Streamathon - Death by Chainsaw

Streamathon - Death by Chainsaw

October 2018

Preface: This is part of an ongoing blog series of curated movie marathons that are thematically or otherwise tied together. The other common factor tying these films together will be their availability to watch them all from the comfort of your own home on various streaming platforms. The goal is that writing this blog will somehow justify the excessive number of streaming platforms I subscribe to. The films will be found on some combination of Netflix, Hulu, Amazon Prime Video, Mubi, FilmStruck, Shudder and/or Fandor. These titles will be available for the month that the blog is published. All of these subscriptions offer free trials so feel free to dive in and follow along… Have fun. Just don’t message me for my login information.

By: Emery Martin-Snyder

It’s the official season for horror films. So I decided to go a bit specific with this one. A legitimate chainsaw murder is the type of thing that you’re only likely to find in the movies. A short google research has found lots of gruesome stories of murder victims being subsequently dismembered by chainsaws. And there are a handful of accidental chainsaw related deaths every year. But to actually murder someone with one just seems rather implausible in real life. Maybe that’s why it’s so awesome in movies. You just must know that the practical effects guys get super excited about.

To the best of my knowledge, the first time the lumberjack tool was ever used in a kill scene can be found in Wes Craven’s 1972 directorial debut, THE LAST HOUSE ON THE LEFT. Only two years later, it would get its own showcase in Tobe Hooper’s minimalist masterpiece, THE TEXAS CHAINSAW MASSACRE. Later, Ash would add the tool to his repertoire in Sam Raimi’s EVIL DEAD series in 1981. The first entry to that series is currently available to stream on Shudder but I decided to leave it out of this list. The saw takes on a much larger role in EVIL DEAD 2 but unfortunately that one is not available to stream anywhere at the moment. 

The Stream

AMERICAN PSYCHO (2000)

Directed by Mary Harron – Streaming on Hulu

If you didn’t realize it, you were supposed to be watching this film as a satire. And if you were unaware of that fact going into it, the white track shoes wearing chainsaw wielding Patrick Bateman chasing a woman out of his apartment should probably have clued you in. I have no idea why Bateman even owns a chainsaw in this apartment. This movie has a lot going on. I honestly didn’t care much for it the first time I watched it. But over the years, I’ve come to appreciate it more and more.

DEATHGASM (2015)

Directed by Jeremy Lei Howden – Streaming on Amazon Prime Video

Look, I’m just going to hold the two running chainsaws out at arm’s length and spin in a circle. If you get hit, it’s not my fault. This movie is absolutely ridiculous. And if we’re being honest, the chainsaw is one of the more conventual weapons used in this film. This is one of those great time killer horror comedies. That’s not to say that it’s a great film all together but it’s easy to watch and a whole lot of fun. It’s the type of flick that metalheads and gorehounds (lots of overlap in that Venn diagram) champion. I’m neither of those but I tend to respond to horror comedy and this is a very strong entry. 

MOTEL HELL (1980)

Directed by Kevin Connor – Streaming on Amazon Prime Video

This is such a charming little cannibal movie. It’s a sort of darkly comic tale of rural America’s hospitality industry. Rory Calhoun stars as Farmer Vincent, who also fashions himself as a hotelier. Say what you will, but you can’t call him wasteful. His hotel guests double as menu items. His performance is delightful and endearing. He radiates southern charm as he buries his victims alive. Although there are plenty of missteps here, the climactic pig-head chainsaw duel is just fantastic and undeniably worth waiting for. 

MURDER PARTY (2007)

Directed by Jeremy Saulnier   – Streaming on Shudder & Netflix

Over the past decade, Jeremy Saulnier has been rapidly becoming one of my favorite directors. His GREEN ROOM was my favorite film of 2015 and I loved his most recent release, HOLD THE DARK. This one is his first feature and it if we grade on that curve, it’s quite impressive. As you can see, this list is pretty full of dark comedies. This is no exception. And that’s not to say that it’s shallow or thin on message. This actually feels like an angry film and a clear indictment of the pretention of the New York art scene. The chainsaw scenes here are unique as well. You’re not very likely to see an electric chainsaw as a murder weapon. It just doesn’t seem very convenient. 

[REC] 3: GENESIS (2012)

Directed by Paco Plaza – Streaming on Hulu

Full disclosure: I’m not the biggest fan of the REC series. This one is my favorite of the four of them. I was very pleasantly surprised when, after about five minutes they ditched the found footage gimmick and just focused on making a hyper, campy and fun zombie apocalypse film. What this lacks in story, it completely makes up for in tone and imagery. I don’t know if I can think of anything cooler looking than a beautiful woman in a blood-splattered wedding dress going all bridezilla on a herd of infected party goers.

THE TEXAS CHAINSAW MASSACRE 2 (1986)

Directed by Tobe Hooper – Streaming on Amazon Prime Video

This is a rare type of a movie. It’s only a sequel in the fact that it continues the original story from twelve years before. Its atmosphere and tone however are a serious departure. And that being said, it has perfect casting. Jim Siedow as the wily cook has a ton of lines for his screen time. And his delivery always seems to be on the precipice of an aneurysm. This is the perfect contrast for Bill Moseley’s ‘Chop-Top’, the violently energetic flower child that can’t seem to take anything too seriously. And then you have the hero Lt. ‘Lefty’ Enright played by Dennis Hopper. He was never one to phone it in and he certainly seemed to have a firm grasp not only his character but on the type of film that was being made. It’s also worth noting that this came out the same year as BLUE VELVET, THE RIVER’S EDGE and HOOSIERS. He was on fire at this time. I’m sure that the popularity of the legend itself helped this film immensely at the box office. That being said, I still think the atmosphere is eerie and well put together. I could be the thousandth person to complain about the bad CGI but I always tend to be forgiving of that stuff in favor of empathetic characters and good tension building. 

TUCKER & DALE VS. EVIL (2010)

Directed by Eli Craig – Streaming on Netflix, Hulu & Shudder

It’s fitting that I end on this note. We’ve taken a look at a lot of horror comedy, dark comedy, campy and outlandish films. This one is all of those things as well as a great deconstruction of modern horror as a whole. Unfortunately, I feel like this gets lost amongst the group of BEHIND THE MASK (’06) THE CABIN IN THE WOODS (’12) and SHAUN OF THE DEAD (’04). I love those movies too, but I find myself more often drawn to revisit my good friends Tucker & Dale. The meta-deconstructionist aspects here are just as good as the rest. But I seem to just have more fun with this film than I do with the others. Every death scene puts a perfectly gruesome slapstick finish and you just can’t help but laugh out loud. I might be cheating a bit with the chainsaw death scene. Technically, a chainsaw is used in one of the film’s most hilarious mishaps; albeit in a very Rube Goldbergian fashion. So, I’m keeping it. Because it brilliantly takes the wind out of some of our most serious cinematic killers. And I think it’s a great way to end the season.

Halloween Hangover - Book Recommendations

by Theresa Dillon

It’s the most wonderful time of year! Spooky decorations everywhere, pumpkin everything and horror films upping the game on all streaming platforms for everyone’s viewing delight. And let’s not forget the return of The Shape on the big screen this Halloween season.

But when November 1^st hits, Halloween is officially over and Christmas takes over. (Poor, wonderful Thanksgiving).

If you’re like me and not ready to say goodbye to this awesome time of year and are Netflixed/Shuddered out, I’ve got you covered with 5 killer books to curl up with on the couch.

Her Body and Other Parties by Carmen Maria Machado 

Published in 2017, I was drawn to this book thanks to the adult-version of the short story “The Green Ribbon” from In a Dark, Dark Room; a book I read as a child. That story has been transformed into the beautifully written “The Husband Stitch.” I’m already dreaming of a female filmmaker to pick up this story for a short film. Other standouts from this collection include “Inventory,” “Real Women Have Bodies,” and “The Resident.” Without giving anything away, each story is unique and leaves the reader (more specifically female) mesmerized

Pretty Little Monsters by Kelly Link 

If you’re into the fantastically weird, you need to check out Kelly Link. Her short story collection for young adults was my introduction to this fantastic writer but any age will enjoy this collection. If you want a story that will leave you with chills, read “Monster.” For the fun and fantastical, read “The Faery Handbag.” To end the collection on a high note, Link’s novella “Pretty Little Monsters” takes you back to the teen years of fitting in with the crowd but with a howling-good twist. 

Nocturnes by John Connolly 

Connolly is most well-known by mystery/thriller readers for his Charlie Parker series. I, however; fell in love with his other writings, specifically his horror/comedy series The Creeps. I’m going to take you on a spookier journey though by recommending his first volume of scary short stories, Nocturnes. If you’re a Richard Matheson fan, I think this collection is right up your alley. While it may not include the killer twists Matheson was known for, it draws you in and offers a variety of macabre tales. I especially loved “The Erlking,” “The New Daughter,” “The Furnace Room” and “The Inkpot Monkey.” Note: If you read before bed like me, some of these tales can induce nightmares so be prepared.

The Neighbors by Ania Ahlborn 

Touted as a cross between Blue Velvet and Basic Instinct, this book starts off at a shimmer but boils over with crazy revelations. Ahlborn is a master at crafting her characters and this is a great intro to her writing. Another amazingly, creepy book by Ahlborn is Seed but as it actually terrifies me the further I read, I have yet to finish it as it’s too scary for me personally to read at night. Check it out if The Neighbors is too tame for you.

The Hunger by Alma Katsu 

Do you enjoy reading about tragic historical events? This is the book for you! Katsu takes you on a trip with The Donner Party in this historical fiction account of what happened while driving out West to achieve the “American dream.” With various supernatural elements, thoroughly researched details and characters you root for, this take is haunting and will partially satiate your inner historian.

14 and The Fold by Peter Clines 



Here’s a 2 for 1 for you. Clines’ 14 and The Fold actually tie together and are a fun read for H.P. Lovecraft fans. Start with 14, the first of this unique series. Both books are on the lighter reading end so if you’re looking for Lovecraft intensity, you won’t find that here but you will get a glimpse into a new view of Cthulhu with interesting scenarios, crazy science, and lovable characters.

Do you like my list? Maybe you have your own recommendations? You can reach me on Twitter @theresadillon for any comments. 

Halloween Review

Halloween

Dir: David Gordon Green

Starring: Jamie Lee Curtis, Judy Greer, Will Patton, Haluk Bilginer, Rhian Rees, Jefferson Hall, Virginia Gardner, and Andi Matichak

In 1978 a low budget horror film featuring a group of teenage girls and a stalking killer in a pale white mask changed the landscape of genre film forever and introduced the cinematic world to a young director, eventual master of horror, named John Carpenter. “Halloween”, as simplistic of a premise as it may have, is undeniably an iconic film responsible for the explosion of horror films in the 1980’s and ultimately influencing generations of filmmakers still trying to evoke the fear of the boogeyman.

“Halloween” is also responsible for the introduction of Jamie Lee Curtis in her first film role as the lone survivor, Laurie Strode, of Michael Myers’ Halloween night carnage. Director David Gordon Green, who has done everything from arthouse films like the exceptional “George Washington” to goofball comedies like “Pineapple Express”, returns 40 years later to Haddonfield, Illinois and back into the life of Laurie Strode. Mr. Green builds an homage to the brilliant classic in the designs and story, however, the highlight here belongs solely to Jamie Lee Curtis.

Laurie Strode (Jamie Lee Curtis) survived the horrific events of Halloween night in 1978 and has dedicated her entire life to preparing for an eventual second encounter with Michael Myers. However, in doing this, Laurie has been divorced two times and has estranged herself from her daughter Karen (Judy Greer) and granddaughter Allyson (Andi Matichak). During this time Michael Myers has been silently waiting in a mental institute, being studied by his psychiatrist (Haluk Bilginer) and interviewed by a couple of podcasters (Rhian Rees and Jefferson Hall) researching the extent of Michael’s actions, they go as far as bringing him his mask. 

David Gordon Green demonstrates a keen understanding of all the moving parts that have come before in this long-running series. Green, who co-wrote the script with Danny McBride and Jeff Fradley, provides enough knowing nods to different aspects of the Myers mythology that fans will have fun seeing it all come to life. Green uses these aspects to toy with expectations as well, showing the recognizable closet slates or a lingering clothesline to evoke tension associated with the imagery. Accompanying all this is a new score by John Carpenter, building on the original themes in unique ways while also adding a few new elements that ratchet up the unease. And there is more but the fun won’t be spoiled further.

Jamie Lee Curtis is exceptional throughout the film; Laurie’s flowing gray hair and piercing expressions display a victim who is determined to never be unprepared again. Mrs. Curtis captures the essence of this character nicely, displaying the tough-as-nails heroine, the slightly unhinged doomsday prepper, and a traumatized woman who barely escaped death. Judy Greer is good although slightly underutilized playing Laurie’s daughter Karen. Newcomer Andy Matichak has a natural presence on screen, doing her best version of the type of young characters found in Carpenter’s original film.

The narrative, amidst the amusing elements that call back to the past, builds towards an eventual showdown between good and evil. Mr. Green does a nice job keeping the tension palpable, and the horrors horrific, as Michael stalks from house to house seemingly choosing victims simply because they were home on Halloween night. It’s menacing to watch the brute force that Michael possesses, even though the film makes no mystery that Michael is a well-aged man, the kills are vicious and gruesome. Still, the eventual encounter between Laurie and Michael, which is what the film is always aiming towards, doesn’t hold the gravity that it should. This is partly because the film turns into a standard slasher film with tropes so familiar that you can feel the beats developing well before they happen. Where Carpenter’s original film took its time building angst and composing the frights, Green’s film seems content to rush through the scares which take away from the foreboding nature that the encounter should have composed.

But these are minimal qualms for a film that is ultimately a highlight amongst the franchise. Mr. Green does a fine job keeping the focus on Laurie Strode, and Jamie Lee Curtis is so good playing the character. John Carpenter’s “Halloween” will never be bested, but for those that have grown up with The Shape as a constant icon of terror during the month of October, this 2018 return will be a welcomed arrival.

Monte’s Rating

3.75 out of 5.00

First Man Review

First Man

Dir:Damien Chazelle

Starring:Ryan Gosling, Claire Foy, Corey Stoll, Lukas Haas, Jason Clarke, Christopher Abbott, Ethan Embry, Patrick Fugit, Shea Whigham, and Kyle Chandler

“Where were you?” History, tragic and triumphant, can have a profound effect on how the future will look back on certain moments of change, so impactful that it becomes a date, time, or place that you will remember for your entire life. Where were you on September 11th? Where were you when Barack Obama was elected President? These are two recent moments that have that effect. However, before these recent memories, perhaps the greatest “where were you” moment was when astronaut Neil Armstrong stepped foot on the surface of the moon. 

Director Damien Chazelle, who won the Academy Award for directing the musical “La La Land” in 2016, crafts a grandiose and intimate film focused on Neil Armstrong and the American space program leading up to the momentous Apollo 11 undertaking. “First Man” is an unglamorous yet beautifully depicted look at the struggles, obstacles, and catastrophes experienced in the space race in the 1960’s. 

Neil Armstrong (Ryan Gosling) is an ordinary man working in an extraordinary job. The calm demeanor and literal analysis of situations around him make him an unusual person working amidst engineers and pilots at NASA. But underneath this straight-forward demeanor is a man diligently striving to create an ordinary life for his kids and his loving, long-suffering, wife Janet (Claire Foy). But his occupation propels him into the national spotlight as America tries to beat Russia into expeditions beyond earth. 

As director Damien Chazelle continues to expand the size of his films, the focus remains on a singular character chasing their ambitious dreams. “Whiplash” and “La La Land” both showcase a young person struggling to establish themselves in an unknown world in pursuit of their passion. Neil Armstrong, played with intriguing softness by Ryan Gosling, is also pursuing a dream that will take him into an unknown world. Mr. Chazelle does a nice job of exploring the character, never offering much of a history lesson but rather looking into the personal afflictions, specifically the loss his daughter Karen, that would define the motivation of a man who was consistently looking towards the heavens. It’s never glamorously constructed but instead restrained in its depiction of the world around him.

This controlled perspective may not provide the splendor and awe seen in other space travel movies, where space shuttles float amidst starry filled backgrounds, but the purpose of maintaining minimal views helps in creating tension and making this well-known adventure to the moon have some kind of uncertainty associated with it. It’s a method that works early in the film, but as the historical familiarity settles in during the third act it, unfortunately, doesn’t connect the emotion as it feels like it intended and instead feels underwhelming. Still, Mr. Chazelle understands how to evoke that old-fashioned Hollywood nostalgia in moments, sometimes it’s big and boisterous and other times it’s small and composed. 

Neil Armstrong is portrayed as a mild-mannered family man who fits in nicely at the neighborhood barbeque; Mr. Gosling provides a quiet, analytical perspective for the character. Claire Foy provides the standout performance here however as Janet Armstrong. Ms. Foy is tasked with being the emotional core of the film and she succeeds on numerous levels. 

Mr. Chazelle takes a few moments to look into the American perspective of the time, with protests about the space programs exorbitant funding and one Gil Scott-Heron song that clearly identifies the race relation situation, but he never examines these aspects for long. “First Man” remains clear of its purpose of displaying the space race from the eyes of the man who would become the hero America was looking for at the time. 

Monte’s Rating

3.50 out of 5.00

Venom Review

Venom

Dir:Ruben Fleischer

Starring:Tom Hardy, Michelle Williams, Riz Ahmed, Jenny Slate, and Reid Scott

Joseph Campbell, author of the seminal “The Hero with a Thousand Faces”, details a plotting device called “the hero’s journey”. Look at any number of films, past and present, and you can find this character structure utilized in some form especially in the cinematic world of the superhero. It’s a technique that has been done to death but when implemented properly, or when twisted in a new direction, can have satisfying effects. 

This “hero’s journey” may apply to heroic characters like Captain America or Superman, however often times the qualities associated with the “hero’s journey” shackles the characters to a moral code. When these characters start breaking away from the heroic descriptive terms that define them, they often fall into a characterization of being an “antihero”; characters like Deadpool, Mad Max, or The Man with No Name are examples. 

Director Ruben Fleischer explores the complicated nature of the antihero with the origin story of the beloved Marvel character Venom. Providing an unusual, weird, yet satisfyingly kinetic performance is Tom Hardy as the merged human/alien being. 

Eddie Brock (Tom Hardy) is a news reporter in San Francisco, providing a hard-hitting investigative reporting show. Brock’s local reputation provides him an exclusive interview with Carlton Drake (Riz Ahmed), a science mogul who has discovered a slimy alien substance, “symbiote”, and is conducting human trials in an attempt to combine the alien substance with humans. Brock’s compulsive style leads to him losing his job and his relationship with his girlfriend Anne (Michelle Williams). In an attempt to get his job and girlfriend back, Brock breaks into Carlton Drake’s laboratory but encounters the alien symbiote. 

“Venom” is an unusual film. Like its primary character who is struggling to find balance and control of the monster inside him, the film struggles to find the same control between the indulgence to push the limits, establish an overall tone, and exist within the familiar realm found in the Marvel Cinematic Universe. The film feels in moments influenced by the horror found in demon possession films, then transitions into a buddy comedy film that feels like a modified mainstream version of Frank Henenlotter’s “Brain Damage”, then moves into complete Marvel movie territory with a finale that is filled with all the familiar boom and bang. It’s all over the place, which makes the experience feel over long and tedious.

However, what keeps “Venom” engaging and consistently amusing is the committed performance from Tom Hardy who gives Eddie Brock a cowardly demeanor that is layered with ambitions to do the right thing and, when Venom takes over, the impulse to take over the world and feed on humanity. It’s unfortunate that the other characters surrounding Brock aren’t provided the same kind of energy. Michelle Williams is underutilized as Brock’s love interest and Riz Ahmed is given an antagonist that never feels threatening.  

“Venom”, at 120 minutes, attempts to be a different kind of superhero film. While it never successfully accomplishes the feat of crafting the super antihero that audiences can get behind, it does have Tom Hardy working overtime to make the character an oddly amusing creature. 

Monte’s Rating

2.50 out of 5.00

A Star is Born Review

A Star is Born

Dir: Bradley Cooper

Starring: Lady Gaga, Bradley Cooper, Sam Elliot, Dave Chappelle, Andrew Dice Clay, and Anthony Ramos

The first version of “A Star is Born” was made in 1937 and featured Janet Gaynor and Fredric March as two star-crossed lovers on dramatically diverse paths of fame in show business. It’s a story that no matter the time period, seems to encompass all the romantic touchstones that construct heartfelt Hollywood fables about chasing that seemingly impossible dream of finding love and making your passion a reality. That’s probably why this film has been made four times in four vastly different eras associated with the quest for stardom.

The most recent iteration of “A Star is Born” features pop superstar Lady Gaga, in good company with Judy Garland and Barbara Streisand who previously played the role, and Bradley Cooper doing triple duty as actor, writer, and director. Mr. Cooper, who seems to have deep admiration for all the previous stories, builds an earnest adaptation that is grounded by naturalistic performances and a narrative that invests in the melodrama of relationships. 

Jackson Maine (Bradley Cooper) is an aging alt-country rock star, singing boot stomping ballads while high on alcohol and pills. Jackson stumbles and mumbles through concerts, in flashes displaying why he is a rock star and in other moments why his star is fading into oblivion. While looking for a bar to go on another bender, Jackson staggers into a drag bar and encounters a singer named Ally (Lady Gaga). Her version of Edith Piaf’s “La Vie en Rose” completely enchants Jackson, pulling him from his alcoholic spiral and into an impromptu date that will change both of their lives.

Mr. Cooper displays early in this film a keen understanding of building and manipulating the beauty involved in the Hollywood love story. With frames that linger and examine the enraptured faces of two people who are falling deeply, passionately in love with one another, Mr. Cooper displays how easily the spell of love can overtake characters and also audiences. It’s in the first 50 minutes of this film, which slowly and deliberately invests in the budding relationship of Ally and Jackson that one will effortlessly fall entranced with everything that Mr. Cooper is doing with the story. The casting of Lady Gaga is perhaps the director’s greatest achievement here; the power and screen presence of the actress is no clearer than when her character finally gives in to her fears and performs an emotionally charged duet that will have you swooning over Gaga’s rendition and also the pair's romance. 

This early romantic drama is beautifully and achingly achieved, but even the greatest of romances eventually have to deal with the perils of reality. When Ally and Jackson’s relationship encounters reality, one that is filled with the cruel sting of the music business, things begin to crumble. Jackson realizes that his career isn’t making an upward turn and Ally realizes that her star is far from reaching its peak. Jackson’s drug abuse gets worse, Ally’s career is guided in a different direction than expected, and quickly the romantic gaze disappears. 

Everything in the second half of “A Star is Born” becomes a familiar tale, one that quickly delves into the turmoil complicated relationships experience with short illustrations that don’t allow for the kind of growth and control displayed when the relationship was developing early in the film. Instead, there is a loss of time and space as the romance ages, which unfortunately dulls the experience of displaying how effortless love can transition into complicated love which is an altogether different yet equally fascinating aspect of relationships if provided the attention.

Aside from the romance is a story about two artists who care as much about their craft as they do about their relationship, perhaps more in some ways. On one side we have a story about a musician struggling to remain true to his ideals, one that is examined with sober metaphors in an empty parking lot and drunken stupors in crowded places. On the other side is the story about a musician being swept into the power of the system and their own stardom, one that features simplistic pop music sensibilities and a Saturday Night Live performance that feel less than genuine. In the end, however, it’s Lady Gaga’s character Ally that ultimately rules the show. The character is ambitious and independent, she pushes past the expectations created by those around her while refusing to succumb to the easy indulgences that have defined the two men she loves in her life. 

Amidst some minor problems with pacing and the structure of the narrative that defines two separate aspects of a romantic relationship, “A Star is Born” is still the kind of heartbreaking Hollywood tale that is easy to fall in love with. 

Monte’s Rating

3.75 out of 5.00