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Wednesday, January 23, 2008

I Eat Your Skin

This movie has one of those classic titles that were the bread and butter of the Halcyon days of drive-in movies. How can you not go see a movie called I Eat Your Skin? Well, I certainly can't go without seeing a movie called I Eat Your Skin, especially if it comes to me courtesy of Del "Monster of Party Beach" Tenney. Tenney's movie was originally called Voodoo Bloodbath, but when the movie got picked up to fill a double bill with I Drink Your Blood, the movie where a kid feeds a bunch of hippies some meat from rabid animals, causing them to turn into foaming-at-the-mouth cannibals, Tenney's tropical island zombie adventure became I Eat Your Skin, even though no skin is actually eaten.

The movie is about a writer, his wife, and some assorted others who head out to the menacingly named Voodoo Island, where they run into a mad doctor who has been transforming the locals into bug-eyed, oatmeal-faced zombies under the auspices of trying to cure some disease. Many scenes of white people staring into the jungle while ominous voodoo drums play ensue, until zombie hell breaks out in the final minutes (an assault on the science lab which is vaguely reminiscent of the final assault in Lucio Fulci's Zombie, only much less intense and interesting).

I Eat Your Skin is most often described as being boring, even though it's a short film. And while it's no thrill-ride, I found that I quite liked the movie, certainly more than I'd been lead to expect I would. It's well-acted even if the characters are broad, and there is a lot of energy even if very little is happening. Plus, it has a swinging score. The zombie make-up is pretty bad, but there has certainly been worse, and this is another film cut from the pre-Romero "zombies are enslaved locals" cloth pioneered by White Zombie. It's certainly no White Zombie in terms of quality or inventiveness, but even without being a classic, I Eat Your Skin entertained me.

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Tuesday, December 25, 2007

Medusa

One kind of forgets that there was a point in history when George Hamilton was famous for actually doing stuff, as opposed to just standing around and having a weird tan. Medusa features a young Hamilton as an American cad in Greece who gets on the wrong end of a substantial Mob debt. Mobster Cameron Mitchell has cut George plenty of slack because he kind of likes the young rakehell, and because George stands to inherit more than enough money to both pay off his debt and pay off plenty of potential future debts. But when word gets out that George may be loosing out on the loot, Mitchell pushes him to track down the people in charge of the will and encourage them to make sure all is well. When those people start turning up murdered, things get ugly for poor George, who expresses remorse for his murderous side projects by doing things like crouching in the corner of a shadowy room and staring off into the distance as he sits on a ride in a playground on a bleak day. Only his sister stands besides him, though Cameron Mitchell seems to be a pretty decent friend when he's not forced to beat George up to collect on the debt.

This movie was pretty boring. Hamilton is surprisingly effective as the young cad, hamming it up a bit in spots -- but what are you going to do when you're opposite Cameron Mitchell? Compared to him, Hamilton is positively understated. Hamilton's sister is played by the gorgeous Luciana Paluzzi, the murderous Fiona from Thunderball, and Gordon Hessler -- fresh off directing a number of Edgar Allen Poe films for AIP but long before he directed Pray for Death starring Sho Kosugi -- is behind the camera. Still, a solid cast and crew can't make up for a terribly meandering plot that never seems to have any point. It never gives us a reason to give a damn about anything that's happening. When it's revealed that the murderous George Hamilton might not be the murderer after all, it should be a big revelation. Instead, it's delivered via a throw-away line you will miss if you nod off -- and believe me, you will nod off. Worth watching if you want to see George Hamilton emoting or Cameron Mitchell with his shirt off, but beyond that, there's not much reason to bother with this lackluster crime drama.

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Monday, December 10, 2007

Memorial Valley Massacre

Mill Creek's Chilling Classics follows up the Yul Brynner Mafia movie with Memorial Valley Massacre, a perfect example of why I love these sets so much. Any given collection has a fair number of movies I've seen, some I've heard of, and quite a few I know nothing about. Those are the movies I look forward to. Memorial Valley Massacre is one I knew nothing about, and as I do with such things, I put it on without so much as reading the synopsis on the DVD sleeve. And oh the joy of surprise. Memorial Valley Massacre is sort of...well, it's like...so it's a Jaws rip-off mixed with Friday the 13th and, oh, I don't know, Iceman or something. Cameron Mitchell, overacting like mad in a role that absolutely does not call for it (the best time to do it), cameos as the owner of a new campground. The campground is not ready to be open -- roads are unfinished, water hook-ups aren't running, et cetera -- but this is Memorial Day weekend, damn it, so Mitchell demands that the camp be open. Which is good, because there are long lines of angry campers waiting to be let in, with all the frustrated excitement of a gang of teens waiting out a delay before their favorite rock band takes the stage.

The biggest problem, however, is that there is a caveman running amok, and he takes offense to the intrusion of obnoxious fat kids on three-wheelers, so the bodies begin to pile up.

So I'll let that sink in for a while. Ready? OK. Aside from the fat kid, there's also a biker gang with a tendency to yell "whooooo!!!!" every time anyone says the word "beer" or holds up a beer or shows a beer or opens a beer...they love beer. In fact, when one of the chick bikers wonders aloud "No running water. What are we gonna shower in?" the obvious response, of course, is "Beer! Whoooo!!!" There's also a couple of those guys where you can tell they wanted to have punk rockers in it, but the people making the movie didn't really know what punk rockers were. So you get these weird mutant new age/punk/regular 80s guys with puffy hair and sleeveless t-shirts and knives. They also have their slutty girlfriend with them, because someone needs to dance to generic synth music and show her boobs. Their big line is, "What's wrong, old man? Don't you like speed metal?" Why any of these people would even be at this lame campground is anyone's guess. All that really matters is that each of them is gonna make that caveman mad, and he's gonna grunt and do backflips out of the trees until he kills them all and stops the encroachment of modern society on his idyllic valley.

Best not to think too much about this film, like why did the caveman get riled up when the campers arrived, but not during the construction process? Then we could have had the caveman fighting Killdozer! And then there's good stuff like, on a clear, sunny day, when the fat guy gets killed, all of a sudden there is a thunderstorm that lasts as long as the death scene and is apparently confined just to that location. You could also wonder how the caveman learned to operate heavy machinery and electronics equipment, but mostly all you need to do is sit back and have fun. This movie is top notch drive-in gold. Any movie where bikers and sluts and fat chicks in hot pink stirrup stretch pants get stalked by a guy who looks like the monster in Frankenstein Conquers the World is going to deliver a good time.

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Death Rage

I love titles like that. It sounds awesome, and it makes no sense at all. What the hell is a "death rage?" It reminds me of an old story I heard about soundtrack music composer John Barry working on the theme song for Thunderball. Barry was told, after writing the theme song ("Mr. Kiss Kiss Bang Bang") that he needed vocals and had to use the name of the movie in the song, to which Barry exclaimed, "Thunderball? What the hell is a thunderball?"

Anyway, Death Rage promised to be a pretty good kick-off for Mill Creek's Chilling Classics set, being a movie directed by Anthony Dawson -- aka Antonio Margheriti -- in which retired hitman Yul Brynner is called back in for one last job. Also, Barbara Bouchet was gonna show her boobs, so that fulfills most of the requirements I have for a good movie. In practice, Death Rage isn't as cool as the theory of Death Rage, but it's still not too bad, with some decent action, some good acting, and a fairly nice end. Yul Brynner's character has a name, but he's basically Yul Brynner, and although he doesn't want to be a hitman anymore, when a Mafia war breaks out, he's presented with the chance to gun down the man who gunned down Yul Brynner's brother. I can't say Yul flies into a death rage at this point. It's more like a slow death simmer, but I guess that's not as good a name. He also has some weird problem with his eyes, which just gives the movie an excuse to introduce the threat of acid-spiked Visine drops.

Being an Italian crime film from the 1970s, directed by Margheriti no less, you'd expect Death Rage to be a little more violent than it is. Not that it isn't violent, but it isn't as violent as some of the stuff from Enzo Castellari and Umberto Lenzi. Still, it's good in a more low key fashion, and it's always awesome to watch Yul Brynner wearing all black and striding around in the manliest fashion possible, punching chumps and shooting them in the head.

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