Bad Movie Tuesday: The Best Spin Kicks are in Bad Movies
Spin kicks are a staple of bad cinema. In a direct to DVD action film acting is not a necessity. What you need is the ability to ride dirt bikes into terrorists homes and spin kick the bad men into oblivion. If you are decent looking and can throw a spin kick you will most certainly become a henchman or hero in a bad action film. Most importantly you can end up in scenes like this.
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The spin kick has long been a staple of cheesy cinema. The kick when used correctly is impossible to defend and awesome when pulled off correctly. The reason the spin kick is not featured in many A-list films is because the diminutive actors are incapable of such a graceful act. The actors who have mastered the move (sans good actor Swayze in Roadhouse) are people who can kick not act. Thus, in bad action films the actors kick a lot and act little. I’m sure fellow MFF co-writer John knows more about spin kicks and bad movies but I came to this interesting realization first.
My favorite exception to the rule as mentioned earlier is Roadhouse. The reason it is a classic is because it is 100% bonkers yet features an A-list star who can spin gracefully with his foot in the air.
Viva la Swayze!
Aside from Swayze the high flying actors who are martial artists do not need to act like Brando. Take a look at this JCVD highlight clip and you will notice bad acting, poor defense and glorious spinning maneuvers that lead to unconsciousness and concussions.
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The art of the spin kick is lost to me. When you are a 6’4 Swedish man your only option is to imitate the Dolph Lundgren front kick or John Cusack side kick.
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We don’t have the torque or ability to manipulate our bodies into a spin. Watch this fantastic clip of Dolph and JCVD fighting to catch a glimpse of Swedish fighting.
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Scott Adkins is the king of B-movie action and he has mastered the triple lindy of spin kicks.
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Michael Jai White made the fantastic film Black Dynamite and made a name for himself with his spin kicks in DTDVD films.
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Before Gary Daniels was crane kicked to death in The Expendables he was spin kicking Wesley Snipes.
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Spin Kicks are beautiful things that happen in bad movies. They are like the monologues in a Mamet play or a Daniel Day-Lewis transformation. You have to seek them out and suffer through bad movies to witness the aerial acts. If you are lucky they can even teach a tough group of high school students to appreciate the bigger picture.
Bad Movie Tuesday: Horror Czar: The Politics of Creating a Nickname
Bad Movie Tuesday: Dr. Thanksgiving Movie Strategy or: How to Prevent Your Cinephile Cousin From Pushing 2001: A Space Odyssey on a Family Full of Turkey
Turkey, family, football and television. Millions of American’s will stuff themselves full of mouth watering morsels then retreat to the confines of their trusted couch, futon, love seat or bean bag chairs. Once seated the tryptophan will leave the person in a tired daze of contentedness and coma like symptoms. They will reach for the remote and in front of them will be a plethora of family oriented cinema to dull their senses and prepare them for the inevitable pecan pie topped with whipped cream. The images will pass in front of them in a mixture of consumerism, family values and most likely Nic Cage conveniently finding a bowl of lemons in National Treasure.
After a 5k Turkey Trot, touch football game or surprisingly competitive match of backyard badminton couch time is expected and deserved. Your senses will be dulled, your hands pruiny from washing hundreds of dishes and your aunt will be talking about her kids with adjectives like beautiful funny, fantastic and potentially incarcerated. So, watching Inception, Memento or Usual Suspects will be too much of a sensory overload to absorb while the cranberries are settling in your stomach. In the middle of the film you don’t need your brother complaining about Dicaprio or your Grandma wondering why the well dressed fella is fighting a guy whilst upside down. You will need a film that you can watch in between naps, friendly conversations and games of Uno where you are convinced your Great Grandma is out to get you.
The best Thanksgiving movies are watchable good/bad films that offer moments of ludicrous brilliance and epic moments of dumb. Who wants to watch Kubrick on Thanksgiving? Pushing 2001 on Thanksgiving is like introducing Bon Iver at a Keg Party. The outcome will feature confusion, booing and a potential outbreak of an a capella version of Livin on a Prayer. The reason bad films are good is that they will be perfect background for a bustling home and provide something for you to chat about other than what the next five years of your life will look like.
Movies like The Replacements, The Waterboy, National Treasure 1 & 2 , Major League 2, The Three Musketeers, Gone in 60 Seconds, Die Another Day, The World is not Enough, The Rundown, Walking Tall and Yes Man will prevent long diatribes and television fatigue. Are these films good? The answer is no. However, they feature Nic Cage driving fast, Denise Richards playing a nuclear physicist and Orlando Bloom’s saucy hair. You can go on a walk, come back and still understand what is going on. Do you need to watch these films? No. However, it might get you thinking about putting aside your deluxe version of Blade Runner and focus on movies that will allow you to converse with your family and not bore them with making of documentaries. Most importantly it will keep you from showing your family Malibu’s Most Wanted because you saw it once and thought it was funny.
All of these movies are watchable background fodder that won’t dominate the conversation or open a window for your pretentious cousin to discuss why Raging Bull is the greatest Scorsese film (I am a Goodfellas fan but find Departed the most rewatchable). Most importantly they won’t create any awkward moments that American Pie, Hot Tub Time Machine or Black Dynamite would create. Imagine putting on the VHS of Roadhouse and having this happen to you (funny read).
Are there good background movies to watch on Thanksgiving? Yes, Goldeneye, Mr. and Mrs. Smith, Invincible, The Goonies, Talladega Nights and Plane, Trains and Automobiles are all suitable for your cinema needs. However, you don’t want every other conversation interrupted to hear what funny thing will be coming from Will Ferrell’s mouth or what shenanigans John Candy will get himself into it. The movies I recommended work because they are perfectly forgettable. I once watched The Replacements without ever realizing it was on.
John’s Horror Corner: The Innkeepers (2012)
MY CALL: An entertaining dynamic between two awkwardly sweet characters steers this film into a unique mood. I really enjoyed watching this movie and it made for a very different, satisfying experience. [B] IF YOU LIKE THIS WATCH: Written and directed by Ti West, who didn’t impress me with his episodic contribution to V/H/S (2012). OTHER REVIEWS: This movie was suggested to me by co-writer The Hof. He also positively reviewed this movie.
Claire (Sara Paxton; Shark Night 3D, The Last House on the Left) and Luke (Pat Healy) work at the Yankee Pedlar Inn and are determined to find evidence of the paranormal within its walls before it goes out of business in its final days. They have a refreshingly platonic friendship that isn’t blurred by the typical nudity-harbingering sexual tension so common among horror ilk. These two have a natural and playful chemistry; you instantly know that they care about each other and, in effect, it makes viewers care about them. Already this is a solid victory for any horror movie.
Claire is a somewhat awkward but super-nice young woman with a childish verve who finds listening to others to be exhausting, instantly slouching like a dropped marionette. Luke is a nice, quirky guy who likes getting to know the hotel guests. Their dynamic is nothing short of cute and it comes with some funny accidental scares. The director clearly went out of his way to make Paxton look childishly cute whenever possible. The characters were so well written that I could seriously watch this movie as a dramedy without any horror elements, just to watch Luke and Claire’s interactions. It’s all done very well and they’re so likeable.
They want to find proof of Madeleine O’Malley’s haunting. During the process Claire starts hearing things and some cheap scares really made me smile. Claire does an overnight ghost recording and picks up on something spooky.

“Okay, now I am CERTAIN I hear something.”
TV star Lee Jones (Kelly McGillis; Top Gun, Witness) is in town for a convention. She is a bit distant, in a superior way, but subtly maternal. She offers her spiritual knowledge and turns out to be a medium. Some limited communication with “the other side” reveals a room in the hotel where something awful happened that Claire must not enter because she “cannot save” Madeleine. The tone shifts from light-hearted to serious as the style of the scares follows suit. Stranger, graver things start happening involving the hotel guests and further investigations by Claire and Luke.
The scares seem simple—like they’re meant not to be terrifying, but only jumpy—as if this was made so that preteens could have a “good” horror movie that won’t leave them traumatized. This is still enjoyable to adults, though. There’s no creepy, dreadful vibe whatsoever. It’s more like you look forward to things, like with a good mystery novel, than dread them. “Spooky” elements are simply clichés executing perfectly; as if this movie was a “how to” manual for future horror filmmakers.

The camerawork was good; simple, but well-placed and effective. The movie demanded no more than they gave.
Let’s be clear. The horror “story” wasn’t very good. While I loved the character-driven premise and it carried the movie effortlessly, the horror story itself never really felt like it moved forward and it certainly met us with no resolution at the end whatsoever. However, I really enjoyed watching this movie and it made for a very different, satisfying experience.
John’s Horror Corner: The Devil’s Carnival (2012)

Note the {Episode 1} on the poster…
MY CALL: Enthusiasts of musicals, adventurous film lovers and fans of Repo! should rejoice and be pleased to watch The Devil’s Carnival. I give this a “B+” for intrigue. IF YOU LIKE THIS WATCH: Repo! The Genetic Opera (2008).
John (Sean Patrick Flanery; The Boondock Saints, Saw 3D: The Final Chapter), Merriwood (Scream Queen Briana Evigan; Mother’s Day, Sorority Row) and Tamara (Jessica Lowndes; Autopsy, Altitude) find themselves in a carnival in Hell dressed in the wardrobe of a long past era (‘50s-ish). After introductory choruses by the carnies, the music treats the sins of each sinner in turn as the Devil reads them as fable morality tales.

Jessica Lowndes in a sock hop dress, tied up to a knife wheel with an undead greaser.
This short (56 minute) musical was directed by Darren Lynn Bousman (Saw II-IV, Repo! The Genetic Opera, Mother’s Day). The carnies were all well done and their make-up had an intentional theater appeal. The Devil looks stunningly similar to the djinn (i.e., genie) in Wishmaster (1997). Other characters, especially the cracked face “painted doll” lady who we see quite often, were well wardrobed and creepily presented. The music was decent, occasionally surprisingly good, and dominated the film’s running time as each of the three wayward souls’ sinful stories were told in song.
The Painted Doll. Eerie and sexy.
Between the dark nature of the movie and carnies versus the bright colors and lighting in the sets and wardrobe I found an interesting duality towing my reactions. This is musical horror in theme, but presented in an upbeat Broadway manner—except for John’s tale, the third and final of the Devil’s fables, which is more forlorn. I am especially fond of the Devil’s role and his musical number at the end, which explains the decisions he has made regarding the three souls cast into his carnival.
This strikes me as being a great deal similar to Repo! The Genetic Opera, although Repo! was only occasionally upbeat in song (in an uppity, non-macabre feel good way, that is) and not so much in set and wardrobe palate. In either case, the “feel” is there and fans of Repo! should be quite pleased. We even find some of the same actors (e.g., Paul Sorvino).
I am told that this is the first of a series of films. I’m curious to see how the next installment will connect to the present characters and theme.
Very different. Very interesting. If you’re very adventurous, then give this a shot.
John’s Horror Corner: Alien Predators (1985), a gooey alien infection movie that’s good for a few laughs.

MY CALL: A fun, gory, low budget and laughable horror flick that you’ve probably never heard of. I don’t know about you, but this is exactly what I’m always looking for…long-forgotten 80s horror. IF YOU LIKE THIS WATCH: The Kindred (1987), The Bay (2012) and Xtro (1983) are a few gory, mutant infestation-y movies that I’d endorse. ALTERNATIVE TITLE: The Falling. AVAILABILITY: This movie has not yet made it to DVD that I am aware. This flick is so unknown that the only image I could find for the movie online was the movie poster, which doesn’t even match the cover of my homemade DVD cover for the movie under the other title.
In the early 1970s NASA was evidently doing some experiments in a space lab that “could not be done on Earth.” Then, that space lab crashed in Spain. Despite the setting, this is just a typical American horror flick that has a few people with accents and an Old World town.
Samantha, Damon (Dennis Christopher; Stephen King’s It, Necronomicon: Book of the Dead) and Michael are RV-ing across Spain and they discover that strange things are happening in Duarte. The town is shockingly empty, the locals are behaving strangely and they encounter the weirdest, evil, red-headed, pod person-Cher waitress ever.
As this–we’ll call it a plot–endures, we learn that the Apollo 14 moon mission recovered dormant lifeforms. Nothing as zany as the rock spiders from Apollo 18 (2011), but pretty heinous. A NASA scientist, who behaves a lot like a criminal, provides all of the unsensationally ho-hum revelations of the plot. Basically, the research station crashed, alien life contaminated and mutated the local fauna and people, and they need go to a NASA facility that’s in the basement of a Spanish stronghold tat’s hundreds of years old in order to get some canister so they can create an antidote to the mutagenic alien DNA.
They really put some effort in the writing for our three protagonists. The dialogue between these three doesn’t feel nearly as stiff as the standard 80s ilk. Although, all of the other dialogue and acting is awful.

The gore is strong from the get-go. Loads of guts, little slimy monsters, pulsating and erupting mutations…also, I’ve never seen a dog get dragged inside of the disemboweled body of an alien-infected bull. Very cool.
This movie was really quite fun for some random flick I never heard of–(I picked it up at a convention horror booth). I’d retitle this movie The Trouble with Flesh-Eating Tribbles.

Merantau (2009)

MY CALL: I’ve seen the star and director do so much better in their second movie that I found this flick nearly intolerable by comparison. I really wish I saw this first, but it has forever left a bad taste in my mouth. Maybe a bit biased or unfair, but I give this a “C+“ at best–too many production flaws. IF YOU LIKE THIS WATCH: The Raid: Redemption (2011) really shows you what Iko Uwais is capable of at the expense of a real plot. I’d also strongly recommend movies by Jeeja Yanin (Chocolate, Raging Phoenix) and Tony Jaa (The Protector, Ong-Bak but not Ong-Bak 2 or 3).
DISCLAIMER OF BIAS: I will constantly compare this to the FAR BETTER The Raid: Redemption. By comparison, Merantau was awful. However, a lot of Amazon reviewers who saw this BEFORE seeing The Raid seemed to think it was pretty great. I just don’t see it, but I thought it was only fair to let you know that a lot of folks think highly of this movie. This reminds me of people’s opinions of which Hangover movie was better. It seemed that whichever one they saw first was the one they thought was the best. In this case, I think you’d need to Merantau first to think it was good.
“Merantau” is the physical and spiritual journey a boy takes to become a man. Yuda’s merantau takes him to Jakarta to teach the martial art of silat. Instead, he finds himself helping a call girl and her little brother deal with an abusive pimp. The movie is slow and takes forever to get to any action. In the first 30 minutes, all we get is Yuda (Iko Uwais; The Raid: Redemption) manhandling the pimp. It’s not impressive, brutal or fun to watch. The next fight scene is “proficiently” choreographed, but strikes me as totally boring. For this I blame director Gareth Evans’ fledgling experience since he really rocked his next film with Iko Uwais, The Raid: Redemption.
If anyone stumbles across this movie AFTER seeing The Raid, they should be warned that this lacks the “check your brain at the door” videogame action appeal. This film actually has a plot, an Ong-Bak-esque story, and in the beginning it pays more attention to traditional Indonesian martial arts than choreographical sensationalism. The violence kicks up in gear towards the end. For the raw action fan, the first half of this movie may disappoint fans of The Raid much as Ong-Bak 2 and 3 disappointed many Ong-Bak fans; too much “quest for peace” and “doing what’s right” and not enough knees and elbows to the head.

http://www.fmvmagazine.com/?p=8105
Yuda vs. pimp and random goons = unsatisfying.

http://myfilmviews.com/2011/01/25/merantau-2009/
Yuda vs. motorcyclist = unsatisfying. This image looks like it’d be cool I the movie. It actually came out rather dull.
The fight scenes in the middle of the movie eventually hit an appropriate frequency but the lighting, camera work and choreography—plus some choppy editing—left a lot to be desired. This feels like the combat quality I’d find in a Lifetime Network movie or Walker, Texas Ranger; put simply, this just doesn’t cut it. I get that not all movies can be the life-changingly awesome and have things I’ve never seen before… but I manage to love Van Damme’s 90s movies. They had far simpler choreography than this. However, the way they were filmed they just “worked.”

http://kiaikick.com/2011/06/11/review-merantau-2009/
Like Jaa and Yanin’s films, the highlights were in the stunt falls. Lots of guys get knocked off of walls, buildings, etc., and they are done exquisitely and certainly excite the viewers.
For some reason, as the movie persists the fight scenes get WAY better, even decent—outside of the extremely annoying fact that people in these fights are equally affected by quick jabs as they are elbows and knees to the face or throat punches. In the end Yuda faces a HUGE number of tandem opponents with some brutal (on the stunt men) stunts and choreography. These fights never hit Tony Jaa, Jeeje Yanin or The Raid quality. Yayan Ruhian (Mad Dog from The Raid) costars in this, but is sadly under-utilized until he fights Uwais, which might be the best one on one fight of the movie, yet still not a very good fight having seen how much EPICALLY better both of them have done elsewhere. I also found the “boss” fight at the end to be more aggravating than good because his opponents took far too much punishment to keep coming at him full force–or at all. The choreography was good, but the fight just dragged on too much.

http://kiaikick.com/2011/06/11/review-merantau-2009/
Despite very good choreography, I had a hard time buying that two skinny criminals also happen to be some of the best fighters in the movie totally out of nowhere! They also fight in slacks and tucked in collared shirts.
As for Yuda’s merantau. Well, he pretty much kicked the ever-lovin’ shit out of forty or fifty dudes. So, I guess he gets to return home “a man.”
I’d skip it unless you’re a die hard Asian action cinema fan. Even if you’re in the camp that would say this movie is good, there are far too many better executed and more finely filmed examples of great technical martial arts. Feel free to leave harassing comments for my muck-raking review of this flick. But consider seeing The Raid first–just to see where I’m coming from.

Prometheus (2012) Vivisected: Part 2: The sea of questions regarding the mysterious black goo
I hope you enjoyed Prometheus (2012) Vivisected: Part 1: The Unacceptable Discontinuity between Alien and Prometheus. If you didn’t, then go post a complaint or disagreement; start some fires. I really wanna’ hear it! If not, then sit back and enjoy my rabble-rousing second installment.
Again, as a friendly reminder, I did not dislike this movie. I rather enjoyed it very much. Despite that, I have numerous complaints about the movie and, like any blogger, I feel empowered by my newfound “voice” and exploit the fact that my friends often give me pity-reads. So here’s more about a movie that I loved watching and love to hate analyzing.
Another disclaimer, I am on the tail end of my second graduate degree—I’m an insect phylogeneticist. Given today’s topic, you’ll notice the science geek in me truly emerging within some of the justifications of my complaints. In future installments of this unending series of rants, you’ll see the bug geek emerge, too.
In today’s installment I will address the sea of questions immersed in Prometheus’ mysterious black goo…
The Prometheus-movie.com website: Various online fora have attempted to provide answers regarding technical aspects of Prometheus. But so much is left in the hands of the writers’ and directors’ use of artistic license and their weighing what we “do see” versus what we “don’t see” between the scenes and beyond the camera angles of “the story.” However, the black goo comes off as “a thing that should come with rules.” As such, the Prometheus-movie website forum co-administrator (handled “Snorkelbottom”) contributed to a forum called “The Secrets of the Black Liquid REVEALED.” How legit is this website? Very. How legit is his forum poster? I’m not really sure. Is Snorkelbottom just “some dude” with some random ideas like me? Not sure again. But he is more than just a random “member” of the movie’s official website (and hype/propaganda machine). As a biologist (my day job), I find a lot of holes in Snorkelbottom’s explanations—not that I could perfectly solve them without an elaborate treatise and a few more doctorates. However, his answers represent a serviceable effort in making sense in the writers’/director’s decisions about the goo to the general population—however I’d ignore his sections “The Dark Truth” to “Conclusion”… simply not enough understanding of evolution, genetics or genomics in this forum discussion. I’ll attempt to my own extrapolations about the goo but encourage you to check out his forum post. Like me, he clearly put a lot of thought into it.

What does this stuff do? Let’ try it out on a friend…
My issues regarding the question “What exactly does the black goo do?” The effect of the goo seems to vary as wildly as the results of casting two dice on a craps table? Further confusing is that no two people or things come in contact with the goo under the same circumstances. And yet more perplexing is the case of whether or not the black goo and the stuff in the glass vials (in the urns) have the same properties, completely unrelated properties, or if they had to mix. I am deliberately treating them as the same substance for now. Case by case from the movie, I present my questions and suppositions. So let’s skip the anesthesia and get this Alien autopsy vivisection going!
Super tiny constrictor eggs. [FYI—Here I operate under the assumption that the snaky things develop from the tiny worms in the goo.] The goo is a zygotic muck that spawns little vermiform worms which, evidently within hours, become three-foot long boa constrictor leeches that bleed acid and love go spelunking in human digestive systems (e.g., down biologist Millburn’s throat).
This is what you get! You’re a biologist who treated a snake thing from another galaxy like a damned puppy. You deserved this.
What nutrients they consume to reach this size this fast, I do not know…let’s just pretend they get all the carbon, hydrogen, oxygen, phosphorus and nitrogen they need for the cellular building blocks of life from the air. At this point, we’ll ignore the extremely low atmospheric density of these elements compared to a four pound organism (assuming there was only one of them). Otherwise, recalling Chemistry 101, we’d realize that if that room were a closed system no one would be able to breathe in that room anymore after this critter developed.

Oh, look, it hisses. Let’s pet it. Stupidest biologist ever!
And just how and why did these things develop in the first place if, indeed, they developed from the little worms? Was it just because the goo triggered some developmental response when exposed to atmospheric changes (somehow from the human presence)? Lots of blogs out there have lots of answers. We’ll never know.
Fifield’s transformation into a rage zombie. After getting a face full of acid-melted glass (or plastic or whatever from his helmet)—during the encounter with biologist Millburn and the snake thing—geologist Fifield apparently dies (or nearly so) and falls melted-face first into the black goo-mucky ground (or maybe it was just the alien’s blood that induced his “changes”). The next time we see him he has a mutated hate, super strength and some serious rage issues. But how did he get this way? Would his eyes even function anymore after the whole melted glass in the face event? Or does he regenerate now? He basically comes off as a mix between a “Zerg-infected” human from Starcraft and a 28 Days Later rage zombie. Why even have that rage zombie scene at all?
Now for the big question: What induced his transformation? Was it because the alien DNA in the acid blood affected his system? Was it because of the fluid on the ground? Was it, perhaps, a combination of the two?
Why not a virus instead of a rage zombie? If indeed this use of the black goo was to create an infected unit (or a decoy as in Screamers) to infiltrate target populations, then how about infect him, then make him a decoy to allow him (infected and all) back on the ship? If the goo transformation could first heal/regenerate him (i.e., if injured at all) but keep him human (with his mind intact), then he could make it back onto the ship (or into a human colony, etc.), in which there would be the delayed transformation and he could infect others in the general population the same way. Hell, it could even be a deadly virus (like an Ebolavirus) with a 48-72 hour incubation period. Wouldn’t that be a better plan on the Engineers’ part? After all, they have plenty of other toys (like the xenomorphs) to do any necessary killing. A viral agent (to which Engineers are immune) would be a good start to any spirited human genocide. Don’t you think?
A worm-based disease with an elaborate life cycle. Remember when David goo-ruphies Holloway’s drink? This elixir of—I guess—parasitic eggs can be ingested, infiltrate the blood stream and pop up in places like, oh I don’t know, Holloway’s eyeball…not unlike a form of filariasis (e.g., onchocerciasis). For whatever reason, these worms don’t develop into anything snake-like and affect Holloway more like a rapidly degenerative virus which, again for whatever reason, fails to infect others by any means other than fluid exchange like when he impregnates the barren Shaw with what turns out to be a chest-bursting facehugger. Now THAT reverses everything we thought we knew about Alien biology. Sure, maybe she was going to have a conventional vaginal delivery—it did, after all, have an umbilical cord. But still, she was impregnated with an alien by someone who had an alien-borne disease without contracting the worm-based infectious disease, then she gave birth to something we’re accustomed to seeing hatch from an egg, and this thing’s purpose is to impregnate yet another host with yet another alien which, presumably, will burst from their chest and then develop into a big xenomorph.
That’s a worm host, then a chest-bursting facehugger host, then a face-hugged facehugger host. Three different hosts. ELABORATE! This may seem crazy, but this elaborate case also occurs in real life with the life cycle of the causitive agent of bird flu. But, would the Engineers really come up with something so elaborate. Why not skip a step? Their goal is genocide, not to make us suffer.
Another question altogether: Was Holloway on his way to transforming into a rage zombie like Fifield? Maybe it wasn’t a degenerative disease at all, but rather the beginning of a painful transformation. Changing genetic code in a living organism sounds like it could be painful.
Is the black goo within the urns’ vials different from the urn goo that isn’t in the vials? And does it regenerate tissue? Snorkelbottom suggested that the goo in the vials within the urns has the “effect of revitalizing dead/dying cells, seemingly resulting in re-animation (Shaw’s womb/Fifield)” and that this goo is different from the goo that wasn’t inside the vials.

This is why you should buy your own drinks at the bar.
But Shaw was impregnated by Holloway who ingested the goo from within the vials and Fifield fell face first into the floor which was wet with the goo that wasn’t in the vial…or was it there, too? On top of that, the inability to conceive is not necessarily the product of dead cells or damaged tissue and Shaw wasn’t actually exposed to the goo but rather body fluids of someone else who was infected–if that makes a difference. So that’s a double-tap to the head of questions for that theory–not that I can find an easy explanation as to why there were two different liquids. Perhaps the fertility of the host is irrelevant as long as there is a uterus, or simply, a living body! This stuff is pretty good at playing with DNA (as we saw with Fifield, discussed above) so I doubt that it would require a host ovum to develop. To say we would need one would also imply that the worms (or their eggs or whatever) actually functioned as sperm! See how this is getting silly fast? This shit is complicated enough as it is.
The fact that we see goo-covered worms in one place and sealed vials in another suggests that they should be two very different things. Perhaps all of the changes were somehow linked to the vialed fluid. Perhaps some of the changes were from the goo, but those were a product of an indigenous bacteria or virus brought to the barren planetoid by the Engineers–yet not necessarily “engineered.” See how the questions stack up pretty high with this movie?
SUPER GEEKY SIDEBAR: Back to developmental biology… As I questioned above in addressing the tiny worm turning into a constrictor thing, what are these things consuming? Let’s address John Hurt’s chestburster in Alien and Shaw’s fetal facehugger. When they are inside their hosts, what do they feed on in order to grow? It takes about 285-300 calories a day for nine months (that’s 77,000+ calories) to fully develop a human fetus—[That’s right. Only about 300 calories a day. So YES, your wife IS taking advantage of her pregnancy and NO an extra 1000 calories a day isn’t necessary to ensure a healthy baby. Eating for two? Yes. But one of them starts out smaller than a pin head and rarely exceeds 10% the size of mom.]. These things were ready to plague the world after under 24 and 12 hours, respectively. This gets a bit abstract because maybe the aliens are WAY more efficient in their energy use and development. But to make a 6 to 8 pound facehugger, Shaw had to feed it with something! It wasn’t 77,000 calories of body fat (adipose tissue). Anyway, those triglycerides have only carbon, oxygen and hydrogen—nothing else. Also, she’d look a lot more wiry after losing about 20 pounds (~77,000 calories)! She also didn’t seem weak until the baby was “kicking”, so she didn’t take a big hit to her muscle tissue, body fat, blood sugar, blood period, or anything.
If it just fed on blood plasma or something, despite the lack of nutrients, she’d be quite anemic and sickly. Even a combination tissues thereof is far-fetched considering the amazing speed at which that much poundage of alien critter is produced—no matter how well they we engineered! Speaking of which, how did the chestburster in Alien put on 300 xenomorphic pounds in a day!?! Was the Nostromo transporting bins or ProWeightGainer powder, steroids and whole milk loaded with growth hormones? If it was then, no argument, I get it. If not, then I’d like an explanation.
Yeah…this doesn’t happen over night.
GEEKY SIDEBAR CONTINUED: Then there’s the acid blood… Continued from above, these critters at least began their development in a human host. Well, the critters being discussed did. But even the little snake things, which had acid blood as well, needed to get the appropriate elements for the acid. I doubt they’re simply hydronium ions. Typically we require nitrogen, chlorine or sulfur in addition to hydrogen and oxygen to form acid molecules. H2SO4 (sulfuric) and HCl (hydrochloric) are examples of common acids which, at high molarities, become quite dangerous. I’m sure these elements are present in humans, but are they present in appropriate concentrations to provision their parasites’ needs without noticeable, if not fatal, side effects? I guess I don’t know. So if you plan on harboring a uteral or alimentary fetal Alien perhaps you should consult your physician…or a nutritionist…or maybe even a biochemist?
What exactly is that black goo? Does the goo contain little slimy black worm eggs? Does the goo contain the basic engineered DNA of the xenomorph and/or the different castes/species of xenomorphs? Does it contain both and are they separate entities? Does it contain both, but one is the organism’s eggs and the fluid medium is a DNA mutagen that hybridizes/transforms its host? Is there a viral component added to the goo? Is the xenomorph based on a real creature they found on another planet and then modified into their creation? Is there something about the administration or the host environment of the goo that dictates the life cycle of the produced xenomorph? The answer is, evidently, almost all of the above.
Here’s a recap of what the black goo does…
Circumstance Result
Change in atmosphere Eggs hatches into worms (then snaky things)
Contact w/ dead/dying tissue Rage Zombie
Ingestion Degenerative disease
Sex with “diseased” male Facehugger baby (uteral)
Sex with “diseased” female [unknown]
Lady on “diseased” lady action [I’m dying to know]
So if the goo exists and does all this stuff, the result is that the laws of chemistry, physics and biology cease to exist.
Do I think about this a little too much? Sure. But if you read all the way through this article to read this line then you’re surely just as geeky. The only question at that point is whether or not you judge.
STAY TUNED FOR PART 3 OF THE VIVISECTION…
Not Safe For Work:
Folks, let’s be real. No article called The ABCs of Death should be considered suitable for workplace viewing. In my horror entries, you just may encounter images of graphic gore or evil babies tearing out of their mothers, melting flesh, gaping wounds with hanging entrails, and other disturbing, gore-slathered imagery that you don’t want your boss to see on your screen when looking over your shoulder. The same applies doubly for the TRAILER, which includes nudity.
THANKS FOR READING!!

http://elultimoblogalaizquierda.blogspot.com/2012/07/mas-terror-para-sitges-2012.html
Now THAT is an amazing poster!
As a fan of gross-out gobs of gobbledy-gook horror and creative and/or funny and/or just plain awful twisted death scenes, this movie will NO MATTER WHAT be a big pleaser for the darker side of my soul.
CLICK HERE TO SEE A MORE RECENT TRAILER
I’m super excited about the claymation short (T is for Toilet) and “D is for Dogfight.” The trailer shows us a wide range of filming styles, varied and creative special effects, some nice use of slow-motion and all manner of gore.

http://tonypulp.blogspot.com/2011/10/abcs-of-death-spelled-out-in-new-red.html
This is the best thing to hit film since Faces of Death. Only with this, there are no issues of conscience since it’s all fake—so just plain old fun! Like a child’s ABC books, the film is comprised of 26 individual chapters, each helmed by a different director assigned a letter. Each director had total freedom to choose a word to create a story involving death; 26 directors from around the world have contributed all manner of random death clips. Mwahahahahaha.

Video On-Demand Release Date: January 31, 2013
Theatrical Release Date: March 8, 2012
I’m a huge fan of horror anthology movies. They get a little flack because they come from a range of writers, directors and production quality–but that’s what I like. It also makes horror shorts available to those of us who do not attend film school or genre-geared film fests (e.g., Fantastic Fest). If you don’t like a film in Creepshow (3 stories) you’d wait 20-30 minutes for the next story. With V/H/S (5 stories) one need wait only 10-20 minutes. However this has 26 stories, so you’d only have to wait what? Maybe 5 minutes? Yup. This is going to be like a highlights reel of Fangoria favorites!
Below is an ABC guide to the shorts, their directors, and their past work…
“A is for Apocalypse” by Nacho Vigalondo (Timecrimes, The Profane Exhibit)
“B is for Bigfoot” by Adrián García Bogliano (Penumbra)
“C is for Cycle” by Ernesto Díaz Espinoza (Mandrill, Bring Me the Head of the Machine Gun Woman)
“D is for Dogfight” by Marcel Sarmiento (Deadgirl)
“E is for Exterminate” by Angela Bettis (Roman)
“F is for Fart” by Noboru Iguchi (The Machine Girl, RoboGeisha, Mutant Girl Squad)
“G is for Gravity” by Andrew Traucki (The Reef, The Jungle)
“H is for Hyrdo-Electric Diffusion” by Thomas Cappelen Malling (Norwegian Ninja)
“I is for Ingrown” by Jorge Michel Grau (We Are What We Are)
“J is for Jidai-geki” by Yudai Yamaguchi (Meatball Machine, Yakuza Weapon)
“K is for Klutz” by Anders Morgenthaler (Echo)
“L is for Libido” by Timo Tjahjanto (Macabre)
“M is for Miscarriage” by Ti West (The Innkeepers, V/H/S)
“N is for Nuptials” by Banjong Pisanthanakun (Shutter)
“O is for Orgasm” by Hélène Cattet (Amer) & Bruno Forzani (Amer)
“P is for Pressure” by Simon Rumley (The Living and the Dead, Little Deaths)
“Q is for Quack” by Adam Wingard (You’re Next, V/H/S)
“R is for Removed” by Srdjan Spasojevic (A Serbian Film)
“S is for Speed” by Jake West (Evil Aliens, Doghouse)
“T is for Toilet” by Lee Hardcastle (claymation TV show Done in 60 seconds. With Clay.)

“U is for Unearthed” by Ben Wheatley (Kill List)
“V is for Vagitus” by Kaare Andrews (Altitude, Cabin Fever: Patient Zero)
“W is for WTF?” by Jon Schnepp (Metalocalypse, The Venture Brothers)
“X is for XXL” by Xavier Gens (Hitman, The Divide)

“Y is for Youngbuck” by Jason Eisener (Hobo with a Shotgun)
“Z is for Zetsumetsu” by Yoshihiro Nishimura (Tokyo Gore Police, Vampire Girl vs Frankenstein Girl, Helldriver)
The Raid: Redemption (2011)

MY CALL: More throat and joint strikes than in Taken. If you like martial arts movies you’d be a fool to pass this up. [A] IF YOU LIKE THIS WATCH: If you enjoy seeing truly innovative choreography that actually manages to make sense of small fighters demolishing larger and numerous opponents then you should really turn to movies by Jeeja Yanin (Chocolate, Raging Phoenix) and Tony Jaa (The Protector, Ong-Bak but not Ong-Bak 2 or 3). But don’t watch Merantau(2009)—it has the same director and star as this, but neither of them do comparably well with the movie. ALTERNATE TITLE: Originally titled “Serbuan muat,” The Raid is directed by Gareth Evans (Merantau, and writer in the upcoming sequel to horror anthology V/H/S).
Rama (Iko Uwais; Merantau) and his SWAT team infiltrate the dangerous, goon-ridden lair of a criminal Demigod, Tama (he’s like an Indonesian Javier Bardem). Tama’s building is festooned with dangerous tenants and Tama’s bodyguards. Like Dredd 3D, this movie is basically set up like a 90s videogame. The SWAT team enters the building and conquers it one “level” (i.e., floor) at a time until they reach the “the last guy.” For whatever reason this building is basically unguarded and without surveillance on the outside, but loaded with danger on the inside which, again, adds to the videogame appeal.
Led by SWAT Sgt. Jaka (Joe Taslim; Dead Mine, The Fast and the Furious 6), the first few levels offer no challenge as they essentially just restrain (for future arrest) drug dealers, junkies and petty criminals. But when somene hits the alarm, all criminal hands on deck are alerted to the police invaders. We also learn, much to Jaka’s surprise, that this mission is off the books and they can’t call for back up.
Initially, the action focuses on gunfights. I was less than thrilled with the occasional shaky camera-work during gun fight scenes, but it didn’t terribly interrupt my enjoyment and this never happened during the martial arts scenes—and martial arts are basically all we get for the next hour!

Brutal, technical, graphic and gory. There’s some good use of slow motion footage, glorious axe-impaling action, close-up gun shots to the face, and more discharged ammunition than the Morpheus rescue scene in The Matrix. Iko Uwais truly shocks and impresses during his first fight, a wide-shot tonfa-knife fight with about ten opponents and we get to see every single stab, kick and crush as he unleashes a flurry a supremely fast and elaborate, but clearly observed techniques. VERY IMPRESSIVE!!! The best part is that if they used any tricks, like wire work or 1.2x film speed, I can’t tell. They also kept the choreography, while utterly brutal, practical. No jump spin kicks or gratuitous acrobats. Just a flood of flesh-lacerating strikes including one of the most unique neck breaks I’ve ever seen! Iko Uwais doesn’t look like much, but he has truly proven himself to be a martial arts movie star!

Then there’s Mad Dog (Vayan Ruhian; Merantau). This guy is tiny. I mean like young boy who doesn’t play sports tiny, by American standards. However, when he and Jaka (who is MUCH larger) fight you find his power shockingly credible. They both handle complex choreography very well, Mad Dog much better than Jaka, and they produce a fight with techniques executed from realistic positions that I doubt I’ve ever seen on film before.

When Rama gets to the drug prep and processing floor, every single drug handler could have been the master of a martial arts school. While this would be comically annoying in most American action hero-driven releases, I didn’t mind a bit. Why? Because it added yet more action to a movie that seems to be non-stop action and the fight quality never majorly dropped with the insignificance of the opponent (i.e., those stunt men cast as drug handlers #1-12).
Mad Dog versus Rama and another tough guy…that was a treat. Mad Dog may be small, but he fights like a rabid Chihuahua on steroids that just won’t die! Despite his tiny size, very clever choreography permits him just the right stance, credible momentum and position to throw or unbalance much larger, stronger opponents. Rama is also small, but notably larger than Mad Dog.

This movie was AMAZING! The Hof also loved this movie. Here’s his review [click here].

This is Iko Uwais (Rama). At first glance I’d think I could take on five of him. Having seen what he can do, now I think maybe he could take on five of me!















