The Movies, Films and Flix Podcast – Episode 425: Executive Decision, Kurt Russell and Straws
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Mark and John Leavengood (@MFFHorrorCorner on Twitter) discuss the 1996 action film Executive Decision. Directed by Stuart Baird, and starring Kurt Russell, Halle Berry, John Leguizamo, Steven Seagal, and a straw, the movie focuses on what happens when terrorists are forced to deal with Kurt Russell (Russell wins). In this episode, they talk about lucky straws, landing planes, and Oliver Platt. Enjoy!
If you are a fan of the podcast, make sure to send in some random listener questions (we love random questions). We thank you for listening, and hope you enjoy the episode!
You can download the pod on Apple Podcasts, Tune In, Podbean, or Spreaker.
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MY CALL: An interesting premise with a well-told story. But where is the horror in this horror movie? There’s basically none. MORE MOVIES LIKE The Sonata: Another recent film finding horror in stringed instruments would be The Perfection (2018).
After the death of her long-estranged and transformatively famous music composer father (Rutger Hauer; Bleeders, The Hitcher), concert violinist Rose (Freya Tingley; Hemlock Grove) inherits all that was his, from his music to his sprawling 11th century French estate. With his passing comes the discovery of his most precious, and yet unfinished work: a sonata. But it is cryptically mystified with symbols.
In the spirit of The Ninth Gate (1999), these symbols are meant to open doors between worlds and much labor is required to decipher them. Rose’s agent Charles (Simon Abkarian; Casino Royale) works with her to crack the code and unveil the meaning of these symbols. However, it seems that how her father came to use these symbols is as disturbing as their meaning.
The journey had me ever curious, but never satisfied. There are basically no scares or gore or… this is more like “telling” me a horror story “on-screen” than actually showing me one. Too bad. It’s acted well, shot well, overall made very well.
This is the kind of horror that begins interesting, but ultimately offers way too little, way too late. The premise was intriguing, as were many of the plot points along the way, but it just never delivered at any point during this sluggish movie. Moreover, the “big ending” felt completely unearned. Too bad. I was hopeful. However, as far as the filmmaking is concerned, director and co-writer Andrew Desmond (Galaxy of Horrors segment “Entity”) did well for his first feature film. He just needed more horror in his horror movie.
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MY CALL: If you love bizarre and violent 80s horror oddities, or enjoyed Basket Case (1982) or any other Henenlotter film, then you should enjoy this, too. MORE MOVIES LIKE Basket Case: If you want more communal-living monstrosities, try Nightbreed (1990) or Digging Up the Marrow (2014). I’d also recommend other films by director Frank Henenlotter (Basket Case, Frankenhooker, Brain Damage), as his films share a similar zany tone.
This sequel picks up right where we left off in 1982, when after somehow surviving their fall from their hotel room window to the pavement, Duane (Kevin Van Hentenryck; Basket Case, Brain Damage) and Belial awaken in the hospital under police watch. Upon their escape, they are aided by Granny Ruth (Annie Ross; Witchery, Basket Case 3) and her granddaughter Susan (Heather Rattray), who have dedicated their lives to helping monstrously disfigured people who all live together under one roof. These mutants are of comically weird appearance, every bit as out there as Belial. Among the denizens of Granny Ruth’s commune, Belial finds Eve, a strikingly similar female counterpart to himself.
Now with a slightly better budget, Belial has more defined characteristics from his teeth down to his scrotum-like “lower” body. I never fully understood how Belial can perch on a wall as if he had a giant suction cup under him, but who am I to complain when it helps him grab some poor unsuspecting victim by the throat with his mangled claws? Likewise, Belial “leaps” and “flies” at victims at times. All in good fun.
Like part 1, the writing is a bad kind of wonky and occasionally pretty hokey. But that doesn’t mean it’s not enjoyable. Part 1 was clearly a bit slapstick of a horror comedy, and now Part 2 wanders into yet sillier territory—I’d go so far as to call it cartoonish. With all its quirky characters, Basket Case 2 is a lot like Nightbreed (1990) meets Dumb and Dumber (1994). When a reporter threatens to expose their house of friendly freaks, they rally together to defend their way of life (i.e., and kill those who threaten it).
The strength of this sequel is not in any increase in gore or violence, really it’s about the same. However, the amount of latex monster work is tremendous and even extends into a victim’s gore. Likewise to all the latex monsters, this movie also thrives in its cartoonish lunacy. Oh, and like part 1, you can expect another monster sex scene. It’s awkward, weird, uncomfortable, maybe a little funny, and even a little endearing. So naturally I’m thrilled it happened! There’s even something of a not-quite birth scene/monster baby scene. So there’s a lot to please monster movie fans here.
The very final scene is actually pretty wild, fully capturing 80s gory mania in about 15 insane seconds. So I’d so writer and director Frank Henenlotter (Basket Case, Frankenhooker, Brain Damage) has pleased his fans yet again.
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MY CALL: I know some people like these movies—I’m definitely not one of them. Probably just as disappointing as Mirror Mirror (1990), I found this movie very weak in every possible way. From story to death scenes, there is little to offer and not a single pleasing scene. For the record, I only watched this because Mark Ruffalo is in it. Let’s just say Mark owes me one. MORE MOVIES LIKE Mirror Mirror 2: For more evil mirror movies try Mirrors (2008), Mirrors 2 (2010), Oculus (2014), Into the Mirror (2003) or the original Mirror Mirror (1990). But I’d skip Mirror (2014).
Seventeen years after an incident between an evil mirror and a hysterical pregnant woman, we find teenager Marlee (Tracy Wells; After Midnight) at an orphanage. For whatever nonsense reason, a hardcore metal band is setting up at the orphanage for some sort of charity show. Unfortunately, they’re all douchebags that offer little more than bullying and harassment to Marlee and her little brother, who are somehow the only orphans present for their charity concert. But when Marlee “wishes” someone would teach them a lesson in the presence of the cursed mirror, we learn what this mirror is all about. Similar to Wishmaster (1997), the mirror is inhabited by a demon that grants wishes and feeds on… something. The movie doesn’t do the best job explaining how the wishes and demonic possession work. After some crackling magical electricity burns the band members to cinders (with no appreciable gore of special effects to enjoy really), Marlee’s brother “makes friends” with the demon as if it were an imaginary friend.
So all that happened in the first 12 minutes. A lot of very random things, and none of them satisfying or interesting at all. To continue the trend of inexplicability, Marlee (who is in an orphan?) also has a wicked, suspiciously older, and rather stylish stepsister Rosyln (Sally Kellerman; Doppelganger). Roslyn has commissioned the sleazy, slimy Doctor Lasky (Roddy McDowall; Fright Night I-II, Shakma) in some sort of plan to steal Marlee’s inheritance. So Marlee is a rich orphan living in an orphanage, but also has a 50-some year-old stepsister who is staying at the orphanage as well for some reason. Sure, makes total sense.
Blinded from the evil mirror events of 17 years ago, Sister Aja (Veronica Cartwright; Alien, The Witches of Eastwick, Invasion of the Body Snatchers) is approached by the mysterious Christian (Mark Ruffalo; The Dentist, Mirror Mirror 3), who Aja does not trust. Christian is a major character who injects as much exposition as he does confusion into the story.
The budget must have been destitute. There is a buzzsaw death, an aging scene and an animated toys scene. All of them were executed as cheaply and joylessly as possible, as if performed by a kid scribbling mostly wrong answers on his homework right outside of his classroom door. Just say your dog ate it and stay home. Just joyless.
This movie is a boring, uneventful, generally deathless slog. It feels a lot like a needlessly long and bad episode of that Twilight Zone-esque Friday the 13th series (1987-1990). Marlee’s brother spends more time talking to the demon in the mirror (and nothing happens), Marlee spends more time fixated on the mirror (and nothing happens), Marlee spends more time with the mysterious Christian (and nothing happens)… Christian keeps threatening people and disappearing as if to confuse us as to whether he is a real person or a ghost…. and then there’s all the dancing.
This movie has several scenes of Marlee dancing, and some of them are not short. This dancing is not impressive at all, nor is the presentation at all sexualized. So why bore us with all these dancing scenes? This movie is just terrible. Don’t get me started on the raven that flies out of the mirror then just innocuously appears here and there, like the dancing, for no apparent reason at all. I am now annoyed this sequel is called “Raven Dance.”
Perhaps this could have been fun and laughable if watched in the company of a friend. But as a solo watch, this was like serving penance for my sins.
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MY CALL: A feisty Full Moon sort of horror that keeps a fun cheeky tone, but doesn’t deliver the gore for which I had hoped. Still worth a visit on a weekend afternoon. MORE MOVIES LIKE The Dentist: For more feisty “medical horror” movies, consider Re-Animator (1985), Doctor Giggles (1992) or Fresh (2022).
Wealthy and successful but far from happy, Doctor Feinstone (Corbin Bernsen; Temptress, Tales from the Hood) loses his grip on his sanity when he witnesses his wife (Linda Hoffman; The Dentist 2) cheating on him with the pool guy. Rattled and manic over this, he begins to see delusionally enhanced flaws in people’s teeth, much to his patient’s suffering.
Corbin Bernsen plays delightfully into the mania of the character. His tantrums remind me of a hokier version of Terry O’Quinn from The Stepfather (1987), and his visual figments of slimy rotten teeth are giggle-worthy as I shake my head at the nonsense on screen. And from what I can tell, the entire tooth-mutilating rampage to come was induced by a medication overdose.
The movie takes a while to build up to the real horror. Early delusions threaten something horrible will happen without the gruesome follow-through. But the real blood and gore must wait until he gets his wife in the examination chair. Following Feinstone’s bloody trail is Detective Gibbs (Ken Foree; Leatherface: Texas Chainsaw Massacre III, Dawn of the Dead, Death Spa, From Beyond). Considering his strong horror resumé, Ken Foree felt woefully underutilized, but I still enjoyed seeing him on screen. And watch out for a young Mark Ruffalo (Mirror Mirror 2-3) as well!
Unfortunately, this was not nearly as gory as I had remembered. Sure, there are some entertaining visuals. But they are shorter-lived and less extreme than my 90s teen memory served (and, to be clear, it is a rarity that this happens to me). The tooth extractions aren’t nearly as mean or grueling or graphic, the slashing stabs are less obviously apparent and barely on screen, and the “jaw widener” scene was not as jaw-dropping. Although, that device probably offered the best gag of the movie, and they got a lot of mileage out of it.
For me the most horrifying part was the syringe needle penetrating a patient’s gum. Yikes. Oh dear Lord and the drill scene with the “tooth dust” accumulating as the patient yelped while Feinstone wore her tooth down to a craggy hollow chamber! ACK! It’s the more real-ish stuff that freaked me out in this movie.
Despite all my criticism, this movie has a very fun vibe to it—the kind of feistiness you’d find in Puppet Master (1989) or Re-Animator (1985). I just expected so much more gory, slimy, macabre grossness from director Brian Yuzna (Society, Bride of Re-Animator, Beyond Re-Animator, Necronomicon: Book of the Dead, Faust, Return of the Living Dead III, From Beyond) and co-writer Stuart Gordon (Dolls, The Pit and the Pendulum, Dagon, King of the Ants, Re-Animator). I’m hoping The Dentist 2 (1998) offers a bit more in the gore department.
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MY CALL: This film is not your fun popcorn Friday night thriller, though a thriller it is. Rather this is your higher-brow, hush and pay close attention thinker, as you’ll constantly find your curiosity tickled as you wonder what is really going on. A bit intense, graphic gore at a few brief times, and harrowingly grounded. MORE MOVIES LIKE Kill List: While completely dissimilar in subgenre and delivery, I’m inclined to suggest patient yet dire atmospheric revelations like The House of the Devil (2009), The Blackcoat’s Daughter (2015), Midsommar (2019), The Witch (2016), Hereditary (2017) and The Dark and the Wicked (2020).
Having fallen on tough financial times, Jay (Neil Maskell; The Mummy, Peaky Blinders, Doghouse) and Shel (MyAnna Buring; The Descent, The Witcher) suffer a strained marriage as their fights become more frequent over Jay’s long absence from gainful employment. Still, Jay and Shel clearly care for each other and their son very dearly. When they have their friends Gal (Michael Smiley; Freefire, Gunpowder Milkshake, The Hallow, The Nun) and Fiona (Emma Fryer; In the Dark) over for dinner, a tempting work opportunity is presented—Jay and Gal are hitmen, and the work opportunity is a series of three hits.
This film takes its time introducing us to Jay and Gal, this mysterious triple-or-nothing job, and their inner workings. As their ‘work’ is underway, there’s something strange about their first target, and something equally strange about Fiona’s behavior around Jay and Shel’s house. The greater plot is an enigma, and I’m expecting some deep cuts to be revealed. The story seems rather straightforward—a little too straightforward. We know something is afoot, we just don’t know what. As the story proceeds, Jay begins to lose it. And a hitman on the job losing it is, well, very unnerving.
We enjoy some brutal knee, hand and skull mutilation; exposed entrails; and numerous flesh wounds. The scenes are just plain mean, yet very grounded and unsensationalized at the same time. Keeping things more tempered, the atmosphere is very dry. Dry delivery, unpredictably manic behavior, and an ominous job all leave me begging to know what’s behind the proverbial door.
The plot ever thickens, but slowly, ultimately arriving to a conclusion that I find bizarre and inexplicable. Not sure I was happy with where it ended up—I was quite impressed with some aspects of it, but not others. I wanted to know more, but we all know that knowing more rarely produces a satisfying answer. And I’m sorry to say that upon “sight” of the finale, I immediately predicted the ending twist. By some freak movie-going experiences, I’ve essentially seen this exact twist more than once before (in another folk horror film for at least one such incident). Although, that’s not to say this wasn’t an engaging film, or that the big twist shouldn’t be shocking and disturbing to most viewers.
And to be fair, another opinion from this very website found the movie yet more impressive than I did–REVIEW. So take my opinion with a grain of salt, or even a few shakes. Director and co-writer Ben Wheatley (Freefire, The ABCs of Death U is for Unearthed) did a great job delivering patient, grounded horror in a package that felt largely original—a very difficult conquest in the horror genre!
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Quick Thoughts – Grade – B+ – Doctor Strange in the Multiverse of Madness is an absolute blast and it’s cool knowing that Marvel let Sam Raimi be Sam Raimi. This might be the least MCU movie of the Marvel Cinematic Universe, and that makes me very happy. I hope Disney/Marvel continue to allow directors to take chances and have fun.
First and foremost, writing a review for a Marvel Cinematic Universe film is tough because I hate giving major plot points away. These films rely on secrecy and I was able to avoid all the spoilers, so I want you to have a chance to watch the movie without anything being spoiled. Just know that this sequel to the popular 2016 film Dr. Strange focuses on Dr. Strange (Benedict Cumberbatch) and Wong (Benedict Wong) protecting a multiverse traveler named America Chavez (Xochitl Gomez), from villains who want to use her multiverse traveling power for nefarious purposes. What follows is a chase through different timelines that features weddings, bloodshed (lots of death here), and stolen pizza balls that lead to a great Bruce Campbell cameo. I’m pretty sure the trailers have already given away who the villain is, but I don’t want to do that. Instead, I want to focus on the reason I was so excited to see the film. That reason is Sam Raimi, the director of Evil Dead, A Simple Plan, Spider-Man (2002), and Darkman (listen to the MFF episode we recorded about it).
The best thing about Doctor Strange in the Multiverse of Madness is that it allows Sam Raimi to be himself. Sure, he can’t go full bonkers, but that would never be expected because the MCU is carefully managed. However, this is a gnarly picture that tosses you into the action and never stops. It’s chaotic, messy, violent, bloody, cheeky, and barely has enough time to develop characters. Raimi loads it up with his famous dutch angles, roaming camera and absurd moments that make you feel like you’re back in the 1980s watching Evil Dead in a theater (except it’s PG-13 and has a giant budget). There is WAY too much CGI, but Raimi finds a way to use it in his favor as Strange, Wong, America, and Wanda Maxmioff (Elizabeth Olsen – so good) battle demons, musical notes (yep), zombies and a one-eyed monster whose eye is plucked from its body with a sound effect that sounds like a gooey pop. There are moments in Doctor Strange in the Multiverse of Madness that I never thought I’d see in an MCU film (a certain character goes full T-1000 from Terminator 2), and for that, I applaud Raimi and Kevin Feige.
It’s nice seeing Dr. Strange moving on from being Dr. Jerk Face, to become a less-jerky man who has helped save the world multiple times, but lost most of the people he loves in the process. His all-time love Christine Palmer has married someone else, and he lost the Sorcerer Supreme title because he was blipped during the rampage of Thanos. The character change makes him more human and appealing, and it’s nice not watching a sassy Cumberbatch be smarter than everyone for two hours. The biggest issue I have is that the America Chavez character is given very little to do aside from run, get caught, and run more. I’m hoping her further adventures allow her to become more of a character and less of a sprinter.
The production design by Charles Wood (Dr. Strange, Guardians of the Galaxy) is excellent and he must’ve had a stressful and fun time designing loads of sets that range from futuristic to total nightmares. Also, the cinematography by John Mathieson (Gladiator, Logan) has a corporate MCU-esque shine, but still finds ways to incorporate old school Raimi techniques that blend well and don’t take you out of the experience because the dutch angles are too insane.
Final thoughts – I love Doctor Strange in the Multiverse of Madness. It’s messy, chaotic and over-loaded, but that makes me like it more. It means that the folks at Marvel are allowing things to get messy, chaotic, and over-loaded.
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The Movies, Films and Flix Podcast – Episode 424: Young Adult, Diablo Cody and Garage Booze
You can download or stream the pod on Apple Podcasts, Tune In, Podbean, or Spreaker (or wherever you listen to podcasts…..we’re almost everywhere).
If you get a chance please make sure to review, rate and share. You are awesome!
Mark and Zanandi Botes (@ZaNandi on Twitter) discuss the 2011 film Young Adult. Directed by Jason Reitman, and starring Charlize Theron, Patrick Wilson, Patton Oswalt, and a cassette mixtape, the movie focuses on what happens when a successful writer returns home to win back her highschool boyfriend (there’s a lot more to it though). In this episode, they talk about diet cola, bookstore employees, and why this movie features Charlize Theron’s best performance. Enjoy!
If you are a fan of the podcast, make sure to send in some random listener questions (we love random questions). We thank you for listening, and hope you enjoy the episode!
You can download the pod on Apple Podcasts, Tune In, Podbean, or Spreaker.
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Blacklight (2022) – Review – A Predictable Thriller That Feels Like Comfort Food for Liam Neeson Fans
Quick Thoughts – Grade – C – On the Liam Neeson action movie grading scale, Blacklight is a satisfying experience that features nothing new. Much like a Hallmark Christmas movie (which are insanely popular and trendsetting), it’s wildly predictable and easy to watch. If you want to relax and watch an undemanding action film, check out Blacklight.
While the 8% Rotten Tomatometer score is understandable, it’s a bit harsh because the critics should know what they are getting into when they watch a recently made Liam Neeson film. Blacklight is no Taken, Cold Pursuit or Non-Stop, it’s more of a Taken 2, Honest Thief or The Marksman-esque Neeson action film that can be enjoyable if expectations are set correctly. Filmed in Australia (standing in for the United States) in 2020, and directed by Mark Williams (Honest Thief), the movie tells of the story of an guy named Travis Block (Neeson), who has an excellent sets of skills, and uses them to retrieve undercover FBI agents who have gone too far undercover and gotten hooked on drugs, money or danger. The job takes him around the world at a moment’s notice and his crazy schedule means he’s divorced and constantly being insulted by his daughter Amanda (Claire van der Boom – given some of the worst dialogue my ears have ever heard. I felt bad for her because her character is so one-dimensional), who won’t let him visit his granddaughter Natalie (Gabriella Sangos). Block also suffers from Obsessive Compulsive Disorder as he does everything in threes, and is constantly worried about locking doors and security. Since it’s a Liam Neeson character, the guy seemingly has a heart of gold despite a shady past and you never get the feeling that this man was ever truly bad or a terrible parent (it’s all said, not shown). Basically, he’s a good guy, who got put in a bad situation, and now is trying to atone for past sins. If Neeson was more rakish or slimy, the scenes that feature him getting insulted by his daughter would play more real, but because it’s Neeson you just want the lady to leave her nice dad alone and stop calling him crazy (which she does).
Block finds trouble when a former agent Dusty Crane (Taylor John Smith – watch Shadow in the Cloud) threatens to blow open an FBI conspiracy to an intrepid reporter named Mira Jones (Emmy Raver-Lampman – watch Hamilton now). Crane’s whistle-blowing actions kick off a few fun car chases, and gun fights with Wallace (Zac Lemmons) and Lockhart (Andrew Shaw) , two deadly operatives who add genuine toughness and believability to the action scenes. In the end, it all comes down to a fun gunfight inside a mansion that showcases Block using his deadly skills to maximum effect. Throw in the obviously slimy Gabriel Robinson (Aidan Quinn), who is the head of the FBI, and you have a fun political thriller that never tries to be anything more than a movie you’d enjoy on an airplane. I don’t mean that as an insult, I’m just saying that it’s happy staying in its lane and giving Neeson fans what they want.
Final thoughts – Set your expectations and enjoy.
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MY CALL: You don’t watch this for an intense slasher or a gory, campy 80s horror. You watch these to see the unfettered mania in Terry O’Quinn’s eyes as he plays a murderous yet loving family man with delusions of grandeur. MORE MOVIES LIKE The Stepfather: For more “family therapy” horror, go for Relic (2020), The Dark and the Wicked (2020), The Lodge (2019), Hereditary (2018), Pyewacket (2017), The Witch (2016), Goodnight Mommy (2014), The Babadook (2014), The Uninvited (2009), The Good Son (1993) or Pet Sematary (1989).
Casually cleaning himself up as if a post-murder shower and shave was as routine as brushing his teeth, Jerry (Terry O’Quinn; Amityville: A New Generation, Pin, Black Widow, Silver Bullet) washes his blood-splattered body, gives himself a clean-cut makeover, and calmly dresses himself in the outfit he had neatly prepared. Beginning the scene looking shaggy, bearded and as rugged as James Brolin (The Amityville Horror), he parts ways with the house of his freshly slaughtered family looking more like a high school principal. He tidies up a bit on his way out, and the house is comically ransacked with blood, bodies and debris as if Rob Zombie’s House of 1000 Corpses (2003) literally just happened there. Were it not for the nudity or the brief but graphic macabre opening scene, I’d assume this could have had a PG-13 rating.
Now recently remarried, Jerry has moved in with Susan (Shelley Hack; Troll) and her daughter Stephanie (Jill Schoelen; The Phantom of the Opera, Curse II, Popcorn) to bless them with all the love he has to offer… in his own twisted way.
Jerry vents in the basement, and this time is precious for us viewers. O’Quinn really lets loose in these scenes. When Jerry is caught throwing a tantrum by Stephanie, he channels the dripping sinister allure of Frank from Hellraiser (1987); an obvious malevolence that desires obedient acceptance. But deep down, Jerry just has an extremely unhealthy obsession with being loved and being part of a perfect family… and he’ll do whatever it takes to have it. Yet, as it turns out, it seems he’s happy to fold his hand and start over as soon as things get a little rough. Naturally, he then has some loose ends to tie up—like the lives of his wife and stepdaughter!
Look, this movie is really nothing special. But it’s entertaining enough, even if not ideally paced. Not much happens directly on screen, but the blood, tension and aggression run enough. Plus O’Quinn does an amazing job as a crazed “loving” family man. For me, this was probably my earliest exposure to a family-hopping evil stepfather movie. And for that, I’ll never forget it. Director Joseph Ruben (Dreamscape, The Good Son, Sleeping with the Enemy) served his viewers well and continued his career with quality domestic thrillers that should be seen.
Movies, Films & Flix 