It appears as if
Fire Walk With Me will be the next Lynch film to get the Criterion treatment:
https://twitter.com/jondotd/status/858037663605166081
Well whatdoyaknow, two weeks after
Matsumoto's death, Funeral Parade of Roses gets a 4K restoration: http://screenanarchy.com/2017/04/ex...elebrates-the-legacy-of-matsumoto-toshio.html
Beauty and the Beast (Juraj Herz, 1978) - Brought this one up a few pages back when someone mentioned the new version. Certainty one of the most, if not the most unique take on the tried and true story and the most horror based which is hardly surprising considering that Herz (
The Cremator (1968),
Morgiana (1972), ect...) is the master of Czech genre films. While the storyline more or less follows the basics of the classic tale, what really separates this from other filmed versions is the look of the beast who could best be described as a humanoid bird man. Its an incredible looking get-up and despite there being numerous photos from the film online even after seeing the pictures the first reveal of the best is quite striking. The film is also a masterclass in gothic ambiance of the eastern European variety, the main setting being a castle in various stages of decay and score dominated by spine-tingling organs. Very easy to engage with as well even with the familiarly of the story and lead beauty Zdena Studenková is just that, utterly stunning.
The Gladiator (Abel Ferrara, 1986) - A somewhat anonymous yet ultimately rewarding made for TV venture for Ferrara centering on a mechanic who turns vigilante after his brother is killed by a mysterious "Death Car" driver, taking to the streets in his badass souped-up truck taking out careless drivers. Of course it climaxes in gloriously 80's fashion with a vehicular duel in a junkyard with the Death Car driver Although Ferrara admitted that this was more or less a gig strictly for the paycheck and to spend two weeks in LA to get away from winter in NYC, its sort of incredible how what on the surface seems like an impersonal work for hire actually has quite a bit in common with his previous films the more its put under a microscope. Obviously with it being a TV film don't go in expecting something like
Ms. 45 (1981) based on the vigilante angle, although being a Ferrara film it does go to some pretty dark psychological places with the protagonist. It should also be said that despite the plot point of safe driving, it does manage to avoid coming off like a "message" film like so many TV movies of the era it belongs to. Lots of awesome stunt action driving and crashes and a really good cast including Nancy Allen as the love interest. Well worth seeking out.
Chameleons (John Leslie, 1992) - An XXX take on the idea of body hopping (hardy-har-har), the titular chameleons having the ability to inexplicably take on the appearance of anyone they desire, the caveat being each transformation drains the life-force of the original body's owner. A strange and rather intricately written film, the multitude of twists and turns the body hopping angle presents as is relates to characters identities as well as the effect it has on the person who's form is beyond occupied are all incredibly clever and steer the film into some pretty heavy mindfuck territory. Typical of Leslie's work from this period, its very slick looking and actually lensed on celluloid which by '92 was becoming more and more rare for the genre and is impeccably cast with the amazing Ashlyn Gere ruling the film, playing a loony, conniving bitch to perfection with some gut busting lines of dialogue. Its also somewhat amusing to see Rocco "Its only smellz" Siffredi in a sensitive role. Between him and Deidre Holland the exotic accents are thick in this one. Sometimes awkwardly known as "
Chameleons: Not the Sequel" on account of having a similar plot to Leslie's 1980 feature
The Chameleon.
No Reason (Olaf Ittenbach, 2010) - From hardcore to hard gore. What's always separated Ittenbach from the lot of so-called "extreme" horror or splatter directors is the imagination with which he displays his gore effects (he does his own FX work) as evidenced in his VHS classics
Black Past (1989) and
The Burning Moon (1992), both of which were head and shoulders above most of the other shot on videos horrors that were unleashed around the same time in terms of actual filmmaking ability. Here he manages to outdo even himself with a semi-metaphysical, subconscious based narrative, leading his unfortunate main character and audience through various "levels" of a hellish netherworld guided by an ominous figure in a Cthulhu mask. A legitimately startling film with some astonishing displays of violence sure to rattle even the most hardened edgelords and even some Cenobiteish looking creatures. Stylistically the film seems to have an Italian influence with each of the "levels" being defined by one specific color, the screen being drowned in the color unique to each level (red, green and blue). The overall fuck you attitude of the film however is 100% German. Come for the gore effects, stay for the psychological trauma.
