Greta Review

Greta

Director: Neil Jordan

Starring: Chloë Grace Moretz, Isabelle Huppert, Maika Monroe, Zawe Ashton, and Colm Feore

“No act of kindness, however small, is ever wasted,” an excerpt from an Aesop fable. 

Aesop’s words and fables have illustrated numerous, valuable life lessons humanity can still learn from today. Though, considering just how terrible humanity can be to one another, it’s easy to remember moments in life when you may have been too nice to someone else, and had that act of kindness taken advantage of. 

Director Neil Jordan crafts his own wicked fable with the film “Greta,” a story that deals with aspects of obsession and compulsion conveyed upon a young woman played by, Chloë Grace Moretz, who was trying to simply live by Aesop’s rule of kindness. 

The unhinged predator in pursuit is none other than Academy Award winning actress Isabelle Huppert doing her best “big bad wolf” performance. 

Frances (Chloë Grace Moretz) is a small town girl living in the big city, working as a waitress in a fine dining restaurant. She lives in a modern style loft with her best friend Erica (Maika Monroe), wandering around the city with wide eyed amusement, and travels on the subway to get to work. 

Frances is clearly trying to separate herself from the past but is doing her best to live a happy life in the present. On a trip home on the subway Frances finds a purse left behind, she searches it and finds an address that leads her to a lonely older woman named Greta (Isabelle Huppert). 

Frances develops a connection with Greta, they play the piano and look at dogs to adopt, and the two quickly become friends. But Greta has a secret and when Frances discovers it their relationship quickly changes. 

Stories of obsession are common in cinema; whether a young man’s obsession with his dead mother from “Psycho,” or a woman’s obsession with a married man in “Fatal Attraction,” or a deranged Hobbit’s obsession with a golden ring in “Lord of the Rings.” 

Obsession can make for intriguing tales that display the lengths that humanity will go to capture the person, place or thing they value so greatly. 

“Greta” at its narrative core is composed around the aspect of obsession, turning a story that straddles the line between being a cat-and-mouse thriller and a straight up survival horror film. 

It’s unfortunate that the film never makes a clear choice of what it wants to be, but instead fumbles about with some great actors doing their best with a story that never builds the tension or fear that it is trying to achieve. 

While the setup functions nicely to introduce the two characters together, with Moretz and Huppert creating some good chemistry with each other, once the deception is revealed the film falls into familiar territory. 

At one moment the film feels like it may swerve in another direction, which would make sense considering director Neil Jordan’s ability to turn strange circumstances into intriguing character studies. But instead it continues on its one-dimensional path. 

Moretz is a great actress who unfortunately isn’t utilized completely here, just like in other recent films, with ineffective ways that display her raw and emotional talent. 

Huppert keeps the film afloat with her sly smile and unhinged outbursts, but even her character at times feels pulled from a different story completely. 

The character Greta seems rich with a backstory that is never used to build more complexity into why she is doing such terrible things. “Greta” boasts a capable cast, a good director and an intriguing setup, each of which is completely underutilized in this by-the-numbers thriller.

Monte’s Rating

2.00 out of 5.00

Get Excited!!! The Phoenix Film Festival and The International Horror And Sci-Fi Film Festival is Coming Soon

By Emery Snyder @leeroy711

Hello again friends. It’s almost that time of the year. A time that is hands down, my favorite time of the year. Because every early April brings to the valley the Phoenix Film Festival and the International Horror& Sci-Fi Film Festival.

This year, the festival runs from April 4^th through the 14^th at its usual stomping grounds, the Harkins CinéCapri in North Scottsdale. Named one of the “25 Coolest Film Festivals” by MovieMaker Magazine and holds 300 screenings annually. There’s an Industry Night, a Silent Auction, a Kid’s Day and a healthy handful of insightful panels.

In the ten years I’ve been attending, I have seen some great films. They showcase shorts and features from filmmakers all over the world as well as homegrown films from right here in Arizona. The International Horror & Sci-Fi Film Festival is held in conjunction with Phoenix Film Festival and it offers a special treat for the more daring viewers.

I watch films all year round, in the local theatres as well as on my couch at home. I pay for more streaming site subscriptions than I’d like to admit to and I have a halfway decent collection of movies on my shelf. And I am not typically sentimental or precious about the theatrical experience. But that changes for me every year, right around this time. Because more than the events and the food, and even more than the films, I get excited about the people and the community.


I’m from the Phoenix area. Growing up here as a movie buff used to mean something very different than it does today. But in the most recent years, I’ve been able to witness the birth and continued cultivation of the cinema scene in my city. The PFF and IHSFFF, along with the Phoenix FilmFoundation and the Phoenix Film Society have played a major role in that cultivation and I will forever be grateful.

In short, get your tickets. I’ll see you there!!!

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The Breaker Upperers Review

By Emery Snyder @leeroy711
Director: Madeleine Sami & Jackie Van Beek

Starring: Madeleine Sami, Jackie Van Beek, James Rolleston & Ana Scotney

Netflix Original – February 15, 2019

Mel (Sami) and Jen (Van Beek) are best friends and business partners. They provide a service concocting elaborate schemes to break people up from their unhappy relationships. As is inclined to happen, feeling get caught, and emoticons get in the way of their professionalism. This is a comedy from New Zealand, executive produced by Kiwi comedy royalty, Taika Waititi. It is written and directed by its two stars, Sami and Van Beek, both of which have previously had small roles in other Waititi films.

Central to the plot is the two ladies’ profession. It’s a job that obviously could never exist in the real world and it tends to set off alarm bells in my head. It’s not that I need these types of elements to be rooted in anything remotely resembling reality. It’s just that it immediately reminds me of some of the worst and laziest romantic comedies of the past two decades. These are the films in which Mathew McConaughey would typically play the handsome man-child who goes toe-to-toe with the beautiful but cold interventionalist like Sarah Jessica Parker in FAILURE TO LAUNCH (’06) or Kate Hudson in HOW TO LOSE A GUY IN 10 DAYS (’03). Montages are used to pass the time, writing templates are strictly adhered to, the lies and cover-ups get more ridiculous and hilarity ensues. In these films, the central conflict typically falls apart if one of the main characters would just simply tell the truth… you know… like real people do. These films typically bug me quite a bit because I find the characters to be so unbelievably unrelatable.

Fortunately, this film avoids the worst of these landmines. It still follows the same plot beats

and a lot of the characters’ actions lean into the outlandish zone. But the relationship between the film’s two main characters feels organic and weighted. The ‘May-December Romance’ and the ‘Hung-up on the ex-boyfriend’ subplots are just that. They’re ancillary and tangential at best. What is key is the relationship between two long-time best friends. They feel like real people, just funnier. And their friendship is based on a history of mutual love, respect and support.

The film suffers a bit unfortunately from the needlessness of the ‘ex-boyfriend’ subplot. It was fine as part of the characters’ background. But it seems like filler when we have to actually meet him. Ultimately, the scene he is in ends up only detracting from the overall charm. And with a running time of only 82 minutes, there are others showcased that I would have much rather spent time with.

What shines here are the performances. Sami and Van Beek both have great comedic timing and I would love to see them as a recurring duo in future projects. James Rolleston’s “Jordan” is very funny as the lovable doofus and Celia Pacquola’s “Anna” is one of the most hilarious manic-depressives in film history. And then there’s Ana Scotney as “Sepa”, Jordan’s jaded ex… Please give her a TV show. I’m actually not sure if I want to watch anything that she is not in. Her on screen personality is as magnetic as her cornrows. And if there is any point in the film that you begin to worry about her absence from the other choreographed dance numbers, just be patient. I had to look up her previous work and so far, it’s pretty thin. Apparently, she plays a “she-wolf” in an episode of the Waititi created, Wellington Paranormal, a show that looks to be a cross between Reno 911 and The X-Files. So, I’ll be looking that up on Youtube in a few minutes.

What this film may lack in tightness and plot, it makes up for in promise. I love the already established Kiwi troupe centered around Waititi and Jermaine Clement and if this is how the new crop is ushered in, I’m all for it. I would love to see more from these ladies.

Emery’s Rating

3.75 out of 5 Stars

Alita: Battle Angel Review

Alita: Battle Angel

Dir: Robert Rodriguez

Starring: Rosa Salazar, Christoph Waltz, Jennifer Connelly, Mahershala Ali, Ed Skrein, Jackie Earle Haley, Keean Johnson, and Jeff Fahey

Technology continues to influence the filmmaking process in rather awe-inspiring ways; fantastic worlds from other galaxies can be produced with computers and talented artists against the back drop of a simple green screen, gigantic monsters can destroy New York City over and over again, however, one of the most impressive feats is the melding of human actors and computer-generated effects that blur the line of where the human ends and the technology begins. 

“Alita: Battle Angel” brings together two trailblazers of the filmmaking process; producer James Cameron who pushed the limitations of technology and ultimately revolutionized the way special effects were created in the 1980’s and director Robert Rodriguez who lead the independent filmmaking charge into the digital realm in the early 1990’s. “Alita: Battle Angel” takes a little bit of the best from both of these iconic filmmakers, crafting a film that is visually stunning with characters that are so detailed and interesting to look at. It’s a shame that the same amount of meticulous detail levied on the technology wasn’t applied to the pen-to-paper process.

In a dystopian future where an elitist society floats high above a junkyard world, Dr. Ito (Christoph Waltz) searches for cybergenic technology amongst discarded garbage. It is here where the Dr. finds the discarded robotic carcass of a young girl named Alita (Rosa Salazar), who is a lethal creation of the past from a long-forgotten war. Alita is rebuilt but doesn’t remember where she came from, instead she is raised by Dr. Ito and learns about a future sport called Motorball. But Dr. Ito has some secrets and the powerful puppeteers of future begin to realize that Alita is something very powerful. It is up to Alita to change the future.

The design elements that compose “Alita: Battle Angel” are completely stunning, a marvel of computer-generated effects mixed with motion capture performances from actors. The combination of both of these processes takes a few minutes to get comfortable with, the “uncanny valley” effect is evident at first, however it dissipates and it’s easy to just enjoy the spectacle of everything happening before you. Mr. Rodriguez spends a good amount of time building the atmosphere of the world, displaying impoverished streets that are technological advanced with robots, vehicles, and half human / half cyborg people roaming throughout. It’s a marvel to see these visions come to life, it’s the strongest quality connected with this film, especially when Alita is unleashed and her martial arts skillset bounces, tumbles, and explodes across every border of the frame. 

All this advanced technology is in play and it really brings the characters to life, however the story is abundant with information and world building ideas, it becomes cumbersome trying to keep up with everything that is going on. You have a father/daughter connection in play with Dr. Ito and Alita, working alongside a broken marriage featuring a performance from Jennifer Connelly, also a killer stealing cybergenic parts from humans, a group of ingeniously designed bounty-hunters, a villain played in dark sunglasses by Mahershala Ali, and we haven’t even touched on the floating city and the mythology associated with Alita’s legend. It’s simply too much to fit into a story that will be satisfactory. 

“Alita: Battle Angel” should be lauded for its cinematic composition, it really is quite impressive to witness how far technology has come in the development of cinema. However, story and character development are critical components in connecting humanity and emotion across the screen and, unfortunately, “Alita: Battle Angel” struggles to find the balance between its technology and storytelling.

Monte’s Rating

2.50 out of 5.00

Happy Death Day 2U Review

Happy Death Day 2U

Dir: Christopher Landon

Starring: Jessica Rothe, Israel Broussard, Phi Vu, Suraj Shurma, Sarah Yarkin, Rachel Matthews, and Ruby Modine

Take a moment and think of every great movie sequel you have ever seen. Now that you are done listing all the subpar sequels, how many are left on the list that are excellent? The craft of constructing a sequel is a difficult undertaking, especially if the first film is something special. 

“Happy Death Day” was a surprise upon its release in 2017; a film that took the concept of the 1993 comedy “Groundhog Day” and turned it into a clever and unique horror film that delivered some really fun surprises. The turnaround for the sequel happened rather quickly, which is always a little concerning, but “Happy Death Day 2U” takes a route less travelled for movie sequels by twisting the narrative, including the genre, into something completely different. 

Tree Gelbman (Jessica Rothe) lived the same day over and over, dying at the hands of a masked killer every day until she was able to solve her own murder. With the help of her boyfriend Carter (Israel Broussard), Tree thought she had escaped the time loop and could move on with her life. But things take a drastic reversal as a science experiment, conducted by Carter’s roommate Ryan (Phi Vu), creates another time jump that brings Tree back face-to-face with her baby-faced masked killer. But something has changed, things are different this time. 

Christopher Landon directed “Happy Death Day” with a clear understanding of tone for a horror film that offered a few frights, a creepy looking slasher, a charming hero, and some lighthearted humor. It felt like a PG-13 horror film from the 90’s mixed with the science fiction appeal of the 80’s. So, it’s not surprising that Mr. Landon brings the successful qualities back in different doses and combinations while making one interesting and tricky turn in the structure. 

The narrative, which leaned strongly in the horror genre with only a sprinkling of sci-fi for the first film, flips into a straight forward science fiction film with a spattering of horror here and there. It’s a bold move that is somehow surprisingly pulled off. Utilizing a science fiction storytelling theme that feels reminiscent of “The Outer Limits”, “Happy Death Day 2U” refreshingly twists and morphs into a different film. While it still struggles with some shoddy dialog and unusual side character performances, like a wacky college professor who bumbles into the excitement at the worst time, the film still merges its quality elements in an enjoyable way. 

A big part of why this film works so well is the exceptional screen appeal of Jessica Rothe who holds the film together with her tenacity and charisma. Ms. Rothe’s performance is convincing and entertaining throughout; whether she is wielding an axe or waking up with her hair frizzed from electricity, the actor entirely owns it. 

“Happy Death Day 2U” works really well up to a point that it becomes slightly unhinged with its time looping dilemma and wanting to push for expanding its universe beyond the primary character’s life, but it doesn’t derail the fun that this movie is clearly trying to produce. Rarely do sequels work as well as it does with “Happy Death Day 2U”. Blumhouse Productions continues to surprise with their brand of genre films. 

Monte’s Rating

 3.25 out of 5.00

High Flying Bird Review

By Emery Snyder @leeroy711
Director: Steven Soderbergh

Starring: André Holland, Melvin Gregg, Zazie Beetz & Bill Duke

Netflix Original – February 8, 2019

Sports agent, Ray Burke (Holland) is representing the number one overall draft pick in the NBA, Erick Scott (Gregg). Unfortunately, no one is getting paid because the league is in a lockout due to a dispute between the team owners and the player’s union. Tensions are high, and resources are low. This leads Burke to concoct an innovative scheme, enacting a power shift in the league.

I’ll start off by saying that I’ve never considered myself a huge fan of Steven Soderbergh’s work. In the past decades, he’s had a lot of output. And largely, his films are almost always above average. But as much of them as I’ve seen, I couldn’t tell you what his masterpiece is. He always seems to be leaning towards the cutting edge and experimenting with equipment and techniques. But more often than not, I’ve felt that this tends to detract away from any heart in his stories. It seems that his passion lies more in filmmaking as an exercise and a process than as an expression. I don’t want to sound like I don’t have respect for his work. Again, he has had surprisingly few duds. I just have rarely if ever, emotionally connected with his work.

On the other hand, I have been a huge fan of NBA basketball since the late 80’s. So, I was very intrigued to see how this subject was tackled. I wasn’t expecting what this turned out to be. I was surprised to see the level of industrial understanding Soderbergh and writer, Tarell Alvin McCraney had. The inner workings exposé impression in the film was far more insightful than anything you’re likely to see from an ESPN daytime talk show. It was also unique to see real interviews with three NBA stars intercut with this fictional tale. It was as if they were there explicitly to give validation and weight to the story.

Soderbergh’s dedication to experimentalism can primarily be seen here in his camera work. He is also credited as the film’s cinematographer. It’s got a unique look to it. Like his 2018 UNSANE, it was also shot on an iPhone. You can sense the fun he’s having with it and I appreciate the almost amateurish and at times even voyeuristic look, especially in the first act. A lot of the framing is static. Characters come in and out of view. I think this is meant to mimic some of the thematic elements that the film is expressing. I’ll get into those later.

The cast has some exciting elements. MOONLIGHT’s Holland does well as the calculating agent and I hope I’ll never get tired of watching “Atlanta” star, Zazie Beetz. She’s always interesting to watch. The ever dependable, Kyle MacLaughlin shows up also in a thankless but crucial role. But, the one that I was most interested in was Bill Duke. I was surprised and thrilled to see the COMMANDO and PREDATOR star last year in a small role in MANDY. He’s probably the best part of this film. He plays Spence, a hard-nosed coach of a charity youth league. There’s a complexity to his character that I’m sure he understood and embodied better than I can describe. So, I won’t try.

What I find most special about this film is its screenplay. Ultimately, this is the clever story of exclusivity and exploitation. And how modern technologies and media platforms are challenging the capitalistic old-guard. We live in a time in which the perceived exclusivity and secrecy of almost every industry is constantly having to compete with a relentless flow of free information. Real estate agents are losing their commissions to online self-listings and mechanics and handymen are challenged by DIY Youtube channels. The entertainment industry has had to adjust as well. More and more recording artists are finding that they have to monetize concerts and t-shirts because their music is only an on-demand click away. Filmmaking is the same way. Not only do theaters have to compete with streaming sites, but the progression of technological advancements in camera and editing equipment has made filmmaking more accessible to the hoi polloi.

There’s no reason to think that this same mentality will not also seep into the powerful and lucrative sports entertainment industry in due time. While watching this, I couldn’t help but draw a parallel to the NFL and team owner’s attempt last year to impose new rules regarding player’s conduct during the National Anthem. Their bluff was called, and no actual rule ended up changing. But when the dust began to settle, the power began to shift. The owners and the leagues have their place as the stewards of the infrastructure that puts these talents on display for us, the fans. But we don’t show up or tune in to watch them. The more that this truth is realized, the more fairly the power and wealth will be distributed amongst the industry.

Emery’s Rating

3.75 out of 5 Stars

The Lego Movie 2: The Second Part

The Lego Movie 2: The Second Part

Dir: Mike Mitchell

Starring: Chris Pratt, Elizabeth Banks, Will Arnett, Tiffany Haddish, Stephanie Beatriz, Alison Brie, Nick Offerman, Charlie Day, and Maya Rudolph

Everything is NOT awesome with the happy residents of Bricksburg, especially the happy-go-lucky master builder Emmett who saved the toy-inspired universe in the standout hit from 2014. The masterminds, Phil Lord and Christopher Miller, behind the origin story for these toys-turned-movie characters return to write the script but new director Mike Mitchell takes over directing duties. This doesn’t matter too much because the formula hasn’t changed between the different Lego franchises. 

Emmett (Chris Pratt) saved the city of Bricksburg from President Business and just before they could celebrate their victory, a cutesy alien Lego society descended from the sky and turned the bright shining world into a dystopian, Mad Max-esque wasteland. The aliens destroy everything that has and will be made, leaving the citizens of Bricksburg to live in fear of building anything new or shiny. Things get worse when all the great warriors and leaders are kidnapped; Lucy (Elizabeth Banks), Batman (Will Arnett), Benny (Charlie Day), Unikitty (Alison Brie), and Metalbeard (Nick Offerman) are all captured leaving Emmett to venture into the unknown after them.

Much of the appeal and charm for these Lego films has come from the use of humor and the inclusion of pop culture referencing throughout nearly every frame of the film. Where else are going to find “Jurassic Park” velociraptors, every member of the Justice League from DC Comics, and John McClane from “Die Hard” in the same movie, sometimes at the same time? The fact that these sometimes subtle, mostly blatant nods to pop culture come off so delightfully is quite impressive. 

Helping make these interesting crossovers come to life are the exceptional voice actors. Firstly, Will Arnett’s low baritone Batman steals the show, it’s easy to see why this character received a spinoff feature. Tiffany Haddish plays the morphing evil alien queen wreaking havoc on the Lego universe. Ms. Haddish has such a unique cadence and rhythm in her dialog, it’s easy to laugh and smile even when a joke isn’t  being pushed into the narrative. Unfortunately, the two leads, Emmett and Lucy, have a narrative that is stifled by poor character development and a strange over saturation of Chris Pratt’s vocal work. The second act of the film is consumed by Emmett and Rex Dangervest, a new character who embraces the solitude life of a hero on a spaceship run by dinosaurs. These two characters are voiced by Mr. Pratt but the storyline for why they  come together brings the pacing of the film to a halt in an effort to add some kind of mystery that is building towards the inevitable ending, which surprisingly accomplishes enough with the other characters throughout to remain a kindhearted message. 

“The Lego Movie 2: The Second Part” isn’t as awesome as the first installment, but that doesn’t mean that it’s not good. Underneath the story of an alien invasion, forced wedding nuptials, and catchy songs that ruin your mind, there is a story about brothers and sisters, being kind to one another, and accepting childhood for as long as possible. It’s a sweet sentiment when the film transitions into the “real” world and not the Lego world. So, while everything may NOT be awesome, this film still has all the workings of a good family film worth the trip to the movies.

Monte’s Rating

3.50 out of 5.00

Streamathon - February 2019 – WiHMX - Female Directed Horror

By Emery Snyder @leeroy711

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, 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.

February 2019

February is Women in Horror Month and we here at Coda love to celebrate both women and horror, so as writers, we’re excited to have the opportunity to tie the two together. Phoenix’s FilmBar starts off this month’s celebration tonight with a screening of BUFFY THE VAMPIRE SLAYER.

Following the hashtags and reading the various articles and projects, I’ve come across a litany of different ways to celebrate the work of women in horror. Women have historically contributed to the genre both in front of and behind the camera. On screen, we’ve come a long way from the incapacity of “Scream Queens” like Fay Wray’s “Ann” in (’34) KING KONG. These day, stronger women are more likely to fight their captors like last year’s underrated COLD HELL.

Behind the scenes, women have held every job in the industry from cinematographers like A QUIET PLACE’s Charlotte Bruus Christensen to writers like frequent Carpenter collaborator, Debra Hill. But for this list, I wanted to focus on directors. Because unfortunately, quality of work notwithstanding, this is the job in which women seem to have the hardest time getting. In 2018, less than 5% of studio films were directed by women.

This is specifically important when we talk about the role of a director and the overall role cinema plays in our culture. For all intents and purposes, the director provides the film’s primary perspective. And cinema’s long and storied history has been forcibly permeated by the “male gaze” perspective. It’s important to recognize, that when we talk about the “male gaze”, we’re talking about something that encompasses much more than just the objectification of women’s bodies. There is an entire fantasy world that comes along with it. In fact, much of our fantasies aren’t even about sex. You see, generation after generation of men being raised by pop-culture have made us a fragile gender. It is imperative to the fantasy that we are not only sexually irresistible, but the masters of our own destiny and the hero of every situation.

Women are more often props and prizes in this world. There is no room for equality or platonic relationships. It is this lack of competing perspectives that has largely contributed to machismo myths like the “friend-zone” and MRA concepts like “enforced monogamy” or “redistribution of sex”. To be honest, I don’t even know how much of this mentality is instinctual and how much is learned. I just know that it’s constantly reinforced by the feed-forward loop of the most popular form of expression in the world.

So, with that rant in mind, let’s all take just one month (the shortest month) to celebrate the less than 5% of films made from the perspective of people that make up over half of the population.

The Stream

Side Note: Coralie Fargeat’s REVENGE should have obviously made this list. It is currently in the penalty box because I’ve written about it a few too many times already. It is streaming on Shudder.

A GIRL WALKS HOME ALONE (2014) 

Directed by Ana Lily Amirpour – Streaming on Shudder

Bad City, Iran is being stalked by a melancholy vampire. This film has the air of a fairytale, modernized with sex, drugs and rock & roll. I love how the storyteller refuses to dumb down the symbolism and metaphors just to keep it simple. It’s complex and subversive and unfolds like a riddle that you didn’t know you were trying to solve. It should also be noted that anamorphic black & white should not be taken lightly. Cinematographer, Lyle Vincent did an amazing job capturing the landscape and interiors here.

HUMANOIDS FROM THE DEEP (1980)

Directed by Barbara Peeters – Streaming on Amazon Prime Video

This is the only film in which the ventriloquist gets the girl. Not for long, but he does somehow manage to seduce her out of her clothes before the obligatory monster attack. This is essentially a 50’s creature feature done with 80’s gore and nudity. If that’s not enough for you, then you have my sympathies. It was produced by B-movie icon, Roger Corman and released under his New World Pictures label. It should be noted however that some of the more graphic and exploitive rape scenes were directed by the uncredited Jimmy T. Murakami. Allegedly, Peeters was appalled at the finished product and asked for her name to be removed. I included it on this list with some trepidation, but I can’t help but love a lot of what this film does right.

NEAR DARK (1987)

Directed by Kathryn Bigelow – Streaming on Mubi

Lance Henriksen and the late Bill Paxton are the only two actors to boast being killed by an Alien, a Terminator and a Predator. They are horror royalty. And if you ever get the opportunity to see them playing vampires in a neo-noir western horror, I don’t really have to finish this sentence to I? Kathryn Bigelow is the only female to ever win the Academy Award for Best Director (THE HURT LOCKER). Only 3 others have ever even been nominated. This is unequivocally my favorite of her films. “It’s finger-lickin’ good!!!”              

OFFICE KILLER (1997)

Directed by Cindy Sherman – Streaming on Shudder

You may think that 80’s stars, Molly Ringwald, Carol Kane and Jeanne Tripplehorn would be out-of-place in a late 90’s slasher/horror. But they work great here. I’m especially impressed with Carol Kane, specifically in the third act.

PREVENGE (2016)

Directed by Alice Lowe – Streaming on Shudder

This movie is a romp. Alice Lowe writes, directs and stars in this all while she’s actually pregnant in real life. Baby knows best as Lowe’s “Ruth” carries on with a vicious homicidal spree guided by the in-utero voice of her unborn child…. And, why the hell not. I have a lot of fun with this flick. At times it’s hilarious. The symbolism is a bit too ‘on-the-nose’ but I really didn’t care. This would be a great one to show with a group of unsuspecting friends at a party… like a baby shower.

RAW (2016)

Directed by Julia Docournau – Streaming on Netflix

If this is what the college experience is like, I sure as hell don't regret missing out on it. This is a very well put together film. And more than that, it breathes in a very clear and unique voice. It makes me very excited to see what director, Julia Ducournau has in store. It's disturbing and gross, but still knows when to turn away from the realm of snuff or even exploitation.

TROUBLE EVERY DAY (2001)

Directed by Claire Denis – Streaming on Amazon Prime Video & Mubi

I sure hope you didn’t already fill up on French arthouse cannibalism movies… Did you save any room for dessert? If anything, this film proves that there’s always room for more. Typical of Denis’ other work, this one is tempered and meditative, with very little dialogue or exposition. In many ways, it fits right in with WHITE MATERIAL or 35 SHOTS OF RUM. Except of course, you know… nobody gets eaten in those films.