Tagarchief: FilmDungeon

Hostel

Posted on by Jeppe Kleijngeld

Director: Eli Roth
Written by: Eli Roth
Cast: Jay Hernandez, Derek Richardson, Eythor Gudjonsson, Barbara Nedeljakova

Year / Country: 2005, USA
Running Time: 94 mins.

From executive producer Quentin Tarantino and director Eli Roth (Cabin Fever) comes Hostel, a relentless and visceral gore-fest that redefines the horror genre.

The film follows three reckless backpackers who, lured by the promise of a Slovakian hostel teeming with alluring women, stumble into a nightmare far darker than they could imagine. Instead of a paradise of hedonism, they find themselves trapped in a sadistic torture factory, where young travelers are systematically brutalized and slaughtered.

One by one, the trio is ensnared by their seductive yet treacherous holiday flings, drawn into a world of unimaginable horror. Hostel taps into the same vein of sadistic thrillers as James Wan’s Saw, but where Saw bogs itself down in a convoluted detective narrative, Hostel thrives by anchoring its terror in the protagonists’ harrowing first-person descent into madness. The slow, creeping revelation of their fate makes the experience all the more terrifying.

Roth masterfully manipulates his audience, balancing an entertaining – if occasionally implausible – setup (why would anyone impulsively jet off to Slovakia after a single photo of women?) with a descent into bleak, hopeless torment. The film escalates from a tense struggle for survival to a blood-soaked frenzy of revenge, delivering a rollercoaster of dread and catharsis.

Some people have complained about the lack of plot. But seriously: who cares? Horror movies haven’t been this fun in ages and it is the first film that actually scared the living hell out of me in quite a while. It’s a perfect storm of tension and grotesque brutality (and yes, it’s extremely gory). I’d even call it a brilliant piece of entertainment. Just a fair warning: this isn’t for the faint of heart.

Rating:

Biography: Eli Roth (1972, Boston) began shooting Super 8 movies at a young age. After studying at N.Y.U. he worked for many years in film and theatre doing every job available. His first feature Cabin Fever was made for only 1,5 million dollars and grossed a 100 million at the box office. Quentin Tarantino calls him ‘the future of horror movies’.

Filmography: Chowdaheads (1999, TV series), Cabin Fever (2002), The Rotten Fruit (2003, short), Hostel (2005), Hostel: Part II (2007)

Cult Radar: Part 5

Posted on by Jeppe Kleijngeld

FilmDungeon.com is glad to explore the video trenches to find that oddball treasure between the piles of crap out there. Off course a treasure in this context can also be a film that’s so shockingly bad it’s worth a look, or something so bizarre that cult fans just have to see it. Join us on our quest and learn what we learn. Hopefully we’ll uncover some well-hidden cult gems.

Researched by: Jeppe Kleijngeld

The Inglorious Bastards (Italy, 1978)
OT: Quel maledetto treno blindato

Directed by: Enzo G. Castellari
Written by: Sandro Continenza, Sergio Grieco, Franco Marotta,
Romano Migliorini, Laura Toscano
Cast: Bo Svenson, Peter Hooten, Fred Williamson, Michael Pergolani

Before Tarantino’s Inglourious Basterds, there was this WWII exploitation flick. A group of Dirty Dozen-like US soldiers get transported through France in order to be court-martialed. After they get ambushed by Germans, they manage to escape. They take one German hostage, who is to lead them to safe Switzerland. Underway they have to battle their way through hoards of Nazi’s and the US military. This film is characterized by loads of shoot-outs, explosions and humor. And of course some naked girls; every exploitation film needs a couple of those! The ‘Bastards’ (five in total) are well cast. Williamson is excellent as a badass motherfucker. While the movie never becomes truly great, it does manage to involve the viewer in the characters’ mission, and every time the glorious WWII music plays, you can’t help but cheer for these bastards.

EXTRA’S: As entertaining as the movie, is the excellent 38 minute discussion between Tarantino and director Enzo Castellari about their influences (Peckinpah) and the art of filmmaking.

The Strangler of Blackmoor Castle (Germany, 1963)
OT: Der würger von schloß Blackmoor

Directed by: Harald Fodor
Written by: Ladislas Fodor, Gustav Kampendonk, Bryan Edgar Wallace
Cast: Karin Dor, Harry Riebauer, Rudolt Fernau, Hans Nielsen

A hooded figure invades Blackmoor Castle, during a party held by the castle’s tenant Lucius Clark. The ‘Strangler’ threatens him and demands the diamonds back that Clark supposedly stole. He also leaves one man dead with a ‘M’ marked on his forehead. A Scotland Yard inspector comes over to the estate to investigate the murder. He discovers a plot around the diamonds and a confrontation with the killer ensues. This detective movie uses the build-up of a horror. This makes the beginning quite suspenseful, but it becomes a bit dull halfway through, when it turns out to be just another mediocre whodunit. Still, it is not totally without a sense of style and humor. The electronic soundtrack is made by Oskar ‘The Birds’ Sala.

Planet of Dinosaurs (USA, 1978)

Directed by: James K. Shea
Written by: Jim Aupperle, Ralph Lucas
Cast: James Whitworth, Pamela Bottaro, Louie Lawless, Harvey Shain

The DVD cover of Planet of Dinosaurs is a true masterpiece, but does the movie live up to it? That depends on your taste for campy stop-motion creature features. The story: a spaceship crash lands on a seemingly deserted planet. There are initially nine survivors that start to scout the area. Within two minutes, there are eight survivors left. They have landed on the planet of the apes with dinosaurs!! Some observations:
– Space effects in the beginning, ships and stuff, are very funny.
– The crew has ‘four lasers’. Hmmm…[cynical]cool.[/cynical]
– One of the last stop motion creature flicks. It’s not Harryhausen, but there is quite a lot of variety in prehistoric monsters. Only too bad they are somewhat static.
– The actors are as convincing as the dinosaurs.
– Lame dialogues and synthesizer score.

Worth watching? Yes, if you find this type of thing hilarious. Otherwise avoid.

Diabolik (Italy / France, 1968)

Directed by: Mario Bava
Written by: Mario Bava, Brian Degas, Tudor Gates, Arduino Maiuri
Cast: John Phillip Law, Marisa Mell, Michel Piccoli, Adolfo Celi

Adaptation from the Italian comic book series, produced by Dino De Laurentiis and directed by horror author Mario Bava, doing a wonderful job outside of his usual territory. John Phillip Law plays anti hero Diabolik, a masked super thief who steals riches from both the government and the Mafia. His partner is the beautiful and voluptuous Eva (Marisa Mell). Together they fulfill the male fantasy: driving black and white jaguars, making love between 10 million dollars in a rotating bed and getting away with the most daring robberies. Their opponents are inspector Ginco and mob boss Valmont, who team up in an attempt to lure Diabolik and Eva into a trap. Bava directs this superhero movie with great style, while showing respect for the source material. He delivers one amazing set-piece after another, accompanied by a brilliant musical score from master Ennio Morricone. Camp was never before or after this spectacular. Diabolik = must see movie.

Mister Scarface (Italy / Germany, 1976)
OT: I padroni della città

Directed by: Fernando Di Leo
Written by: Peter Berling, Fernando Di Leo
Cast: Harry Baer, Al Cliver, Jack Palance, Gisela Hahn

Tony (Harry Baer) collects accounts receivable for gangster Luigi. His crime family gets involved in a power struggle with local bigshot ‘Scarface’ Manzari (Palance). Tony teams up with fellow collector Rick (Al Cliver). Together they plan to scheme Scarface out of a fortune and retire afterwards. This leads to an inevitable bloody confrontation with Scarface and his crew. The fuzzy plot and often inaudible dialogues (due to deteriorated picture quality) make this movie hard to follow at times. The good things are Palance’s demonic performance and the well crafted Napels underworld atmosphere. Lot’s of action and violence during the second half especially, make this worth a look for gangster film enthusiasts.


John Phillip Law and Marisa Mell in Diabolik.

 

Buffy the Vampire Slayer

Posted on by Jeppe Kleijngeld

Director: Fran Rubel Kuzui
Written by: Joss Whedon
Cast: Kristy Swanson, Donald Sutherland, Paul Reubens, Rutger Hauer, Luke Perry

Year / Country: 1992, USA
Running Time: 82 mins.

Vampires have always been around us: hunting, killing, sucking blood. The chosen one is The Slayer, who alone can stand against the powers of darkness. When a slayer dies, a new one arises. But what happens in modern times? A blonde cheerleader receives the powers! Meet Buffy the Vampire Slayer.

Before she moved to Sunnydale, Buffy lived in L.A., the City of Angels…and monsters. A mysterious stranger named Merrick approaches Buffy and convinces her she is the chosen one to fight evil demon Lothos, an old vampire who has been in the crusades. She gets help from romantic agitator Luke Perry. Screenplay writer Joss Whedon establishes the basis here of what would later become the renowned cult series of the same name.

The main story revolves around Buffy, who wants a normal teenager life but has to deal with dark powers and slaying vampires. Naturally this 80 minute film is more compact than the 145-episode series that followed it. Therefore some elements that made the series great – Angel, Spike, Brendan, Willow, a variety of monsters – are missing. On the other hand, Rutger Hauer as Lothos is a worthy villain and Paul Reuben is an interesting casting choice for his henchman.

Donald Sutherland is also excellent as the tutor, and Kristy Swanson portrays Buffy well, although personally I like Sarah Michelle Gellar better in the role. The kung-fu and vampire staking fights don’t look so great in this film, which is a miss, since this is an important part of the concept.

Still, if you’re into Buffy, this is a decent cult movie that can now be seen as a prequel to the television series.

Rating:

Biography: Fran Rubel Kuzui is mostly known as (executive) producer of the TV show Buffy the Vampire Slayer and its spin-off Angel. She also produced Trey Parker’s Orgazmo. Her filmography lists two directing credits: the already mentioned Buffy, and US/Japan production Tokyo Pop, in which a young female rock singer is not appreciated by her band and moves to Tokyo.

Filmography: Tokyo Pop (1988), Buffy the Vampire Slayer (1992)

Wise Guys (1986)

Posted on by Jeppe Kleijngeld


‘What kind of guys gamble with the boss’s money, swipe a killer’s Cadillac, and party on the mob’s credit card?’

Directed by:
Brian De Palma

Written by:
George Gallo
Norman Steinberg

Cast:
Danny DeVito (Harry Valentini), Joe Piscopo (Moe Dickstein), Harvey Keitel (Bobby DiLea), Ray Sharkey (Marco), Dan Hedaya (Anthony Castello), Lou Allano (Frank ‘The Fixer’ Acavano), Julie Bovasso (Lil Dickstein), Patti LuPone (Wanda Valentini), Antonia Rey (Aunt Sadie), Mimi Cecchini (Grandma Valentini)

The reason GoodFellas isn’t titled Wise Guy – after the book it’s based on – is that this film, a mob comedy by none other than Brian De Palma, got there first. It starts with Harry Valentini (Danny DeVito) doing a Travis Bickle impression in front of the mirror. This tells us everything we need to know about his character: he tries to act tough but is really just an errand boy for the local New Jersey mafia, alongside his friend and next-door neighbor, the Jewish Moe Dickstein (Joe Piscopo).

These two are the laughingstock of the crew led by Anthony Castello (Dan Hedaya). They’re stuck with humiliating tasks: doing groceries, testing a new bulletproof vest, and starting the car rigged with explosives.

When they’re forced to place a bet for the boss, compulsive gambler Harry bets on the wrong horse, assuming Castello’s pick would lose. Turns out the race was fixed, and now they owe him 250,000 dollars. As punishment, the boss orders them to kill each other. The wise guys catch wind of this and flee to Atlantic City, desperate to escape their predicament.

De Palma – known for suspense and gangster classics – had made comedies before, like Greetings and Hi, Mom!. While certainly no masterpieces, he developed his own style, and some jokes land: like the sped-up shot of the entire street fleeing when Harry starts the rigged car, or when Harry and Moe deliberately wreck the Cadillac they stole from a hated crew member.

It’s curious, though, that between making two of the decade’s greatest gangster films – Scarface (1983) and The Untouchables (1987) – De Palma made this pretty mediocre mob comedy.

Critics largely panned it, but Roger Ebert and Gene Siskel loved it. Ebert gave it three-and-a-half stars out of four, writing, “Wise Guys is an abundant movie, filled with ideas and gags and great characters. It never runs dry.” Siskel awarded it a perfect four stars, raving, “Big laughs, foul language to the point of absurdity, and one hilarious, screaming performance atop another combine to make Wise Guys one of the funniest times you will have at the movies this year.”

You’ll have to see for yourself if you’re one of the few people to agree.

Rating:

Quote:
HARRY: “Let’s put this ＄10.000 on my Baby to win. Or do you wanna die in Newark?”

Trivia:
Martin Scorsese’s parents – Catherine and Charles Scorsese, who are also in other gangster films like GoodFellas and The Godfather Part 3 (only Catherine) are featured as birthday guests.