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Halloween Havoc VII!!!!!!!!!

Brian Fowler

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The sun has set, the devil has risen, fear rattles your bones for it is Halloween Havoc 2016!

Film: NOROI The Curse

Chosen by: J.T.


Just found out that the full movie of NOROI: The Curse is available legally on YouTube:


So that is my pick.  Easily available.

Reviewed by: S.K.o.S.

I was assigned the Japanese movie Noroi: The Curse, also known as the J.T. Special.  I had watched this before, in October 2012, but it was a pleasure to revisit.  Some people like to summarize the entire movie in their reviews, but taking that approach here would be a fool’s errand as there is simply far too much that happens for me to be able to cover it all.  I can tell you that the movie presents a (fictional) documentary put together by a (fictional) paranormal researcher named Masafumi Kobayashi.  It’s a found footage sort of deal, except that the movie also bookends Kobayashi’s work with a short prologue and epilogue.  The story begins with Kobayashi visiting and interviewing a woman who complains of hearing strange noises from her next-door neighbor’s place, and takes off from there.

Although I never actually believed this was a true story, they do a good job at creating a sense of realism, starting off with a viewer discretion warning, and not showing any opening or closing credits other than for Kobayashi and his cameraman.  Kobayashi’s footage is interspersed with clips of news programs and variety shows that further the plot and introduce us to new characters, and many of the people that appear in these clips, like newscasters, are playing themselves.  That was actually lost on me until I checked IMDB afterwards, as it would be on most viewers outside of Japan, but I appreciated the effort.

Other than Kobayashi himself, the main characters are three people with varying degrees of psychic ability: an 11-year-old girl named Kana, an actress named Marika Matsumoto (she’s one of the people who plays themselves), and Mitsuo Hori, seemingly a crackpot who literally wears a tin foil hat.  Although they don’t know each other at the outset, all three seem to be sensing some sort of danger, and many people who come into contact with them are dying.  Kobayashi presumably only puts footage into his documentary when there’s something interesting to be seen, and the plot elements just keep piling up: pigeons, string tied into loops, dogs, and there’s even some Paranormal Activity nightcam footage.  It gets to the point where, like Lost, you’d think there’s no way this could all come together in the end, but here it actually does.

In spite of a near-total lack of both jump scares and gore, this movie is actually pretty scary.  The deliberate low-tech editing style plays a big part in that; there are pause-and-zoom moments where we’re pretty much having our faces rubbed in the sight of something frightening, deaths are handled as indelicately as possible without actually being shown, and even the frequent transitions marked by jump cuts to a silent black screen can be unsettling.

Ultimately I think what makes this a success is that it works hard to create a sense of dread and inevitable fate (Kana’s early line “I guess it’s too late for all of us” is a watershed moment in that department), but Kobayashi constantly being on the trail of some new clue keeps us at least a little distracted and makes it an enjoyable watch.  Or are we just following him like lemmings towards a horrible ending?  Either way.

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I AM JT~! 


Well, maybe if you have really high standards or something..

As you can tell, NOROI is one of my favorite movies.  It can be a hard watch because it is a really slow burn, but once it gets going, it is a freight train and the ending is absolutely soul crushing.

Some of the very very very Japanese cultural references may also give you pause, because the movie definitely makes it seem like everyone in the nation is either completely superstitious or has psychic powers.  

Eat a grain of salt and enjoy this fucking movie.

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The morning never came. Darkness surrounds us all

Movie: Cellar Dweller

Chosen by: Ultimo Necro

Im on a Jeffery Coombs kick at the moment and everyone else should be as well.  I hadn't seen this flick since I was about 14 and caught it randomly searching YouTube. I really enjoyed it again, after all that time.

Reviewed by: J.T.

Cellar Dweller (1988) - A review by JT

“He who has wisdom, wonders not of the beast, for nothing in hell lives without Man’s consent. Woe unto you that gives the beast form. To contemplate evil, is to ask evil home.”  - Colin Childress

I can see why I was selected to review this movie because Cellar Dweller not only encapsulates mid to late 80's horror, but mid to late 80's culture as well.  From the teased and poofy hair to immediate introduction to our monster du jour, Cellar Dweller is a product of its times and you kinda had to be there to appreciate it.

In short, Brian Fowler and whomever picked this thing is reminding me that I am old.

Fuck them...


The film starts 30 years in the past. How do I know?  The words "30 Years Ago" appear at the bottom of the screen in large gothic type fit for an old person like me to read clearly.  This would make the current sequence happen in the late 50's, but everything still has an 80's feel to it.  Shoestring budget!  Here we go!

Jeffrey Combs (brilliant in Re-Animator and criminally underused in this movie ) plays Colin Childress, writer and illustrator of the EC Comics-esque “Cellar Dweller” horror series. As the movie starts, we find Childress in his cellar working on the latest issue and naturally there is a thunderstorm brewing (FORESHADOWING~!). Childress pulls out an old, leather-bound book with a pentagram burnt into the cover. No explanation for why Childress has this demonic text, but none is needed.  It's the 80's stupid.

As Childress puts the book away, we can see a blurry shape rise up behind him. It, of course, is the titular Cellar Sweller showing up in record time with semi-nude female naked victim in tow; the image pulled straight from the panel that Childress just inked.

Childress flees from the room to the adjoining hallway where he grabs an ax from the wall rack. You would think that this was weirdly convenient  if you had not been led by the nose prior to this scene and watched Childress also inking this particular image into the comic.  His work on the comic is warping reality thanks to the power of this evil book Childress has in his possession.

Childress returns to the cellar to find that the creature has killed the girl and left her body on the floor. As Colin checks the semi-nude body of the female victim (oh, those 80's horror films), the demon rises from the shadows and attacks. The creature knocks Childress into his desk, causing the EC Comics Necronmcon to fall into an open chest conveniently placed directly below. He also knocks over a jar filled with water or paint thinner, spilling it onto the cellar floor (MORE FORESHADOWING~!).

Hoping to dispel the demon of his own creation, Childress sets fire to the comic pages with the Cellar Dweller drawn on them. The demon is dispelled for now but in the process, Childress nobly sacrifices his life in a fiery house blaze.

We know the demon will be back.  Why? Your DVD counter still says you've got about an hour or so more of movie to watch!

The rest of this 80's horror epic is filled with the usual gratuitous gore and guts that you'd expect from a horror film coming out around this time frame and it is the 80's so there are bound to be more female boobs.  Preferably in a shower scene.  It was a better time.

The cast includes Deborah Farentino (Syfy’s Eureka and appearing here as Deborah Mullowney) as Whitney Taylor, an aspiring artist and our Last Girl foolishly researching poor Colin Childress's work and Yvonne mother fucking De Carlo (TV’s “Lily Munster) puts in a cameo as Mrs. Briggs, the proprietor of the art institute conspicuously co-located to the site where Childress's "mysteriously" house burned down.  Brian Robbins (from TV's Head Of The Class) also turns in a noteworthy performance as Phillp, the art institutes resident douchebag.  You will cheer your ass off when this guy dies.  It's the 80's.

I'll spare you the further plot dissection as you are smart enough to figure out that Whitney will mess with things she shouldn't be messing with inciting African Americans in the audience to shake their fists and roll their eyes at their television sets.  The demon will come to life and chew his way through the cast and eventually we'll get that happily ever after scene we expect since we already know how Whitney will banish the evil entity forever and ever (pending the direct-to-video sequel that never happened) and make things right again.

Poor, poor construct of the 80's.  If it is one thing this movie suffers from it is the effects.  The demon itself looks like some sort of deranged and mutated koala with a pentagram carved into its chest.  The carnage it causes is far more disturbing than the creature itself.  Or at least it would be if the severed limbs not looked like they'd just been recently purchased from the prop aisle at your local Spirit of Halloween and covered in a mixture of Karo Syrup and Red Dye.#5.

The ending also suffers a bit from the rush rush of let's hurry and wrap this up before we run out of money thing.  You can almost hear the producers closing the money bag as the final credits roll.

That being said, Cellar Dweller is not some micro budget art movie striving to be something its not.  it is remarkably self conscious about its B-Movie status and only aspires to fill out its runtime by giving you the shit you want.  And it succeeds in being wonderfully trashy.  You have to keep reminding yourself that you're looking at techniques that are (like the preface) 30 years old.  Judge this movie within the confines of its zeitgeist and you will be a perfectly entertained horror maven.

This wretchedly great production is helmed by John Carl Buechler, director of Friday the 13th Part VII (the crazy one with the telekinetic girl) and Troll, and he was the main effects dude on for the Ghoulies movies, From Beyond, and A Nightmare on Elm St 4: The Dream Master.  So fear not, you are in relatively good hands and there are worst movies you could be watching this Halloween..

I mean, fuck, you could be watching Black Devil Doll From Hell or Death Bed (THE BED THAT EATS~!) or (God forbid) Plankton right now and hating your miserable existence...

Cellar Dweller has been released to Blu-ray by Scream Factory as part of a Double Feature with Catacombs so buy it and give it a spot of honor alongside Basket Case, Sorority Babes in the Slimeball Bowl-O-Rama, Deadly Friend, and Killer Klowns From Outer Space in the schlock section of your 80's / 90's horror treasury..

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There were like five different major effects teams working on Nightmare 4, not just Buechler. The open of that sounds like the episode of Tales from the Crypt with Harry from Night Court as an artist that can make things on the page come to life (and was probably better than the movie).


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The blood is flowing, the chills are creeping, the evil is loose.

Film: John Dies At The End

Chosen by: Skeeball Wizard

Fun, quirky horror that didn't get enough recognition.

Reviewed by: Curt McGirt

Okay, here goes


It isn't very often that I can't really pin down a film. This is one of those times. 

John Dies At the End is truly baffling. The plot makes next to no sense and it seems to be a collection of weird events, one after the other, with everything getting zanier and zanier until you either get a few chuckles out of it or just turn it off. Is it a parable about the rollercoaster ride strong friendships can go through over the years? Is it a satire about the way people view life in absolute terms? Is it supposed to make any sense at all? I'm not really sure. 

The story, if you can call it such, involves a guy named David Wong (who is not Chinese) telling a series of very tall tales to a reporter played by Paul Giamatti, whom Wong insists are true. They base themselves around a drug nicknamed "Soy Sauce" that apparently gives the user high-powered ESP and other abilities, which Wong himself was accidentally dosed with an is on at the time. He tries to save his friend John after he takes "the sauce" at a party and things go batty from there. John is able to mind-link with Dave and lead him through hoops of near disaster involving alien creatures, alternate dimensions, human infestations, and a hostile detective played by Glynn Turman (Mayor Royce from The Wire/lead in J.D.'s Revenge/almost Han Solo). 

Along the way we're bludgeoned by this weirdness in an endless stream of practical splatter and not very good CGI. The characters themselves are your typical white boy duderbros, John being the more aggro and take-charge of the pair (in more ways than one); their friends include a to-be girlfriend, a token Asian, and a dog named Bark Lee that follows Dave around through his misadventures. If you think they can get a handle on this -- or you can -- you're wrong. Giamatti does his usual fine work as the cynical reporter which still doesn't bring any levity to what's going on. The film, quite frankly, is a mess. It was based on a novel and comes off like it would make a better graphic novel than a film, but there's some entertainment to be found if you know what you're in for. I wasn't, and I'm still not sure I would be on second viewing either. No matter what: it sure is fucking weird. 

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Sorry but I was not really feeling that movie that night. It might've been funner if I was watching with friends. I was watching it at my dude Greg's place on his Netflix but he had to crash out due to work in the morning so I finished it alone. At some point I'll corral the whole gang and we'll give it a second spin. 

Failed to mention it was directed by Don Coscarelli so Angus Scrimm shows up as a priest and there's a ball reference. The dizzy "rubber reality" style of the story fits him well. 

Also, Paul Giamatti apparently liked the book so much he executive produced the sucker. How's that for fandom?

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One year I will drink too much tequila and spend an October re-visiting and reviewing the horror movies I have totally hated over the years.

Every two years or so I try to watch Death Bed again and it just doesn't happen.  Marty Sugar's insistence that it falls into the so bad it is awesome category may make me try next Halloween.

I have never ever ever tried to re-watch Plankton or Black Devil Doll From Hell.... ever.


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On 10/22/2016 at 11:46 PM, Curt McGirt said:

There were like five different major effects teams working on Nightmare 4, not just Buechler. The open of that sounds like the episode of Tales from the Crypt with Harry from Night Court as an artist that can make things on the page come to life (and was probably better than the movie).


And IIRC John Dies At The End is on rotation on one of the premium channels so I will have to check it out.

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A bit of fun, a few laughs, and now... BLOODY DEATH


Film: Hatchet

Chosen by: The Creature That Rules The Havoc

As is no secret, I love slasher films in all their awfulness, and Hatchet is basically an artifact from a different dimension where slashers just kept going right into the mid-00's without changing much. I love it.


Reviewed by: The Unholy Dragon (fun side note, it's the second straight year Dragon got my pick)

In a lot of ways, Hatchet is a horror fan’s movie.

It was made by Adam Green and unlike Frozen, I actually like this. Not as much as I did in 2007 or 2008 when I first saw it like three or four times in a row because of how hard I was into slashers at the time. But it’s more or less a good time, even if I have some reservations. In a lot of ways, it wears its inspiration on its sleeve. Here’s a movie that longs for the 80s style slashers with vaguely tragic abominations ripping people apart in creative fashion as blood and gore aplenty go everywhere. If you’re looking for something to scratch that slasher itch, you could do worse. It’s no Jason X but I mean…what is?


Strengths first, I think. I liked most of the cast. A lot of the characters were paper thin, but everybody was having a good time and it elevated the vast majority of the delivery. The best friend and the tour guide were a particular highlight, doing a great job balancing goofy comedy with deeper moments and really selling the dread. Mercedes McNab is a lot of fun as Harmony-lite. The local girl does a fantastic job walking the balance between being terrified and yet still tough as hell. I haven’t seen the sequels, but I understand she takes the lead in them and that is absolutely the right call because she was great. The cameos by Robert Englund and especially Tony Todd were a blast. Kane Hodder is an imposing presence and given that this character is basically just Louisiana Fried Jason, he’s already got the skillset for it. But he gives Crowley a vulnerability that honestly wouldn’t work with Jason despite them being basically the same character, selling him as a pissed off child with scary power lashing out.

What a lot of people came for are the effects and they deliver. Crowley looks like an absolute deformed monster. There’s a few really good kills with the one lady getting her jaw ripped open like a Pez dispenser probably being the highlight in that regard. Limbs fly, blood spurts, intestines everywhere, zero obvious CGI. The film also has a really great, dark sense of humour. The boat tour being a schlocky mess from a dude who doesn’t know anything about the local history or culture and beaches himself because he can barely drive the boat. Tony Todd ending his tours after getting sued by a dude who bumped his head. Them basically winning by lighting Crowley on fire only for an ill-timed storm to douse him. There’s a real grim comedy to the proceedings that never gets so mean as to ruin the fun.


What I didn’t like? While the actor did his best, I found the lead insufferable. His best buddy endeared himself to me primarily by calling the dude out on his bullshit constantly. Otherwise? A lot of the other side to the double edged sword that is making a slasher fan’s slasher. It’s by the numbers, there’s diminishing returns on the kills, they peak SUPER early with the violence, and there’s a LOT of running around aimlessly that makes the middle feel repetitive. Also the characters are by and large TOO tropey. You have the heartbroken white loser with his inexplicable awesome and funny ladykilling black best friend who has nothing obvious in common with him and why are they even close? Anyway, he tries to rebound with a girl who KNOWS MORE THAN SHE’S LETTING ON and is seeking out her (dead) family yet KINDA FALLS FOR HIM ANYWAY? Ugh. ANYWAY. Round it out with schlocky bumbling tour guide, sketchy softcore porn dude, two catty wannabe actresses conned into softcore porn, aaaand a wholesome Jesus couple. Oh and I guess VOODOO DUDE and like three stereotypical rednecks. The film is SUPER by the numbers and that’s not the worst thing but like…it does little things to be like “SEE? NOT JUST A USUAL SLASHER! SEE HOW WE BROKE THIS CHARACTER’S TROPE?” and it’s like…no. No you didn’t. You added one dimension to a one dimensional character. And on some level it’s fine to just deliver a face value slasher flick but it couldn’t seem to decide if it wanted to be a vaguely satirical sendup or try to challenge those conventions and that indecisiveness kind of undercut it both ways. Not enough to ruin the movie but there’s some rough patches for sure.

Also. Look. I get that it was 2006 and horror and whatever. But did the redneck dude NEED to be aggressively homophobic? Did we NEED like an average of one pair of tits per minute for the first half hour or so? Horror, and slashers especially, is a REALLY hypermasculine genre sometimes. I don’t need the movie yelling at me about how straight and white it is in case I forgot. And yeah, the redneck is played as being a dick but it’s not like there’s any actual gay dudes in the movie to balance that. It’s also weird to make the guy tricking girls into showing their tits for little to no money for cheap tittilation come across like a total sleazebag when the film JUST FINISHED getting like twenty odd girls to show their tits for cheap tittilation in the Mardi Gras bits then basically eyefucks Mercedes McNab and sidekick with three…THREE boob flashes inside like ten minutes. You can’t sermonize about shit you are ACTUALLY DOING. And to some degree it’s saying “hahahhaha homophobia and sexism are so backwards” while actively participating in both…I dunno. It just comes across shitty. It bugged me less at the time but it’s really abrasive now and reminds me of the skeezy feeling my wife and I got when the crowd at a festival screening cheered at the bit in VHS where the camera crew sexually assaults a woman in a parking garage. It’s not like this movie is THE WORST about it but I’m feeling pretty burned out on the shitty behavior of a lot of horror in general right now so it felt super abrasive to me.


Like I said. It’s a slasher fan’s slasher. That carries all the benefits and deficits of it. If you’re looking for blood and gore…I’d probably suggest an Evil Dead flick. If you’re looking for an unstoppable monster killing a bunch of folks in creatively violent ways? Well…Jason X or the F13 remake. If you want a clever satire of slasher flicks that’s funny as hell? Check out Tucker and Dale vs. Evil. Um. Hm. Yeah. It’s hard to recommend this as a top flight pick. But if you’ve seen all that shit and some other stuff beside and you have 80 minutes to kill, you could do a lot worse. Not must see by any means but worth a watch if you haven’t already checked it out.

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The body count grows and a legend enters the scene hahahahahehehehehaha

Film: Martin

Chosen by: Executive Producer

Reviewed by: Ultimo Necro

Martin by George Romero.

I watched this film about 20 years ago and hadn't seen it in some time.  I'm glad I did as it was totally worth the re-visit.  

A modern twist on the classic vampire tale, Martin tells the tale of a quiet loner from the Midwest who moves in with his uncle and cousin.  The film opens with a harrowing train scene that had a Hitchcock vibe as Martin stalks and 'feasts' upon his prey.  Martin appears to be quite a white-meat babyface pretty boy with a quiet streak, he is almost polite and apologetic to his victim as the scene unfolds.  Martin is then greeted by his uncle in Pennsylvania.   His uncle believes Martin to be 'Nosferatu' and has absolutely no problem in telling Martin this.  You have to imagine as a kid this would make you totally fucked up having a family member constantly calling you a vampire.

Martin has these black and white visions which tell the tale of a classic vampire movie, often mirroring the scene which is ongoing in the present time.  Romero does great work here and almost makes me yearn for a straight up Romero black and white vampire flick.  Not that the present day scenes aren't great either.

Martin meets his cousin who also lives in the house and also a lonely housewife who he makes food deliveries too.  He is under strict instruction from his uncle "no murdering", which he obeys fairly well to begin with.   His obvious lust for the lonely housewife is really well played and probably speaks to 99% of adolescent kids who had a crush on an older person.  

Another storytelling element really well used is the radio phone in, Martin calls in and becomes known as "The Count" and through the talk show discusses all things vampiric, dismissing (in his view) untruths and giving an insight into his deeply troubled soul.  The film poses the question, if he says he is a vampire, and is being told he is a vampire, does that make him become a vampire?  Or, another way of looking at it, was he actually a 100 year old vampire the whole time?  I love these kind of existential questions in moves.
Martin stumbles accross another lonely housewife at the grocery store, and begins stalking her which culminates in a fairly creepy home invasion scene, culminating in Martin raping the female victim.  Martin then explains to the radio DJ that he never had time for the "sexy stuff" on account of all the blood feasting.

Romero's work is great throughout the film, he manages to maintain what I would describe as a troubling, almost unsettling tone throughout the film.  One of the best scenes involves Martin stalking his uncle through the streets to a playpark.  The scene is almost lit like a hammer horror movie.  Martin jumps out on his uncle dressed as the Christopher Lee stylke Dracula, fangs and all, "Its just a costume".  

A little later, a seemingly more confident Martin, arrives at the house of Mrs. Santini (lonely housewife #1) and declares he is ready for the sexy stuff, which he does.  Mrs. Santini instantly has pangs of guilt and confesses this to Martin.  Mrs. Santini later kills herself, upon discovering her fate, Martin's uncle goes all Van Helsing and true to his word drives a stake through Martin's heart.

The final scene is quite profound as Martin had been walking through the streets seemingly happy and discussing with the radio DJ the differences between the movies and the real world.  It seems he had finally figured out his place in the world and at that point, the world was taken away from him.

The film is really great and one I would wholly recommend.  It raises a whole lot of questions, which are just as relevant now as they were in the 1970's, what is reality? if a person says they are something and acts as something, are they really that thing?  It really seems a foresight into the entitled MTV reality show generation of kids that want to live in this hyper reality of things that they in turn have seen on TV and Movies.  It's also a great depiction of teenage angst in young men and what drives young men to do flat out crazy things.

Maybe Martin had just watched a ton of classic vampire films and decided he was going to become a Vampire.... or maybe he literally was just a straight up Vampire.

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Where have you gone, boils and ghouls? Hiding in fear?!?

Film: Possession

Chosen by: Curt McGirt

Possession is something I've dared a friend to watch on acid recently, because despite his experience (which I do not have) I don't think he could get through it. First of all I think anyone that is sober period might have a panic attack during the restaurant argument in the first half hour. After that, it just gets worse -- imagine if Clive Barker, David Cronenberg and Roman Polanski got together and said "hey, let's make a horror movie!" while Carlo Rambaldi is sitting in the background, twiddling his thumbs and thinking he could trump his work on Alien. Yeah, it's that fucked up. Also starring Isabelle Adjani and Sam Neill!

Reviewed by: The Mad Dog


Possession (1981) is a French-German horror film starring Isabelle Adjani (Anna), and Sam Neill (Mark), and it won Adjani a Best Actress Award at the 1980 Cannes Film Festival. She plays a woman who demands her husband, Mark, a spy who is constantly away on long espionage missions, grant her a divorce as she has fallen in love with someone else. Mark tracks down the man he believes she is having an affair with, a very dapper and feisty Heinrich, but Heinrich hasn't seen Anna in a while; it turns out she has a new lover...and then things go fucking sideways in a hurry.

At first, this film was very dramatic as Anna hates her marriage so much she physically harms herself in a rather gnarly way; Mark responds somewhat in kind, and at first I couldn't finish the film because of the personal emotions it dredged up surrounding my own ugly divorce. But then I kept watching and it got strange, then absurd, then outright ridiculous. With about ten minutes left I loudly said "Oh, fuck off," because this damn film just wouldn't end: at 124 minutes, it is at least 30 minutes too long. I wish I knew beforehand there was an edited version as maybe I wouldn't have gotten so pissed off with it. The film starts very well but the last 75 minutes is just weird scene after weirder scene, many of which are slapped together with no rhyme or reason...and then there's a long and nonsensical ending that's just too fucking stupid.  

Adjani is amazing as Anna, as she does a great job getting across the idea that she's possessed by something; and Neill starts off doing a great job as this husband spiraling out of control as his marriage falls apart. But then you realize everyone is acting over-the-top crazy and it dilutes the well-played variations of crazy being portrayed by our two main characters. I think the only person that plays "straight man" in this film is their young son, Bob...and in the end he is being utterly ridiculous, too.

I can see why it has a cult following now, as it's zany and campy and all that fun stuff. But I just thought after starting so strongly it got bogged down and ended horribly.

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I didn't mind the length or the absurdity at all because it drags me in so hard, but yeah, the French lover that also knows karate is pretty fucking ridiculous. And indeed definitely NOT the film to watch if you've had a divorce or just suffered a messy breakup; Zulawski actually was getting over his own recent divorce which is probably why he made the film.

I still think the most disturbing scene is the restaurant argument. 

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Man. I feel like I really need to peep Martin (and more of Romero's non-zombie stuff generally). 


Also, I have nothing important the next couple days and am currently unemployed so if you need quickfire reviews for those not yet submitted I can do at least one or two. (Can be used as B-Sides if they come in late). Just let me know.

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The Dark Half, Creepshow (which I hope to watch on the big screen Saturday night), and the sadly ignored Knightriders are also all fine non-zombie Romero pics. Two Evil Eyes too though his segment pales to the lunacy of Harvey Keitel chewing the scenery in Argento's version of "The Black Cat". 

And of course to pimp my pick and what I just saw if you're looking for easy watches, check out Possession or God Told Me To in full on Youtube. 

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