Movie Review – Killer Klowns From Outer Space

Killer Klowns From Outer Space (1988)
Written and directed by the Chiodo Brothers

The Chiodo Brothers (Stephen, Charles, and Edward) had been absorbed by making movie special effects since they were kids. They had worked in the industry for a few years, selling their skills to productions like Critters, Faerie Tale Theater, and UHF. One of their most well-known works was the Large Marge effect in Pee-Wee’s Big Adventure. Puppets, stop motion, make-up, they loved it all. Ironically, in their first feature film, most of the special effects work was done by other artists they had befriended over the years. The Chiodos spent most of their time directing, producing, and playing some Killer Klowns. The result is that the film is less interested in the plot and more about the spectacle of the movies.

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PopCult Podcast – Robot Dreams/Beetlejuice Beetlejuice

A lonely New Yorker mail orders a companion but a series of complications split them apart and they dream of being reunited. A woman haunted by strange encounters in her adolescence returns to the old house where it all started.

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Movie Review – From Beyond

From Beyond (1986)
Written by Brian Yuzna, Dennis Paoli, and Stuart Gordon
Directed by Stuart Gordon

Stuart Gordon was a well-regarded name in American horror cinema, particularly in the 1980s. Born in Chicago in 1947, Gordon was drawn to acting and live theater, which he majored in at university. After graduation, he started his own theater company and engaged in highly provocative stagings. One of these, The Game Show, was designed as an attack on audience apathy. With plants in the audience, Gordon’s cast would begin to provoke the viewers, and each show would conclude with an audience riot that brought the play to a halt. He put on a politically charged adaptation of Peter Pan in 1968, which got him and his wife arrested for obscenity. Live nude actors and allusions to pixie dust being a substitution for LSD seemed to draw ire from the community. Gordon would come around to film in the mid-1980s, with his first production being The Re-Animator and From Beyond as his follow-up.

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Podcast Mini-Series Preview: Love at First Laugh Episode 1 – His Girl Friday

Ariana and Seth kick off their six episode podcast mini-series exploring romantic comedies. This first episode sees them sharing their thoughts on the genre (what they love, what they loathe) and talking about the classic Howard Hawks comedy His Girl Friday starring Rosalind Russell and Cary Grant. All upcoming episodes will be available exclusively to our Patreon subscribers.

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Movie Review – House

House (1977)
Written by Chigumi Obayashi and Chiho Katsura
Directed by Nobuhiko Obayashi

Following the phenomenal success of Jaws at the box office, Japanese film studio Toho went to Nobuhiko Obayashi and proposed he develop a similar script. Obayashi was an odd choice. His filmmaking career focused on personal, avant-garde experimental movies and TV ads, not big commercial hits. The director discussed the script with Chigumi, his preteen daughter, positing that telling everything from an adult perspective is limiting for films. From young Chigumi, he got several of the set pieces that would end up in House, including a mirror attacking the audience and a house eating a girl. The final product doesn’t have much in common with Jaws, but it is a film you won’t forget after watching it.

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Patron Pick – Quigley

This special reward is available to Patreon patrons who pledge at the $10 or $20 monthly levels. Each month, those patrons will pick a film for me to review. If they choose, they also get to include some of their thoughts about the movie. This Pick comes from Matt Harris.

Quigley (2003)
Written and directed by William Byron Hillman

When you see a film like Quigley, many questions flow through your mind. “Are we meant to believe 50-year-old Curtis Armstrong is actually 35?” “Was this just a money laundering scheme by the mob?” “Are we laughing with Gary Busey or at him?” If Quigley were to come out today, it would, like the work of Neil Breen, be caught up in the meme machine. Yet, this picture was released in the early 2000s, shot on video, and released straight to the VHS format. At every turn, I was confused by this picture, wondering how aware the people on set were that this was utter garbage. A paycheck is a paycheck, I suppose.

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PopCult Podcast – Beetlejuice/Miss Peregrine’s Home for Peculiar Children

With Tim Burton’s latest opening in theaters, we decided to take a look back. The first is a classic, his second feature which introduced us to the ghost with the most. The second is YA novel adaptation from 2016 that is heavy on the CG and exposition.

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PopCult Podcast – Kinds of Kindness/The Teachers’ Lounge

Two tense new releases are our focus in this episode. Yorgos Lanthimos delivers a triptych of tales about twisted versions of love. A teacher in Germany becomes caught in the drama of thefts in her school and decides to record who is doing it.

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Movie Review – Daisies

Daisies (1966)
Written by Ester Krumbachová, Pavel Juráček, and Věra Chytilová 
Directed by Věra Chytilová

There’s a vibrating chaos at the heart of Daisies, considered the most significant achievement in Czech cinema. It’s a study of patriarchy through the eyes of two cartoon-like women whose behaviors and antics are intentionally exaggerated. There’s no real plot to speak of, rather vignettes in which two girls, both named Marie, interact with people or engage in frantic behavior, giggling and gorging down food. The film conflicts with the conservatism present in Czechoslovakia’s communist government at the time. It is, in my opinion, a needed continued push to the Left that all communist governments are constantly in need of. We humans tend to settle into familiar routines and ruts, but we must also allow our perspectives to be challenged, especially when it comes to increasing our embrace of others outside of systemic power. Daisies is an attempt at that.

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TV Review – Fantasmas

Fantasmas (2024)
Written and directed by Julio Torres

The post-Internet era of media is very much here, and one aspect of that is this DIY/hyperreal style of filmmakers like Julio Torres. The work is very much queer both in its presentation of diverse genders and sexualities but also in the strangeness of its presentation. It’s clearly modeled on our real world but often exaggerated in ways inspired by the cartoons of the 1990s and early 2000s these artists grew up watching. They address the current reality of capitalism’s buckling by finding humor in the mundane but nevertheless infuriating odyssey of trying to get adequate health care or resolving a bank charge. And it’s all done in a manner that feels fresh and exciting.

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