May 30

Blood Link (1982, d. Alberto De Martino)

I’m guessing the Michael Moriarty on the left is the composer and pianist, and the one on the right is the actor and poet.

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May 29

Oblivion (1994, d. Sam Irvin)

An old-time western funeral is interrupted by…a space alien, a dominatrix, and their dopey chums.

May 28

Hit List (1989, d. William Lustig)

The Expert (1995, d. William Lustig and Rick Avery)

May 26

Roadgames (1981, d. Richard Franklin)

May 25

Wild Beasts (1984, d. Franco Prosperi)

I am not the type to faint when things are odd or things are quaint but seeing things you know that ain’t can certainly give you an awful fright.

Carnosaur 2 (1995, d. Louis Morneau)

Dinosaur versus forklift, engaged in an endless struggle. Well, about ten minutes.

Terror on the Menu (1972, d. Bud Townsend)

Run, if you can, from the Texas Chainsaw Predecessor. Also known as Terror House. If only it involved seafood, they could have called it Terror on the Half Shell.

May 24

He Knows You're Alone (1980, d. Armand Mastroianni)

He knows you’re alone, but he mostly likes to watch you when you’re all together.

Link (1986, d. Richard Franklin)

He’s a King Kong man, he’s a voodoo man, he’s an apeman. Just don’t tell him not to smoke.

One Dark Night (1983, d. Tom McLoughlin)

Utensil-oriented psychic phenomena.

The Kiss (1988, d. Pen Densham)

May 22

Wristcutters: A Love Story (2006, d. Goran Dukic)

Wristcutters is callous about some things (like the motive for and tragedy of suicide) and cloyingly sentimental about others (its primary love ‘quest’), which are its two worst qualities – easier for some to get past than others. But it’s also got a lot of joy and whimsy as decoration, and when it doesn’t have that at least it’s funny. It’s also a pleasantly original road movie with at least a bit of an echo of that mix of awkward sweetness and irrevocable emptiness that defined Aki Kaurismaki’s proletariat trilogy.

Alone in the Dark (1982, d. Jack Sholder)

Beware the soda jerk! Donald Pleasence as R.D. Lang, here feeding a patient’s castration anxiety…in a dream.

A wonderful piece of IMDB trivia:


“One of the members of The Sick Fucks ran into star Jack Palance years later in the streets of New York. He said to Palance that he was one of The Sick Fucks in the film and Palance replied ‘we were all sick fucks in that movie’.”

Perfect Strangers (1984, d. Larry Cohen)

“Do you know who this is, Matthew? This is my cousin Balki, from Mypos.”

A mob hitman seduces a women’s rights advocate in order to infiltrate her home and convince her infant son (who has witnessed him killing someone) not to identify him as a murderer…or to come to some kind of decision as to whether or not to kill the child as his keepers have ordered. The cast of characters is rounded out with an abusive, possessive ex-husband, a vicious group of militant feminist-violence advocates (one of whom is introduced waving a gun around and bragging about her desire to kill men indiscriminately), and a bitchy gay cop who uses the apparent uniqueness of his open homosexuality to advance his career. The only person in the film who seems to like children is the potential child killer. Rest assured, there is no hero.

The Legend of Hell House (1973, d. John Hough)

Gimme dat ole time religion.

The climatic monologue / confrontation is amazing. It takes too long to get there and the film seems to revel in its fact-oriented boredom – notably the constant date/time citations that seem to predate the more effective use of such a device in The Shining and the less effective use in the whole genre of lo-fi home-video time-stamped haunting movies like The Blair Witch Project and Paranormal Activity.