. You see after the last nuclear war the birth rates have bottomed out, sterile US citizens are the norm and Hell's gotta do his duty to single"handedly" get the good ole USA back into fighting shape, if he can get past all the 6 foot frogmen.
Roddy Piper (Hell) broke out of his WWF stereotype in 1988 with the release of both the SciFi masterpiece They Live and campy cult classic Hell Comes To Frog Town. The latter defines BMovie nirvana, a low budget riot of fun with everything you need from 1980s midnight movies: cornball dialogue with amazing over acting, a much better plot and leading man than anyone was expecting, far superior makeup effects than the obvious low budget should allow for and just a touch of that genuine 80s sleaze to go along with its ample braun and distorted brains.
Hell Comes To Frog Town is the midnight junk food that you do not need but relish completely from start to finish.
7 Dances of the Three Snakes out of 10 (GOOD)
Cobra (1986)
Cobra (R) - Review
"Send a Maniac"
A "zombie squad" cop must track down a cult of psychopathic killers and their leader before they strike down the only beautiful witness alive in this violently commercial respinning of Dirty Harry politics for the 1980s. Starring (and adapted from a novel by) Sylvester Stallone, the film sprouts more dumb one liners and obvious product placements than a half dozen other 1980s action flicks, yet there is a ignoramus bravado that is hard not to admire. Stallone's Mario Cobretti is the prototype he strived to achieve in all subsequent films; tough guy, sunglasses, cool car, heart of gold and ruthlessly violent.
This slice of golden cheese is as pure American popular filmmaking as only an Italian Director like George Cosmatos (Rambo 2) could have pieced together. Brigitte Nielsen (Red Sonja) stars as the witness/love interest/robot fashion model, and if you find that hard to swallow just drive down to the supermarket in your 52 Coupe, snatch a beer off the shelf and down it while defusing a shotgun wielding maniac in a hostage situation.
7 Cutting Pizza with Scissors out of 10 (GOOD)
"Send a Maniac"
A "zombie squad" cop must track down a cult of psychopathic killers and their leader before they strike down the only beautiful witness alive in this violently commercial respinning of Dirty Harry politics for the 1980s. Starring (and adapted from a novel by) Sylvester Stallone, the film sprouts more dumb one liners and obvious product placements than a half dozen other 1980s action flicks, yet there is a ignoramus bravado that is hard not to admire. Stallone's Mario Cobretti is the prototype he strived to achieve in all subsequent films; tough guy, sunglasses, cool car, heart of gold and ruthlessly violent.
This slice of golden cheese is as pure American popular filmmaking as only an Italian Director like George Cosmatos (Rambo 2) could have pieced together. Brigitte Nielsen (Red Sonja) stars as the witness/love interest/robot fashion model, and if you find that hard to swallow just drive down to the supermarket in your 52 Coupe, snatch a beer off the shelf and down it while defusing a shotgun wielding maniac in a hostage situation.
7 Cutting Pizza with Scissors out of 10 (GOOD)
Don't Go In The House (1980)
Don't Go In The House (R)
One of the video nasties of the 1980's, Don't Go In The House's title belies it's uncampy tone and grim creepy misogyny that it has on display as a socially awkward man starts preying on the women of his town once his domineering mother is out of the picture.
The slasher psycho killer genre of horror films originated with Hitchcock's Psycho, and is copied short hand in DGITH. But those calling it a knock off will miss the skin crawling differences between Donny Kohler and Normal Bates. The physical abuse of his childhood is shown happening to Donny, his adult character and social abilities obviously flawed because of it (unlike Bates who could "fit in" for years and who's abuse was only implied). The opening scene where he is transfixed and fascinated by a fellow co-worker who accidentally catches fire sets the scene for a truly mentally broken individual who you can feel for, and when he reaches for the flame thrower there is a kind of unhealthy satisfaction that occurs for both fictional character and viewer. It is a vexing sensation, one that must be acknowledged.
There are very few scenes of actual violence on display, but one of those few was so psychologically damning that got it banned by the UK. All the pieces come together there; Donny's psychology, the fear of his victims, the insanity of his childhood, and despite its small budget and limited special effects the scene works chillingly well and haunts the viewer afterward due to its effectiveness of visuals and editing. Of course surrounding that one scene is a lot of buildup and a lot of hemming and hawing before it's conclusion, and yet the film holds together on the fetishistic horror and skin crawling of just that one scene, and one can hardly blame the British censors for putting the kibosh on it despite it's low body count. The simple fact is Don't Go In The House (or its original title of Pyromaniac) isn't as completely outlandish as it's title screamed. In reality the film's portrayal of a killer skews closer to the reality of the sick perverted weirdos that have actually stalked our streets, making it all the more freaky and a boon for horror genre buffs.
6 Flame Retardant Suit BBQ out of 10 (GOOD)
One of the video nasties of the 1980's, Don't Go In The House's title belies it's uncampy tone and grim creepy misogyny that it has on display as a socially awkward man starts preying on the women of his town once his domineering mother is out of the picture.
The slasher psycho killer genre of horror films originated with Hitchcock's Psycho, and is copied short hand in DGITH. But those calling it a knock off will miss the skin crawling differences between Donny Kohler and Normal Bates. The physical abuse of his childhood is shown happening to Donny, his adult character and social abilities obviously flawed because of it (unlike Bates who could "fit in" for years and who's abuse was only implied). The opening scene where he is transfixed and fascinated by a fellow co-worker who accidentally catches fire sets the scene for a truly mentally broken individual who you can feel for, and when he reaches for the flame thrower there is a kind of unhealthy satisfaction that occurs for both fictional character and viewer. It is a vexing sensation, one that must be acknowledged.
There are very few scenes of actual violence on display, but one of those few was so psychologically damning that got it banned by the UK. All the pieces come together there; Donny's psychology, the fear of his victims, the insanity of his childhood, and despite its small budget and limited special effects the scene works chillingly well and haunts the viewer afterward due to its effectiveness of visuals and editing. Of course surrounding that one scene is a lot of buildup and a lot of hemming and hawing before it's conclusion, and yet the film holds together on the fetishistic horror and skin crawling of just that one scene, and one can hardly blame the British censors for putting the kibosh on it despite it's low body count. The simple fact is Don't Go In The House (or its original title of Pyromaniac) isn't as completely outlandish as it's title screamed. In reality the film's portrayal of a killer skews closer to the reality of the sick perverted weirdos that have actually stalked our streets, making it all the more freaky and a boon for horror genre buffs.
6 Flame Retardant Suit BBQ out of 10 (GOOD)
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About Me
- Kevin Gasaway via HardDrawn
- Turlock, California, United States
- Media and Reviews by Kevin Gasaway